Exporting to Realaudio and Windows Media Audio Exporting To

Total Page:16

File Type:pdf, Size:1020Kb

Exporting to Realaudio and Windows Media Audio Exporting To BonusBonus 22 ExportingExporting toto RealAudioRealAudio andand WindowsWindows MediaMedia AudioAudio In Chapter 19, “Capturing Your Mix for CD and the Internet,” you learned how to create an MP3 file of your mix. MP3s are a great way to fit a lot of songs on your hard disk or to stream songs from your Web site, but there are other competing formats that you might prefer. This bonus chapter examines two of them. In this chapter, you will learn how to: Export your mix as a RealAudio file Export your mix as a Windows Media Audio file 16 BONUS CHAPTER 2: EXPORTING TO REALAUDIO AND WMA Exporting a RealAudio File RealNetworks’ RealAudio is one of the most common streaming audio formats on the Internet. Virtually every computer comes with RealPlayer already installed, so almost anyone can play your song if it’s in RealAudio format. In professional circles, RealAudio often doesn’t get the respect it deserves, but if you listen critically you will find that for some types of audio, especially classical music and speech at low bit rates, RealAudio sounds better than other streaming formats. It uses the same technology that the MP3 format uses, but RealNetworks’ engineers tweaked the encoding algorithms in such a way that it has its own characteristic sound. 1. Follow the procedure for exporting a WAV file, except at step 9, choose RealAudio from the Files of type drop-down list box. When you click on Export, the progress bar will run its course, and then the RealAudio Settings dialog box will appear. EXPORTING A REALAUDIO FILE 17 2. Optionally, type in the Title, Author, and Copyright fields. This information is similar to ID3 information and will appear in the RealAudio Player. 3. Click on desired options. A ✔ will appear next to options you have chosen. Options include • Enable Perfect Play. This option allows users to download a version of the audio that is at a higher resolution than their Internet connection can stream. • Enable Mobile Play. This option allows users to load the song into a stand-alone RealAudio player. • Enable Selective Record. This option allows users to save the file to their hard drive for later listening. 18 BONUS CHAPTER 2: EXPORTING TO REALAUDIO AND WMA 4. Click on the Formats tab. The tab will come to the front. 5. Click on one or more options under Target Connection Rate(s). A ✔ will appear next to each rate chosen. MULTIPLE BIT RATES RealAudio can stream audio at multiple bit rates from a single source file, so you don’t need to create several files at different bit rates. The resulting file is bigger than a single-bit rate file, but if server space isn’t a big issue you should leave all six bit rates selected. If space is an issue, choose 56K Modem and Dual ISDN as a compromise. 6. Optionally, click on Include a RA 5.0 Compatible Stream. A ✔ will appear next to the option, which enables compatibility with an older version of RealPlayer for those users who have not upgraded. 7. Optionally, click on the desired content type. Each option represents a different encoding algorithm optimized for that type of audio. 8. Click on OK. The dialog box will close, and a progress bar will appear. When the progress bar is gone, the file is ready. EXPORTING A WINDOWS MEDIA FILE 19 Exporting a Windows Media File Microsoft’s Windows Media Audio format is another implementation of the psychoacoustic principles that make MP3s and RealAudio files work. It, too, has its own characteristic sound, and only by careful listening and comparisons will you know for sure which streaming format is best for your music. 1. Follow the procedure for exporting a WAV file, except at step 9, choose Windows Media Advanced Streaming Format from the Files of type drop- down list box. When you click on Export, the progress bar will run its course and then the Windows Media Format Encode Options dialog box will appear. 20 BONUS CHAPTER 2: EXPORTING TO REALAUDIO AND WMA 2. Optionally, type information in the appropriate fields. This is similar to the ID3 information. 3. Choose whether to use Variable Bit Rate encoding. Variable Bit Rate encoding provides more consistent quality, but its inconsistent bit rate can be problematic when streaming over the Web. VARIABLE BIT RATE ENCODING Use Variable Bit Rate encoding for local playback, but not for streaming from a Web site. When the bit rate goes up to accommo- date complex material, it can interrupt the stream, forcing your listeners to wait while their player re- buffers. 4. Choose the desired codec. Use Windows Media 9 for best compatibility and Windows Media Lossless for best quality. 5. Choose the desired format. This determines your final bit rate and overall quality. EXPORTING A WINDOWS MEDIA FILE 21 SURROUND SOUND If your project is in surround, Windows Media Audio will let you create a surround output that can be played back in any surround-capable PC. When you do this, choose Interleaved as your channel format in the Export Audio dialog box. .
