1 00:00:00,520 --> 00:00:03,199 Speaker 1: Brought to you by the two thousand twelve Toyota Camry. 2 00:00:03,480 --> 00:00:06,760 Speaker 1: Hey there, tech stuff listeners, this is Jonathan Strickland, and 3 00:00:07,000 --> 00:00:09,080 Speaker 1: I wanted to talk to you a little bit about 4 00:00:09,119 --> 00:00:11,600 Speaker 1: something cool going on at how stuff works right now. 5 00:00:11,840 --> 00:00:14,200 Speaker 1: I know all of you guys are really creative and 6 00:00:14,240 --> 00:00:16,720 Speaker 1: you love technology. Well, now you can show us what 7 00:00:16,800 --> 00:00:19,680 Speaker 1: you're made of because Toyota is sponsoring a new photo 8 00:00:19,760 --> 00:00:22,439 Speaker 1: upload widget over at how stuff works dot com. You 9 00:00:22,480 --> 00:00:27,440 Speaker 1: can share your gadget ideas, modifications, hacks, some great tech ideas. 10 00:00:27,680 --> 00:00:29,800 Speaker 1: Show us what you're made of. Let us know how 11 00:00:29,840 --> 00:00:33,400 Speaker 1: creative you are. You can go to www dot how 12 00:00:33,479 --> 00:00:37,640 Speaker 1: stuff works dot com, slash upgrade your tech and upload 13 00:00:37,640 --> 00:00:39,600 Speaker 1: those photos. Now we want to see what you got. 14 00:00:42,040 --> 00:00:45,120 Speaker 1: Get in touch with technology with tech stuff from house 15 00:00:45,120 --> 00:00:53,280 Speaker 1: stuff works dot com. Hello again, everyone, and welcome to 16 00:00:53,360 --> 00:00:55,320 Speaker 1: tech stuff. My name is Chris Poulette and I am 17 00:00:55,320 --> 00:00:57,920 Speaker 1: an editor at how stuff works dot com. Standing across 18 00:00:57,920 --> 00:01:01,040 Speaker 1: from me. Actually it's sort of cat corner as usual. 19 00:01:01,080 --> 00:01:08,080 Speaker 1: As senior writer Jonathan the pre show puns they burn guys. 20 00:01:08,160 --> 00:01:10,320 Speaker 1: You you should be thankful that you missed out on 21 00:01:10,360 --> 00:01:15,679 Speaker 1: that one. What a gem that was it. I'm reeling 22 00:01:15,880 --> 00:01:18,840 Speaker 1: is what I am. You know, I love puns, but 23 00:01:18,920 --> 00:01:21,399 Speaker 1: Chris takes his love of puns to a level that 24 00:01:21,520 --> 00:01:25,160 Speaker 1: I thought was unattainable by humans, and yet somehow he 25 00:01:25,200 --> 00:01:27,640 Speaker 1: has managed it. You all take that as a compliment. 26 00:01:27,680 --> 00:01:31,280 Speaker 1: That's neither here nor there for this particular podcast, other 27 00:01:31,280 --> 00:01:35,280 Speaker 1: than the fact that you guys know we love puns. Waca, waca. 28 00:01:35,600 --> 00:01:38,880 Speaker 1: And we're gonna talk today about sound files and why 29 00:01:39,040 --> 00:01:41,759 Speaker 1: there are so many different why are there so many 30 00:01:41,920 --> 00:01:45,960 Speaker 1: sound files, never mind sound file formats, and also, um, 31 00:01:46,000 --> 00:01:50,240 Speaker 1: just kind of get into the particulars of various popular 32 00:01:50,400 --> 00:01:53,240 Speaker 1: sound files. Maybe we'll talk about some of the more 33 00:01:53,360 --> 00:01:56,480 Speaker 1: rare ones that you can encounter too. Um and and 34 00:01:56,520 --> 00:01:59,200 Speaker 1: if this any of this sounds familiar, then you're probably 35 00:01:59,240 --> 00:02:01,760 Speaker 1: a long time listener of tech stuff. We did an 36 00:02:01,760 --> 00:02:07,520 Speaker 1: episode many many, many moons ago on the MP three format. 37 00:02:08,520 --> 00:02:11,560 Speaker 1: I was just a kid then, yeah, boy, when we 38 00:02:11,600 --> 00:02:15,320 Speaker 1: had stars in our eyes and and and uh and 39 00:02:15,480 --> 00:02:18,520 Speaker 1: lunch and our belly. Uh. That's back when we used 40 00:02:18,520 --> 00:02:22,040 Speaker 1: to record in the afternoon. Anyway, so we do this 41 00:02:22,120 --> 00:02:25,280 Speaker 1: in the mornings now. We want to talk about different 42 00:02:25,600 --> 00:02:28,960 Speaker 1: types of sound files. And before we get into specifics, uh, 43 00:02:29,440 --> 00:02:32,760 Speaker 1: talk a little bit about categorizing sound files. There's really 44 00:02:33,040 --> 00:02:34,640 Speaker 1: a couple of different ways you can look at it. 45 00:02:35,320 --> 00:02:41,680 Speaker 1: One is digitized sound files versus synthesized sound files. Now, 46 00:02:41,720 --> 00:02:45,840 Speaker 1: digitizes where you're taking you're you're creating sound files out 47 00:02:45,840 --> 00:02:49,080 Speaker 1: of bits, out of zeros and ones that are little 48 00:02:49,360 --> 00:02:54,200 Speaker 1: tiny pieces of information that essentially tell a speaker how 49 00:02:54,760 --> 00:02:58,720 Speaker 1: to move in and out to create whatever the sound is. 50 00:02:59,440 --> 00:03:01,600 Speaker 1: And there are a lot of different factors that go 51 00:03:01,720 --> 00:03:06,760 Speaker 1: into determining how well the speaker can recreate any particular sound. 52 00:03:07,840 --> 00:03:10,919 Speaker 1: Basically involves how much information you're able to put within 53 00:03:11,040 --> 00:03:16,120 Speaker 1: that particular kind of file uh and uh. For one 54 00:03:16,160 --> 00:03:20,240 Speaker 1: of the more most popular sound files of this type 55 00:03:20,280 --> 00:03:24,079 Speaker 1: is the wave type of sound file. And so as 56 00:03:24,080 --> 00:03:28,720 Speaker 1: a digital sound file or digitized version of a sound file, 57 00:03:29,200 --> 00:03:31,680 Speaker 1: um and so, there are a lot of different things 58 00:03:31,680 --> 00:03:35,760 Speaker 1: that make up the quality of that sound. Synthesized is 59 00:03:35,800 --> 00:03:38,600 Speaker 1: a little bit different. Synthesized is a type of sound 60 00:03:38,640 --> 00:03:42,680 Speaker 1: file where the file contains information in it that says 61 00:03:42,760 --> 00:03:46,320 Speaker 1: something along the lines of play this note as if 62 00:03:46,320 --> 00:03:50,000 Speaker 1: it were played by this instrument. So play a c 63 00:03:50,920 --> 00:03:55,920 Speaker 1: as if it were on a tenor saxophone, right, and 64 00:03:55,960 --> 00:03:59,640 Speaker 1: then the software itself, and the hardware is able to 65 00:03:59,720 --> 00:04:04,840 Speaker 1: take that instruction set and uh send out the appropriate information. 66 00:04:04,920 --> 00:04:07,880 Speaker 1: So it's a little bit different. It's not looking at 67 00:04:08,320 --> 00:04:11,600 Speaker 1: zeros and ones and saying, all right, move the speaker 68 00:04:11,640 --> 00:04:16,360 Speaker 1: out this much this quickly in order to um create 69 00:04:16,400 --> 00:04:19,039 Speaker 1: this sound. It's more like, all right, here here's what 70 00:04:19,160 --> 00:04:21,000 Speaker 1: here's the sound we have to make. Now let's do 71 00:04:21,080 --> 00:04:23,360 Speaker 1: what needs to be done to make it. So it's 72 00:04:23,440 --> 00:04:27,000 Speaker 1: it's kind of two different perspectives. And a very very 73 00:04:27,040 --> 00:04:31,880 Speaker 1: popular version of the synthesized type of sound file would 74 00:04:31,880 --> 00:04:36,200 Speaker 1: be the mini yes files and mini files are uh 75 00:04:36,240 --> 00:04:38,800 Speaker 1: not just for PCs that those were really I mean 76 00:04:38,960 --> 00:04:43,000 Speaker 1: the mini files really made so that synthesizers could communicate 77 00:04:43,040 --> 00:04:47,000 Speaker 1: with each other. Um so no, no, I was just 78 00:04:47,000 --> 00:04:49,120 Speaker 1: going to say, so, if you're thinking of a digitized, 79 00:04:49,320 --> 00:04:54,200 Speaker 1: digitized uh sound file, you might play an actual guitar 80 00:04:54,480 --> 00:04:58,040 Speaker 1: and record it into a digital file and play it back, 81 00:04:58,240 --> 00:05:03,680 Speaker 1: versus uh plugging um a USB keyboard into your computer, uh, 82 00:05:03,800 --> 00:05:06,080 Speaker 1: you know, and using software and saying, oh, I want 83 00:05:06,120 --> 00:05:09,240 Speaker 1: this