![]() ![]() Central to this is the multi‑function display area that dominates the centre of the GUI. While final quality judgements should clearly be made by ear, Fraunhofer Pro‑Codec does, nonetheless, provide a great deal of supplementary visual information to support the auditioning process. The aim of this plug‑in is to help you decide which codec produces the most acceptable trade‑off between audio enjoyment and file size. However, the more you try to squish the data, the more the processing artifacts, as showcased in the Difference signal, start to impinge unmusically on the listening experience. The purpose of psychoacoustic encoding is to funnel these potentially undesirable artifacts into areas of the frequency spectrum where the human hearing system is least likely to perceive them, and it's because this bit of smoke and mirrors is so effective that typical MP3 files can be 10-12 times smaller than their uncompressed PCM source files. To carve anything else away, you need to start reducing the resolution of the audio information, which inevitably adds noise and/or distortion to the signal. ![]() Alternatively, you can hit the Master In button to compare the currently selected codec with the unprocessed input signal, or listen to the difference between the input and encoded signals (in other words, the audio that the data compression is chucking out) by clicking on the Diff button.Ī Lissajous display and dual vectorscopes provide detailed visual feedback about the impact of processing artifacts in the stereo field.Although part of what audio data‑compression schemes do is completely lossless (in other words, removing data redundancy on a purely mathematical level), this typically only cuts file sizes roughly in half. The basic concept is that you insert up to five different data‑compression codecs into the Codec List slots, and then use the little speaker‑icon Monitor buttons to listen to the effect of each on the audio that is passing through the plug‑in. To start with, let me focus on the first of these, since it accounts for the lion's share of the feature set. Three tabs along the top of the window switch between its three operating modes: online (real‑time) encoding, offline encoding, and offline decoding. ![]() Authorisation is via an iLok dongle and you can choose mono, stereo or 5.1 surround modes. The software is available for both Windows XP/7 and Mac OS 10.5 or above, and comes in AU, RTAS and VST formats. Fortunately, though, respected plug‑in developers Sonnox have now teamed up with Fraunhofer IIS, the original inventors of MP3, to develop the first real‑time data‑compression plug‑in, Fraunhofer Pro‑Codec, thereby providing a means of streamlining this tediously iterative quality‑control exercise. In other words, you have to render your mix/master, then render a data‑compressed version, and then import both files back into your studio DAW system for comparison. Pragmatic though this approach may be, it does suffer from the fact that data‑compression algorithms tend to be offline processes. As such, more conscientious mixing and mastering engineers have got into the habit of rendering and auditioning their work in a variety of data‑compressed formats, to alert themselves to the strengths and weaknesses of different compression algorithms - either so that they can reduce encoding side‑effects with pre‑emptive processing, or so that they can select and configure the most suitable encoding. With every passing year, it seems that, despite the earnest hand‑wringing of audiophiles the world over, more and more of the music that consumers hear has been mangled to some degree by data‑compression algorithms. The Fraunhofer Pro‑Codec plug‑in's main real‑time comparison mode. wma.Sonnox's clever plug‑in allows you to hear exactly what different MP3 and AAC encoder settings do to your precious mixes - in a true blind test, if you like! WMA files can be decreased in size with no loss of audio quality. This is an audio file format defined by Microsoft Inc. It offers compressed audio files of small size, but with comparatively high audio quality. The Ogg Vorbis encoder uses variable bit rate encoding. This is an open source, patent-free audio encoding and streaming technology. MP3 files are highly compressed files that still provide good audio quality. Cubase can read MPEG Layer 2 and MPEG Layer 3. This is a family of standards used for encoding audio-visual information such as movies, video, and music in a digital compressed format. This is an open source format that reduces the size of audio files by 50 % to 60 % compared to regular Wave files. The following compressed audio file formats are supported: FLAC File In Cubase, you can import compressed audio files. ![]()
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