DOCSLIB.ORG

How to Digitise Vinyl for Transfer to CD

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
How to Digitise Vinyl for Transfer to CD HOW TO TRANFER VINYL ONTO CD This guide is intended to help users of the ARTcessories™ USB Phono Plus Audiophile Computer Interface. The USB Phono Plus is a high quality audio interface with a standalone phono preamp that acts as an interface between your computer and a wide variety of analogue and digital sources. The analogue inputs are switchable between Phono and Line level signals and a low cut filter removes rumble and wind noise. The front gain trim control and signal/clip LED allow you to optimise the analogue to digital converter for a wide range of input sources. The front panel USB monitor headphone jack and the optical output on the rear panel can monitor audio output from your computer. The built-in low noise Phono preamp circuit is highly accurate and precisely conforms to RIAA standards. The Line Output jacks are always connected to the input preamp signal for source monitoring. The USB Phono Plus is housed in an aluminium black anodised case dimensions 44.5H x 107W x 89D weighing 0.6kg. It can be powered by either an external power source or directly off the USB port and also has optical TOSLINK inputs and outputs as well as S/PDIF inputs so it can be used as a digital audio to USB interface as well. Circuit Diagram SIGNAL/CLIP INDICATOR L PREAMP L RIAA LOW CUT L PREAMP PHONO/LINE EQUALIZER RUMBLE GAIN L LINE INPUT FILTER OUTPUT R R GAIN OUT = LINE OUT = FLAT TRIM IN = PHONO IN = LOW CUT S/PDF IN OPTO IN OPTO OUT TO USB O TO USB FROM USB S/PDIF input overrides OPTO input USB MONITOR A to D D to A CONVERTER CONVERTER S TO STEREO HEADPHONES USB COMPUTER The USB Phono Plus features a built in sound card that works with USB audio device drivers Windows 98SE/ME/2000/XP and Apple Mac OS9.1/OSX computers with native USB support so no special drivers are needed. It is also supplied complete with a CD ROM copy of Audacity Freeware sound recording software and complete installation instructions. Page 1 of 3 To get started recording vinyl you will require of course a working turntable complete with a pick up cartridge having a diamond stylus tip that is not unduly worn or damaged. This should then be connected to the USB Left (White) and Right (Red) PreAmp Phono Inputs on the rear panel of the USB Phono Plus using your existing turntable phono leads. If the turntable has a separate ground wire then this should be attached to the ground terminal on the USB Phono Plus to reduce hum. Select “phono” input for the analogue source type. The “line” input can be used for other analogue sources if required for example a cassette deck or radio tuner. Connect the USB Phono Plus to an appropriate USB input on your computer and determine the source of power supply USB or external. While the USB Phono Plus is connected and powered on the computer “Default Audio Device” setting must be set to connect to the USB Phono Plus. Usually the computer will do this automatically the first time the USB is connected but it may be necessary to do this manually. The Sound and Audio Device Settings should be set to “USB Audio CODEC” for input and output. To start recording you will need to install the software required if you do not already have this available on your computer. This is easy using the Audacity Freeware Installer CD supplied. Open the Audacity or other sound recording application and switch on your turntable with the vinyl to be recorded at the correct speed and select audio track stereo or mono (if applicable) 44100Hz then press record on the software application and you are started. The Audacity Freeware records converted analogue digital signals in segments of real time data files which combined can be up to 60MB size for a 3 minute track. Once recorded, the track can then be exported as a WAV, MP3 or Ogg Vorbis file. WAV is obviously best to achieve real CD audio quality. MP3 is a compressed format that is used MP3 