to sound like a grand piano and hitting a 84 00:05:09,320 --> 00:05:13,039 Speaker 1: c and it you know, makes the approximation of that sound, 85 00:05:13,120 --> 00:05:16,880 Speaker 1: rather than taking an actual instrument and digitizing it right, 86 00:05:16,960 --> 00:05:19,480 Speaker 1: and in general, a digitized file is going to be 87 00:05:19,800 --> 00:05:23,719 Speaker 1: larger than the synthesized files. Synthesized files, like I said, 88 00:05:23,720 --> 00:05:26,760 Speaker 1: are just giving general instructions to recreate a sound. Digitized 89 00:05:26,760 --> 00:05:30,160 Speaker 1: has to hold all that information in it. Now, um, 90 00:05:30,400 --> 00:05:33,760 Speaker 1: you could have a pretty small digitized version of a 91 00:05:33,760 --> 00:05:36,279 Speaker 1: sound file, but the means that you don't have as 92 00:05:36,360 --> 00:05:38,800 Speaker 1: much information there, which means the sound you're going to 93 00:05:38,880 --> 00:05:43,080 Speaker 1: get is not necessarily going to be that um nice. 94 00:05:43,240 --> 00:05:47,840 Speaker 1: The fidelity will not be high low fi actually um 95 00:05:48,040 --> 00:05:51,680 Speaker 1: although it is not the same. It reminds me of 96 00:05:51,760 --> 00:05:58,400 Speaker 1: the differences between h vector and raster graphics files. You know, 97 00:05:58,440 --> 00:06:00,720 Speaker 1: with the with a photo being made up of individual 98 00:06:00,760 --> 00:06:04,760 Speaker 1: pixels and um, you know vector file line drawings being 99 00:06:05,680 --> 00:06:09,360 Speaker 1: uh more manipulative. You know, you can do more with it, 100 00:06:09,480 --> 00:06:11,840 Speaker 1: and it has less information in it because it can 101 00:06:11,880 --> 00:06:14,520 Speaker 1: be manipulated like that. Yeah, it reminds me a lot 102 00:06:14,560 --> 00:06:18,640 Speaker 1: of just the just the very basic analog versus digital, right, 103 00:06:18,680 --> 00:06:22,800 Speaker 1: because with analog you've got this continuous signal that can 104 00:06:22,920 --> 00:06:27,320 Speaker 1: change and pitch and in volume. But it's it's you know, 105 00:06:27,360 --> 00:06:30,559 Speaker 1: if you look at a an analog like a sound 106 00:06:30,600 --> 00:06:34,560 Speaker 1: wave from an analog source, it's this curvy wave that 107 00:06:34,880 --> 00:06:39,000 Speaker 1: you know that that's unbroken, right, whereas a digital one 108 00:06:39,360 --> 00:06:42,560 Speaker 1: is either on or off, and you know, it's a 109 00:06:42,560 --> 00:06:45,240 Speaker 1: little more complicated than that, but it looks like I 110 00:06:45,279 --> 00:06:49,240 Speaker 1: feel like it, it looks different from an analog sound wave. 111 00:06:49,360 --> 00:06:55,640 Speaker 1: So um, those two different approaches define the characteristics of 112 00:06:55,640 --> 00:06:58,800 Speaker 1: that sound file. Now, the other big way of dividing 113 00:06:58,880 --> 00:07:00,839 Speaker 1: up the sound files, and the one that I think 114 00:07:01,160 --> 00:07:03,960 Speaker 1: is UH is one of those that most people have 115 00:07:04,040 --> 00:07:09,120 Speaker 1: heard about, UM, and it's mainly applies to the digitized 116 00:07:09,160 --> 00:07:12,080 Speaker 1: form I means synthesize as well, but digitized is really 117 00:07:12,080 --> 00:07:19,240 Speaker 1: where a lot of the sound file discussion revolves around uncompressed, lossless, 118 00:07:19,320 --> 00:07:23,800 Speaker 1: and lossy file formats. So let's talk a bit about 119 00:07:23,920 --> 00:07:27,800 Speaker 1: what those means. So uncompressed it is probably the easiest, sure, 120 00:07:28,000 --> 00:07:31,320 Speaker 1: because it just means it's a sound file that doesn't 121 00:07:31,840 --> 00:07:34,560 Speaker 1: you haven't compressed it at all, You haven't lost any information. 122 00:07:34,960 --> 00:07:38,320 Speaker 1: Whatever information was in that sound file UH at the 123 00:07:38,400 --> 00:07:41,440 Speaker 1: very beginning, or or the sound being recorded into some 124 00:07:41,520 --> 00:07:45,840 Speaker 1: sort of device, is is replicated as close as possible, 125 00:07:45,880 --> 00:07:50,720 Speaker 1: depending upon the the abilities of that file format. Yeah, 126 00:07:50,760 --> 00:07:54,440 Speaker 1: if you if you take a musical instrument. Um, you know, 127 00:07:54,640 --> 00:07:58,480 Speaker 1: like a like an actual musical instrument. And uh, let's 128 00:07:58,520 --> 00:08:01,840 Speaker 1: say a guitar string. You luck the string and it's 129 00:08:01,840 --> 00:08:06,800 Speaker 1: going to play reverberated a certain frequency. UM. But there 130 00:08:06,920 --> 00:08:08,640 Speaker 1: there is more to it than that, I mean, is 131 00:08:08,680 --> 00:08:12,760 Speaker 1: it uh slows it starts to to change somewhat. Um. 132 00:08:12,880 --> 00:08:15,600 Speaker 1: Some guitars hold pitch better than others, and you can 133 00:08:15,640 --> 00:08:19,480 Speaker 1: kind of hear it fluctuate somewhat. Um. But as you 134 00:08:19,560 --> 00:08:22,360 Speaker 1: play a song or you know, with a band or 135 00:08:22,400 --> 00:08:27,200 Speaker 1: an orchestra for example, UM, you're going to hear a 136 00:08:27,320 --> 00:08:30,400 Speaker 1: richness of sound if you're right there. Um. And that's 137 00:08:30,440 --> 00:08:35,360 Speaker 1: because there are It covers a wide range of frequencies um. 138 00:08:35,400 --> 00:08:38,840 Speaker 1: In some cases frequencies that we can't actually hear. But 139 00:08:39,160 --> 00:08:42,320 Speaker 1: sometimes those high frequencies we can't hear interact with what 140 00:08:42,640 --> 00:08:46,120 Speaker 1: one another and create harmonics that we can here. And 141 00:08:46,200 --> 00:08:51,959 Speaker 1: sometimes it's it's something that you can feel, um, and 142 00:08:52,000 --> 00:08:55,079 Speaker 1: that that adds to the depth of the music. Like well, 143 00:08:55,120 --> 00:08:57,280 Speaker 1: I mean we've we've sort of talked about bone conduction 144 00:08:57,360 --> 00:09:02,960 Speaker 1: before too. UM. So what what the compression does essentially 145 00:09:03,080 --> 00:09:06,079 Speaker 1: is determined whether or not you know, it should include 146 00:09:06,280 --> 00:09:09,200 Speaker 1: all the different frequencies and the amount of compression that 147 00:09:09,320 --> 00:09:13,640 Speaker 1: someone would use to create a file basically says well, 148 00:09:13,640 --> 00:09:16,160 Speaker 1: I'm going to cut out this much of the info 149 00:09:16,240 --> 00:09:19,080 Speaker 1: in this file. Um, and you can dial that up 150 00:09:19,160 --> 00:09:22,160 Speaker 1: or down as as you decide to compress that file. Right, 151 00:09:22,200 --> 00:09:26,400 Speaker 1: So a lossless file would be compressed, but would not 152 00:09:27,160 --> 00:09:31,679 Speaker 1: You don't lose any of the actual information there. So um, 153 00:09:31,720 --> 00:09:36,280 Speaker 1: it's the compression level. Your mileage may vary. You might 154 00:09:36,320 --> 00:09:39,880 Speaker 1: it might not be a significantly smaller file than an 155 00:09:39,960 --> 00:09:43,040 Speaker 1: uncompressed file, but it does mean that you have found 156 00:09:43,120 --> 00:09:47,840 Speaker 1: ways to try and uh minimize that file size. For one, 157 00:09:48,360 --> 00:09:52,400 Speaker 1: here's an example. In an uncompressed file, Let's say that 158 00:09:52,440 --> 00:09:56,600 Speaker 1: you have a minute of silence between sounds. All right, 159 00:09:56,640 --> 00:10:00,480 Speaker 1: An uncompressed file is going to encode that minute of 160 00:10:00,520 --> 00:10:03,000 Speaker 1: silence the same way it would as if there were 161 00:10:03,160 --> 00:10:06,840 Speaker 1: sound present, So that file size is going to reflect 162 00:10:06,880 --> 00:10:11,200 Speaker 1: the the total amount of time of the recording, not 163 00:10:11,360 --> 00:10:16,000 Speaker 1: just the time when something