Journal articles: 'Recording digital audio'

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Nishio, Ayataka. "Digital audio recording apparatus." Journal of the Acoustical Society of America 102, no. 1 (July 1997): 18. http://dx.doi.org/10.1121/1.419789.

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Ingram, Kelly, Ferenc Bunta, and David Ingram. "Digital Data Collection and Analysis." Language, Speech, and Hearing Services in Schools 35, no. 2 (April 2004): 112–21. http://dx.doi.org/10.1044/0161-1461(2004/013).

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Technology for digital speech recording and speech analysis is now readily available for all clinicians who use a computer. This article discusses some advantages of moving from analog to digital recordings and outlines basic recording procedures. The purpose of this article is to familiarize speech-language pathologists with computerized audio files and the benefits of working with those sound files as opposed to using analog recordings. This article addresses transcription issues and offers practical examples of various functions, such as playback, editing sound files, using waveform displays, and extracting utterances. An appendix is provided that describes step-by-step how digital recording can be done. It also provides some editing examples and a list of useful computer programs for audio editing and speech analyses. In addition, this article includes suggestions for clinical uses in both the assessment and the treatment of various speech and language disorders.

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Kurniawan, Fajri, Mohd Shafry Mohd. Rahim, Mohammed S. Khalil, and Muhammad Khurram Khan. "Statistical Based Audio Forensic on Identical Microphones." International Journal of Electrical and Computer Engineering (IJECE) 6, no. 5 (October 1, 2016): 2211. http://dx.doi.org/10.11591/ijece.v6i5.12022.

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Microphone forensics has become a challenging field due to the proliferation of recording devices and explosion in video/audio recording. Video or audio recording helps a criminal investigator to analyze the scene and to collect evidences. In this regards, a robust method is required to assure the originality of some recordings. In this paper, we focus on digital audio forensics and study how to identify the microphone model. Defining microphone model will allow the investigators to conclude integrity of some recordings. We perform statistical analysis on the recording that is collected from two microphones of the same model. Experimental results and analysis indicate that the signal of sound recording of identical microphone is not exactly same and the difference is up to 1% - 3%.

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Kurniawan, Fajri, Mohd Shafry Mohd. Rahim, Mohammed S. Khalil, and Muhammad Khurram Khan. "Statistical Based Audio Forensic on Identical Microphones." International Journal of Electrical and Computer Engineering (IJECE) 6, no. 5 (October 1, 2016): 2211. http://dx.doi.org/10.11591/ijece.v6i5.pp2211-2218.

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Microphone forensics has become a challenging field due to the proliferation of recording devices and explosion in video/audio recording. Video or audio recording helps a criminal investigator to analyze the scene and to collect evidences. In this regards, a robust method is required to assure the originality of some recordings. In this paper, we focus on digital audio forensics and study how to identify the microphone model. Defining microphone model will allow the investigators to conclude integrity of some recordings. We perform statistical analysis on the recording that is collected from two microphones of the same model. Experimental results and analysis indicate that the signal of sound recording of identical microphone is not exactly same and the difference is up to 1% - 3%.

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Burdina, E. V. "Digital Audio Recording System: Issues of Ensuring Digital Audio Recording of Proceedings in Courts of General Jurisdiction." RUSSIAN JUSTICE 12 (November 2017): 35–46. http://dx.doi.org/10.17238/issn2072-909x.2017.12.35-46.

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Saito, Etsuro. "Digital audio signal recording device for motion picture film and audio signal recording system for motion picture film employing the digital audio signal recording device." Journal of the Acoustical Society of America 100, no. 1 (1996): 24. http://dx.doi.org/10.1121/1.415936.

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Chatterjee (Mukherjee), Dr Samarpita. "Music and Audio Recording Technology: An Overview." Journal of Humanities,Music and Dance, no. 24 (July 28, 2022): 14–24. http://dx.doi.org/10.55529/jhmd.24.14.24.

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The coalescence of music and technology form the base of audio production. This study offers a brief account of technological transformations that have shaped the modern audio industry. It takes into consideration the changes in audio recording equipment and audio distribution formats throughout the years up to contemporary time. The study attempts to emphasize the necessary prerequisites for quality audio recording and production in the digital age of today. The study draws its arguments from various secondary sources. This study adds an extra dimension to the already existing knowledge of audio production by blending conceptual and essential practical aspects of audio production. The simplified contour of audio production presented by this study will allow novice musicians and producers to grasp the basics of digital audio recording technology before venturing into the vast ocean of audio technology.

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Chatterjee (Mukherjee), Dr Samarpita. "Music and Audio Recording Technology: An Overview." Journal of Humanities,Music and Dance, no. 24 (October 17, 2022): 14–24. http://dx.doi.org/10.55529/jhmd24.14.24.

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The coalescence of music and technology form the base of audio production. This study offers a brief account of technological transformations that have shaped the modern audio industry. It takes into consideration the changes in audio recording equipment and audio distribution formats throughout the years up to contemporary time. The study attempts to emphasize the necessary prerequisites for quality audio recording and production in the digital age of today. The study draws its arguments from various secondary sources. This study adds an extra dimension to the already existing knowledge of audio production by blending conceptual and essential practical aspects of audio production. The simplified contour of audio production presented by this study will allow novice musicians and producers to grasp the basics of digital audio recording technology before venturing into the vast ocean of audio technology.

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Wijayani, Tara Arsih. "USING DIGITAL AUDIO RECORDING IN LEARNING SPEAKING." Journal of English and Education 4, no. 2 (October 7, 2016): 35–71. http://dx.doi.org/10.20885/jee.vol4.iss2.art4.

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VanLue, Michael, Kenneth M. Cox, James M. Wade, Kevin Tapp, Raymond Linville, Charlie Cosmato, and Tom Smith. "Development of a Microportable Imaging System for Otoscopy and Nasoendoscopy Evaluations." Cleft Palate-Craniofacial Journal 44, no. 2 (March 2007): 121–25. http://dx.doi.org/10.1597/05-063.1.

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Objective: Imaging systems for patients with cleft palate typically are not portable, but are essential to obtain an audiovisual record of nasoendoscopy and otoscopy procedures. Practitioners who evaluate patients in rural, remote, or otherwise medically underserved areas are expected to obtain audiovisual recordings of these procedures as part of standard clinical practice. Therefore, patients must travel substantial distances to medical facilities that have standard recording equipment. This project describes the specific components, strengths and weaknesses of an MPEG-4 digital recording system for otoscopy/nasoendoscopy evaluation of patients with cleft palate that is both portable and compatible with store-and-forward telemedicine applications. Materials: Three digital recording configurations (TabletPC, handheld digital video recorder, and an 8-mm digital camcorder) were used to record the audio/ video signal from an analog video scope system. Results: The handheld digital video recorder was most effective at capturing audio/video and displaying procedures in real time. The system described was particularly easy to use, because it required no postrecording file capture or compression for later review, transfer, and/or archiving. Conclusions: The handheld digital recording system was assembled from commercially available components. The portability and the telemedicine compatibility of the handheld digital video recorder offers a viable solution for the documentation of nasoendosocopy and otoscopy procedures in remote, rural, or other locations where reduced medical access precludes the use of larger component audio/video systems.