players and other compressed format media players. The WAV file size generated is usually about half that of the recorded data file say up to 30MB for a 3 minute track meaning that you stand a chance of getting 20 or more such tracks onto a 700MB CD-RW disc. MP3 file size is usually about 10% that of a corresponding WAV file. Using these as a guide it is recommended that the user gives some thought to the recording project and identify first which tracks are to be recorded so that all files generated can be saved under a project group sub folder preferably in the “My Music” document folder for easy identification and retrieval. When recording it is recommended that each track is recorded as a separate music file and saved with a recognisable filename (i.e. track title) for retrieval and export at the end of the recording session. The USB Phono Plus does not provide for direct monitoring of the analogue input. The Line Output Phono jacks on the rear face of the USB Phono Plus can be used to connect to an amplifier having a headphone output jack. To do this you will need another pair of phono cable interconnects. An alternative would be to use a headphone amplifier and the BTech BT928 stereo headphone amplifier being small and compact is ideal for this purpose. The transfer of digitised analogue tracks onto CD can be achieved using media CD burning software for example Windows Media Player or Sonique. The example below is based on the Windows Media Player application supplied with Windows XP. Firstly open the music file folder containing the files to be transferred and select those required for transfer. Next right click the mouse over the selected files and select “Add to Windows Media Player List”. Page 2 of 3 Then open the Windows Media Player application. In the Windows Media Player window click on the burn label tag and select the player list with the tracks required to burn onto the CD. Enter a blank CD-RW disc having sufficient memory capacity (NB 700MB CD-RW has about 571MB) to record the tracks and speed compatible with the CD-RW drive. Next select all the tracks to be burnt and drag them to the burn window at the right of the screen then press the start burn button. That’s it – next see How to Prepare Professional Looking CD Labels and Jewel Case Inserts. Page 3 of 3.
Load more

Recommended publications
  • A Reference for the Scene Page 1
    WareZ101.org - A Reference For The Scene Page 1 Home *Articles* Downloads Discussion Forum Search Links Contact Us December 17 2006 07:38:33 What are these files I downloaded? How do I "open" them? Login This article will discuss the following popular download formats: Username *Official Scene Releases (RAR splits) Password *Single ZIP Files *Single RAR Files *Single TAR Files Login *ISO Files *BIN/.CUE Files Not a member *IMG Files (CD's, 700 MB and under) yet? *IMG Files (DVD's, 4.4 GB and under) Click here to *MDF/.MDS Files register. *CCD/.IMG/.SUB Files *MP3/.M3U Files Forgotten your *WMA Files password? *OGG Files Request a new *AVI Files one here. *MPG/.MPEG Files *VCD Files & Folders Users Online *SVCD Files & Folders *VOB/.IFO/.BUP Files Guests Online: 1 --- No Members Online Official Scene Release Format Registered Example: Members: 94 Newest Member: NoX Latest Articles Coded Anti- Piracy The Bittorrent Bible... Secrets of the Pirat... How to use Daemon Tools How to Convert DVDs ... Member Poll What's your primary source of warez? FTP Servers (Public) FTP Servers (Private) http://warez101.org/readarticle.php?article_id=36 17/12/2006 06:39:09 PM WareZ101.org - A Reference For The Scene Page 2 HTTP Servers Torrent Sites E-Mule Sites P2P Application(s) IRC Servers Other You must login to vote. Shoutbox You must login to post a message. 5cr3w3d DATE: 02/09/2006 17:52 Testing 1-2-3 I have somehow NOTE: This particular release contains 3CD's, as you can see above. Your particular release may not have found my way these folders, all the RAR's, .NFO and .SFV files may be in a single folder with no subfolders.
