Post by ChrisPost by Gene HeskettPost by ChrisPost by James FrancisAnd where might we find it, should we ever need to do the same?
Thanks,
James
Sent from my iPod
Post by ChrisPlease disregard my previous request, I found a tiny script using google
(which I should have done in the first place) that will batch
convert all wav files in a folder to mp3s.
http://linuxpoison.blogspot.com/2008/02/script-to-convert-wav-to-mp3
.htm l
You do need LAME installed for it to work.
Does this return something pleasant to listen to?
Because the various audio compression schemes all throw away some
data, and rarely does it match, I've found that going to mp3 from ogg
(or vice-versa) usually returns a muddy sound that becomes tiresome
to listen to, quickly. For the ear fatigue factor, I long ago found
ogg, at about q7, was the best for me. An mp3, ripped from the same
cd, at the same final file size, gets tiresome, with an urge to turn
it down developing in just a few minutes.
Cheers, Gene
It sound pretty good to me Gene even with my tinitus. If you wish I can
send you a sample after it's converted. Would be about a 5-6Mb file.
Sure, send it by pm & I'll do my best Larry Klien imitation. And yes, I
have a slight case of tinitus myself, the result of wearing out several
rifle barrels at the target range over the last 50 of my 77 years. My
$dayjob however has been broadast engineering since about '62. But when
the eyes and ears listening to your broadcast product get tired & tune
away, this has a direct bearing on the ratings, which in turn has a direct
bearing on the cash flow. The net result is that you do pay attention to
those little details. I replaced a DBX-165 compressor with one 25 years
older, a CBS Labs Audimax-II just because I couldn't stand the heavy
breathing the DBX-165 was doing. Shortly after lights out, it was
enjoyable, but not during the soaps & game shows of the broadcast day.
As I posted once before, since we switched to digital broadcasting methods,
there is a wide open market for a similar device that operates in the all
digital mode.
Generally, the characteristics are that it needs to level the maximum
peaks, in real time, with an attack time constant in the 1 millisecond
range, with a gain recovery and control being based on a certain minimum
level to open the fast control channel and recover in a few tens of
milliseconds to an output level of perhaps 16 db below the prior peak,
making gain control to level the average level dependent on the program
audio materiel. If it encounters a prolonged period of silence, say 30
seconds or so that the control gate remains closed, it should then begin a
slow ramp to normal gain, which is not its max gain but the mid-range gain.
But its control reaches from controlling a +30db or more input level, clear
down to bringing a -20db signal up to "normal" level. Current offerings
that I have heard, all simply ramp to maximum gain when silence containing
only the equipment noise floor is encountered, which is a very disturbing
phenomenon to hear the noise floor rising as it goes to maximum gain over
2-5 seconds, much too fast for the ear to ignore.
<http://omniaaudio.com/audio-processing-a-retrospective>
This link discusses the genealogy of audio processing today, where thanks
to backups, today can be 10 years ago, but I will state that I have not had
a chance to hear the Omnia-6 so nicely praised in the last paragraph. It
is after all their product, so add salt liberally.
He also gives short shrift to the later Audimax-ii and -iii's, they had
effective controls over quite a bit more than his stated 20db.
I have heard the Texar offerings, thumbs down from me.
I have heard the later optimods which are pretty decent, and can
categorically state that the engineer who leaves the control panel keys to
it laying around where the program director can get to them should be taken
out back and shot, then fired. It will take a trip back to Orban to
restore its performance. It is pretty decent but the emphasis still was
overmodulation control, where the target is using every last tenth of a db
you can get out of your peanut whistle transmitter. Today, the main
concern would be in not hitting an A/d overflow with its attending peak
inversions.
That probably isn't all of it, but it would go a long ways toward the
target of in-audible but effective wide range gain control.
I've rambled enough.
Cheers, Gene
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