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Korycki, Rafał. "Authenticity investigation of digital audio recorded as MP3 files." Issues of Forensic Science 283 (2014): 54–67. http://dx.doi.org/10.34836/pk.2014.283.1.

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In the work, the problem of detecting discontinuities in lossily compressed audio recordings was outlined and new methods that can be used to examine the authenticity of digital audio records were presented. The described solutions are based on statistical analysis of the data, calculated on the basis of the value of MDCT coefficients. Designated vectors, consisting of 228 features, were used as the training sequences of two machinę learning algorithms under the supervision of the linear discriminant analysis (LDA) and the support vector machinę (SVM). Detection of multiple compression was both used to detect modification of the recording as well as to reveal traces of montage in digital audio recordings. The effectiveness of the algorithms for the detection of discontinuities was tested on the database of recorded musie consisting of nearly one million MP3 files, specially prepared forthis purpose. The results of the research were discussed in the context of the influence of parameters of the compression on the abiiity to detect interference in digital audio recordings.

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KASPARIS, TAKIS, and JOHN LANE. "DIGITAL RESTORATION OF DAMAGED PHONOGRAPH RECORDS." Journal of Circuits, Systems and Computers 04, no. 01 (March 1994): 109–15. http://dx.doi.org/10.1142/s0218126694000089.

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A method for digital restoration of phonograph recordings contaminated by impulsive noise is proposed. Impulses are suppressed by applying median filtering on contaminated signal regions only, thus minimizing distortion of clean passages and loss of high musical frequencies. The algorithm can be implemented on a personal computer equipped with any inexpensive sound board, and thus it can be used for the restoration of damaged records in home collections. In experiments with old recordings the improvement in sound quality was dramatic. The restored audio signal can be archived in digital form on regular computer back-up tapes or on digital audio tapes, or it can be played through the sound board and stored onto an analog recording media such as high-quality cassette tapes.

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Renza, Diego, Jaisson Vargas, and Dora M. Ballesteros. "Robust Speech Hashing for Digital Audio Forensics." Applied Sciences 10, no. 1 (December 28, 2019): 249. http://dx.doi.org/10.3390/app10010249.

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The verification of the integrity and authenticity of multimedia content is an essential task in the forensic field, in order to make digital evidence admissible. The main objective is to establish whether the multimedia content has been manipulated with significant changes to its content, such as the removal of noise (e.g., a gunshot) that could clarify the facts of a crime. In this project we propose a method to generate a summary value for audio recordings, known as hash. Our method is robust, which means that if the audio has been modified slightly (without changing its significant content) with perceptual manipulations such as MPEG-4 AAC, the hash value of the new audio is very similar to that of the original audio; on the contrary, if the audio is altered and its content changes, for example with a low pass filter, the new hash value moves away from the original value. The method starts with the application of MFCC (Mel-frequency cepstrum coefficients) and the reduction of dimensions through the analysis of main components (principal component analysis, PCA). The reduced data is encrypted using as inputs two values from a particular binarization system using Collatz conjecture as the basis. Finally, a robust 96-bit code is obtained, which varies little when perceptual modifications are made to the signal such as compression or amplitude modification. According to experimental tests, the BER (bit error rate) between the hash value of the original audio recording and the manipulated audio recording is low for perceptual manipulations, i.e., 0% for FLAC and re-quantization, 1% in average for volume (−6 dB gain), less than 5% in average for MPEG-4 and resampling (using the FIR anti-aliasing filter); but more than 25% for non-perceptual manipulations such as low pass filtering (3 kHz, fifth order), additive noise, cutting and copy-move.

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Jiang, Jack, Emily Lin, and David G. Hanson. "Effect of Tape Recording on Perturbation Measures." Journal of Speech, Language, and Hearing Research 41, no. 5 (October 1998): 1031–41. http://dx.doi.org/10.1044/jslhr.4105.1031.

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Tape recorders have been shown to affect measures of voice perturbation. Few studies, however, have been conducted to quantitatively justify the use or exclusion of certain types of recorders in voice perturbation studies. This study used sinusoidal and triangular waves and synthesized vowels to compare perturbation measures extracted from directly digitized signals with those recorded and played back through various tape recorders, including 3 models of digital audio tape recorders, 2 models of analog audio cassette tape recorders, and 2 models of video tape recorders. Signal contamination for frequency perturbation values was found to be consistently minimal with digital recorders (percent jitter=0.01%–0.02%), mildly increased with video recorders (0.05%–0.10%), moderately increased with a high-quality analog audio cassette tape recorder (0.15%), and most prominent with a low-quality analog audio cassette tape recorder (0.24%). Recorder effect on amplitude perturbation measures was lowest in digital recorders (percent shimmer = 0.09%–0.20%), mildly to moderately increased in video recorders and a high-quality analog audio cassette tape recorder (0.25%–0.45%), and most prominent in a low-quality analog audio cassette tape recorder (0.98%). The effect of cassette tape material, length of spooled tape, and duration of analysis were also tested and are discussed.

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Yunyk, Tetiana, Lev Riazantsev, and Serhii Horevalov. "Modern Sound Recording Technologies." Bulletin of Kyiv National University of Culture and Arts. Series in Audiovisual Art and Production 5, no. 1 (June 1, 2022): 64–69. http://dx.doi.org/10.31866/2617-2674.5.1.2022.257180.

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The purpose of the article is to investigate modern sound recording technologies; analyze the structural components that affect the sound formation of audio-visual content. The research methodology consists in the application of the following methods: theoretical method (consideration and structure of sound recording equipment as a process of transforming sound from analogue to digital and vice versa); analysis and synthesis (to analyze the work of sound recording technologies in the modern media space); systematization (a generalization of the material in the conclusions). The scientific novelty lies in the differential approach associated with the stage of sound recording perception, from analogue-digital signal to digital-analogue one, as a means of influencing the increase of sound level at the final stage. Conclusions. Under the influence of the widespread use of audio-visual content, the study analyzed the components of the sound recording equipment aspects and sound reproduction in general. Structural components that are a component of factors influencing the formation of sound have been considered in detail.