is actually happening. A lossless 164 00:10:16,040 --> 00:10:20,840 Speaker 1: one may encode that same file, but use a an 165 00:10:20,880 --> 00:10:26,200 Speaker 1: algorithm that that doesn't encode that minute of silence, so 166 00:10:26,280 --> 00:10:32,480 Speaker 1: that that makes the overall file size smaller. M okay, Um, yeah, 167 00:10:32,520 --> 00:10:35,720 Speaker 1: that that's you think about that that could result in 168 00:10:35,840 --> 00:10:39,120 Speaker 1: a in a huge savings of information because you know, 169 00:10:39,160 --> 00:10:42,480 Speaker 1: if you're you're trying to capture the depth of sound 170 00:10:43,360 --> 00:10:47,040 Speaker 1: that is present with an entire orchestra and there's literally 171 00:10:47,160 --> 00:10:51,880 Speaker 1: nothing there, then you've recorded a lot of nothing and 172 00:10:52,160 --> 00:10:54,600 Speaker 1: that that takes up space. So then then you have 173 00:10:54,679 --> 00:10:59,640 Speaker 1: the lossy formats. And this is what you were kind 174 00:10:59,679 --> 00:11:03,439 Speaker 1: of an into with the whole the frequencies that are 175 00:11:03,440 --> 00:11:06,839 Speaker 1: outside the range of human hearing. Um, I wanted to 176 00:11:06,920 --> 00:11:10,439 Speaker 1: explain what it was there that you would lose. Yeah, ideally, 177 00:11:11,040 --> 00:11:13,920 Speaker 1: with a lossy format, the only things you lose are 178 00:11:13,960 --> 00:11:16,720 Speaker 1: things that we could not perceive. So, in other words, 179 00:11:17,080 --> 00:11:20,560 Speaker 1: any frequency that's below or above the range of human hearing, 180 00:11:20,600 --> 00:11:23,400 Speaker 1: which is about twenty hurts to twenty killer hurts. Anything 181 00:11:23,400 --> 00:11:26,679 Speaker 1: outside of that range of frequencies, UH is outside the 182 00:11:26,760 --> 00:11:31,720 Speaker 1: range of normal human hearing that hurts and UH. And 183 00:11:31,800 --> 00:11:33,960 Speaker 1: so the the idea is that if there are any 184 00:11:34,000 --> 00:11:37,440 Speaker 1: frequencies that are either above or below that range, those 185 00:11:37,480 --> 00:11:41,000 Speaker 1: would get cut out, they would not be encoded in 186 00:11:41,040 --> 00:11:44,440 Speaker 1: the file, and that would decrease the size. There are 187 00:11:44,480 --> 00:11:48,520 Speaker 1: other ways that lossy formats tend to compress files, and 188 00:11:48,640 --> 00:11:51,000 Speaker 1: there are things that you can choose to do when 189 00:11:51,040 --> 00:11:55,240 Speaker 1: you're creating a lossy file format that will affect the 190 00:11:55,360 --> 00:12:00,160 Speaker 1: quality of the recording to some extent. Yeah, and there 191 00:12:00,160 --> 00:12:02,000 Speaker 1: are a lot of different factors, and I'll talk about 192 00:12:02,040 --> 00:12:05,840 Speaker 1: them in just a second, but Lawsy definitely has more 193 00:12:05,920 --> 00:12:09,400 Speaker 1: of a stigma against it because the idea is that, 194 00:12:09,440 --> 00:12:11,280 Speaker 1: you know, there are ties where you will listen to 195 00:12:11,360 --> 00:12:16,040 Speaker 1: music and you think, wow, that that really does sound 196 00:12:16,120 --> 00:12:19,240 Speaker 1: like it's a lot different from that that that live 197 00:12:19,320 --> 00:12:21,600 Speaker 1: performance I saw. Like you you might go to a 198 00:12:21,600 --> 00:12:24,520 Speaker 1: live performance and then get a digital copy of that 199 00:12:24,600 --> 00:12:27,360 Speaker 1: live performance. Some bands do that, you know, where they'll 200 00:12:27,360 --> 00:12:30,640 Speaker 1: record their their shows and then the fans can end 201 00:12:30,720 --> 00:12:33,600 Speaker 1: up buying a digital copy of something that they saw, 202 00:12:34,360 --> 00:12:38,600 Speaker 1: and depending on the encoding, it may not really reflect 203 00:12:38,640 --> 00:12:42,520 Speaker 1: what you experienced. For instance, there might not be a 204 00:12:42,559 --> 00:12:44,960 Speaker 1: four pound guys standing next to you stepping on your 205 00:12:45,000 --> 00:12:49,000 Speaker 1: toe every five minutes, um right as so they might 206 00:12:49,040 --> 00:12:53,760 Speaker 1: be giants show owen too anyway, So the idea there 207 00:12:53,800 --> 00:12:57,360 Speaker 1: being that that depending on how they're encoding it, you 208 00:12:57,480 --> 00:13:01,320 Speaker 1: might not have as rich a listening experience as you 209 00:13:01,360 --> 00:13:05,439 Speaker 1: otherwise would with an uncompressed or lossless format UM. Now, 210 00:13:05,480 --> 00:13:07,800 Speaker 1: the way that the audio is compressed and stored is 211 00:13:07,960 --> 00:13:11,960 Speaker 1: called a codec. Now, codec and file type are two 212 00:13:11,960 --> 00:13:15,360 Speaker 1: different things. You should not confuse the two. It's easy 213 00:13:15,440 --> 00:13:20,400 Speaker 1: to to get confused. But Kodak is Uh. They are related, 214 00:13:20,440 --> 00:13:23,920 Speaker 1: but not the same. Right. There's some some codex and 215 00:13:24,000 --> 00:13:26,800 Speaker 1: file sizes that tend to go together all the time, 216 00:13:27,440 --> 00:13:31,040 Speaker 1: but they are not one and the same. And some 217 00:13:31,120 --> 00:13:34,199 Speaker 1: of the things that can affect how that sound file 218 00:13:34,400 --> 00:13:39,319 Speaker 1: will sound include things like the sample rate. Sample rate 219 00:13:39,400 --> 00:13:45,920 Speaker 1: is when you're converting analog audio into digital information. Uh, 220 00:13:46,040 --> 00:13:49,240 Speaker 1: you use an analog to digital converter or a d C, 221 00:13:50,440 --> 00:13:54,200 Speaker 1: and this is what takes that signal, that continuous signal 222 00:13:54,520 --> 00:13:56,559 Speaker 1: and converts it into a bunch of zeros and ones 223 00:13:57,559 --> 00:14:01,600 Speaker 1: and uh, it kind of chops the signal up into 224 00:14:01,800 --> 00:14:07,400 Speaker 1: segments and does this conversion. So the higher the frequency 225 00:14:07,440 --> 00:14:11,240 Speaker 1: is of your sample rate, in general, the closer to 226 00:14:11,559 --> 00:14:16,319 Speaker 1: the original sound it's going to be. Uh CD audio. 227 00:14:16,920 --> 00:14:19,920 Speaker 1: If you guys, you may not remember these, There were 228 00:14:19,920 --> 00:14:24,640 Speaker 1: these things called compact discs. I have to I remember 229 00:14:24,640 --> 00:14:28,760 Speaker 1: when compact discs were a new thing. I remember thinking 230 00:14:28,880 --> 00:14:30,960 Speaker 1: this will never take off, and let me listen to 231 00:14:30,960 --> 00:14:36,320 Speaker 1: back cassette um or vinyl album or wax cylinder or 232 00:14:36,400 --> 00:14:39,000 Speaker 1: this bard that I hired to follow around and sing 233 00:14:39,040 --> 00:14:45,840 Speaker 1: sagas to wire recorder. Yeah anyway, Uh so the CD 234 00:14:45,960 --> 00:14:49,080 Speaker 1: audio is something like forty four point one killer hurts 235 00:14:49,080 --> 00:14:51,920 Speaker 1: as I recall something like that. That that's the frequency 236 00:14:52,080 --> 00:14:55,520 Speaker 1: for their sample rate. Um. And in general, you want 237 00:14:55,520 --> 00:14:59,600 Speaker 1: to sample rate that's about um. Well, that that's high 238 00:14:59,720 --> 00:15:02,520 Speaker 1: enough that you're going to get a good experience when 239 00:15:02,520 --> 00:15:05,440 Speaker 1: you get playback. And depending on your application, you may 240 00:15:05,480 --> 00:15:08,720 Speaker 1: not need a very high sample rate. So, for example, 241 00:15:09,080 --> 00:15:13,120 Speaker 1: for telephone uh fidelity, when you're speaking on the phone 242 00:15:13,120 --> 00:15:15,440 Speaker 1: to someone else, that simple rate is much you know, 243 00:15:15,440 --> 00:15:17,520 Speaker 1: and we're talking about digital phones. They're doing the same thing. 