Recommended publications
  • Acoustica-Mp3-Audio-Mixer-Manual.Pdf
    Acoustica Registration Overview Quick Start Version History Using MP3 Audio Mixer Working with Sounds Working with Sound Groups Main Window Exporting to MP3, WMA, WAV, or Realaudio™ Preferences Troubleshooting Menu Reference File Edit Sound Group Sound Menu Toolbar Copyright and Ownership Notices MP3 Audio Mixer © Copyright 1998-2002 Acoustica. All Rights Reserved. Includes Xaudio software Copyright © 1996-2002 Xaudio Corporation. All Rights Reserved. RealAudio® encoding components © 1996-2002 by Real Networks, Inc. Windows Media Format © 2000-2002 Microsoft Corporation. All rights reserved. Quick Start So you want to get started in a hurry? Follow "SoundWarrior" through the steps to MP3 Audio Mixer mastery! 1. Start MP3 Audio Mixer SoundWarrior double clicks the MP3 Audio Mixer icon on his desktop. Okay, we could have left this step out. J 2. Drag in some sounds. SoundWarrior has a good sound of a cave-woman scream called arghhh1.wav. The sound is located in "c:\cavescreams\", which he finds, and then drags the sound’s icon onto the MP3 Audio Mixer window. See working with sounds. 3. Drag in some more sounds. SoundWarrior also drags in stampede.wav, the sound of a herd of Mastodons stampeding by his cave. Finally, he drags in an MP3 called "rockrolls.mp3", some of the latest music from "The Stoners" 4. Make a recording if you want. SoundWarrior hits the record button and the record dialog comes up. He punches the record button on the dialog and screams into his microphone "You make fire now! I make fire yesterday!" He then hits the stop button, previews the sound and saves it as "me_talk1.wav".
    [Show full text]
  • Realaudio and Realvideo Content Creation Guide
    RealAudioâ and RealVideoâ Content Creation Guide Version 5.0 RealNetworks, Inc. Contents Contents Introduction......................................................................................................................... 1 Streaming and Real-Time Delivery................................................................................... 1 Performance Range .......................................................................................................... 1 Content Sources ............................................................................................................... 2 Web Page Creation and Publishing................................................................................... 2 Basic Steps to Adding Streaming Media to Your Web Site ............................................... 3 Using this Guide .............................................................................................................. 4 Overview ............................................................................................................................. 6 RealAudio and RealVideo Clips ....................................................................................... 6 Components of RealSystem 5.0 ........................................................................................ 6 RealAudio and RealVideo Files and Metafiles .................................................................. 8 Delivering a RealAudio or RealVideo Clip ......................................................................