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Subki, Ahmad, Bambang Sugiantoro, and Yudi Prayudi. "Membandingkan Tingkat Kemiripan Rekaman Voice Changer Menggunakan Analisis Pitch, Formant dan Spectogram." Jurnal Teknologi Informasi dan Ilmu Komputer 5, no. 1 (February 23, 2018): 17. http://dx.doi.org/10.25126/jtiik.201851500.

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Abstrak Audio forensik merupakan salah satu ilmu yang mnyandingkan antara ilmu pengetahuan dan metode ilmiah dalam proses analisis rekaman suara untuk membantu dan mendukung pengungkapan suatu tindak kejahatan yang diperlukan dalam proses persidangan. Undang-undang ITE No.19 Tahun 2016 menyebutkan bahwa rekaman suara merupakan salah satu alat bukti digital yang sah dan dapat digunakan sebagai penguat dakwaan. Rekaman suara yang merupakan barang bukti digital sangatlah mudah dan rentan dimanipulasi, baik secara sengaja maupun tidak disengaja. Pada penelitian ini dilakukan analisis terkait tingkat kemiripan antara rekaman suara voice changer dengan rekaman suara asli menggunakan analisis pitch, formant dan spectogram, rekaman suara yang dianalisis ada dua jenis rekaman suara yaitu suara laki-laki dan suara perempuan. Rekaman suara voice changer dan rekaman suara asli, diekstrak menggunakan tools praat kemudian informasi yang diperoleh dianalisis dengan analisis statistik pitch, formant dan spectrogrammenggunakan tools gnumeric. Penelitian ini menghasilkan bahwa analisis rekaman suara voice changer dengan rekaman suara asli dapat menggunakan analisis statistik pitch, formant dan spectrogram, rekaman suara voice changer A memiliki tingkat kemiripan yang paling tinggi dengan rekaman suara asli pada posisi low pitch, sedangkan voice changer yang lain lebih sulit untuk diidentifikasi. Kata Kunci: Audio Forensik, Voice Changer, Rekaman Suara, Pitch, Formant, Spectogram Abstract Audio forensics is one of the sciences that mnyandingkan between science and scientific methods in the process of sound recording analysis to assist and support the disclosure of a crime required in the trial process. The ITE Act No.19 of 2016 states that voice recording is one of the most valid digital instruments and can be used as an indictment. Voice recordings that are digital evidence are extremely easy and prone to be manipulated, either intentionally or unintentionally. In this research, there is an analysis related to the similarity level between the voice changer voice recording with the original sound recordings using pitch, formant and spectogram analysis. The sound recording that is analyzed are two types of sound recording, namely male voice and female voice. Voice recording of voice changer and original sound recording, extracted using praat tools then the information obtained is analyzed by pitch, formant and spectrogram analysis using gnumeric tools. This study resulted in the analysis of voice changer voice recording with original sound recording using pitch, formant and spectrogram statistical analysis, voice changer A voice recording has the highest level of resemblance with original sound recording in low pitch position, while other voice changer more difficult to be identified Keywords: Audio forensics, Voice Changer, Sound Recording, Pitch, Formant, Spectogram

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Juliansyah, Akbar, Gargazi Gargazi, Wirawan Putrayadi, and Edi Haryanto. "WORKSHOP AUDIO RECORDING SYSTEM PADA SEKAWAN TRAINING CENTER." Bakti Sekawan : Jurnal Pengabdian Masyarakat 1, no. 2 (December 31, 2021): 36–40. http://dx.doi.org/10.35746/bakwan.v1i2.172.

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Data, Voice / Voice and Video are basic needs for information for people in the digital era. This is based on the trend of triple play technology, which is a technology trend that accommodates three services that are presented in a customer service. The development of meeting the basic needs of the digital community cannot be separated from the development of the infrastructure that can be passed. This should be the basis for understanding the digital community that, in meeting the basic need for information, there is always a new technique being born. And the birth of this new technology can change a paradigm and even be disruptive. Voice as a need for digital society cannot be separated from the use of communication technology. Communication that is shared by users who interact with each other, that is, interact and communicate with each other. Sekawan Trining Center is an institution that is very interested in the use of techniques in supporting organizational operations wherever they are located. Although the technique is developing rapidly, this is also accompanied by an increase in the costs that must be incurred in its implementation. For this reason, the utilization of existing techniques can be maximized to reduce costs that may arise. There are also technology platforms that use analog communication media to enable systems that can be used to connect with technologies that can be used to access digital data. The solution that can be applied to overcome this is an Audio Recording System.

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Wiflihani, Wiflihani, Pita HD Silitonga, and Herna Hirza. "Digitalization of North Sumatera Malay Ritual Music Using Cubase 5 Software." Budapest International Research and Critics Institute (BIRCI-Journal) : Humanities and Social Sciences 2, no. 4 (November 12, 2019): 556–66. http://dx.doi.org/10.33258/birci.v2i4.657.

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The high level of need of dance artists in North Sumatra for digital audio of Malay ritual dance music while the digital material is not publicly available. This triggers researchers to conduct research on the use of this cubase music software as an alternative in the process of packaging the learning material of musical accompaniment of the Gobuk Bedagai Malay ritual dance into digital audio. The method used in this study is an experimental approach to the process of packaging the learning material of musical accompaniment of the Gobuk Bedagai Malay ritual dance into digital audio. The packaging process by recording audio and video ritual dance performances in the coastal areas of North Sumatra Malay. The results of this study indicate that the process of creating digitalization consists of recording, editing, mixing and mastering using cubase.

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Gedemer, Linda. "Re‐evaluating Noise Criterion in Digital Audio Recording Environments." Journal of the Acoustical Society of America 123, no. 5 (May 2008): 3609. http://dx.doi.org/10.1121/1.2934794.

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Clark, Lloyd D. "Digital audio recording/playback system for motion picture film." Journal of the Acoustical Society of America 81, no. 1 (January 1987): 212. http://dx.doi.org/10.1121/1.394979.

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Ohashi, Masamichi, and Masamichi Tsuchiya. "Recording/reproducing apparatus using reference oscillator for digital audio." Journal of the Acoustical Society of America 120, no. 3 (2006): 1165. http://dx.doi.org/10.1121/1.2355948.

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Milne, D. J., M. Armstrong, A. Fisher, T. Flores, and C. R. Pavey. "A comparison of three survey methods for collecting bat echolocation calls and species-accumulation rates from nightly Anabat recordings." Wildlife Research 31, no. 1 (2004): 57. http://dx.doi.org/10.1071/wr03011.