244 00:15:17,520 --> 00:15:20,720 Speaker 1: They're converting an analog signal into a digital information and 245 00:15:20,720 --> 00:15:23,520 Speaker 1: transmitting it and then decoding it and putting it back 246 00:15:23,520 --> 00:15:27,560 Speaker 1: into analog. Uh, their simple rate is much lower. Because 247 00:15:27,800 --> 00:15:30,880 Speaker 1: in general, we've become used to the idea that a 248 00:15:30,880 --> 00:15:34,840 Speaker 1: telephone quality conversation does not need to have high fidelity. 249 00:15:35,080 --> 00:15:36,880 Speaker 1: And if you've ever spoken on the telephone with me, 250 00:15:37,160 --> 00:15:41,680 Speaker 1: you know the quality of my conversations is quite low. Well, um, 251 00:15:41,880 --> 00:15:43,600 Speaker 1: that doesn't really have that much to do with this 252 00:15:43,680 --> 00:15:46,680 Speaker 1: sound quality. Oh, you're right, You're right, I got off 253 00:15:46,720 --> 00:15:48,960 Speaker 1: on a little tangent there. Well, no, if you if 254 00:15:49,000 --> 00:15:52,320 Speaker 1: you take a I'm speaking in general terms here, but 255 00:15:52,360 --> 00:15:57,040 Speaker 1: if you take a podcast file, maybe a half hour 256 00:15:57,120 --> 00:16:01,600 Speaker 1: podcast file, um from an audio store, and you buy 257 00:16:01,680 --> 00:16:06,800 Speaker 1: a five minute song from that same audio store, that 258 00:16:07,000 --> 00:16:10,240 Speaker 1: the song is probably going to be a larger file 259 00:16:10,800 --> 00:16:14,800 Speaker 1: because there is a greater range of sound um that 260 00:16:14,880 --> 00:16:17,400 Speaker 1: they are trying to preserve to create that audio file 261 00:16:17,440 --> 00:16:20,240 Speaker 1: than to to or that music file. Then for the 262 00:16:20,320 --> 00:16:23,520 Speaker 1: voice because um, you know, the voice files don't really 263 00:16:23,560 --> 00:16:27,680 Speaker 1: need to convey the same range of frequencies to just 264 00:16:27,920 --> 00:16:30,720 Speaker 1: and still sound good and beyond the sample rate. There 265 00:16:30,720 --> 00:16:34,200 Speaker 1: are other factors that also informed the quality of a 266 00:16:34,200 --> 00:16:38,720 Speaker 1: particular sound file and digitized sound file. The resolution, it's 267 00:16:38,800 --> 00:16:40,960 Speaker 1: just you know, sound files can have resolution, just like 268 00:16:41,240 --> 00:16:46,720 Speaker 1: an image file. It's um. Essentially, it comes into the 269 00:16:46,760 --> 00:16:50,840 Speaker 1: how how the a d C measures the incoming um 270 00:16:51,080 --> 00:16:55,200 Speaker 1: signal voltage and converts it into digital code. So the 271 00:16:55,280 --> 00:16:59,800 Speaker 1: accuracy of that is dependent upon how many bits are 272 00:16:59,840 --> 00:17:02,600 Speaker 1: you in the process. So in other words, the more 273 00:17:02,680 --> 00:17:07,120 Speaker 1: data you include about the sound, the more accurately you 274 00:17:07,200 --> 00:17:10,560 Speaker 1: can recreate the sound when you play it back. So 275 00:17:10,680 --> 00:17:13,680 Speaker 1: in other words, if and this makes sense, it's it's 276 00:17:13,720 --> 00:17:16,359 Speaker 1: just like any other kind of experience where you're trying 277 00:17:16,400 --> 00:17:19,359 Speaker 1: to recreate something that you've seen. The more data you have, 278 00:17:19,520 --> 00:17:23,400 Speaker 1: the better chances you have of recreating it accurately. So 279 00:17:23,440 --> 00:17:26,120 Speaker 1: if I'm in a room and you were to give 280 00:17:26,160 --> 00:17:29,480 Speaker 1: me a stone tablet and a chisel and a hammer 281 00:17:29,560 --> 00:17:32,040 Speaker 1: and tell me to take notes, those notes would be 282 00:17:32,160 --> 00:17:35,080 Speaker 1: very very limited. If you gave me a pen and paper, 283 00:17:35,160 --> 00:17:36,760 Speaker 1: there would be a little bit better. If you gave 284 00:17:36,800 --> 00:17:42,880 Speaker 1: me a a computer with a working keyboard unlike mine, um, 285 00:17:43,119 --> 00:17:44,960 Speaker 1: I would be even better. If you gave me a 286 00:17:45,040 --> 00:17:48,440 Speaker 1: keyboard like mine, it would probably be back to stone tablet. Anyway, 287 00:17:49,720 --> 00:17:55,000 Speaker 1: that's another part that determines another factor that determined sound quality, 288 00:17:55,040 --> 00:17:58,800 Speaker 1: and then data rates. This is really anyone who's converted 289 00:17:58,880 --> 00:18:02,280 Speaker 1: any sound file into P three format or format similar 290 00:18:02,320 --> 00:18:05,160 Speaker 1: to the m P three format knows about data rates. 291 00:18:05,240 --> 00:18:09,960 Speaker 1: You usually you have a choice of what what UH 292 00:18:10,200 --> 00:18:14,240 Speaker 1: data rates speed you can pick to UH convert a 293 00:18:14,320 --> 00:18:18,400 Speaker 1: sound file into an MP three, and generally higher is better. 294 00:18:18,480 --> 00:18:21,720 Speaker 1: It means that you're going to have a higher fidelity experience. 295 00:18:21,760 --> 00:18:23,800 Speaker 1: It also means the file size that's going to be larger. 296 00:18:24,480 --> 00:18:27,959 Speaker 1: And uh uh, I'd say, you know, a lot of 297 00:18:28,000 --> 00:18:32,720 Speaker 1: the sound files you would find, at least until fairly recently, 298 00:18:32,800 --> 00:18:34,640 Speaker 1: we're around the nice six kill a bit per second 299 00:18:34,720 --> 00:18:37,520 Speaker 1: or kill a bit per second range. We're starting to 300 00:18:37,560 --> 00:18:41,160 Speaker 1: see that get bumped up now, which is nice. Um. 301 00:18:41,200 --> 00:18:44,359 Speaker 1: Those are a lot of the cloud services have higher 302 00:18:44,800 --> 00:18:50,960 Speaker 1: bit data rates for their encoding. Um, and in general 303 00:18:51,040 --> 00:18:55,240 Speaker 1: that should translate to a higher fidelity experience. Yeah, I 304 00:18:55,280 --> 00:18:59,680 Speaker 1: mean you get right down to it. Well, frankly, everybody 305 00:18:59,720 --> 00:19:06,479 Speaker 1: here is sound differently, and that's that sounds strange probably um, 306 00:19:06,520 --> 00:19:09,800 Speaker 1: probably because you're hearing it differently than I am. Now, um, 307 00:19:09,840 --> 00:19:13,040 Speaker 1: because you know, it sort of depends on the range 308 00:19:13,080 --> 00:19:15,680 Speaker 1: of hearing. Now, I say that that kids can hear 309 00:19:15,720 --> 00:19:19,760 Speaker 1: a different range of sound than adults, um, and that 310 00:19:20,119 --> 00:19:22,280 Speaker 1: uh you know, they have studies that have been done 311 00:19:22,280 --> 00:19:24,600 Speaker 1: that that show that women hear different ranges of sound 312 00:19:24,600 --> 00:19:27,240 Speaker 1: than men do. And you know they're there are always 313 00:19:27,240 --> 00:19:31,440 Speaker 1: people who, um, listen to a Vinyl record for example, 314 00:19:31,520 --> 00:19:34,080 Speaker 1: and they'll they'll say, Wow, that sounds so much better 315 00:19:34,080 --> 00:19:36,160 Speaker 1: than a CD. And then other people prefer the sound 316 00:19:36,160 --> 00:19:39,760 Speaker 1: of C d s, which typically are are compressed uh 317 00:19:40,000 --> 00:19:44,320 Speaker 1: pretty pretty significantly at least too to get it to uh, 318 00:19:44,600 --> 00:19:46,760 Speaker 1: you know, the the audio file that that you hear 319 00:19:46,800 --> 00:19:50,960 Speaker 1: on the on the disc. Um. So you know, everybody 320 00:19:51,040 --> 00:19:55,320 Speaker 1: is different. Let's let's use that as a caveat. But um, 321 00:19:55,480 --> 00:19:58,399 Speaker 1: it's important to note that in general, the file size 322 00:19:58,520 --> 00:20:03,080 Speaker 1: the the information. You want more information encoded on there 323 00:20:03,119 --> 00:20:05,800 Speaker 1: because it's going to provide a richer sound, But it 324 00:20:05,880 --> 00:20:09,880 Speaker 1: does depend on the Kodec used to to create the file. Um. 325 00:20:09,960 --> 00:20:11,640 Speaker 1: And that is that