    [Show full text]
  • Case COMP/C-3/37.792 Microsoft)
    EN EN EN COMMISSION OF THE EUROPEAN COMMUNITIES Brussels, 21.4.2004 C(2004)900 final COMMISSION DECISION of 24.03.2004 relating to a proceeding under Article 82 of the EC Treaty (Case COMP/C-3/37.792 Microsoft) (ONLY THE ENGLISH TEXT IS AUTHENTIC) (Text with EEA relevance) EN EN COMMISSION DECISION of 24.03.2004 relating to a proceeding under Article 82 of the EC Treaty (Case COMP/C-3/37.792 Microsoft) (ONLY THE ENGLISH TEXT IS AUTHENTIC) (Text with EEA relevance) THE COMMISSION OF THE EUROPEAN COMMUNITIES, Having regard to the Treaty establishing the European Community, Having regard to Council Regulation No 17 of 6 February 1962, First Regulation implementing Articles 85 and 86 of the Treaty1, and in particular Article 3 and Article 15(2) thereof, Having regard to the complaint lodged by Sun Microsystems, Inc. on 10 December 1998, alleging infringements of Article 82 of the Treaty by Microsoft and requesting the Commission to put an end to those infringements, Having regard to the Commission decision of 1 August 2000 to initiate proceedings in Case IV/C-3/37.345, Having regard to the Commission decision of 29 August 2001 to initiate proceedings in this case, and to join the findings in Case IV/C-3/37.345 to the procedure followed under this case, Having given the undertaking concerned the opportunity to make known their views on the objections raised by the Commission pursuant to Article 19(1) of Regulation No 17 and Commission Regulation (EC) No 2842/98 of 22 December 1998 on the hearing of parties in certain proceedings under Articles 85 and 86 of the EC Treaty2, Having regard to the final report of the hearing officer in this case, After consulting the Advisory Committee on Restrictive Practices and Dominant Positions, 1 OJ 13, 21.2.1962, p.
    [Show full text]
  • A Multi-Level Perspective Analysis of the Change in Music Consumption 1989-2014
    A multi-level perspective analysis of the change in music consumption 1989-2014 by Richard Samuels Thesis submitted for the Degree of Doctor of Philosophy School of Geography and Planning Cardiff University 2018 i Abstract This thesis seeks to examine the historical socio-technical transitions in the music industry through the 1990s and 2000s which fundamentally altered the way in which music is consumed along with the environmental resource impact of such transitions. Specifically, the investigation seeks to establish a historical narrative of events that are significant to the story of this transition through the use of the multi-level perspective on socio-technical transitions as a framework. This thesis adopts a multi-level perspective for socio-technical transitions approach to analyse this historical narrative seeking to identify key events and actors that influenced the transition as well as enhance the methodological implementation of the multi-level perspective. Additionally, this thesis utilised the Material Intensity Per Service unit methodology to derive several illustrative scenarios of music consumption and their associated resource usage to establish whether the socio-technical transitions experienced by the music industry can be said to be dematerialising socio-technical transitions. This thesis provides a number of original empirical and theoretical contributions to knowledge. This is achieved by presenting a multi-level perspective analysis of a historical narrative established using over 1000 primary sources. The research identifies, examines and discusses key events, actors and transition pathways denote the complex nature of dematerialising socio-technical systems as well as highlights specifically the influence different actors and actor groups can have on the pathways that transitions take.
    [Show full text]
  • Geórgia Vanize De Figueiredo Costa¹, Vanessa Cristina Gonçalves¹
    WMA GEÓRGIA VANIZE DE FIGUEIREDO COSTA¹, VANESSA CRISTINA GONÇALVES¹ 1UFMG – Escola de Ciência da Informação, Curso de Biblioteconomia, Disciplina de Introdução à Informática, Av. Antônio Carlos, 6627, 31270-010, Belo Horizonte, MG, Brasil [email protected] vcgonç[email protected] Resumo. Este artigo tem como tema principal apresentar o formato de arquivo de áudio: WMA, desenvolvido pela Microsoft. Neste, apresenta-se sua história, suas vantagens e uma comparação entre o MP3, arquivo de áudio mais usado atualmente. São apresentados também, os players onde podem ser baixadas as músicas. Além disso, é mostrado como converter para outros formatos como o WAV e o MP3. os arquivos passaram a poder ser gravado sem proteção e 1. Introdução sem interferência na qualidade do som. Embora pouco WMA significa Windows Media Audio , ou seja, são divulgado este padrão de arquivo já começa a aparecer em arquivos de música (áudio digital). Este formato de música vários sites na Internet. Para ouvir um arquivo desse padrão compactada foi criado pela Microsoft, que tenta disputar o você pode usar o Winamp , que é distribuído gratuitamente mercado com o famoso padrão MP3, atual arquivo mais na Internet. popular entre os internautas. O "WMA" tem muitas vantagens, com ele pode-se fazer rádios para escutar 3. Como instalar o Winamp músicas sem precisar fazer download e o mais importante, Com o Winamp você pode tocar arquivos no padrão uma música com 64 Kbps em "WMA" tem a mesma wav, mid, voc e mod, MP3 e CDs musicais. qualidade de uma "MP3" com 128 Kbps, ou seja uma "WMA" tem a mesma qualidade de uma "MP3" e metade Faça o download do Winamp 2.71(última versão) do tamanho.