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Bat surveys are frequently undertaken using ultrasonic detectors to determine the species present in an area on the basis of the identity of echolocation calls. We compared three techniques for using the Anabat II detector: the detector pointed along tracks (flyways) versus the detector pointed across tracks (non-flyways); recording output to audio cassette (analogue) versus direct recording to computer (digital); and active hand-held recording versus static automatic recording. In addition, we derived a species-accumulation curve from all-night Anabat recordings in the wet–dry tropics of the Northern Territory. We found no significant difference between flyway and non-flyway recordings; significantly more calls were identified from digital recordings; and significantly more species were detected using hand-held than static recordings. Species-accumulation analysis suggests that the minimum time required to achieve a satisfactory (80%) inventory of bat species at a site is during the three-hour period immediately after sunset. We use our findings to make recommendations for the design of bat surveys using the Anabat II detector.

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Kulka, Zbigniew. "Advances in Digitization of Microphones and Loudspeakers." Archives of Acoustics 36, no. 2 (May 1, 2011): 419–36. http://dx.doi.org/10.2478/v10168-011-0030-z.

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AbstractThe development of digital microphones and loudspeakers adds new and interesting possibilities of their applications in different fields, extended from industrial, medical to consumer audio markets. One of the rapidly growing field of applications is mobile multimedia, such as mobile phones, digital cameras, laptop and desktop PCs, etc. The advances have also been made in digital audio, particularly in direct digital transduction, so it is now possible to create the all-digital audio recording and reproduction chains potentially having several advantages over existing analog systems.

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Musib, Ahmad Faudzi. "Extracting Audio Signals from 4-Track Analogue Tape and Digital Standalone Multitrack Machine Material as a Part of Preservation." ASIAN-EUROPEAN MUSIC RESEARCH JOURNAL 5 (June 30, 2020): 25–38. http://dx.doi.org/10.30819/aemr.5-4.

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In facing ever-growing technology of audio peripherals, there is a concern of balancing in delivering technical knowledge to students dealing with audio recordings in the Music Department at Putra University, Malaysia (UPM). It seems to be difficult for them to do current multitrack recordings and at the same time maintaining the aesthetic aspect of past technology. In other words, if one preserves the recorded item, they have also to care about the specific features coming with these recordings. It is not the primary recorded subject alone they may have to consider. There is an urgency to migrate the recorded material such as cassette tapes that come in varying forms ranging from Ferric-Oxide, to Cro2, and Metal. These carriers are warranted to be extracted and migrate onto a more stable medium, not only in general as everywhere in the world, but also since it has become the university policy that equipment’s exceeding certain years will be disposed of. The selection focuses on the recording materials that includes live musical performances, multitrack musical compositions, and final recording projects. In this context the ‘recording’ may just mean the audio information. It is important for any archive to establish a general policy with regard to the limits of its collection as was pointed out repeatedly (Schuursma, 2010). Viewing from the perspective of preservation (Musib, 2015) of content, a lack of awareness in handling these carriers may lead to complications when extracting the signal from still available machines. The paper is intended to discuss the challenges and requirements in the process of signal extractions using exemplarily the two formats, namely the 4-track recorder and the digital standalone multitrack machine.

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Dzulfikar, Helmy, Sisdarmanto Adinandra, and Erika Ramadhani. "The Comparison of Audio Analysis Using Audio Forensic Technique and Mel Frequency Cepstral Coefficient Method (MFCC) as the Requirement of Digital Evidence." Jurnal Online Informatika 6, no. 2 (December 26, 2021): 145. http://dx.doi.org/10.15575/join.v6i2.702.

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Audio forensics is the application of science and scientific methods in handling digital evidence in the form of audio. In this regard, the audio supports the disclosure of various criminal cases and reveals the necessary information needed in the trial process. So far, research related to audio forensics is more on human voices that are recorded directly, either by using a voice recorder or voice recordings on smartphones, which are available on Google Play services or iOS Store. This study compares the analysis of live voices (human voices) with artificial voices on Google Voice and other artificial voices. This study implements the audio forensic analysis, which involves pitch, formant, and spectrogram as the parameters. Besides, it also analyses the data by using feature extraction using the Mel Frequency Cepstral Coefficient (MFCC) method, the Dynamic Time Warping (DTW) method, and applying the K-Nearest Neighbor (KNN) algorithm. The previously made live voice recording and artificial voice are then cut into words. Then, it tests the chunk from the voice recording. The testing of audio forensic techniques with the Praat application obtained similar words between live and artificial voices and provided 40,74% accuracy of information. While the testing by using the MFCC, DTW, KNN methods with the built systems by using Matlab, obtained similar word information between live voice and artificial voice with an accuracy of 33.33%.

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Korycki, Rafał. "Detection of Montage in Lossy Compressed Digital Audio Recordings." Archives of Acoustics 39, no. 1 (March 1, 2015): 65–72. http://dx.doi.org/10.2478/aoa-2014-0007.

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Abstract This paper addresses the problem of tampering detection and discusses methods used for authenticity analysis of digital audio recordings. Presented approach is based on frame offset measurement in audio files compressed and decoded by using perceptual audio coding algorithms which employ modified discrete cosine transform. The minimum values of total number of active MDCT coefficients occur for frame shifts equal to multiplications of applied window length. Any modification of audio file, including cutting off or pasting a part of audio recording causes a disturbance within this regularity. In this study the algorithm based on checking frame offset previously described in the literature is expanded by using each of four types of analysis windows commonly applied in the majority of MDCT based encoders. To enhance the robustness of the method additional histogram analysis is performed by detecting the presence of small value spectral components. Moreover, computation of maximum values of nonzero spectral coefficients is employed, which creates a gating function for the results obtained based on previous algorithm. This solution radically minimizes a number of false detections of forgeries. The influence of compression algorithms' parameters on detection of forgeries is presented by applying AAC and Ogg Vorbis encoders as examples. The effectiveness of tampering detection algorithms proposed in this paper is tested on a predefined music database and compared graphically using ROC-like curves.

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Grigoras, Catalin. "Digital audio recording analysis: the Electric Network Frequency (ENF) Criterion." International Journal of Speech, Language and the Law 12, no. 1 (June 2005): 63–76. http://dx.doi.org/10.1558/sll.2005.12.1.63.

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Davies, Kenneth P. "The Digital Television Tape Recorder — Audio and Data Recording Aspects." SMPTE Journal 95, no. 1 (January 1986): 4–12. http://dx.doi.org/10.5594/j07866.

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Rosback, Thomas J. "A Digital Audio Time-Base Corrector for Linear Magnetic Recording." SMPTE Journal 94, no. 11 (November 1985): 1180–84. http://dx.doi.org/10.5594/j03347.

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Kohma, Kazuo. "Digital Recording Technologies. Newly Developed Technologies for Audio Equipments. DDC(Digital Compact Cassette)." Journal of the Institute of Television Engineers of Japan 47, no. 6 (1993): 845–49. http://dx.doi.org/10.3169/itej1978.47.845.