    [Show full text]
  • Ogg Audio Codec Download
    Ogg audio codec download click here to download To obtain the source code, please see the xiph download page. To get set up to listen to Ogg Vorbis music, begin by selecting your operating system above. Check out the latest royalty-free audio codec from Xiph. To obtain the source code, please see the xiph download page. Ogg Vorbis is Vorbis is everywhere! Download music Music sites Donate today. Get Set Up To Listen: Windows. Playback: These DirectShow filters will let you play your Ogg Vorbis files in Windows Media Player, and other OggDropXPd: A graphical encoder for Vorbis. Download Ogg Vorbis Ogg Vorbis is a lossy audio codec which allows you to create and play Ogg Vorbis files using the command-line. The following end-user download links are provided for convenience: The www.doorway.ru DirectShow filters support playing of files encoded with Vorbis, Speex, Ogg Codecs for Windows, version , ; project page - for other. Vorbis Banner Xiph Banner. In our effort to bring Ogg: Media container. This is our native format and the recommended container for all Xiph codecs. Easy, fast, no torrents, no waiting, no surveys, % free, working www.doorway.ru Free Download Ogg Vorbis ACM Codec - A new audio compression codec. Ogg Codecs is a set of encoders and deocoders for Ogg Vorbis, Speex, Theora and FLAC. Once installed you will be able to play Vorbis. Ogg Vorbis MSACM Codec was added to www.doorway.ru by Bjarne (). Type: Freeware. Updated: Audiotags: , 0x Used to play digital music, such as MP3, VQF, AAC, and other digital audio formats.
    [Show full text]
  • Audio and Video Standards for Online Learning Kevin Reeve, Utah State University
    ... from the Dr. C Library Audio and Video Standards for Online Learning Kevin Reeve, Utah State University Introduction Digital media is a powerful tool that can enhance your online course. Recent devel- opments and market trends have changed the rules and media formats that need to be considered when creating media for your course. Choosing the correct video and audio format is the first step to insuring a successful experience for both instructor and student. Podcasts, a form of digital media meant for downloading to a portable media device are included in this discussion. Video and Audio Formats Popular media formats for audio and video include RealAudio® and RealVideo®, Win- dows Media®, MPEG 3, and MPEG 4. Each requires software that will encode video/ audio to that format, and also a player that will decode the video/audio for playback. All these formats are currently being used in e-learning with great success. The latest market trends are now suggesting that MPEG 4 for video and audio and MPEG 3 for audio only are “the” standards for digital media. Why MPEG 4 and MPEG 3? MPEG 4 and MPEG 3 are the standard because of consumer response. Apple ad- opted MPEG 4 early on as the video format for playback on their iPod®s that support video. Apple and YouTube worked together to allow YouTube video to be accessed by an Apple TV®, iPhones®, and the iPod® Touch. YouTube moved from Flash Video to MPEG 4 to accommodate these devices, and Adobe soon followed by updating its Flash Player to play MPEG 4 video and audio.
    [Show full text]
  • Preparing Audio for the Internet Part 6
    Preparing Audio for the Internet In Part VI of our ongoing series, Scott Christie demystifies MPEG compression. n this tutorial it’s time to look at MPEG. The arrival of MPEG sampling rates were 32k, 44.1k, or 48k. audio onto the web almost single-handedly heralded the birth of An addition to the MPEG-1 standard was developed later which Ithe web-music mania that has pervaded the Internet over the last introduced, among other things, multichannel sound and, more inter- couple of years. While RealAudio, Shockwave and Quicktime are estingly for web audio, the use of lower sampling rates. This became frequently used in the promotion and marketing of on-line music – known informally as MPEG-2. MPEG-2 now provided encoding of in the form of streamed excerpts or on-line radio stations – MPEG source files with 16k, 22.05k, and 24k sampling frequencies. is usually the technology of choice for delivering high quality audio Unfortunately the development of MPEG-2 created the great files. The reasons for MPEG audio’s popularity on the Internet are dilemma of MPEG audio file naming conventions: does .mp2 mean a essentially its impressive audio quality capability at relatively low MPEG-1 audio file with Layer II encoding, or just a MPEG-2 file with bit rates, and the broad range of free shareware or low cost an unspecified Layer number? Furthermore, some assumed .mp3 files encoding/decoding applications available. The complete lack of a meant a new MPEG-3 audio standard – which doesn’t and won’t ever copyright facility in the MPEG specification has also gone along exist since the next MPEG standard is MPEG-4! way to making it a web favourite.