    [Show full text]
  • Mixcraft-9-Manual.Pdf
    USER MANUAL Written by Mitchell Sigman and Joseph Clarke Design and layout by Mitchell Sigman and Alan Reynolds TABLE OF CONTENTS Getting Started . 6 Mixcraft 9 Home Studio Limitations . 7 Important Sound Setup Information . 8 Quick Start. 10 Registration. 18 Mixcraft Reference .. 19 Loading and Saving Projects . 32 Tracks Types and Controls . 37 Using Clips and the Main Clip Grid . 58 MIDI Basics . 69 Recording MIDI Tracks . 71 Recording Audio Tracks. 78 Details Tabs - Viewing and Undocking . 86 Project Tab. 89 Sound Tab . 90 MIDI Editors: Clips . 102 MIDI Editors: Piano Roll Editor . 111 MIDI Editors: Step Editor . 120 MIDI Editors: Score Editor . 127 Sound Editor . 131 Mixer Tab . 139 Library Tab . 149 Performance Panel . 171 Video Tracks and Editing . 186 Automation and Controller Mapping . 210 Mixing Down To Audio and Video Files . 229 Burning Audio CD’s . 235 Markers . 237 Using Effects . 243 Included Effects . 254 Using Virtual Instruments . 285 Included Virtual Instruments . 297 Alpha Sampler . 306 Omni Sampler . 311 Acoustica Vocoder . 320 Plug-In Management .. 327 ReWire . 330 Using Natively Supported Hardware Controllers . 332 Using Generic MIDI Controllers and Control Surfaces . 339 Musical Typing Keyboard (MTK) .. 342 Preferences . 344 Main Window Menus . 364 Keyboard Shortcuts . 375 Cursors . 381 Troubleshooting . 385 Glossary . 397 Appendix 1: Using Melodyne For Basic Vocal Tuning. 402 Appendix 2: Backing Up Mixcraft Projects and Data . 407 Appendix 3: Nifty Uses For Output Bus Tracks . 409 Appendix 4: Freesound Org. Creative Commons License Terms . 413 Appendix 5: Natively Supported Hardware Controllers . 415 Appendix 6: Copyrights and Trademarks . .. 416 GETTING STARTED Welcome to Mixcraft 9, a powerful recording DAW software offering the tools and performance power to create professional music and video projects..
    [Show full text]
  • Quickstart OVERVIEW - BASICS - OPTIONS - PURCHASE - TROUBLESHOOTING
    Quickstart OVERVIEW - BASICS - OPTIONS - PURCHASE - TROUBLESHOOTING From within Windows, find the files that you want to convert. Select the file(s) with the mouse and right click on a selected file. A menu will appear; Select "Convert to" and then choose the new sound format and the software will start! All your converted files will be stored in a folder called "Converted Audio Files" for easy access. When the conversion is finished, it will play a train whistle sound. ITS THAT EASY!!! Note: This help file covers 2 products: Acoustica MP3 To Wave Converter PLUS and Acoustica Audio Converter Pro. (You will see this Pro icon next to features available in the pro version) MP3 To Wave Converter PLUS © 2004 by Acoustica. All Rights Reserved. Audio Converter Pro © 2004 by Acoustica. All Rights Reserved. Includes Xaudio software Copyright © 1996-2004 Xaudio Corporation. All Rights Reserved Microsoft Windows Media Format (c) 2004 Microsoft Corporation. All rights reserved. Many thanks to the LAME team for their work on the LAME encoder. See their website at mp3dev.org/mp3/ MPEG patent technology licensed by Thomson @ www.mp3licensing.com OGG support © 2004, Xiph.Org Foundation Redistributions of source code must retain the above copyright notice, this list of conditions and the following disclaimer. Redistributions in binary form must reproduce the above copyright notice, this list of conditions and the following disclaimer in the documentation and/or other materials provided with the distribution. Neither the name of the Xiph.org Foundation nor the names of its contributors may be used to endorse or promote products derived from this software without specific prior written permission.