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Mondal, Himel, Shaikat Mondal, and Koushik Saha. "Development of a Low-Cost Wireless Phonocardiograph With a Bluetooth Headset under Resource-Limited Conditions." Medical Sciences 6, no. 4 (December 17, 2018): 117. http://dx.doi.org/10.3390/medsci6040117.

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Commercially available digital stethoscopes can be used as a phonocardiograph to record heart sounds. However, procuring a costly digital stethoscope may not be possible under resource-limited conditions. A low-cost, wire connected, and mobile phone-assisted phonocardiograph has been reported previously. The aim of this study was to develop a low-cost and wireless phonocardiograph for resource-limited settings. A Bluetooth headset was dismantled to find its microphone. A stethoscope ear knob was cut to make a small bell and it was attached to the microphone. This modified Bluetooth headset was capable of recording sounds while connected to a mobile device with audio recording application. The modified Bluetooth headset, mobile phone, and audio recording software can serve as a wireless phonocardiograph (WiPCGh). Heart sounds were successfully recorded with the help of the newly developed WiPCGh. The audio files were shared with a personal computer (PC) via Bluetooth. The wave form was analyzed in a PC-based audio editing application. First and second heart sounds with systolic and diastolic murmur were identified. WiPCGh can be utilized in recording heart sounds for academic and telemedicine purposes. However, the capability of WiPCGh in the diagnosis of cardiac diseases is yet to be explored in future studies.

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Renza, Diego, Jaime Andres Arango, and Dora Maria Ballesteros. "A Mobile-Oriented System for Integrity Preserving in Audio Forensics." Applied Sciences 9, no. 15 (July 31, 2019): 3097. http://dx.doi.org/10.3390/app9153097.

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This paper addresses a problem in the field of audio forensics. With the aim of providing a solution that helps Chain of Custody (CoC) processes, we propose an integrity verification system that includes capture (mobile based), hash code calculation and cloud storage. When the audio is recorded, a hash code is generated in situ by the capture module (an application), and it is sent immediately to the cloud. Later, the integrity of the audio recording given as evidence can be verified according to the information stored in the cloud. To validate the properties of the proposed scheme, we conducted several tests to evaluate if two different inputs could generate the same hash code (collision resistance), and to evaluate how much the hash code changes when small changes occur in the input (sensitivity analysis). According to the results, all selected audio signals provide different hash codes, and these values are very sensitive to small changes over the recorded audio. On the other hand, in terms of computational cost, less than 2 s per minute of recording are required to calculate the hash code. With the above results, our system is useful to verify the integrity of audio recordings that may be relied on as digital evidence.

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Korycki, Rafał. "Identification of MP3 encoders and recording equipment based on examination subjected to lossy date compression." Issues of Forensic Science 287 (2015): 84–94. http://dx.doi.org/10.34836/pk.2015.287.3.

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The paper outlines the problem of identification of MP3 encoders and recording devices based on the analysis of audio recordings subjected to lossy date compression. The proposed method can be used as a support for other solutions used to detect double compression and discontinuities. The approach is based on the statistical analysis of the variables obtained directly from the MP3 data stream and constitute an inherent element of compression performance. Designated vectors consisting of 46 features were used as training sequences of linear discriminant analysis (LDA), one of the most popular supervised machine learning algorithms. The effectiveness of this algorithms for the identification of MP3 encoders and recording equipment was tested on a music database consisting of nearly one million MP3 files, specially prepared for this purpose. The results of the research were discussed in the context of the influence of compression parameters on the ability to detect falsification in digital audio recordings.

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Andriyanto, R. M. Aditya. "PROSES PRODUKSI AUDIO PADA KONSER VIRTUAL "COLORCHESTRA" BATAVIA CHAMBER ORCHESTRA MENGGUNAKAN SOFTWARE DIGITAL AUDIO WORKSTATION LOGIC PRO." Imaji 19, no. 2 (December 26, 2021): 143–61. http://dx.doi.org/10.21831/imaji.v19i2.44854.

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Pandemi Covid-19 menyebabkan munculnya konsep pertunjukan konser musik secara virtual sebagai alternatif penyajian karya seni musik. Penelitian ini bertujuan untuk mengetahui proses produksi audio hasil rekam karya pada Konser Virtual "Colorchestra" Batavia Chamber Orchestra menggunakan software Digital Audio Workstation Logic Pro. Selain itu, penelitian ini diharapkan dapat menambah wawasan pendidik dan peserta didik (mahasiswa) mengenai penciptaan karya mengunakan software DAW sebagai kecakapan digital literasi pendidikan musik abad-21. Metode penelitian ini menggunakan metode kualitatif deskriptif dengan pendekatan eksploratif studi dokumentasi. Pada konser virtual "Colorchestra", audio dan video sudah diproduksi sebelum penayangannya. Tahapan produksi audio yang dilakukan diantaranya proses rekam audio, editing audio, mixing dan mastering yang dilakukan pada DAW Logic Pro. Proses rekam audio dilakukan pemain secara satu-persatu, kemudian digabungkan dan diedit pada DAW. Pada proses mixing dan mastering, audio digarap sesuai dengan interpretasi conductor terhadap karya melalui pengolahan estetis frekuensi, dinamika dan panorama menggunakan DAW dari masing-masing track instrumen. Hasil akhir audio selanjutnya digabungkan dengan produksi video untuk kemudian ditayangkan menjadi konser virtual "Colorchestra" Batavia Chamber Orchestra.Kata Kunci: Penciptaan Karya Musik, Konser Virtual, Digital Audio Workstation. AbstractThe Covid-19 Pandemic leads to virtual music concerts as an alternative for music performance. This study aims to understand the audio production process in Virtual Concert "Colourchestra" Batavia Chamber Orchestra using software Digital Audio Workstation (DAW) Logic Pro. This study will give more knowledge about producing music using DAW software as digital skills literacy in 21st-century music education. This study uses a qualitative descriptive method with an explorative approach and documentation study. For the virtual concert "Colourchestra", audio and video were pre-recorded before the premiere broadcast. The audio production process consists of recording, editing, mixing, and mastering using DAW Logic Pro. The audio recording session was done one by one before it was combined and edited. The mixing and Mastering process was done by the BCO conductor based on his interpretation of the song through the settings of frequency esthetic, dynamics, and panorama using DAW from each instrument track. The final audio was then combined with the video that was taken and edited separately. Then it is played in the premiere broadcast of Virtual "Colourchestra" Batavia Chamber Orchestra. Keywords: Music Production, Virtual Concert, Digital Audio Workstation.

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Guerlain, Stephanie, Thomas Shin, Hui Guo, Reid Adams, and J. Forrest Calland. "The Rate Tool: Multimedia Observation and Analysis of Teams." Proceedings of the Human Factors and Ergonomics Society Annual Meeting 46, no. 7 (September 2002): 755. http://dx.doi.org/10.1177/154193120204600701.

