Re: All Video Audio Converter PRO V5.8 [Latest]
Gro Bert
New decoders featured are Bonk, RKA, Radiance, SC-4, APAC, VQC, WavArc and a few ADPCM formats. QSV and NVenc now support AV1 encoding. The FFmpeg CLI (we usually reffer to it as ffmpeg.c to avoid confusion) has speed-up improvements due to threading, as well as statistics options, and the ability to pass option values for filters from a file. There are quite a few new audio and video filters, such as adrc, showcwt, backgroundkey and ssim360, with a few hardware ones too. Finally, the release features many behind-the-scenes changes, including a new FFT and MDCT implementation used in codecs (expect a blog post about this soon), numerous bugfixes, better ICC profile handling and colorspace signalling improvement, introduction of a number of RISC-V vector and scalar assembly optimized routines, and a few new improved APIs, which can be viewed in the doc/APIchanges file in our tree. A few submitted features, such as the Vulkan improvements and more FFT optimizations will be in the next minor release, 6.1, which we plan to release soon, in line with our new release schedule. Some highlights are:
Jai Luthra's objective was to update the out-of-tree and pretty much abandoned MLP (Meridian Lossless Packing) encoder for libavcodec and improve it to enable encoding to the TrueHD format. For the qualification period the encoder was updated such that it was usable and throughout the summer, successfully improved adding support for multi-channel audio and TrueHD encoding. Jai's code has been merged into the main repository now. While a few problems remain with respect to LFE channel and 32 bit sample handling, these are in the process of being fixed such that effort can be finally put in improving the encoder's speed and efficiency.
The circumstances for both have changed. After the work spearheaded by Rostislav Pehlivanov and Claudio Freire, the now-stable FFmpeg native AAC encoder is ready to compete with much more mature encoders. The Fraunhofer FDK AAC Codec Library for Android was added in 2012 as the fourth supported external AAC encoder, and the one with the best quality and the most features supported, including HE-AAC and HE-AACv2.
Licensing has always been an issue with encoding AAC audio as most of the encoders have had a license making FFmpeg unredistributable if compiled with support for them. The fact that there now exists a fully open and truly free AAC encoder integrated directly within the project means a lot to those who wish to use accepted and widespread standards.
The majority of the work done to bring the encoder up to quality was started during this year's GSoC by developer Claudio Freire and Rostislav Pehlivanov. Both continued to work on the encoder with the latter joining as a developer and mainainer, working on other parts of the project as well. Also, thanks to Kamedo2 who does comparisons and tests, the original authors and all past and current contributors to the encoder. Users are suggested and encouraged to use the encoder and provide feedback or breakage reports through our bug tracker.
Bigasoft Audio Converter is an easy-to-use audio conversion tool provides a speedy way to convert favorite songs between almost all formats including MP3, WMA, M4A,AAC, AC3, WAV, OGG, AIFF, ALAC, FLAC, CAF, etc. The digital to audio converter can be used as MP3 converter, WMA converter, M4A converter, and so on.
Additionally, the video to audio converter can also fast extract soundtracks from all popular movies or music videos, such as AVI, MPEG, MP4, MPG, 3GP, DivX, Xvid,ASF, VOB, MKV, WMV, H.264, etc. with perfect sound quality.
Utilizing just a single USB-C connection for both audio and power, enjoy amplified USB audio from Creative Pebble V3 with doubled audio intensity as well as improved acoustics performance! The 2.0 speakers also offer a wireless connectivity option so you can enjoy wireless streaming from mobile devices with the latest Bluetooth 5.0.
Plus, Creative Pebble V3 features Clear Dialog audio processing technique, to achieve clearer spoken dialogs in movies and shows. Retaining the same minimalistic design for any desktop, it is an ideal addition to any home, office, or even gaming setup!
Improved from its predecessors in the same series, enjoy enhanced USB audio performance at higher power output without distortion! Now powered entirely via USB-C for both audio and power, our newest Creative Pebble V3 also features larger 2.25" full-range drivers that are capable of delivering 50% louder* audio and rich acoustics performance, at double the sound intensity.
