DOCSLIB.ORG

Audio Compression Techniques 2. ADPCM (Adaptive Differential Pulse Code Modulation) • Use a Larger Step-Size to Encode Differences Between High-Frequency Samples

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Audio Compression Techniques 2. ADPCM (Adaptive Differential Pulse Code Modulation) • Use a Larger Step-Size to Encode Differences Between High-Frequency Samples Introduction • A file format for storing digital audio data on a computer system. • Can be stored uncompressed, or compressed to reduce the file size. • Can be a raw bitstream • It is usually a container format or an audio data format with defined storage layer. History PHONOGRAPH • Thomas Edison's phonograph (invented in 1877) • Emile Berliner's Gramophone (patented in 1887) RADIO • This technology has only been around since the 1920s. • The theoretical basis of the propagation of electromagnetic waves was first described in 1873 by James Clerk Maxwell in his paper to the Royal Society A dynamical theory of the electromagnetic field, which followed his work between 1861 and 1865. History TRACKS • Invented in the early 1960s by William Powell Lear, and heavily marketed and used in the '70s. • The 8-track was the premier portable audio format for almost 15 years. • The 8-track was designed around a single reel with the two ends of the plastic recording tape joined with a piece of conductive foil tape to make one continuous loop. History CASSETTE TAPE • Not popular until the late 1970s. • Magnetic tape recording got used in music studios around 1950. • Musicians could record in longer sessions then select and combine the best cuts into polished songs. COMPACT DISK • Used for storing digital data. • Originally invented for digital audio and also used for data storage • Frequently included as a component in personal computers. • Personal computers can generally play audio CDs. Parameters of Sound File 1. SAMPLING RATE • Most digital sound files save information as a long series of sound samples (like frames in moving pictures). • The quality of a sound file can be increased by taking more of these samples in the same amount of time; that is, increasing the “sampling rate”. • Its effect is increasing the file size. Parameters of Sound File 2. BITS PER SAMPLE • Commonly, either 8 or 16 bits are used to represent each sample. • Using 16 bits provides for much better quality (files twice as large as 8-bit files.) 3. NUMBER OF CHANNELS • Stereo files uses two separate audio channels & are usually about twice the size of mono files. • It is theoretically possible to record any number of channels. • For example, a file intended to be played on a surround-sound system may record seven or more channels, and will thus be about seven times the size of a mono version of the same sound. Types of Sound File There are three major groups of audio file formats: 1. Uncompressed audio formats • such as WAV, AIFF, AU or raw header-less PCM. 2. Formats with lossless compression • such as FLAC, Monkey's Audio (filename extension APE), WavPack (filename extension WV), TTA, Apple Lossless (filename extension m4a), MPEG-4 SLS, MPEG-4 ALS, MPEG-4 DST, Windows Media Audio Lossless (WMA Lossless), and Shorten (SHN). 3. Formats with lossy compression • such as MP3, Vorbis, AAC, ATRAC and Windows Media Audio Lossy (WMA lossy). Audio File Formats 1. WAV (Waveform Extension) • Very good sound quality. • Widely supported in many browsers with no need for a plugin. • You can record your own .wav files from a CD, tape, microphone, etc. • The very large file sizes severely limit the length of the sound clips that you can use on your Web pages. • Microsoft ADPCM compressed waveform forma consists of 4-bit per channel compressed data. • Each 4-bit sample is expanded to 16-bits when loaded. • The 16-bit data can still be quickly converted to 8-bit during playback on cards that don't support 16-bit. Audio File Formats 2. AIFF (Audio Interchange File Format) • Format for storing digital audio (waveform) data. • Supports a variety of bit resolutions, sample rates, and channels of audio. • Very popular on Apple platforms. • Widely used in professional programs that process digital audio waveforms. • uses the Electronic Arts Interchange File Format method for storing data in "chunks" A) The commom Chunk • Describes fundamental parameters of the waveform data such as sample rate, bit resolution, and how many channels of digital audio are stored in the FORM AIFF Audio File Formats B) Sound Data Chunk • The Sound Data Chunk contains the actual sample frames (ie, all channels of waveform data). C) Marker Chunk • The Marker Chunk contains markers that point to positions in the waveform data D) The Instrument Chunk • The Instrument Chunk defines basic parameters that an instrument, such as a MIDI sampler, could use to play the waveform data. E) The Text Chunks, Name, Author, Copyright, Annotation • These four optional chunks are included in the definition of every Standard IFF file. Audio File Formats Chunk Precedence Audio File Formats 3. VOC (Creative Voice) • Created by Creative and is generally associated with their 8-bit line of cards (Sound Blaster, Sound