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We have developed a digital audiovisual recording and analysis system for studying team behavior. The system uses four computes to collect up to four video and eight audio signals. A separate software package is used to synchronize, view, analyze and score the audio/video streams.

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Weidenaar, Reynold. "Composing with the Soundscape of Jones Street." Organised Sound 7, no. 1 (April 2002): 65–72. http://dx.doi.org/10.1017/s1355771802001103.

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This article traces the audio production and soundscape composition for a multimedia work for any solo instrument, colour video, and digital sound. There is an account of earlier soundscape recordings of the Brooklyn Bridge. A description of the visual images of Jones Street is followed by a portrayal of the street life and consequent soundscape. There is a report on stereo recording techniques, the sounds that were gathered, and the sounds that were selected as source material. A discussion of philosophical and aesthetic considerations precedes a detailed explanation of the digital processing and composing methods.

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Gibson, Will, Peter Callery, Malcolm Campbell, Andy Hall, and Dave Richards. "The Digital Revolution in Qualitative Research: Working with Digital Audio Data through Atlas. Ti." Sociological Research Online 10, no. 1 (June 2005): 57–68. http://dx.doi.org/10.5153/sro.1044.

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Modern versions of Computer Assisted Qualitative Data Analysis Software (CAQDAS) are enabling the analysis of audio sound files instead of relying solely on text-based analysis. Along with other developments in computer technologies such as the proliferation of digital recording devices and the potential for using streamed media in online academic publication, this innovation is increasing the possibilities of systematically using media-rich, naturalistic data in place of transcribed ‘de-naturalised’ forms. This paper reports on a project assessing online learning materials that used Atlas.ti software to analyse sound files, and it describes the problems faced in gathering, analysing and using this data for report writing. It concludes that there are still serious barriers to the full and effective integration of audio data into qualitative research: the absence of ‘industry standard’ recording technology, the underdevelopment of audio interfaces in Atlas.ti (as a key CAQDAS package), and the conventional approach to data use in many online publication formats all place serious restrictions on the integrated use of this data. Nonetheless, it is argued here that there are clear benefits in pushing for resolutions to these problems as the use of this naturalistic data through digital formats may help qualitative researchers to overcome some long-standing methodological issues: in particular, the ability to overcome the reliance on data transcription rather than ‘natural’ data, and the possibility of implementing research reports that facilitate a more transparent use of ‘reusable’ data, are both real possibilities when using these digital technologies, which could substantially change the shape of qualitative research practice.

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Gangwar, D. P., and Anju Pathania. "AUTHENTICATION OF DIGITAL AUDIO RECORDING USING FILE’S SIGNATURE AND METADATA PROPERTIES." International Journal of Engineering Applied Sciences and Technology 5, no. 3 (July 31, 2020): 162–65. http://dx.doi.org/10.33564/ijeast.2020.v05i03.025.

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Ladygin, P. S., and V. V. Turganbayeva. "IDENTIFICATION OF RECORDINGS OF SOUND SIGNALS USING NEURAL NETWORKS." Heralds of KSUCTA, №4, 2021, no. 4-2021 (December 27, 2021): 570–75. http://dx.doi.org/10.35803/1694-5298.2021.4.570-575.

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This paper considers the actual problem of calculating the percentage of similarity of recorded audio signals for the analysis and classification of audio data. The description of the algorithm for obtaining a special digital fingerprint of an audio recording (audio file) is given. The technique of forming a vector of features and a comparison procedure have been tested, which allows comparing the recordings of sound signals from similar sources and establishing their identity with an accuracy of 61% –65%, as well as correctly identifying obviously different sound signals. A comparative analysis of the calculated bit sequences obtained using the CREPE pitch tracker, which is a trained neural network, has been performed. In the case of audio signals, for the extraction of features from the recorded signals, it is taken into account that the signals reflect not only the features of the control object, but also distortions, random processes of various nature and other interfering factors.

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Salgado, Douglas, Kimberly R. Barber, and Michael Danic. "Objective Assessment of Checklist Fidelity Using Digital Audio Recording and a Standardized Scoring System Audit." Journal of Patient Safety 15, no. 3 (September 2019): 260–66. http://dx.doi.org/10.1097/pts.0000000000000306.

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Doyle, D. John. "Acoustical Respiratory Monitoring in the Time Domain." Open Anesthesia Journal 13, no. 1 (December 17, 2019): 144–51. http://dx.doi.org/10.2174/2589645801913010144.

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This paper introduces the reader to some of the various methods that are available for the time-domain bio-acoustical monitoring of patient breathing. Technical details concerning microphone selection, calibration and characterization, signal amplification, signal filtering and waveform recording are presented. We also describe proof of concept recordings obtained from the neck, from the external ear canal, from a microphone embedded into an oxygen mask and from a leak-free microphone pneumatically connected to the cuff of a laryngeal mask airway. We recommend Audacity, an open-source digital audio editor and recording package that can be freely downloaded at https://www.audacityteam.org for investigators seeking to conduct research on breath sound analysis.

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Almendingen, Kari, Torhild Skotheim, and Ellen Merethe Magnus. "“A Lot Takes Place Digitally Now, so It Can Be Good to Train on It’’: A Large-Scale Repeated Cross-Sectional Study on Recording Live-Streamed Educational Activities among Health, Social, and Education Students." Education Sciences 12, no. 11 (October 26, 2022): 747. http://dx.doi.org/10.3390/educsci12110747.

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Audio recording is used in language and music education as an active learning resource to help students reflect on their performance and improve their accuracy. Recordings may be used to provide feedback on both verbal and nonverbal skills and to prepare professional candidates for talking to vulnerable users or other professionals. Despite its potential, recording among health, social, and education candidates to help them improve their digital relations skills is usually not part of pre-service training. Therefore, the objective was to assess the extent to which professional students were affected by recordings in live-stream settings and to explore their perspectives through qualitative elaboration. The design was a repeated cross-sectional mixed-methods study conducted in 2020–2021 (n = 1040 and n = 2238, response rate: 46% and 45%, respectively). Although participation was reduced, active online participation was low, regardless of recording practice. Educational background and age were determinants of active participation, regardless of the recording practice. Active students were the least affected by recording. Students wanted more recordings. Their perspectives revolved around different practices, privacy issues, and the recording used for traditional knowledge transfer instead of active learning. Although the General Data Protection Regulation must be met, we suggest that recording is an underused learning resource.