    [Show full text]
  • Broadcast Edition
    CYANGATE PLAYOUTBROADCAST AUTOMATION EDITION AND PROCESSING PLATFORM MODULAR PLAYOUT AUTOMATION AND VIDEO ENGINE SOLUTION FOR MULTIPLATFORM DELIVERY Stream Circle CYANGATE is a multipurpose and multiplatform video playout automation and processing hardware and software platform. Broadcasters may use its complete solution to manage linear channels from material ingest and planning to playout, graphics automation and multiplatform delivery. Its modular software architecture supports seamless scaling from a single channel up to multi-channel redundant operations with integrated IP and SDI interfaces, graphics, DVE effects and live switching. KEY FEATURES Linear channel multiformat playout Channel playout automation Multi frame-rate video processing Channel planning and reporting Channel branding Media management Integrated HTML5 graphics and DVEs HTML5 end-user application Live switching and autoingest www.streamcircle.com CYANGATE PLAYOUT AUTOMATION AND PROCESSING PLATFORM Content management features Delivery formats and platforms Media file upload via application MPEG-2, H.264/265, AAC codecs (VBR/VBC) Network media delivery MPEG-TS unicast/multicast Low-resolution proxy preview IP based live feeds (RTMP, RTSP, UDP) Full resolution clip preview using SDI or NDI Up to 4 SDI signal outputs Segmentation and trimming NDI feeds Rule-base media ingest workflow Open subtitles Schedule driven media ingest workflow DVB-T bitmap subtitles Remote storage content indexing EPG metadata Graphics timelines Integrations and APIs Public API Planning features
    [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]
  • 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]
  • File Format Guidelines
    File Format Guidelines Rapid changes in technology mean that file formats can become obsolete at a rapid pace, causing problems for records management. The software in which a file is createdExample usually has a default format, often indicated by a file name suffix (e.g., *.PDF for portable document format). Most software allows authors to select from a variety of formats when they save a file (e.g., Microsoft Word Document [.docx] or Portable Document Format [.pdf] in Microsoft Word). You can also convert a record to another, more durable format. Group The following table represents the digital formats that the Whitney Museum of American Art recommends for in-house preservation and long-term records retention. The record types included in this document are not exhaustive. Staff members producing specialized records may find that certain types of records are not covered by this document. Please contact the Archivist to discuss potential preservation strategies for suchWorking media. These guidelines classify formats into three categories: 1. Recommended for long-term retention: File formats that meet the minimum requirements for long-term retention, including documentation, wide adoption, transparency, self-containment, and use within the archival community. In most cases, these are the formats the State Archives itself uses to preserve electronic records. 2. Acceptable for long-termArchives retention: File formats that do not meet the minimum requirements for long-term retention, but which come near to meeting the requirements and, for practical reasons, may be appropriate for long-term retention at some agencies. These formats are more likely to require frequent review and maintenance than formats recommended for long-term retention.
    [Show full text]
  • Audio Coding: Basics and State of the Art
    AUDIO CODING: BASICS AND STATE OF THE ART PACS REFERENCE: 43.75.CD Brandenburg, Karlheinz Fraunhofer Institut Integrierte Schaltungen, Arbeitsgruppe Elektronische Medientechnolgie Am Helmholtzring 1 98603 Ilmenau Germany Tel: +49-3677-69-4340 Fax: +49-3677-69-4399 E-mail: [email protected] ABSTRACT High quality audio coding based on perceptual models has found its way to widespread application in broadcasting and Internet audio (e.g. mp3). After a brief presentation of the basic ideas, a short overview over current high quality perceptual coders will be given. Algorithms defined by the MPEG group (MPEG-1 Audio, e.g. MPEG Layer-3 (mp3), MPEG-2 Advanced Audio Coding, MPEG-4 Audio including its different functionalities) still define the state of the art. While there has been some saturation in the progress for highest quality (near transparent) audio coding, considerable improvements have been achieved for lower ("near CD-quality") coding. One technology able to push the bit-rates for good quality audio lower is Spectral Band Replication (SBR) as used in mp3PRO or improved AAC codes. INTRODUCTION High quality audio compression has found its way from research to widespread applications within a couple of years. Early research of 15 years ago was translated into standardization efforts of ISO/IEC and ITU-R 10 years ago. Since the finalization of MPEG-1 in 1992, many applications have been devised. In the last couple of years, Internet audio delivery has emerged as a powerful category of applications. These techniques made headline news in many parts of the world because of the potential to change the way of business for the music industry.