Enhance your binge-watching experience even at high volume levels without distortion! In newer devices with 10W USB-C or USB-A port, the built-in gain switch located at the bottom of the Pebble V3's right speaker automatically activates high gain mode for amplified audio, with capabilities to fire acoustics power of 8W RMS and peak power of up to 16W.
When dialog gets drowned out by the ambient sound effects, you lose focus on the flow and story of the show. Creative Pebble V3 is engineered with Clear Dialog audio processing that picks up vocals to give you rich and clear dialogs, so you can hear every word without having to turn up the volume, and without sacrificing any ambient effect.
And where versatility meets flexibility, the Creative Pebble V3 can be powered via USB-C or with a power adapter, and set up over various connectivity options! It also has a 3.5 mm AUX-in jack that allows for universal compatibility across other analogue audio devices.
Creative Pebble V3 retains the same 45 elevated drivers that are specifically angled, so audio is directed to your ears, placing you in the audio sweet spot for an immersive personal listening experience.
Creative Pebble V3 can be connected to your laptop or desktop with a single USB-C cable for both power and audio, which mean less clutter, and more desktop space to work with! It also features a small footprint with a clean and minimalistic design that blends naturally into any minimalist's desk.
Wirecutter senior staff writer Brent Butterworth conducted lab measurements of all the transmitters we tested to make sure the devices reproduced the full range of sound and had no excess latency. Brent has 30 years of experience reviewing audio gear and is one of a very small number of journalists who are equipped to measure Bluetooth devices.
Bluetooth transmitters provide a solution to that problem, essentially adding Bluetooth to devices that lack it. They connect to the source via an audio cable and wirelessly broadcast the audio to your headphones or even to a Bluetooth speaker.
The lack of a battery means the included Micro-USB cable needs to be plugged in at all times, but the USB port on any modern TV should provide enough power. This transmitter also comes with an optical audio cable, a 3.5 mm audio cable, and an RCA adapter.
Without getting too far into the technical weeds, AIFF, WAV, and CAF files will give you the best audio quality and the least technical trouble and those are the formats that we recommend most highly.
Through the low-level audio frameworks built into macOS, QLab automatically and seamlessly performs any necessary sample rate and bit depth conversion on the fly to match the requirements of the audio output patch. This means that you do not need to choose a single sample rate and bit depth to work with; workspaces can target audio files of various rates and depths, and you can use audio outputs with various rates and depths.
This on-the-fly conversion is a very efficient process and in most situations you will not need to concern yourself with the matter. If you are trying to squeeze every available drop of performance out of your system, you can convert all your audio to the same sample rate and bit depth as your output hardware is using.
File Target. If a target audio file is assigned, this field shows the path to that file. You can double-click on the field to select a file target, or you can drag and drop a file in from the Finder.
Start time defaults to 00:00.000 and represents the timestamp in the target audio file at which QLab will start playing the file. You can change the start time of the cue in three ways:
End time defaults to the end of the target audio file, and so displays the timestamp of the final sample of audio in the target file. You can change the end time of the cue in three ways:
Play count defaults to 1 and is the number of times that the target audio file will be played when the cue is run. You can enter any whole number in the text field to loop the target audio file that number of times, or select Infinite loop below to loop the target audio file indefinitely.
The play count and infinite loop options allow you to loop the entire target audio file, but QLab allows you to loop specific sections of the file as well. To this, you create slices within the cue, and set each slice to loop as needed.
If the target audio file is an AIFF or WAV file which contains markers, those markers will automatically appear in QLab as slice markers. Markers closer together than .05 seconds will be discarded by QLab, though the markers in your file will remain untouched.
The pop-up menu also gives you the option to Lock fade to start/end, which automatically stretches the integrated fade curve to fit within the start and end time of the cue. With this option not set, the integrated fade curve will remain locked to the natural start and end time of the target audio file, regardless of the start and end times set in the cue.
Gangs. When you click this button, all audio levels will be hidden and the mixer will switch to gang assignment mode. In this mode, you can type anything (for example, a single letter) into any level field. All fields which receive the same text will become part of the same gang, or level group.
The cue matrix mixer is a grid made of rows and columns, like a spreadsheet. The main output level for the cue is in the top left, the cue outputs are the column headers, and channels in the audio file are the rows. The number of rows in the mixer is dictated by the number of channels in the target audio file.
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