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Obidin, K. V. "THE RATIO OF THE GROUNDS FOR INITIATING A CRIMINAL CASE AND THE GROUNDS FOR CHARGES IN CONDITIONS OF DIGITIZATION OF CRIMINAL PROCEEDINGS." Actual Problems of Russian Law, no. 6 (July 18, 2019): 147–55. http://dx.doi.org/10.17803/1994-1471.2019.103.6.147-155.

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The proliferation and active use of technical means of audio and video recording in the process of identifying and proving certain types of crimes leads to the need to rethink the correlation of certain theoretical concepts. The paper analyzes similar elements and differences in the grounds for initiating a criminal case and the grounds for accusation. Attention is drawn to the convergence of the content of these concepts in the conditions of the spread of digital technologies in criminal proceedings. It is suggested that the use of audio and video recordings in a cognitive procedure has a significant effect on the inner conviction of the investigator and the inquiry officer when making procedural decisions. The possibility of initiating a criminal case is analyzed solely on the basis of audio and video. The author states his point of view on the inadmissibility of simplifying the procedure for establishment of evidence in cases of audio and video recordings, along with confessions, since in this case there is a violation of the basic foundations of cognitive activity in criminal proceedings.

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N, Rahmawati. "ANALISIS STATISTIK PITCH PADA AUDIO FORENSIK UNTUK BUKTI DIGITAL." Cyber Security dan Forensik Digital 5, no. 2 (January 19, 2023): 66–70. http://dx.doi.org/10.14421/csecurity.2022.5.2.2345.

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Teknologi informasi dan komputer terus berkembang dan telah dimanfaatkan secara luas maupun mendalam. Komputer/digital forensik merupkan aplikasi dari teknologi komputer untuk pembuktian hukum terkait dengan kejahatan berteknologi tinggi hingga bisa mendapatkan bukti bukti digital untuk menjerat para pelaku kejahatan. Wilayah forensik digital cukup luas karena jenis dari konten digital itu sendiri ada banyak, seperti website, email, gambar, audio, video, dan lain-lain. Pada kasus pidana maupun perdata diperlukan barang bukti, salah satunya adalah barang bukti digital/ elektronik. Barang bukti berupa audio recorder yang menghasilkan rekaman suara pembicaraan seseorang dengan orang lain merupakan salah satu barang bukti elektronik. Bukti rekaman suara melalui pemeriksaan audio forensik dapat diketahui identitasnya dengan metode komparasi. Metode ini membandingkan suara didalam rekaman barang bukti dengan suara yang direkam sebagai pembanding. Jika hasilnya identik maka dapat disimpulkan bahwa rekaman barang bukti berasal dari pemilik suara pembanding. Analisa pitch didasarkan pada kalkulasi statistik nilai pitch dari masing-masing suara unknown (Suara Asli) dan known (Suara Asli dengan Voice Changer). Berdasarkan eksperimen yang telah dilakukan pada contoh 20 kata yang diucapkan ditemukan perbedaan nilai analisis statistik pitch dari rekaman suara asli dengan suara yang diberikan voice changer. Kata kunci: analisis pitch, audio forensik, bukti digital. ----- Information technology and computers continue to evolve and have been widely and deeply utilized. Computer / digital forensics are applications from computer technology for legal evidence related to high-tech crimes to being able to obtain digital evidence to ensnare criminals. The area of digital forensics is quite extensive because there are many types of digital content, such as websites, e-mails, images, audio, video, and others. In both criminal and civil cases evidence is required, one of which is digital / electronic evidence. Evidence in the form of an audio recorder which produces a voice recording of a person's conversation with another is one of the electronic evidence. The identity of recorded sound through audio forensic examination can be identified by means of a comparison method. This method compares the sound in the recorded evidence with the sound recorded for comparison. If the results are identical, it can be concluded that the recorded evidence comes from the owner of the comparator vote. Pitch analysis is based on statistical calculation of the pitch value of each of the unknown (Original Voices) and known (Original Voices with Voice Changer) voices. Based on experiments that have been carried out on examples of 20 spoken words, it is found that there is a difference in the value of the pitch statistical analysis of the original voice recording with the voice given by the voice changer. Keywords: pitch analysis, audio forensics, digital evidence.

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Andiko, Benny, and Berlian Denada. "ANALISIS TIMBRE RAPA’I BUATAN FAJAR SIDDIQ DI DESA KAYEE LHEU, KECAMATAN INGIN JAYA, KABUPATEN ACEH BESAR (KAJIAN MUSIK MULTIMEDIA)." Gorga : Jurnal Seni Rupa 10, no. 2 (December 30, 2021): 495. http://dx.doi.org/10.24114/gr.v10i2.28382.