Blaster Pro). • Initially limited to unsigned 8-bit PCM(Pulse Code Modulation) and ADPCM (Adaptive Differential Pulse-Code Modulation) data. • Eventually expanded to handle 16-bit formats with the introduction of Creative's 16-bit cards. • Format is composed of a file header followed by one or more data block. Audio File Formats 4. AVI (Audio Video Interleave) • Audio Video Interleaved is a multimedia container format • Introduced by Microsoft in 1992. • AVI files can contain both audio and video data in a file container. • AVI files support multiple streaming audio and video. • It is derivative of the Resource Interchange File Format (RIFF), which divides a file's data into blocks, or "chunks." • Each "chunk" is identified by a FourCC tag. • An AVI file takes the form of a single "chunk" in a RIFF formatted file, which is then subdivided into two mandatory "chunks" and one optional "chunk". Audio File Formats 5. RMF (Rich Music Format) • Audio file created in the Rich Music Format. • Created by Beatnik. • Used as a container format for MIDI files and other standard audio formats. • Can be encrypted to protect original music. • used by some older video games. • The original RMF editor released by Beatnik, is no longer available. • Still supported by Java Sound and the Java Media Framework. Audio File Formats 6. WMA (Windows Media Audio) • WMA is both an audio format and an audio codec. • Competitor for the MP3 and RealAudio audio formats. There are 4 versions of the WMA codec: • WMA is the original codec, and was initially released in 1999. • WMA Pro is an improved lossy codec intended for audio professionals • WMA Lossless is a lossless codec intended for archival and storage purposes. • WMA Voice is a lossy codec that was designed for low bandwith voice playback applications. PSYCHO-ACOUSTICS Psycho-Acoustics • In harnessing sound for various musical instruments & multimedia applications, effect of sound on human hearing need to be analyzed. • Psycho-Acoustics is branch of acoustics which deals with human auditory perception from the biological design of ear to the brain interception. Factors to be Analyzed.. 1. Decibel (dB) A unit for measuring loudness of sound. • It is comparison of intensity of sound with the lowest sound audible by human ear. • It is expressed as a ratio of logarithmic value Pdb = 10log10(PA/PB) where, PA : is power of energy content of a signal PB : corresponding value for reference signal Factors to be Analyzed.. 2. Sound Measurement Two popular ways for acoustical measurement 1. Direct Method: • Measuring a set of environmental factors like temp, humidity, viscocity, echo timing, etc. 2. Comparision Method: • Measuring sound pressure levels of reference soudn of known energy levels & compering it with sound being measured. Factors to be Analyzed.. 3. Hearing Threshold & Masking Two fundamental phenamon that governs human hearing are: 1. Threashould: • Minimum threshould : least auidable sound that normal human ear can detect & hear. • Max Sensitivity occurs at 1 to 5 kHz. An equal-loudness contour. Note peak sensitivity around 2–4 kHz, the frequency around which the human voice centers. Factors to be Analyzed.. 3. Hearing Threshold & Masking 2. Amplitude Masking: • Originates due to limitation of human ear. • This limitation prevents us for hearing two sounds of different loudness but colse in freq. or time. MIDI (Musical Instrument Digital Interface) MIDI • MIDI doesn’t directly describe musical sound • MIDI is not a language • It is a data communications protocol • 1900s: electronic synthesizers developed (monophonic) • 1970s: digital synthesizers developed (monophonic) • Each manufacturer used different design scheme, with their own keyboard / panel MIDI • With a particular input device, each player can only run one or two synthesizers at the same time • To use a wide range of synthesized sounds, many players were needed • 1983, full MIDI 1.0 Detailed Specification released by Yamaha, Korg & Kawai. • It standardized the control signal and inter-machine communication between synthesizer devices. MIDI Interface MIDI In • MIDI data enters each item of MIDI equipment through the MIDI In port. MIDI Out • All the MIDI data generated by individual pieces of equipment are sent out through the MIDI Out port. • A common error for MIDI setup is: inverted connection of MIDI IN/OUT MIDI Thru • These are used to re-transmit all information received at the MIDI In port using the MIDI Thru port connections. • Often these ports are used to create a chain of connected devices in a single MIDI data path, called a 'daisy chain'. MIDI Hardware A. Pure Musical Input Devices 1. Most common: Keyboard i. Note Polyphony: Nowadays, most keyboard have polyphony ii. Touch response :A keyboard can sense different levels of input pressure MIDI Hardware A. Pure Musical Input Devices 2. Other possible pure input MIDI I/O devices: Guitar, Flute, Violin, Drumset MIDI Hardware B. Other Musical Input Devices 1. Keyboard + synthesizer = keyboard synthesizer • have real-time audio output • Some keyboard synthesizers support DSP (Digital Signal Processing) Which gives more available effects e.g.