is one of those things that 326 00:20:11,760 --> 00:20:14,240 Speaker 1: to paraphrase the song, it ain't what you do, it's 327 00:20:14,280 --> 00:20:17,480 Speaker 1: the way that you do it. Um. And I think 328 00:20:17,480 --> 00:20:20,600 Speaker 1: that's probably where we're getting ready to go. But uh yeah, 329 00:20:20,640 --> 00:20:26,760 Speaker 1: I mean you you when MP three's became the popular standard, uh, 330 00:20:26,800 --> 00:20:31,480 Speaker 1: the popular bit rate for those was you know, k 331 00:20:32,720 --> 00:20:36,320 Speaker 1: um and um. You know that a lot of people 332 00:20:36,800 --> 00:20:40,720 Speaker 1: who can hear the difference in in sound files would say, 333 00:20:40,720 --> 00:20:43,399 Speaker 1: you know, that's crummy. It sounds terrible, but it was 334 00:20:43,440 --> 00:20:45,879 Speaker 1: acceptable for a lot of people, acceptable enough that they 335 00:20:45,880 --> 00:20:48,800 Speaker 1: would say, you know what, I'm willing to fork over 336 00:20:48,880 --> 00:20:51,040 Speaker 1: money for an MP three player, or I'm willing to 337 00:20:51,119 --> 00:20:53,359 Speaker 1: listen to my music at this bit rate. And now 338 00:20:53,840 --> 00:20:57,560 Speaker 1: that we've become more sophisticated in our tastes and have 339 00:20:57,680 --> 00:21:01,200 Speaker 1: more bandwidth available to us both an MP three player 340 00:21:01,400 --> 00:21:06,440 Speaker 1: audio players, let's say that, and UH in our internet connections, UM, 341 00:21:07,440 --> 00:21:10,800 Speaker 1: we're having more choices available to us. We also had 342 00:21:10,880 --> 00:21:15,280 Speaker 1: an era where the speakers that were available to us, 343 00:21:15,400 --> 00:21:18,000 Speaker 1: unless we were really spending a lot of money on 344 00:21:18,000 --> 00:21:21,560 Speaker 1: our our computer systems or what you know, our music 345 00:21:21,600 --> 00:21:26,520 Speaker 1: player systems, we're not really capable of playing at a 346 00:21:26,600 --> 00:21:29,720 Speaker 1: high enough fidelity for it to make a huge difference. 347 00:21:29,760 --> 00:21:32,840 Speaker 1: So you could even have two versions of the same file, 348 00:21:32,920 --> 00:21:37,480 Speaker 1: one recorded at a much faster data rate, and have 349 00:21:37,560 --> 00:21:40,960 Speaker 1: a hard time telling the difference, simply because the hardware 350 00:21:41,000 --> 00:21:44,680 Speaker 1: you were using to play back the music wasn't capable 351 00:21:44,760 --> 00:21:48,480 Speaker 1: of capturing those subtle differences or even not so subtle differences. 352 00:21:48,800 --> 00:21:51,119 Speaker 1: Because let's let's face it, some of the speakers that 353 00:21:51,200 --> 00:21:55,440 Speaker 1: came out years ago, we're pretty well they were definitely 354 00:21:55,480 --> 00:21:57,159 Speaker 1: sub standard compared to some of the ones you can 355 00:21:57,200 --> 00:22:01,280 Speaker 1: get today. Not saying that today's speaker are, you know, 356 00:22:01,520 --> 00:22:05,320 Speaker 1: the height of human achievement. We definitely have a huge 357 00:22:05,440 --> 00:22:09,320 Speaker 1: range on the market, and UH and it's not always 358 00:22:09,320 --> 00:22:11,040 Speaker 1: a case if you get what you pay for either. 359 00:22:11,280 --> 00:22:15,080 Speaker 1: That's a totally different podcasts how Uh, it just means 360 00:22:15,119 --> 00:22:20,040 Speaker 1: that that it wasn't as important back then. And also 361 00:22:20,480 --> 00:22:22,720 Speaker 1: we should talk about why there are so many different types, 362 00:22:22,880 --> 00:22:27,280 Speaker 1: so we know the ones people tend to hear about 363 00:22:27,320 --> 00:22:32,720 Speaker 1: a lot are wave files, uh MP three's, UM, A 364 00:22:32,720 --> 00:22:36,840 Speaker 1: A C files for some folks. Uh, there's the A 365 00:22:37,000 --> 00:22:41,359 Speaker 1: lack files A L A C sometimes flak for a 366 00:22:41,359 --> 00:22:43,919 Speaker 1: few people out there anyway, um, and then there are 367 00:22:43,920 --> 00:22:45,879 Speaker 1: a lot of other ones, but those are those are 368 00:22:45,920 --> 00:22:47,960 Speaker 1: some of the ones that are the most popular, But 369 00:22:48,080 --> 00:22:50,600 Speaker 1: there are If you were to look at a list 370 00:22:51,400 --> 00:22:56,359 Speaker 1: of every type of audio file that has had any 371 00:22:56,400 --> 00:22:59,960 Speaker 1: sort of traction out there, it would be incredibly long. 372 00:23:00,920 --> 00:23:06,040 Speaker 1: I mean, the different types of them are. Um, there's 373 00:23:06,040 --> 00:23:08,520 Speaker 1: easily easily over a hundred. Now some of those are 374 00:23:09,240 --> 00:23:13,480 Speaker 1: project files, not audio file formats, and the project files 375 00:23:13,600 --> 00:23:17,159 Speaker 1: really just have information about an audio file as opposed 376 00:23:17,160 --> 00:23:20,720 Speaker 1: to having any actual audio information in it itself. But 377 00:23:21,440 --> 00:23:23,960 Speaker 1: you know, you might say, well why are there so many? 378 00:23:24,280 --> 00:23:27,280 Speaker 1: And there are several different reasons for that. One is 379 00:23:27,320 --> 00:23:32,080 Speaker 1: that as time has gone on, we've created more sophisticated 380 00:23:32,480 --> 00:23:36,200 Speaker 1: computers and sound chips that are able to do more 381 00:23:36,600 --> 00:23:40,080 Speaker 1: than earlier ones, so they were suddenly able to support 382 00:23:40,119 --> 00:23:44,160 Speaker 1: a greater number of features. But the older file formats 383 00:23:44,240 --> 00:23:48,200 Speaker 1: didn't necessarily have that built in, and so new file 384 00:23:48,240 --> 00:23:52,520 Speaker 1: formats emerged that we're able to take advantage of the 385 00:23:52,520 --> 00:23:57,240 Speaker 1: technical abilities of the new stuff that we were building. 386 00:23:58,119 --> 00:24:01,240 Speaker 1: In some cases, there were file formats that were designed 387 00:24:01,320 --> 00:24:06,760 Speaker 1: to work specifically with particular types of hardware. So if 388 00:24:06,800 --> 00:24:08,960 Speaker 1: you were back if you had a computer back in 389 00:24:09,000 --> 00:24:13,400 Speaker 1: the old days of the of the sound card boom, 390 00:24:13,440 --> 00:24:16,160 Speaker 1: you know, when you had like Ruland and sound Blaster 391 00:24:16,240 --> 00:24:19,040 Speaker 1: and all of those coming out, you might be familiar 392 00:24:19,080 --> 00:24:22,359 Speaker 1: that there were certain files file types that could play 393 00:24:22,480 --> 00:24:27,360 Speaker 1: on some cards but not on others. And this could 394 00:24:27,359 --> 00:24:30,000 Speaker 1: get really frustrating as a user. I remember going out 395 00:24:30,000 --> 00:24:32,639 Speaker 1: and looking at computer games and looking at a computer 396 00:24:32,680 --> 00:24:34,720 Speaker 1: game and saying, Wow, I'm not gonna have a very 397 00:24:34,720 --> 00:24:39,639 Speaker 1: good experience with this because, uh, the sound file type 398 00:24:39,680 --> 00:24:42,040 Speaker 1: that they went with was for a different sound card 399 00:24:42,040 --> 00:24:44,000 Speaker 1: than the one I had, So I'm going to have 400 00:24:44,040 --> 00:24:48,720 Speaker 1: the more basic, you know, array of sounds that is 401 00:24:48,760 --> 00:24:51,360 Speaker 1: sort of the baseline for this game. I'm not gonna 402 00:24:51,400 --> 00:24:53,639 Speaker 1: have any of the advanced stuff because they decided to 403 00:24:53,720 --> 00:24:57,199 Speaker 1: back this other sound card. So there was a division 404 00:24:57,200 --> 00:24:58,919 Speaker 1: in the market, right, I mean, there wasn't a lot 405 00:24:58,960 --> 00:25:02,199 Speaker 1: of standards. There was no standardized format, so you had 406 00:25:02,240 --> 00:25:06,000 Speaker 1: a lot of proprietary formats, and we still have those 407 00:25:06,000 --> 00:25:08,600 Speaker 