    [Show full text]
  • Products of Interest
    Products of Interest SPL Atmos 5.1/ASM 5 Surround each channel, and monitor and mas- Headphones do not enclose the ears, ter outputs. Each channel features but instead rest on the listener’s Recording System highpass filters switchable between shoulders, “surrounding” the ears 50 Hz or 100 Hz, and each can be with four close-range loudspeaker With all the interest in producing routed to the five surround output drivers (see Figure 2). The two drivers “surround sound,” it is surprising buses or the direct output bus. Lev- at the front reproduce the encoded that little attention has been paid to els can be adjusted for each input, “main front” channels, passing fre- the direct recording of multi-channel but it is also possible to place all quencies above 300 Hz. The rear driv- audio. A joint project from German five channels under a single master ers are broad-band, passing encoded audio manufacturers, SPL and Dirk control for overall adjustments that “rear” channels as well as low fre- Brauner, the Atmos 5.1/ASM 5 Sur- preserve the relationships between quency content. The optional round Recording System was created individual microphones (a critical SurrounderDSP incorporates a Dolby to enable direct “surround” record- element in capturing a balanced sur- Pro Logic decoder to enable record- ing. The package includes an array of round audio image). Mono and by- ings, DVD audio, and games to be five microphones and a rack-mount pass switches are provided to easily played back in properly spatialized recording console (see Figure 1). monitor individual microphones form.
    [Show full text]
  • File Extension List Definitions
    Data Formats and Their File Extensions .#24 Printer data file for 24 pin matrix printer (LocoScript) .#ib Printer data file (LocoScript) .#sc Printer data file (LocoScript) .#st Standard mode printer definitions (LocoScript) .$#! Cryptext .$$$ Temporary file .000 Compressed harddisk data (DoubleSpace) .001 Fax (many) .075 75x75 dpi display font (Ventura Publisher) .085 85x85 dpi display font (Ventura Publisher) .091 91x91 dpi display font (Ventura Publisher) .096 96x96 dpi display font (Ventura Publisher) .0b Printer font with lineDraw extended character set (PageMaker) .1 Roff/nroff/troff/groff source for manual page (cawf2.zip) .113 Iomega Backup file .123 Lotus file .15u Printer font with PI font set (PageMaker) .1st Usually README.1ST text .2d 2d Drawings (VersaCad) .2dl 2d Libraries (VersaCad) .3d 3d Drawings (VersaCad) .3dl 3d Libraries (VersaCad) .301 Fax (Super FAX 2000 - Fax-Mail 96)) .386 Intel 80386 processor driver (Windows 3.x) .3ds Graphics (3D Studio) .3fx Effect (CorelChart) .3gp Multimedia File .3gr Data file (Windows Video Grabber) .3ko NGRAIN Mobilizer .3t4 Binary file converter to ASCII (Util3) .411 Sony Mavica Data file .4c$ Datafile (4Cast/2) .4sw 4dos Swap File .4th Forth source code file (ForthCMP - LMI Forth) .5cr Preconfigured drivers for System 5cr and System 5cr Plus .669 Music (8 channels) (The 669 Composer) .6cm Music (6 Channel Module) (Triton FastTracker) .8 A86 assembler source code file .8cm Music (8 Channel Module) (Triton FastTracker) .8m Printer font with Math 8 extended character set (PageMaker) .8u
    [Show full text]
  • Reluctantly Virtual
