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Bink uses a wavelet-based compression algorithm optimized for game video sequences. It supports resolutions up to 4K and can encode at bitrates from 500 kbps to 200 Mbps. The codec is designed for efficient decompression, leveraging multithreading and SIMD instructions on modern CPUs.
A dedicated electronic hardware unit or audio software that applies compression is called a compressor. In the 2000s, compressors became available as software plugins that run in digital audio workstation software. In recorded and live music, compression parameters may be adjusted to change the way they affect sounds.
WavPack is a free and open-source lossless audio compression format and application implementing the format. It is unique in the way that it supports hybrid audio compression alongside normal compression which is similar to how FLAC works.
FAAD2 – open-source decoder for Advanced Audio Coding. There is also FAAC, the same project's encoder, but it is proprietary (but still free of charge). libgsm – Lossy compression ; opencore-amr – Lossy compression (AMR and AMR-WB) liba52 – a free ATSC A/52 stream decoder (AC-3) libdca – a free DTS Coherent Acoustics decoder
Dialogic ADPCM or VOX is an audio file format, optimized for storing digitized voice data at a low sampling rate. VOX files are most commonly found in telephony applications, as well as an occasional arcade redemption game. [citation needed] It uses a lossy compression algorithm, optimized for voice, not high fidelity.
Adaptive Transform Acoustic Coding (ATRAC) is a family of proprietary audio compression algorithms developed by Sony. MiniDisc was the first commercial product to incorporate ATRAC, in 1992. ATRAC allowed a relatively small disc like MiniDisc to have the same running time as CD while storing audio information with minimal perceptible loss in ...
This category contains audio compression codecs that yield lossless data compression. Pages in category "Lossless audio codecs" The following 17 pages are in this category, out of 17 total.
Transparency, like sound or video quality, is subjective. It depends most on the listener's familiarity with digital artifacts, their awareness that artifacts may in fact be present, and to a lesser extent, the compression method, bit rate used, input characteristics, and the listening/viewing conditions and equipment.