1: as well. There's still some proprietary formats, some of which 408 00:25:08,600 --> 00:25:12,040 Speaker 1: are actually used fairly widely. I think most people try 409 00:25:12,040 --> 00:25:15,919 Speaker 1: to get away from those because it's UM. It limits you, 410 00:25:16,000 --> 00:25:20,680 Speaker 1: it limits what you can play that file back on. UM. 411 00:25:20,720 --> 00:25:23,960 Speaker 1: It also means that a lot of these proprietary file 412 00:25:24,000 --> 00:25:26,680 Speaker 1: formats were designed so that you could have digital rights 413 00:25:26,720 --> 00:25:31,240 Speaker 1: management built into the file format. So DRM, that's uh, 414 00:25:31,800 --> 00:25:34,960 Speaker 1: you know, that's something else that determined the different types 415 00:25:34,960 --> 00:25:40,560 Speaker 1: of files. Another is the change in how we listen 416 00:25:40,760 --> 00:25:45,040 Speaker 1: to these files, all right, so UM listening to it 417 00:25:45,080 --> 00:25:47,080 Speaker 1: on a computer or on a on a sound device, 418 00:25:47,400 --> 00:25:50,040 Speaker 1: you can have a certain type of file format. Back 419 00:25:50,040 --> 00:25:52,000 Speaker 1: in the earlier days of the Internet, when you want 420 00:25:52,080 --> 00:25:54,040 Speaker 1: to listen to music that was going to be coming 421 00:25:54,200 --> 00:25:58,240 Speaker 1: over uh an Internet connection, you couldn't use those file formats. 422 00:25:58,280 --> 00:26:02,000 Speaker 1: They just the files were too big, So that meant 423 00:26:02,000 --> 00:26:04,919 Speaker 1: that you had to design a different standard to be 424 00:26:04,960 --> 00:26:09,600 Speaker 1: able to stream music, usually at a lower fidelity, and 425 00:26:09,960 --> 00:26:12,560 Speaker 1: uh so that the file size was manageable, and that 426 00:26:12,600 --> 00:26:16,480 Speaker 1: you could have a specific type of software to play 427 00:26:16,560 --> 00:26:19,919 Speaker 1: back those files, so things like real audio. Do you 428 00:26:19,960 --> 00:26:24,440 Speaker 1: remember the old real audio days right? Unfortunately? Yeah, dark 429 00:26:24,480 --> 00:26:29,200 Speaker 1: times before the empire. So yeah, there are there's a 430 00:26:29,240 --> 00:26:32,679 Speaker 1: lot of different reasons. So some of the reasons are technological, 431 00:26:32,880 --> 00:26:36,720 Speaker 1: some are based upon the limitations of that technology somewhere 432 00:26:36,880 --> 00:26:39,320 Speaker 1: kind of you know, let's face it, some of them 433 00:26:39,320 --> 00:26:41,600 Speaker 1: are a little greedy. These are you know someone Some 434 00:26:41,680 --> 00:26:45,480 Speaker 1: file types were designed by companies saying if we design 435 00:26:45,720 --> 00:26:49,120 Speaker 1: the hardware and we designed the file type, we lock 436 00:26:49,359 --> 00:26:51,919 Speaker 1: people into this because they won't be able to go 437 00:26:51,960 --> 00:26:55,040 Speaker 1: and buy some other piece of hardware because their hardware 438 00:26:55,080 --> 00:26:57,719 Speaker 1: is not gonna be able to play our file. Yeah. 439 00:26:57,760 --> 00:27:00,360 Speaker 1: And then there were some that were sort of political, 440 00:27:00,960 --> 00:27:06,920 Speaker 1: as in, uh, I'm thinking specifically of og vorbis, which 441 00:27:07,080 --> 00:27:11,040 Speaker 1: was was created as an open standard. Are you down 442 00:27:11,080 --> 00:27:15,679 Speaker 1: with O g G? You know me? Um, mostly because 443 00:27:15,720 --> 00:27:20,679 Speaker 1: of the MP three file format taking off, but um 444 00:27:20,760 --> 00:27:24,600 Speaker 1: the codec used to create it. The primarily the Fraudenhofer 445 00:27:25,119 --> 00:27:27,960 Speaker 1: UH Institute that came up with the the MP three 446 00:27:28,359 --> 00:27:32,320 Speaker 1: file standard. Um, the CODEK you had to license that. Um, 447 00:27:32,359 --> 00:27:34,440 Speaker 1: so if you wanted to create software that would make 448 00:27:34,640 --> 00:27:38,360 Speaker 1: MP three files, you were supposed to license the official 449 00:27:38,400 --> 00:27:40,800 Speaker 1: codec to do that. And then the people who started 450 00:27:41,400 --> 00:27:43,280 Speaker 1: uh OG, we're saying, you know what, if you want 451 00:27:43,280 --> 00:27:46,240 Speaker 1: to use our standard to create our audio files, then 452 00:27:46,560 --> 00:27:50,640 Speaker 1: you can do with it what you like, open source, unlicensed. 453 00:27:51,160 --> 00:27:55,840 Speaker 1: So the that was an attractive alternative for for people 454 00:27:55,840 --> 00:27:58,480 Speaker 1: who didn't want to have to, you know, go through 455 00:27:58,520 --> 00:28:01,720 Speaker 1: the red tape of an official licensed piece of software. 456 00:28:02,520 --> 00:28:05,080 Speaker 1: Not that that ended up being much of a problem 457 00:28:05,080 --> 00:28:07,920 Speaker 1: in the long run, but you still and then there's 458 00:28:07,920 --> 00:28:11,040 Speaker 1: still a license fee that has to be paid. But 459 00:28:11,040 --> 00:28:14,960 Speaker 1: but yeah, it was so I had so much weight 460 00:28:15,000 --> 00:28:18,480 Speaker 1: behind it that that people just went with it. Yeah, 461 00:28:18,800 --> 00:28:21,480 Speaker 1: So that was, um, you know, that's a good example. 462 00:28:21,520 --> 00:28:23,880 Speaker 1: But then let's let's go ahead. We'll touch on MP three. 463 00:28:23,920 --> 00:28:26,040 Speaker 1: Even though we have done a full episode about m 464 00:28:26,080 --> 00:28:28,520 Speaker 1: P three's before, it would just take a lot of 465 00:28:28,560 --> 00:28:31,360 Speaker 1: digging for you guys can get that episode. It's hard 466 00:28:31,440 --> 00:28:33,240 Speaker 1: not to mention it anyway. I mean, it is sort 467 00:28:33,240 --> 00:28:35,560 Speaker 1: of the pound gorilla in the room. Yeah, And so 468 00:28:35,840 --> 00:28:39,880 Speaker 1: IMPEG stands for moving picture Experts Group, which is exactly 469 00:28:39,880 --> 00:28:42,600 Speaker 1: what you would expect out of a sound file. Uh. 470 00:28:42,640 --> 00:28:46,040 Speaker 1: It's which was working under the direction of the International 471 00:28:46,200 --> 00:28:53,240 Speaker 1: Organization for Standardization and the International Electro Technical Commission. Yeah 472 00:28:53,320 --> 00:28:56,320 Speaker 1: and uh. The idea was that they wanted to create 473 00:28:56,360 --> 00:29:02,880 Speaker 1: a standard to avoid this proprietary problem. Oops. Um. Yeah, Actually, 474 00:29:02,880 --> 00:29:05,240 Speaker 1: it's the funny thing is it's not like it's it's 475 00:29:05,240 --> 00:29:11,640 Speaker 1: not MPEG three, it's MPEG one layer three. Just complicating things. 476 00:29:11,680 --> 00:29:13,320 Speaker 1: And then there and there are a lot of different 477 00:29:13,560 --> 00:29:17,800 Speaker 1: UM file extensions that fall under the impact audio form. 478 00:29:18,640 --> 00:29:21,080 Speaker 1: It's not you know, MP three is one of the 479 00:29:21,120 --> 00:29:24,680 Speaker 1: more common ones, but it's not the only one. Um. 480 00:29:24,720 --> 00:29:28,240 Speaker 1: It's a lossy format, so you do end up losing 481 00:29:28,360 --> 00:29:31,800 Speaker 1: data when you convert to MP three as part of 482 00:29:31,800 --> 00:29:34,560 Speaker 1: the compression, and the CODEC you use to create your 483 00:29:34,640 --> 00:29:37,800 Speaker 1: MP three sort of helps determine what it is that 484 00:29:37,880 --> 00:29:41,160 Speaker 1: it loses because it has a different algorithm behind it. 485 00:29:41,440 --> 00:29:44,120 Speaker 1: Right and uh, and again you change depending on the 486 00:29:44,200 --> 00:29:47,080 Speaker 1: data rate. You can make the file larger, smaller, and 487 00:29:47,160 --> 00:29:53,720 Speaker 1: thus have more or less information about the sound file. Um. 488 00:29:53,800 --> 00:29:56,280 Speaker 1: Another thing we should something else I should have pointed out. 489 00:29:56,280 --> 00:29:58,520 Speaker 1: With the different types of sound files, some of them 490 00:29:58,560 --> 00:30:03,200 Speaker 1: support metadata, some do not, and metadata turned out to 491 00:30:03,200 --> 00:30:06,920 Speaker 1: be really important. UH. Metadata of course, is information about 492 00:30:07,000 --> 00:30:10,240 Speaker 1: other information. So metadata for a sound file might include 493 00:30:10,280 --> 00:30:14,560 Speaker 1: things like the artist's name, the album name, other information. 