    Faculty of Economic Sciences, Communication and IT Media and communication studies Patrik Wikström Reluctantly Virtual Modelling Copyright Industry Dynamics DISSERTATION Karlstad University Studies 2006:44 Patrik Wikström Reluctantly Virtual Modelling Copyright Industry Dynamics Karlstad University Studies 2006:44 Patrik Wikström. Reluctantly Virtual: Modelling Copyright Industry Dynamics DISSERTATION Karlstad University Studies 2006:44 ISSN 1403-8099 ISBN 91-7063-075-5 © The author Distribution: Karlstad University Faculty of Economy, Communication and IT Media and communication studies SE-651 88 KARLSTAD SWEDEN +46 54-700 10 00 www.kau.se Printed at: Universitetstryckeriet, Karlstad 2006 Till Pia Abstract During the evolution of the music industry, developments in the media environment have required music firms to adapt in order to survive. Changes in broadcast radio programming during the 1950s; the Compact Cassette during the 1970s; and the deregulation of media ownership during the 1990s are all examples of changes which have heavily affected the music industry. This study explores a similar but contemporary dynamics, examines how decision makers in the music industry perceive and make sense of the developments, and reveals how they revise their business strategies, based on their mental models of the media environment. A qualitative system dynamics model (the Music Industry Feedback Model) is developed in order to support the reasoning brought forward by the study. The model is empirically grounded, but is also based on previous music industry research and a theoretical platform constituted by concepts from evolutionary economics and sociology of culture. The empirical data primarily consist of 36 personal interviews with decision makers in the American, British and Swedish music industrial ecosystems.
    [Show full text]
  • 3. Internet Radio Broadcasting
    Multimedialne techniki internetowe Temat nr 3: Internet Radio Broadcasting Cel ćwiczenia: Zapoznanie się z możliwościami sieciowej transmisji dźwięku za pomocą radia internetowego. Najpopularniejsze standardy broadcastingu. Przebieg ćwiczenia: . Prowadzący wyznacza, które grupy laboratoryjne będą współpracowały ze sobą podczas zajęć. Na tych zajęciach grupa laboratoryjna składa się z dwóch standardowych grup (cztery osoby). Sprawozdania grupy oddają oddzielnie (1 sprawozdanie na 2 osoby) . Grupa laboratoryjna wybiera 5 komputerów w laboratorium i wyznacza im odpowiednie role, jak na schemacie poniżej. Schemat należy uzupełnić danymi i dołączyć później do sprawozdania. Na serwerze należy zainstalować darmowy serwer strumieniowania danych multimedialnych. Proponowana aplikacja to Icecast2 http://www.musicgoal.com/download/icecast/ . Na komputerze źródła, należy zainstalować aplikację serwującą dane dla serwera. Proponowana aplikacja to Winamp z wtyczką Oddcast DSP(http://www.winamp.com) (może zajść potrzeba sciągnięcia z sieci biblioteki Lame (plik lame_enc.dll) i wkopiowania go do katalogu głównego Winamp'a) . Na komputerach klienckich należy zainstalować klientów do odsłuchu strumienia audio. Proponowane aplikacje to: Quintessential Player(QCD), MediaMonkey, musikCube, Billy, XMPlay, CoolPlayer, iTunes, foobar2000, Sonique, SongBird (należy wybrać 3 różne aplikacje) . Po zainstalowaniu aplikacji, należy wysłać dane (plik z muzyką odtwarzany w pętli) ze źródła do serwera, a później odsłuchać je za pomocą klientów. Test polega na zmierzeniu obciążenia procesora, zużycia sieci (pomiar dokładny zewnętrzną aplikacją) oraz subiektywnej ocenie jakości dźwięku. Dla każdego testu notujemy parametry przesyłanego dźwięku. Do testów wybieramy 2 kodeki: Vorbis Ogg i Lame(mp3). Każdy kodek testujemy dla 3 różnych poziomów jakości dźwięku. o Vorbis Ogg - bitrate management - 3 różne bitrate'y (od 32 do 120kbps) o Lame - VBR (vbr_abr) - quality 2, 5 i 9 (!! nie ograniczać przez Min i Max bitrate !!) .