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This research is entitled "Analysis of Timbre Rapa'i Made by Fajar Siddiq in Kayee Lheu Village, Ingin Jaya, Aceh Besar District. This study aims to determine the form of the Rapa'i timbre made by Fajar Siddiq, what are the steps for recording timbre and analyzing timbre using the Spectrum Analyzer on the PreSonus Studio One 5 software. Focusing on multimedia music studies, adopting the topic of recording stages with categories, namely; according to their nature and according to the sound system. The initial process of recording music is tracking. Timbre depends primarily on the acoustics of the stimulus, but also depends on the waveform. Timbre refers to the dimension of sound that allows the listener to identify the source of the sound and the content of the sound. Using a recording stage approach from Ambrosius Yuniart Lefaan and timbre analysis from Pratt and Doak. The research method used in this study is qualitative research as a research procedure that produces descriptive data in the form of written information and analysis results using a Spectrum Analyzer. Using the stages of data collection, namely: observation; literature review; interviews and documentation. The results and discussion of this research are; Rapa'i timbre which consists of four sound colors (dum, preng, breuk dan crik) recorded using digital recording equipment as follows; Audio Technica AT 2035 condenser microphone using ambient miking technique, Zoom R24 audio interface; multitrack recording technique with tracks separated from the four Rapa'i timbres; delivery media is a classification of membranophone namely Rapa'i; DAW (Digital Audio Workstation) storage media, namely PreSonus Studio One 5 software. The recording process with tracking stages uses four channels with mono audio recording type, 44.1 kHz sample rate with 24 bit resolution. The fundamental frequency is timbre dum 172Hz with SPL -17.8dB, preng 192Hz with SPL -16.8dB, breuk 172Hz with SPL -28.2dB and crik 192Hz with SPL -22.3 dB. Keywords: analysis, timbre, rapa’I, fajar, siddiq.AbstrakPenelitian ini berjudul “Analisis Timbre Rapa’i Buatan Fajar Siddiq di Desa Kayee Lheu, Ingin Jaya, Kabupaten Aceh Besar (Kajian Musik Multimedia). Penelitian ini bertujuan untuk mengetahui bentuk timbre Rapa’i buatan Fajar Siddiq, bagaimana tahapan perekaman timbre dan analisis timbre menggunakan Spectrum Analyzer pada software PreSonus Studio One 5. Memfokuskan pada kajian musik multimedia, mengadopsi topik bahasan tahapan perekaman dengan kategori yaitu: menurut sifatnya dan menurut peralatan tata suara. Proses awal rekaman musik yaitu tracking. Timbre tergantung terutama pada akustik stimulus, tetapi juga tergantung pada bentuk gelombang. Timbre mengacu pada dimensi bunyi yang memungkinkan pendengar mengindentifikasi sumber bunyi dan kandungan bunyi. Menggunakan pendekatan tahapan perekaman dari Ambrosius Yuniart Lefaan dan analisis timbre dari Pratt dan Doak. Metode penelitian yang digunakan dalam penelitian ini adalah penelitian kualitatif sebagai prosedur penelitian yang menghasilkan data deskriptif berupa informasi tertulis dan hasil analisis menggunakan Spectrum Analyzer. Menggunakan tahapan pengumpulan data yaitu: observasi; studi pustaka; wawancara dan dokumentasi. Hasil dan pembahasan dari penelitian ini yaitu; timbre Rapa’i yang terdiri dari empat warna bunyi (dum, preng, breuk dan crik) direkam menggunakan peralatan rekaman digital sebagai berikut; microphone condenser Audio Technica AT 2035 menggunakan teknik ambient miking, audio interface Zoom R24; teknik rekaman multitrack dengan track yang terpisah dari empat timbre Rapa’i; media penyampaian merupakan klasifikasi dari membranophone yaitu Rapa’i; media penyimpan DAW (Digital Audio Workstation) yaitu software PreSonus Studio One 5. Proses rekaman dengan tahapan tracking menggunakan empat channel dengan tipe rekam mono audio, sample rate 44.1 kHz dengan resolusi 24 bit. Frekuensi fundamental timbre dum 172Hz dengan SPL -17,8dB, preng 192Hz dengan SPL -16,8dB, breuk 172Hz dengan SPL -28,2dB dan crik 192Hz dengan SPL -22,3 dB. Kata Kunci: analisis, timbre, rapa’I, fajar siddiq. Authors:Benny Andiko : Institut Seni Budaya Indonesia AcehBerlian Denada : Institut Seni Budaya Indonesia Aceh References:Andiko, Benny. (2021). “Timbre Rapa’I”. Hasil Dokumentasi Pribadi: 12 September 2021, Desa Kayee Lheu.Bartlett, Bruce dan Jenny Bartlett. (2009). Practical Recording Techniques. Burlington: Elsevier.Ediwar. (2016). Rekonstruksi dan Revitalisasi Kesenian Rapa’I Aceh Pasca Tsunami. Resital, 17(1), 30-45.Huber, David. M. & Rustein, Robert. E. (2017). Modern Recording Techniques. Routledge: Focus Press.Lefaan, Ambrosius Yuniart. (2010). Studio Rekaman Musik di Yogyakarta. S1 Thesis. Yogyakarta: UAJY.Rossing, Thomas. D. (2002). The Science of Sound. Routledge: Focal Press. Rumsey, Francais. & McCormick, Tim. (2009). Sound and Recording: Applications and Theory (Audio Engineering Society Presents). Routledge: Focal Press.Sadiman, Arif. S. (2000). Peran Teknologi dalam Meningkatkan Mutu Pendidikan Dasar. Jakarta: Teknodik.Siddiq, Fajar. (2021). “Timbre Rapa’I”. Hasil Wawancara Pribadi: 12 September 2021, Desa Kayee Lheu.Technica, Audio. (2021). Cardioid Condenser Microphone AT2035. https://www.audio-technica.com/en-us/at2035 (diakses tanggal 7 Juli 2021).Walzer, Michael. (1997). On Toleration: Castle Lectures in Ethics, Politics, and Economics. Yale: University Press.Wijayanto. (2017). Analysis of Sound Pressure Level (SPL) and Lay Out of Engines in The Factory. Media Mesin, 8(1), 38-44.Zoomtech. (2021). Audio Interface Zoom R24. https://zoomcorp.com/en/us/digital-mixer-multi-track-recorders/multi-track-recorders/r24/ (diakses tanggal 7 Juli 2021).

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Chattopadhyay, Budhaditya. "Sonic Menageries: Composing the sound of place." Organised Sound 17, no. 3 (January 11, 2012): 223–29. http://dx.doi.org/10.1017/s1355771811000422.

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This article investigates the essential association between location and sound, mediated and represented by the process of recording and the subsequent creation of an artwork. The basic argument this article would like to develop is that location-specific sound recording, as practised by artists and phonographers, is basically an exercise in disembodiment of sound from environment, whether it is observational or immersive in approach; if the purpose of this mediation by recording is artistically reconstructive, the location-specificity of the recorded sound is displaced by the further mediation of the creative process. By developing the argument from an experimental angle, in relation to an audio art projectLandscape in Metamorphoses, this article will try to examine how the discourse of acoustic ecology becomes reconfigured in the shift from environmental sound content recorded at location to production of soundscape composition as audio artwork. Today, the application of digital media to artistic practice has become integral – in the case of audio art via creation of auditory art works (for both spatial diffusion and live interaction); this can bring about a reconfiguration of environmental aesthetics. The article will find relevance in redesigning the ecological discourse in the digital realm of ‘soundscaping’ through the practice of mediation, as composing of the sound of location, or ‘place’.

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Patel, Kushmendra, and Karamtot Krishna Naik. "Advanced Digital Audio Recording Technique With MPEG1 Layer III For Airborne Application." i-manager's Journal on Communication Engineering and Systems 3, no. 4 (October 15, 2014): 27–33. http://dx.doi.org/10.26634/jcs.3.4.3227.

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Odaka, Kentaro. "Method for recording a digital audio signal on a motion picture film." Journal of the Acoustical Society of America 104, no. 1 (July 1998): 25. http://dx.doi.org/10.1121/1.424012.

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Croxton, T. L., S. J. Stump, and W. M. Armstrong. "A microcomputer interface for a digital audio processor-based data recording system." Biophysical Journal 52, no. 4 (October 1987): 653–56. http://dx.doi.org/10.1016/s0006-3495(87)83257-5.

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Shriberg, Lawrence D., Jane L. Mcsweeny, Bruce E. Anderson, Thomas F. Campbell, Michael R. Chial, Jordan R. Green, Katherina K. Hauner, Christopher A. Moore, Heather L. Rusiewicz, and David L. Wilson. "Transitioning from analog to digital audio recording in childhood speech sound disorders." Clinical Linguistics & Phonetics 19, no. 4 (June 2005): 335–59. http://dx.doi.org/10.1080/02699200500085426.

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Journal articles on the topic 'Recording digital audio'

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