494 00:30:14,560 --> 00:30:18,480 Speaker 1: It could also include things like who uploaded it, who 495 00:30:18,720 --> 00:30:21,200 Speaker 1: who encoded it. It all depends on the code dec 496 00:30:21,240 --> 00:30:25,000 Speaker 1: it all depends on the file type. So some of 497 00:30:25,040 --> 00:30:28,080 Speaker 1: these file types are essentially digital fingerprints. Like if you 498 00:30:28,120 --> 00:30:30,040 Speaker 1: were to download one of these files and then you 499 00:30:30,080 --> 00:30:32,320 Speaker 1: were actually open up the code and look at it, 500 00:30:32,360 --> 00:30:35,240 Speaker 1: you could potentially, depending on the file type, determine who 501 00:30:35,240 --> 00:30:38,840 Speaker 1: it was that originally UM encoded it and uploaded it, 502 00:30:38,960 --> 00:30:41,040 Speaker 1: or at least who encoded it. You might not know 503 00:30:41,080 --> 00:30:45,280 Speaker 1: who who uploaded it UM, so that's kind of an 504 00:30:45,360 --> 00:30:48,840 Speaker 1: interesting thing. And not all the files, of course, support metadata, 505 00:30:49,160 --> 00:30:51,960 Speaker 1: but a lot of really popular ones do because it's 506 00:30:52,400 --> 00:30:56,920 Speaker 1: a useful way to get information in UH in a 507 00:30:57,040 --> 00:31:01,960 Speaker 1: music um management software. So that way, because you think 508 00:31:02,000 --> 00:31:04,320 Speaker 1: about music management software like iTunes, that's one of the 509 00:31:04,360 --> 00:31:06,960 Speaker 1: most popular ones, so it's easy to talk about UH. 510 00:31:07,120 --> 00:31:10,280 Speaker 1: iTunes has all the information about the artists, the album, 511 00:31:10,400 --> 00:31:13,480 Speaker 1: the song title, all that kind of stuff, and that 512 00:31:13,600 --> 00:31:18,680 Speaker 1: lets you sort your albums through various ways. UM, without 513 00:31:18,680 --> 00:31:21,640 Speaker 1: the metadata, you wouldn't have that information. You would have 514 00:31:22,040 --> 00:31:25,520 Speaker 1: the name of the file and what kind of what 515 00:31:25,560 --> 00:31:27,200 Speaker 1: type of file it was, and that that would be 516 00:31:27,200 --> 00:31:31,160 Speaker 1: about it. So that's something else that I wanted to 517 00:31:31,240 --> 00:31:34,120 Speaker 1: point out. So, so along with MP three, you know, 518 00:31:34,160 --> 00:31:39,080 Speaker 1: you've got the wave files, which are uh again pretty 519 00:31:39,120 --> 00:31:42,560 Speaker 1: pretty popular. That's a format that was created by Microsoft 520 00:31:42,560 --> 00:31:47,040 Speaker 1: and IBM and it kind of takes and it creates 521 00:31:47,040 --> 00:31:51,320 Speaker 1: an arbitrary sampling rate uh and a number of channels 522 00:31:51,320 --> 00:31:55,920 Speaker 1: in the sample size. UM. It's uh one of the 523 00:31:55,960 --> 00:31:59,480 Speaker 1: first audio file types that were developed for the PC 524 00:32:00,200 --> 00:32:03,960 Speaker 1: UM and it's defined as being lossless. So this is 525 00:32:04,400 --> 00:32:07,280 Speaker 1: the wave files are lossless files. They tend to be 526 00:32:07,400 --> 00:32:11,480 Speaker 1: much larger than MP three files. Uh, not necessarily as 527 00:32:11,560 --> 00:32:14,240 Speaker 1: large as an uncompressed version of that file, but still 528 00:32:14,240 --> 00:32:18,720 Speaker 1: pretty big. And UM. Yeah, so those are the those 529 00:32:18,760 --> 00:32:21,320 Speaker 1: are two of the main ones. But then and you 530 00:32:21,320 --> 00:32:25,160 Speaker 1: can have either digitized or synthesized wave files. And then 531 00:32:25,200 --> 00:32:29,440 Speaker 1: there's uh the the A C files UM, which again 532 00:32:29,480 --> 00:32:37,480 Speaker 1: another lossy compression format. UM. That's depending on who you ask. 533 00:32:37,640 --> 00:32:40,280 Speaker 1: I've heard people say that they prefer a C over 534 00:32:40,400 --> 00:32:44,640 Speaker 1: MP three's and that they think a C compression leads 535 00:32:44,680 --> 00:32:49,600 Speaker 1: to less loss of fidelity. Yeah, yeah, they were. Apple 536 00:32:49,640 --> 00:32:53,400 Speaker 1: adopted it for for the iTunes store a long time 537 00:32:53,440 --> 00:32:56,560 Speaker 1: ago as the music format, and you know, they the 538 00:32:56,600 --> 00:33:00,080 Speaker 1: company really pushed it as being a superior format to 539 00:33:00,200 --> 00:33:03,600 Speaker 1: the MP three. UM. You know, again it depends on 540 00:33:03,640 --> 00:33:07,040 Speaker 1: whom you ask, um, but you know, they then they 541 00:33:07,040 --> 00:33:12,720 Speaker 1: started with a tight k uh digit digitization rate. Hey, 542 00:33:12,800 --> 00:33:18,080 Speaker 1: y set it UM, and you know they they semi recently, 543 00:33:18,120 --> 00:33:22,320 Speaker 1: it's not recent recent, but it's UM over the past 544 00:33:22,680 --> 00:33:26,520 Speaker 1: while here they've they've upgraded that UM too, so you 545 00:33:26,560 --> 00:33:29,800 Speaker 1: know that that has been a thing. But um, yeah, 546 00:33:30,000 --> 00:33:31,800 Speaker 1: some people feel that that A A C is a 547 00:33:31,800 --> 00:33:35,680 Speaker 1: better um. You know, an A C at K sounds 548 00:33:35,760 --> 00:33:41,240 Speaker 1: better than an MP three at K encoding. UM. Another 549 00:33:41,640 --> 00:33:45,200 Speaker 1: Apple file format. There was an earlier one developed by 550 00:33:45,240 --> 00:33:49,680 Speaker 1: Apple as the Audio Interchange File Format or ai f F. Yeah, 551 00:33:49,720 --> 00:33:52,280 Speaker 1: basically a long time ago. I would say, in the 552 00:33:52,280 --> 00:33:55,640 Speaker 1: mid nineties, if you ran across a wave file, you'd say, oh, 553 00:33:55,680 --> 00:33:57,920 Speaker 1: that's a Microsoft file, And if you ran across an 554 00:33:57,920 --> 00:34:00,320 Speaker 1: A I F you'd say, oh, well, that's a Macintosh file. 555 00:34:00,320 --> 00:34:04,080 Speaker 1: It's not so clear cut these days, but they, you know, 556 00:34:04,080 --> 00:34:05,840 Speaker 1: it was sort of the this is what we use 557 00:34:05,880 --> 00:34:08,719 Speaker 1: on our operating system and that's what they use on 558 00:34:08,760 --> 00:34:10,880 Speaker 1: their operating system kind of thing. Right. And then there 559 00:34:11,000 --> 00:34:14,040 Speaker 1: was the Apple Lossless Audio Codec or a L A 560 00:34:14,120 --> 00:34:17,960 Speaker 1: C A LACK uh. And that was one that in 561 00:34:19,080 --> 00:34:23,280 Speaker 1: Apple kind of surprised folks by by converting it into 562 00:34:23,360 --> 00:34:28,399 Speaker 1: open source and royalty free, uh, which for people who 563 00:34:28,440 --> 00:34:31,520 Speaker 1: were big followers of Apple was something of a shock. 