Load more

Recommended publications
  • Advanced Compression and Latency Reduction Techniques Over Data Networks
    Western University Scholarship@Western Electronic Thesis and Dissertation Repository 4-22-2015 12:00 AM Advanced Compression and Latency Reduction Techniques Over Data Networks Fuad Shamieh The University of Western Ontario Supervisor Dr. Xianbin Wang The University of Western Ontario Graduate Program in Electrical and Computer Engineering A thesis submitted in partial fulfillment of the equirr ements for the degree in Master of Engineering Science © Fuad Shamieh 2015 Follow this and additional works at: https://ir.lib.uwo.ca/etd Part of the Digital Communications and Networking Commons Recommended Citation Shamieh, Fuad, "Advanced Compression and Latency Reduction Techniques Over Data Networks" (2015). Electronic Thesis and Dissertation Repository. 2844. https://ir.lib.uwo.ca/etd/2844 This Dissertation/Thesis is brought to you for free and open access by Scholarship@Western. It has been accepted for inclusion in Electronic Thesis and Dissertation Repository by an authorized administrator of Scholarship@Western. For more information, please contact [email protected]. ADVANCED COMPRESSION AND LATENCY REDUCTION TECHNIQUES OVER DATA NETWORKS (Thesis format: Monograph) by Fuad Shamieh Graduate Program in Electrical and Computer Engineering A thesis submitted in partial fulfillment of the requirements for the degree of Masters of Engineering Science The School of Graduate and Postdoctoral Studies The University of Western Ontario London, Ontario, Canada c Fuad Shamieh 2015 Abstract Applications and services operating over Internet protocol (IP) networks often suffer from high latency and packet loss rates. These problems are attributed to data congestion resulting from the lack of network resources available to support the demand. The usage of IP networks is not only increasing, but very dynamic as well.
    [Show full text]
  • Download Media Player Codec Pack Version 4.1 Media Player Codec Pack
    download media player codec pack version 4.1 Media Player Codec Pack. Description: In Microsoft Windows 10 it is not possible to set all file associations using an installer. Microsoft chose to block changes of file associations with the introduction of their Zune players. Third party codecs are also blocked in some instances, preventing some files from playing in the Zune players. A simple workaround for this problem is to switch playback of video and music files to Windows Media Player manually. In start menu click on the "Settings". In the "Windows Settings" window click on "System". On the "System" pane click on "Default apps". On the "Choose default applications" pane click on "Films & TV" under "Video Player". On the "Choose an application" pop up menu click on "Windows Media Player" to set Windows Media Player as the default player for video files. Footnote: The same method can be used to apply file associations for music, by simply clicking on "Groove Music" under "Media Player" instead of changing Video Player in step 4. Media Player Codec Pack Plus. Codec's Explained: A codec is a piece of software on either a device or computer capable of encoding and/or decoding video and/or audio data from files, streams and broadcasts. The word Codec is a portmanteau of ' co mpressor- dec ompressor' Compression types that you will be able to play include: x264 | x265 | h.265 | HEVC | 10bit x265 | 10bit x264 | AVCHD | AVC DivX | XviD | MP4 | MPEG4 | MPEG2 and many more. File types you will be able to play include: .bdmv | .evo | .hevc | .mkv | .avi | .flv | .webm | .mp4 | .m4v | .m4a | .ts | .ogm .ac3 | .dts | .alac | .flac | .ape | .aac | .ogg | .ofr | .mpc | .3gp and many more.