    [Show full text]
  • Recording Oral Histories Rebecca Bakker Florida International University
    Florida International University FIU Digital Commons Works of the FIU Libraries FIU Libraries 3-2017 Recording oral histories Rebecca Bakker Florida International University Follow this and additional works at: https://digitalcommons.fiu.edu/glworks Part of the Library and Information Science Commons, and the Oral History Commons Recommended Citation Bakker, Rebecca, "Recording oral histories" (2017). Works of the FIU Libraries. 63. https://digitalcommons.fiu.edu/glworks/63 This work is brought to you for free and open access by the FIU Libraries at FIU Digital Commons. It has been accepted for inclusion in Works of the FIU Libraries by an authorized administrator of FIU Digital Commons. For more information, please contact [email protected]. RECORDING ORAL HISTORIES Rebecca Bakker Digital Collections Librarian [email protected] / ph. 305-348-6485 INTERVIEW TIPS • Have a “lead”! The lead should consist of, at least, the names of narrator and interviewer, day and year of session, interview’s location, and proposed subject of the recording. • If interviewing a veteran, identify what war and branch of service he/she served in, what was his/her rank, and where he/she served. INTERVIEW TIPS (Continued) • Immediately after the interview, write down your notes. Add some context, biographical information on the interviewee, or anything that will help the audience or transcriber understand the interview. Make a quick summary. This may be used to create an abstract that can be used as a finding aid later. • Obtain release forms! It does not need to be a complicated legal document, just one that clearly tells the interviewee what will happen to their interview.
    [Show full text]
  • Windows Media Audio
    The Customize Windows Technology Blog http://thecustomizewindows.com Windows Media Audio Author : Abhishek Windows Media Audio (WMA) is an audio data compression technology developed by Microsoft. The name can be used to refer to its audio file format or its audio codecs. It is a proprietary technology that forms part of the Windows Media framework. WMA consists of four distinct codecs. The original WMA codec, known simply as WMA, was conceived as a competitor to the popular MP3 and RealAudio codecs. WMA Pro, a newer and more advanced codec, supports multichannel and high resolution audio. A lossless codec, WMA Lossless, compresses audio data without loss of audio fidelity. WMA Voice, targeted at voice content, applies compression using a range of low bit rates. Container Format A WMA file is in most circumstances encapsulated, or contained, in the Advanced Systems Format (ASF) container format, featuring a single audio track in one of following codecs: WMA, WMA Pro, WMA Lossless, or WMA Voice. These codecs are technically distinct and mutually 1 / 3 The Customize Windows Technology Blog http://thecustomizewindows.com incompatible. The ASF container format specifies how metadata about the file is to be encoded, similar to the ID3 tags used by MP3 files. Metadata may include song name, track number, artist name, and also audio normalization values. This container can optionally support digital rights management (DRM) using a combination of elliptic curve cryptography key exchange, DES block cipher, a custom block cipher, RC4 stream cipher and the SHA-1 hashing function. See Windows Media DRM for further information. Windows Media Audio 9 This codec samples audio at 44.1 or 48 kilohertz (kHz) using 16 bits, similar to the current CD standard, offering CD quality at data rates from 64 to 192 kilobits per second (Kbps).
    [Show full text]