    [Show full text]
  • Windows 10 Media Player Visualizations Download Windows Media Player
    windows 10 media player visualizations download Windows Media Player. The Microsoft Windows Media Player , also known as WMP and Wmplayer is Microsoft's fully functional media player that is included for free with any copy of Windows. It allows users to view photos, play music from a CD or music file, and watch video media. Additionally, Windows Media Player allows users to rip audio CDs and organize their music collections. It should be noted, however, that Windows Media Player will not play DVDs due to Copyright restrictions. Supported file formats. The Windows Media Player is capable of playing almost every computer media (sound and video) file format. Audio formats examples include MP3, WMV, WMA, CDA, WAV, and other formats. For video, AVI and MPEG-4 are supported, with other file formats also supported. Other video formats are supported as long as the associated video codecs are installed. Microsoft also released a mobile version, called Windows Media Player 10 Mobile. It supported MP3, ASF, WMA and WMV media formats. Windows Media Player history. The first version of the Windows Media Player came about in 1991; it was intended to be used with Windows 3.0. At that time, it was called Media Player. It has been included with every version of Windows since Windows 98 SE. The current release, bundled with Windows 7, Windows 8, and Windows 10, is version 12. Since the release of version 7, support for burning and ripping audio CDs has been included as well. How do I open Windows Media Player? From Windows. Press the Windows key , type WMP , and then press Enter .
    [Show full text]
  • Mp3, Ogg Vorbis Y Yamaha Vqf Sergio Alfredo Calvillo
    UNIVERSIDAD DE SAN CARLOS DE GUATEMALA FACULTAD DE INGENIERÍA ESCUELA DE INGENIERÍA EN CIENCIAS Y SISTEMAS ANÁLISIS COMPARATIVO DE LOS FORMATOS DE SONIDO DIGITAL: MP3, OGG VORBIS Y YAMAHA VQF SERGIO ALFREDO CALVILLO AVILA ASESORADO POR: ING. HERMAN IGOR VÉLIZ LINARES GUATEMALA, JULIO DE 2005 UNIVERSIDAD DE SAN CARLOS DE GUATEMALA FACULTAD DE INGENIERÍA ANÁLISIS COMPARATIVO DE LOS FORMATOS DE SONIDO DIGITAL: MP3, OGG VORBIS Y YAMAHA VQF TRABAJO DE GRADUACIÓN PRESENTADO A JUNTA DIRECTIVA DE LA FACULTAD DE INGENIERÍA POR SERGIO ALFREDO CALVILLO AVILA ASESORADO POR: ING. HERMAN IGOR VÉLIZ LINARES AL CONFERÍRSELE EL TÍTULO DE INGENIERO EN CIENCIAS Y SISTEMAS GUATEMALA, JULIO DE 2005 UNIVERSIDAD DE SAN CARLOS DE GUATEMALA FACULTAD DE INGENIERÍA NÓMINA DE JUNTA DIRECTIVA DECANO Ing. Sydney Alexander Samuels Milson VOCAL I Ing. Murphy Olympo Paiz Recinos VOCAL II Ing. Amahán Sánchez Álvarez VOCAL III Ing. Julio David Galicia Celada VOCAL IV Br. Kenneth Issur Estrada Ruiz VOCAL V Br. Elisa Yazminda Vides Leiva SECRETARIA Inga. Marcia Ivonne Véliz Vargas TRIBUNAL QUE PRACTICÓ EL EXAMEN GENERAL PRIVADO DECANO Ing. Sydney Alexander Samuels Milson EXAMINADOR Inga. Claudia Liceth Rojas Morales EXAMINADOR Ing. Jorge Armín Mazariegos Rabanales EXAMINADOR Ing. César Augusto Fernández Cáceres SECRETARIO Ing. Carlos Humberto Pérez Rodríguez HONORABLE TRIBUNAL EXAMINADOR Cumpliendo con los preceptos que establece la ley de la Universidad de San Carlos de Guatemala, presento a su consideración mi trabajo de graduación titulado: ANÁLISIS COMPARATIVO DE LOS FORMATOS DE SONIDO DIGITAL: MP3, OGG VORBIS Y YAMAHA VQF Tema que me fuera asignado por la dirección de la escuela de Ingeniería en Ciencias y Sistemas en julio de 2003.
    [Show full text]