    [Show full text]
  • Lossless Audio Codec Comparison
    Contents Introduction 3 1 Test setup 4 1.1 Scripting and graphing . .4 1.2 Codecs and parameters used . .5 1.3 WMA, RealAudio and ALAC . .6 2 CD-audio test 8 2.1 CD's used . .8 2.2 Results all CD's together . .9 2.3 Interesting quirks . 12 2.3.1 Mono encoded as stereo (Dan Browns Angels and Demons) 12 2.4 Convergence of the results . 15 3 High-resolution audio 17 3.1 Nine Inch Nails' The Slip . 17 3.2 Howard Shore's soundtrack for The Lord of the Rings: The Re- turn of the King . 20 3.3 Wasted bits . 22 4 Multichannel audio 24 4.1 Howard Shore's soundtrack for The Lord of the Rings: The Re- turn of the King . 24 A Motivation for choosing these CDs 27 Bibliography 31 2 Introduction While testing the efficiency of lossy codecs can be quite cumbersome (as results differ for each person), comparing lossless codecs is much easier. As the last well documented and comprehensive test available on the internet has been a few years ago, I thought it would be a good idea to update. Beside comparing with CD-audio (which is often done to assess codec perfor- mance) and spitting out a grand total, this comparison also looks at extremes that occurred during the test and takes a look at 'high-resolution audio' and multichannel/surround audio. While the comparison was made to update the comparison-page on the FLAC website, it aims to be fair and unbiased. Because of this, you'll probably won't find anything that looks like conclusions: test results are displayed and analysed, but there is no judgement or choice made.
    [Show full text]
  • (A/V Codecs) REDCODE RAW (.R3D) ARRIRAW
    What is a Codec? Codec is a portmanteau of either "Compressor-Decompressor" or "Coder-Decoder," which describes a device or program capable of performing transformations on a data stream or signal. Codecs encode a stream or signal for transmission, storage or encryption and decode it for viewing or editing. Codecs are often used in videoconferencing and streaming media solutions. A video codec converts analog video signals from a video camera into digital signals for transmission. It then converts the digital signals back to analog for display. An audio codec converts analog audio signals from a microphone into digital signals for transmission. It then converts the digital signals back to analog for playing. The raw encoded form of audio and video data is often called essence, to distinguish it from the metadata information that together make up the information content of the stream and any "wrapper" data that is then added to aid access to or improve the robustness of the stream. Most codecs are lossy, in order to get a reasonably small file size. There are lossless codecs as well, but for most purposes the almost imperceptible increase in quality is not worth the considerable increase in data size. The main exception is if the data will undergo more processing in the future, in which case the repeated lossy encoding would damage the eventual quality too much. Many multimedia data streams need to contain both audio and video data, and often some form of metadata that permits synchronization of the audio and video. Each of these three streams may be handled by different programs, processes, or hardware; but for the multimedia data stream to be useful in stored or transmitted form, they must be encapsulated together in a container format.
    [Show full text]
  • Codec Is a Portmanteau of Either
    What is a Codec? Codec is a portmanteau of either "Compressor-Decompressor" or "Coder-Decoder," which describes a device or program capable of performing transformations on a data stream or signal. Codecs encode a stream or signal for transmission, storage or encryption and decode it for viewing or editing. Codecs are often used in videoconferencing and streaming media solutions. A video codec converts analog video signals from a video camera into digital signals for transmission. It then converts the digital signals back to analog for display. An audio codec converts analog audio signals from a microphone into digital signals for transmission. It then converts the digital signals back to analog for playing. The raw encoded form of audio and video data is often called essence, to distinguish it from the metadata information that together make up the information content of the stream and any "wrapper" data that is then added to aid access to or improve the robustness of the stream. Most codecs are lossy, in order to get a reasonably small file size. There are lossless codecs as well, but for most purposes the almost imperceptible increase in quality is not worth the considerable increase in data size. The main exception is if the data will undergo more processing in the future, in which case the repeated lossy encoding would damage the eventual quality too much. Many multimedia data streams need to contain both audio and video data, and often some form of metadata that permits synchronization of the audio and video. Each of these three streams may be handled by different programs, processes, or hardware; but for the multimedia data stream to be useful in stored or transmitted form, they must be encapsulated together in a container format.
