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Mp3gain Logo
MP3Gain is an audio normalization software tool. The tool is available on multiple platforms and is free software. It analyzes the MP3 and reversibly changes its volume. The volume can be adjusted for single files or as album where all files would have the same perceived loudness. It is an implementation of ReplayGain. In 2015 Debian and Ubuntu removed it from their repositories due to a lack of an active maintainer. MP3Gain Technical details MP3Gain first computes the desired gain (volume adjustment), either per track or per album, using the ReplayGain algorithm. It then modifies the overall volume scale factor in each MP3 frame, and writes undo information as a tag (in APEv2, or ID3v2 format) making this a reversible process. The scale factor modification can be reversed using the information in the added tag and the tag may be removed. MP3Gain does not introduce any digital generation loss because it does not decode and re-encode the file. AACGain Technical details MP3Gain i ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Mp3gain Logo
MP3Gain is an audio normalization software tool. The tool is available on multiple platforms and is free software. It analyzes the MP3 and reversibly changes its volume. The volume can be adjusted for single files or as album where all files would have the same perceived loudness. It is an implementation of ReplayGain. In 2015 Debian and Ubuntu removed it from their repositories due to a lack of an active maintainer. MP3Gain Technical details MP3Gain first computes the desired gain (volume adjustment), either per track or per album, using the ReplayGain algorithm. It then modifies the overall volume scale factor in each MP3 frame, and writes undo information as a tag (in APEv2, or ID3v2 format) making this a reversible process. The scale factor modification can be reversed using the information in the added tag and the tag may be removed. MP3Gain does not introduce any digital generation loss because it does not decode and re-encode the file. AACGain Technical details MP3Gain i ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Gain (electronics)
In electronics, gain is a measure of the ability of a two-port electrical network, circuit (often an amplifier) to increase the Electric power, power or amplitude of a Signal (electrical engineering), signal from the input to the output port by adding energy converted from some power supply to the signal. It is usually defined as the mean ratio of the Signalling (telecommunication), signal amplitude or power at the output port (circuit theory), port to the amplitude or power at the input port. It is often expressed using the logarithmic decibel (dB) units ("dB gain"). A gain greater than one (greater than zero dB), that is amplification, is the defining property of an active component or circuit, while a passive circuit will have a gain of less than one. The term ''gain'' alone is ambiguous, and can refer to the ratio of output to input voltage (''voltage gain''), Electric current, current (''current gain'') or electric power (''power gain''). In the field of audio and general ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Free Audio Software
This comparison of free software for audio lists notable free and open source software for use by sound engineers, audio producers, and those involved in sound recording and reproduction. Players Audio analysis Converters DJ software Distributions and other platforms Various projects have formed to integrate the existing free software audio packages. Modular systems Notation Programming languages Many computer music programming languages are implemented in free software. See also the comparison of audio synthesis environments. Radio broadcasting See also streaming below. Recording and editing The following packages are digital audio editors. Softsynths Streaming These programs are for use with streaming audio. Technologies Trackers These music sequencer programs allow users to arrange notes (pitch-shifted sound samples) on a timeline: see tracker (music software). Other See also * ABC notation * List of Linux audio software R ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Free Software Programmed In C
Free may refer to: Concept * Freedom, having the ability to do something, without having to obey anyone/anything * Freethought, a position that beliefs should be formed only on the basis of logic, reason, and empiricism * Emancipate, to procure political rights, as for a disenfranchised group * Free will, control exercised by rational agents over their actions and decisions * Free of charge, also known as gratis. See Gratis vs libre. Computing * Free (programming), a function that releases dynamically allocated memory for reuse * Free format, a file format which can be used without restrictions * Free software, software usable and distributable with few restrictions and no payment * Freeware, a broader class of software available at no cost Mathematics * Free object ** Free abelian group ** Free algebra ** Free group ** Free module ** Free semigroup * Free variable People * Free (surname) * Free (rapper) (born 1968), or Free Marie, American rapper and media personal ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Advanced Audio Coding
Advanced Audio Coding (AAC) is an audio coding standard for lossy digital audio compression. Designed to be the successor of the MP3 format, AAC generally achieves higher sound quality than MP3 encoders at the same bit rate. AAC has been standardized by ISO and IEC as part of the MPEG-2 and MPEG-4 specifications.ISO (2006ISO/IEC 13818-7:2006 - Information technology -- Generic coding of moving pictures and associated audio information -- Part 7: Advanced Audio Coding (AAC), Retrieved on 2009-08-06ISO (2006, Retrieved on 2009-08-06 Part of AAC, HE-AAC ("AAC+"), is part of MPEG-4 Audio and is adopted into digital radio standards DAB+ and Digital Radio Mondiale, and mobile television standards DVB-H and ATSC-M/H. AAC supports inclusion of 48 full-bandwidth (up to 96 kHz) audio channels in one stream plus 16 low frequency effects ( LFE, limited to 120 Hz) channels, up to 16 "coupling" or dialog channels, and up to 16 data streams. The quality for stereo is satisf ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
MPEG-4 Part 3
