You can do the last by dragging and dropping files onto the appropriate file—name boxes, or from the navigation window that opens when you double—click on the empty file—name box. The Master Audio output was perfect, as a lossless process should be. I struggled to find any artifacts at all on the Core output, but it did have a small but definite narrowing of the surround image, especially at the front. Then you select the speaker layout that was used to mix the files to be encoded, set the sample rate for the stream, and import the source files to be encoded. Dialnorm can only attenuate — there is no compression involved in this process — and all channels are affected equally. The top half of the window is for downmixing to 5.
The Encoder uses a queue system, so while the first set of files are encoding you can be setting up the next. This employs lossless compression ie. My test file was a live recording of a classical concert for string ensemble and solo trumpet. It was especially interesting to compare the Core output with the Master Audio uncompressed output. Now all you need to do is hit the Encode button and the files are encoded in the background.
The basic Core Stream can support compressed data rates of up to 1. The stream timecode format should be set to the same as the video format, such as 29. The lower half relates to downmix settings for the 2. The Audiosuite plug—in requires at least a 5. The Dialnorm value entered into the encoder is the subjective average dialogue level of the programme, and this subjective average dialogue level is typically based on an LeqA measurement. These make it possible to join, append, trim and split streams without having to re—encode the source files, which can speed things up when, for example, a small section of a project needs to be changed. It is also possible to embed a downmix into the stream, but this will take additional disc space and stream bandwidth.
By the time you read this, version 1. A single Dialnorm value is applied to an entire programme. You can set the bit rate for the legacy Core Stream. This technique has been brilliantly engineered to guarantee backwards compatibility, because the Core Stream is still playable on old decoders. This has has no effect on the encoding or decoding process, but instructs playback equipment to adjust the audio level after decoding. Finally you set the location to save the encoded stream and the file name. The second page of the Encoder screen is for configuring the downmix settings.
The Encoder software is very intuitive to use. It is possible to change the timecode format of an encoded file without having to re—encode the entire file — all this does is change header information in the stream file — as well as read and check all the metadata in the encoded files, and Verify an encoded stream file. You can then set the timecode start and end times if required. . Either way, you must double—check that the Session timecode format is the same format as the stream.
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