    [Show full text]
  • Input Formats & Codecs
    Input Formats & Codecs Pivotshare offers upload support to over 99.9% of codecs and container formats. Please note that video container formats are independent codec support. Input Video Container Formats (Independent of codec) 3GP/3GP2 ASF (Windows Media) AVI DNxHD (SMPTE VC-3) DV video Flash Video Matroska MOV (Quicktime) MP4 MPEG-2 TS, MPEG-2 PS, MPEG-1 Ogg PCM VOB (Video Object) WebM Many more... Unsupported Video Codecs Apple Intermediate ProRes 4444 (ProRes 422 Supported) HDV 720p60 Go2Meeting3 (G2M3) Go2Meeting4 (G2M4) ER AAC LD (Error Resiliant, Low-Delay variant of AAC) REDCODE Supported Video Codecs 3ivx 4X Movie Alaris VideoGramPiX Alparysoft lossless codec American Laser Games MM Video AMV Video Apple QuickDraw ASUS V1 ASUS V2 ATI VCR-2 ATI VCR1 Auravision AURA Auravision Aura 2 Autodesk Animator Flic video Autodesk RLE Avid Meridien Uncompressed AVImszh AVIzlib AVS (Audio Video Standard) video Beam Software VB Bethesda VID video Bink video Blackmagic 10-bit Broadway MPEG Capture Codec Brooktree 411 codec Brute Force & Ignorance CamStudio Camtasia Screen Codec Canopus HQ Codec Canopus Lossless Codec CD Graphics video Chinese AVS video (AVS1-P2, JiZhun profile) Cinepak Cirrus Logic AccuPak Creative Labs Video Blaster Webcam Creative YUV (CYUV) Delphine Software International CIN video Deluxe Paint Animation DivX ;-) (MPEG-4) DNxHD (VC3) DV (Digital Video) Feeble Files/ScummVM DXA FFmpeg video codec #1 Flash Screen Video Flash Video (FLV) / Sorenson Spark / Sorenson H.263 Forward Uncompressed Video Codec fox motion video FRAPS:
    [Show full text]
  • Video Quality Measurement for 3G Handset
    University of Plymouth PEARL https://pearl.plymouth.ac.uk 04 University of Plymouth Research Theses 01 Research Theses Main Collection 2007 Video Quality Measurement for 3G Handset Zeeshan http://hdl.handle.net/10026.2/509 University of Plymouth All content in PEARL is protected by copyright law. Author manuscripts are made available in accordance with publisher policies. Please cite only the published version using the details provided on the item record or document. In the absence of an open licence (e.g. Creative Commons), permissions for further reuse of content should be sought from the publisher or author. Video Quality Measurement for 3G Handset by Zeeshan Dissertation submitted in partial fulfilment of the requirements for the award of Master of Research in Communications Engineering and Signal Processing in School of Computing, Communication and Electronics University of Plymouth January 2007 Supervisors Professor Emmanuel C. Ifeachor Dr. Lingfen Sun Mr. Zhuoqun Li © Zeeshan 2007 University of Plymouth Library Item no. „ . ^ „ Declaration This is to certify that the candidate, Mr. Zeeshan, carried out the work submitted herewith Candidate's Signature: Mr. Zeeshan KJ(. 'X&_.XJ<t^ Date: 25/01/2007 Supervisor's Signature: Dr. Lingfen Sun /^i^-^^^^f^ » P^^^. 25/01/2007 Second Supervisor's Signature: Mr. Zhuoqun Li / Date: 25/01/2007 Copyright & Legal Notice This copy of the dissertation has been supplied on the condition that anyone who consults it is understood to recognize that its copyright rests with its author and that no part of this dissertation and information derived from it may be published without the author's prior written consent.