MPEG-4 Part 3 or MPEG-4 Audio (formally ISO/IEC 14496-3) is the third part of the ISO/IEC MPEG-4 international standard developed by Moving Picture Experts Group. It specifies audio coding methods. The first version of ISO/IEC 14496-3 was published in 1999. The MPEG-4 Part 3 consists of a variety of audio coding technologies – from lossy speech coding (HVXC, CELP), general audio coding (AAC, TwinVQ, BSAC), lossless audio compression (MPEG-4 SLS, Audio Lossless Coding, MPEG-4 DST), a Text-To-Speech Interface (TTSI), Structured Audio (using SAOL, SASL, MIDI) and many additional audio synthesis and coding techniques. MPEG-4 Audio does not target a single application such as real-time telephony or high-quality audio compression. It applies to every application which requires the use of advanced sound compression, synthesis, manipulation, or playback. MPEG-4 Audio is a new type of audio standard that integrates numerous different types of audio coding: natural sound and synthetic s ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Transcode
Transcoding is the direct digital-to-digital conversion of one encoding to another, such as for video data files, audio files (e.g., MP3, WAV), or character encoding (e.g., UTF-8, ISO/IEC 8859). This is usually done in cases where a target device (or workflow) does not support the format or has limited storage capacity that mandates a reduced file size, "Advancements in Compression and Transcoding: 2008 and Beyond", Society of Motion Picture and Television Engineers (SMPTE), 2008, webpageSMPTE-spm or to convert incompatible or obsolete data to a better-supported or modern format. In the analog video world, transcoding can be performed just while files are being searched, as well as for presentation. For example, Cineon and DPX files have been widely used as a common format for digital cinema, but the data size of a two-hour movie is about 8 terabytes (TB). That large size can increase the cost and difficulty of handling movie files. However, transcoding into a JPEG2000 ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Digital Generation Loss
Generation loss is the loss of quality between subsequent copies or transcodes of data. Anything that reduces the quality of the representation when copying, and would cause further reduction in quality on making a copy of the copy, can be considered a form of generation loss. File size increases are a common result of generation loss, as the introduction of artifacts may actually increase the entropy of the data through each generation. Analog generation loss In analog systems (including systems that use digital recording but make the copy over an analog connection), generation loss is mostly due to noise and bandwidth issues in cables, amplifiers, mixers, recording equipment and anything else between the source and the destination. Poorly adjusted distribution amplifiers and mismatched impedances can make these problems even worse. Repeated conversion between analog and digital can also cause loss. Generation loss was a major consideration in complex analog audio and video ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
APEv2
APE tags comprise one extant convention used to store information (metadata) about a given digital audio file. Each APE tag constitutes a discrete element that describes a single attribute of the file's contents. Each consists of a key/value pair; the key is simply a label that names the attribute, such as , , , or , etc.), and associated with it is a corresponding value, namely, some information descriptive of this file, in terms of the attribute in question (e.g., for ). APE tags can be used with .ape-formatted recordings, as well as with sound files of other audio file formats. Essence A sound file, such as an .ape- or .mp3-formatted file, may, in addition to its payload audio data, also contain metadata that provide descriptive or statistical information about its audio content. When APE (v1) tags are used, they will appear at the end of the file, following the data; i.e., the digitized audio stream. Placing the tags at the end of the file, rather than at the beginning, ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
ReplayGain
ReplayGain is a proposed technical standard published by David Robinson in 2001 to measure and normalize the perceived loudness of audio in computer audio formats such as MP3 and Ogg Vorbis. It allows media players to normalize loudness for individual tracks or albums. This avoids the common problem of having to manually adjust volume levels between tracks when playing audio files from albums that have been mastered at different loudness levels. Although this de facto standard is now formally known as ReplayGain, it was originally known as Replay Gain and is sometimes abbreviated RG. ReplayGain is supported in a large number of media software and portable devices. Operation ReplayGain works by first performing a psychoacoustic analysis of an entire audio track or album to measure peak level and perceived loudness. Equal-loudness contours are used to compensate for frequency effects and statistical analysis is used to accommodate for effects related to time. The difference bet ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Loudness
In acoustics, loudness is the subjectivity, subjective perception of sound pressure. More formally, it is defined as, "That attribute of auditory sensation in terms of which sounds can be ordered on a scale extending from quiet to loud". The relation of physical attributes of sound to perceived loudness consists of physical, physiological and psychological components. The study of apparent loudness is included in the topic of psychoacoustics and employs methods of psychophysics. In different industries, loudness may have different meanings and different measurement standards. Some definitions, such as LKFS, ITU-R BS.1770 refer to the relative loudness of different segments of electronically reproduced sounds, such as for broadcasting and cinema. Others, such as ISO 532A (Stevens loudness, measured in sones), ISO 532B (Eberhard Zwicker, Zwicker loudness), DIN 45631 and ASA/ANSI S3.4, have a more general scope and are often used to characterize loudness of environmental noise. More ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
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