    [Show full text]
  • Supported Codecs and Formats Codecs
    Supported Codecs and Formats Codecs: D..... = Decoding supported .E.... = Encoding supported ..V... = Video codec ..A... = Audio codec ..S... = Subtitle codec ...I.. = Intra frame-only codec ....L. = Lossy compression .....S = Lossless compression ------- D.VI.. 012v Uncompressed 4:2:2 10-bit D.V.L. 4xm 4X Movie D.VI.S 8bps QuickTime 8BPS video .EVIL. a64_multi Multicolor charset for Commodore 64 (encoders: a64multi ) .EVIL. a64_multi5 Multicolor charset for Commodore 64, extended with 5th color (colram) (encoders: a64multi5 ) D.V..S aasc Autodesk RLE D.VIL. aic Apple Intermediate Codec DEVIL. amv AMV Video D.V.L. anm Deluxe Paint Animation D.V.L. ansi ASCII/ANSI art DEVIL. asv1 ASUS V1 DEVIL. asv2 ASUS V2 D.VIL. aura Auravision AURA D.VIL. aura2 Auravision Aura 2 D.V... avrn Avid AVI Codec DEVI.. avrp Avid 1:1 10-bit RGB Packer D.V.L. avs AVS (Audio Video Standard) video DEVI.. avui Avid Meridien Uncompressed DEVI.. ayuv Uncompressed packed MS 4:4:4:4 D.V.L. bethsoftvid Bethesda VID video D.V.L. bfi Brute Force & Ignorance D.V.L. binkvideo Bink video D.VI.. bintext Binary text DEVI.S bmp BMP (Windows and OS/2 bitmap) D.V..S bmv_video Discworld II BMV video D.VI.S brender_pix BRender PIX image D.V.L. c93 Interplay C93 D.V.L. cavs Chinese AVS (Audio Video Standard) (AVS1-P2, JiZhun profile) D.V.L. cdgraphics CD Graphics video D.VIL. cdxl Commodore CDXL video D.V.L. cinepak Cinepak DEVIL. cljr Cirrus Logic AccuPak D.VI.S cllc Canopus Lossless Codec D.V.L.
    [Show full text]
  • Video Encoding with Open Source Tools
    Video Encoding with Open Source Tools Steffen Bauer, 26/1/2010 LUG Linux User Group Frankfurt am Main Overview Basic concepts of video compression Video formats and codecs How to do it with Open Source and Linux 1. Basic concepts of video compression Characteristics of video streams Framerate Number of still pictures per unit of time of video; up to 120 frames/s for professional equipment. PAL video specifies 25 frames/s. Interlacing / Progressive Video Interlaced: Lines of one frame are drawn alternatively in two half-frames Progressive: All lines of one frame are drawn in sequence Resolution Size of a video image (measured in pixels for digital video) 768/720×576 for PAL resolution Up to 1920×1080p for HDTV resolution Aspect Ratio Dimensions of the video screen; ratio between width and height. Pixels used in digital video can have non-square aspect ratios! Usual ratios are 4:3 (traditional TV) and 16:9 (anamorphic widescreen) Why video encoding? Example: 52 seconds of DVD PAL movie (16:9, 720x576p, 25 fps, progressive scan) Compression Video codec Raw Size factor Comment 1300 single frames, MotionTarga, Raw frames 1.1 GB - uncompressed HUFFYUV 459 MB 2.2 / 55% Lossless compression MJPEG 60 MB 20 / 95% Motion JPEG; lossy; intraframe only lavc MPEG-2 24 MB 50 / 98% Standard DVD quality X.264 MPEG-4 5.3 MB 200 / 99.5% High efficient video codec AVC Basic principles of multimedia encoding Video compression Lossy compression Lossless (irreversible; (reversible; using shortcomings statistical encoding) in human perception) Intraframe encoding
    [Show full text]
  • Adaptive Cross-Correlation Compression Method in Lossless Audio Streaming Compression
    International Journal of Engineering and Applied Sciences (IJEAS) ISSN: 2394-3661, Volume-6, Issue-3, March 2019 Adaptive Cross-Correlation Compression Method in Lossless Audio Streaming Compression Nguyen Tuan Anh, Hoang Thi Kim Dung, Nguyen Thi Phuong Nhung Abstract— In this paper, we propose a novel method called 1.1 Audio compression Adaptive Cross-Correlation Compression Method (ACCM) to We learn about the concept of audio compression. compress audio data using Cross-Correlation value. The Compression of audio data (do not confuse with dynamic original audio data are lossless compressed with variable frame range compression), is likely to reduce transmission length. In each frame, the goal is to remove the unused space bandwidth and require storage of audio data. Audio using cross-correlation values between the samples, collapse the compression algorithms are implemented in a software such repeat values and data encryption. Both Arithmetic and Huffman coding have been applied for entropy coding. as audio codecs. Lossy audio compression algorithms provide higher compression at reasonable cost and are used in many Index Terms— Lossless compression, context adaptive, audio applications. These algorithms almost all rely on sound lossless audio compression, stereo compression, ACCM learning to eliminate or reduce the fidelity of the less audible sound, thus reducing the space needed to store or transmit I. INTRODUCTION them. [9] Nowadays, people increasingly higher requirements on the In both lossy and lossless compression, the redundancy of quality of the products, audio is no exception, a lot of information is reduced, using methods such as encryption, audio-visual products are directed to use high-quality audio, pattern recognition, and linear prediction to reduce the the original sound, increasing the number of channels, bit rate amount of information used to represent uncompressed data.
    [Show full text]
  • Inuc$ Cd /Users/Inuc/Documents/Showtime
    MacNuc:~ iNuC$ cd /Users/iNuC/Documents/showtime/ MacNuc:showtime iNuC$ sudo /Users/iNuC/Documents/showtime/configure.osx Mac OS X SDK: default Mac OS X target: default (10.10.4) Found in cache: http://download.savannah.gnu.org/releases/freetype/ freetype-2.4.9.tar.gz Generating `Makefile' FreeType build system -- automatic system detection The following settings are used: platform unix compiler cc configuration directory /Users/iNuC/Documents/showtime/build.osx/ freetype-2.4.9/builds/unix configuration rules /Users/iNuC/Documents/showtime/build.osx/ freetype-2.4.9/builds/unix/unix.mk If this does not correspond to your system or settings please remove the file `config.mk' from this directory then read the INSTALL file for help. Otherwise, simply type `/Applications/Xcode.app/Contents/Developer/usr/bin/ make' again to build the library, or `/Applications/Xcode.app/Contents/Developer/usr/bin/make refdoc' to build the API reference (the latter needs python). /Users/iNuC/Documents/showtime/build.osx/freetype-2.4.9/builds/unix/ configure '--prefix=/Users/iNuC/Documents/showtime/build.osx/inst' '-- enable-static=yes' '--enable-shared=no' checking build system type... x86_64-apple-darwin14.4.0 checking host system type... x86_64-apple-darwin14.4.0 checking for gcc... cc checking whether the C compiler works... yes checking for C compiler default output file name... a.out checking for suffix of executables... checking whether we are cross compiling... no checking for suffix of object files... o checking whether we are using the GNU C compiler... yes checking whether cc accepts -g... yes checking for cc option to accept ISO C89..
    [Show full text]
  • Total Video Audio Converter Total Video Audio Converter Overview
    Home Products Download Purchase Formats Freeware Support Total Video Audio Converter Total Video Audio Converter Overview Getting Started Total Video Audio Converter is an easy-to-use video and audio format converter software. The converter supports a wide variety of input and output file formats, up to 320+ input formats and 70+ output Free Download formats . Total Video Audio Converter runs independently without any additional third party software and Buy Now codecs on your system. 360+ decoders and 150+ encoders are built in the software. It's an all-in-one video and audio file converter. Screen Shots With the Total Video Audio Converter , you can convert video and audio files to common and portable devices compatible formats, for example AVI, MP4, H.264 AVC, H.265 HEVC, 3GP, FLV, OGG, WebM, WMV, Total Video Audio Converter AAC, MP3, iPhone, iPad, Android Phone, Android Tablet, and so on. The converter is also a CD ripper rips CD to MP3/AAC, a DVD ripper rips DVD to AVI/MP4/WMV/iPhone, a Blu-ray ripper rips Blu-ray disc to MP4/FLV/WebM/iPad. Total Video ◾ Version: 4.1.2 build 1649 Audio Converter captures still picture from video file and save as JPG/PNG/BMP/TIFF sequence. If you want to convert a video to GIF animation, Total Video Audio Converter does it as well. ◾ Size: 15.6 MB There are many useful built-in features with Total Video Audio Converter . For example: join video and audio, trim video and audio, ◾ Release Date: 7 March, deinterlace video, rotate video, flip video, crop video, fix out of sync of audio, support HD video (up to 4K resolution), customize 2016 output format, specify audio stream, support VBR and CBR encoding , multi-thread conversion, change volume, keep ID3 tag, keep ◾ License: Free to try date/time modified or created of source file, batch conversion, keep original directory tree, and so on.
    [Show full text]