564 00:34:32,280 --> 00:34:38,400 Speaker 1: They and and ALAC file or Apple Lossless Audio Codec 565 00:34:38,480 --> 00:34:42,040 Speaker 1: file is stored in an MP four container with the 566 00:34:42,080 --> 00:34:47,520 Speaker 1: file extension of M four A. So uh, if you 567 00:34:47,560 --> 00:34:50,120 Speaker 1: see an M for a file, then that's that's a 568 00:34:50,200 --> 00:34:53,920 Speaker 1: potential uh pointer that that's what you're looking at in 569 00:34:54,040 --> 00:34:59,200 Speaker 1: a LACK file. Um. But there's so many more. Uh. 570 00:34:59,239 --> 00:35:01,200 Speaker 1: There's like A said, there was FLAK, which is the 571 00:35:01,239 --> 00:35:05,960 Speaker 1: free lossless audio codec very similar to a LACK except 572 00:35:05,960 --> 00:35:09,240 Speaker 1: that it's um it was started off as open source 573 00:35:09,280 --> 00:35:12,840 Speaker 1: and free. UM. Yeah, A lot of people who are 574 00:35:12,840 --> 00:35:18,160 Speaker 1: are real audio files and and still download music because 575 00:35:18,160 --> 00:35:21,120 Speaker 1: a lot of them won't because of the lossy nature 576 00:35:21,120 --> 00:35:24,680 Speaker 1: of a lot of the audio files online. UM. A 577 00:35:24,680 --> 00:35:28,040 Speaker 1: lot of people prefer the FLAK files. And I've seen 578 00:35:28,520 --> 00:35:32,720 Speaker 1: artists who sell their music files from their websites offer 579 00:35:33,320 --> 00:35:36,280 Speaker 1: UH MP three or A A C and and FLACK 580 00:35:37,160 --> 00:35:38,719 Speaker 1: as an option, so you know, if you want to 581 00:35:38,719 --> 00:35:40,480 Speaker 1: pay a couple of extra dollars, you can get the 582 00:35:40,520 --> 00:35:46,040 Speaker 1: fancy hi fi audio files. Well, there's the Sun Audio format, 583 00:35:46,040 --> 00:35:49,640 Speaker 1: which is dot AU UH that was specifically created for 584 00:35:49,880 --> 00:35:52,640 Speaker 1: Unix systems. That's another reason why there's so many different 585 00:35:52,640 --> 00:35:55,319 Speaker 1: file types out there is because there's some that were 586 00:35:55,320 --> 00:35:59,160 Speaker 1: designed with specific operating systems in mind. UH. There's Windows 587 00:35:59,200 --> 00:36:04,880 Speaker 1: Media Audio O w M A UM again developed as 588 00:36:04,960 --> 00:36:08,719 Speaker 1: a competing my guess standard is the wrong word, but 589 00:36:08,760 --> 00:36:14,160 Speaker 1: a competing file format tow MP three and UH designed 590 00:36:14,200 --> 00:36:17,520 Speaker 1: to play in within the Windows Media Player, and UM 591 00:36:18,680 --> 00:36:23,200 Speaker 1: UH supposedly had a much more efficient compression algorithm than 592 00:36:23,320 --> 00:36:28,680 Speaker 1: MP three. Also designed with DRM protection in mind, and 593 00:36:28,760 --> 00:36:32,120 Speaker 1: that was one of the other reasons why Microsoft was 594 00:36:32,160 --> 00:36:34,719 Speaker 1: really interested in developing its own file format sound file 595 00:36:34,800 --> 00:36:40,200 Speaker 1: format beyond wave UM was to try and protect intellectual property. 596 00:36:40,840 --> 00:36:44,000 Speaker 1: Yeah yeah, yeah. Basically, DRM is just another layer of 597 00:36:44,120 --> 00:36:48,040 Speaker 1: information encoded. It's it's essentially metadata, but it's metadata that 598 00:36:48,120 --> 00:36:52,560 Speaker 1: explains UM who essentially who owns the file. So if 599 00:36:52,600 --> 00:36:57,279 Speaker 1: if Jonathan buys a song from um, you know, a 600 00:36:57,400 --> 00:37:01,719 Speaker 1: an online music store that has DRM embedded in it. It 601 00:37:01,560 --> 00:37:04,800 Speaker 1: It will say, well, this this belongs to Jonathan. UM, 602 00:37:04,800 --> 00:37:07,600 Speaker 1: he paid for it, and he is allowed to listen 603 00:37:07,640 --> 00:37:10,640 Speaker 1: to it on his registered machines, but only on his 604 00:37:10,800 --> 00:37:14,560 Speaker 1: registered machines, or um, you know, it might say he's 605 00:37:14,560 --> 00:37:17,319 Speaker 1: allowed to listen to this file for free for three 606 00:37:17,400 --> 00:37:19,520 Speaker 1: weeks and three weeks only. And so when the audio 607 00:37:19,560 --> 00:37:22,359 Speaker 1: player tries to go back and says, oh wait, it's 608 00:37:22,440 --> 00:37:27,880 Speaker 1: past three weeks, you know, it might disappear or twenty plays, 609 00:37:27,960 --> 00:37:30,239 Speaker 1: or or he's allowed to loan it to somebody that 610 00:37:30,360 --> 00:37:34,719 Speaker 1: that's um, that's how they determine those uh, those free 611 00:37:35,000 --> 00:37:37,279 Speaker 1: preview things will say oh, yes, you can download this 612 00:37:37,320 --> 00:37:40,359 Speaker 1: and listen one time for free, and you can listen 613 00:37:40,400 --> 00:37:42,800 Speaker 1: to the entire song. And then the d r M 614 00:37:42,880 --> 00:37:46,520 Speaker 1: information encoded in the track. UM, when the player tries 615 00:37:46,560 --> 00:37:48,120 Speaker 1: to read the file again, and it will, it will 616 00:37:48,200 --> 00:37:50,719 Speaker 1: check the information, It says, oh, well, it has been 617 00:37:50,760 --> 00:37:53,520 Speaker 1: played one time and therefore I will not allow you 618 00:37:53,560 --> 00:37:59,399 Speaker 1: to play it again. Sucker, go away. So all of these, 619 00:37:59,440 --> 00:38:02,960 Speaker 1: all of these files are all meant to do essentially 620 00:38:03,000 --> 00:38:06,640 Speaker 1: the same thing. It's again, just depending depended upon the 621 00:38:06,719 --> 00:38:10,680 Speaker 1: equipment you're using and the software you're using, and whether 622 00:38:10,840 --> 00:38:14,920 Speaker 1: or not it's an open approach or if it's a 623 00:38:14,920 --> 00:38:21,520 Speaker 1: proprietary approach. Uh. You know, there's nothing necessarily that says 624 00:38:21,600 --> 00:38:26,360 Speaker 1: one sound file is better than another, uh, because it 625 00:38:26,400 --> 00:38:30,279 Speaker 1: all depends on what you value. Do you value a 626 00:38:30,680 --> 00:38:34,480 Speaker 1: manageable file size? If storage is a is an issue, 627 00:38:34,520 --> 00:38:37,440 Speaker 1: then that might be very important to you. Do you 628 00:38:37,600 --> 00:38:43,080 Speaker 1: value as close to the original performance as possible, like 629 00:38:43,160 --> 00:38:46,440 Speaker 1: that experience. If so, then the quality, the actual sound 630 00:38:46,480 --> 00:38:49,920 Speaker 1: quality is going to be the most important. UM. Do 631 00:38:50,000 --> 00:38:53,400 Speaker 1: you use a specific type of device, because that will 632 00:38:53,440 --> 00:38:57,120 Speaker 1: also help determine which file size is best or file 633 00:38:57,160 --> 00:39:00,960 Speaker 1: type is best for you. Uh. So, you know you 634 00:39:00,960 --> 00:39:03,200 Speaker 1: can't I don't think you can just necessarily come out 635 00:39:03,239 --> 00:39:06,759 Speaker 1: and say, ah, you know, AC files are better than 636 00:39:06,840 --> 00:39:10,879 Speaker 1: MP three's, period always, etcetera. It all depends on your 637 00:39:10,960 --> 00:39:14,719 Speaker 1: particular situation and the equipment that you have. UM. I 638 00:39:14,760 --> 00:39:17,239 Speaker 1: guess one other thing we can talk about before we 639 00:39:17,440 --> 00:39:21,239 Speaker 1: sign off is the fact that there there has been 640 00:39:21,320 --> 00:39:28,279 Speaker 1: for a long time, for years, really uh, a discussion 641 00:39:28,320 --> 00:39:32,280 Speaker 1: within the music industry about how the MP three file format, 642 00:39:32,320 --> 00:39:36,719 Speaker 1: in particular, because it's so popular and so dominant has 643 00:39:37,360 --> 00:39:43,080 Speaker 1: changed the way music sounds because there's a discussion that 644 00:39:43,120 --> 00:39:48,680 Speaker 1: it kind of flattens the highs and the lows of 645 00:39:48,680 --> 00:39:53,160 Speaker 1: of what you can get out of a piece of music. 646 00:39:53,280 --> 00:39:56,080 Speaker 1: And so a lot of the music is starting to 647 00:39:56,160 --> 00:40:00,640 Speaker 1: sound similar to each other because you can't reached those 648 00:40:00,760 --> 00:40:05,960 Speaker 1: dynamics that you could without that you know know, lossy compression format. 649 00:40:06,400 --> 00:40:08,760 Speaker 1: That is part of it. There's also a human element 650 00:40:08,920 --> 00:40:11,799 Speaker 1: involved in that, and it has to do with the 651 00:40:11,840 --> 00:40:16,600 Speaker 1: way the music is produced. UM, because I have seen 652 00:40:17,640 --> 00:40:22,480 Speaker 1: examples of songs that were produced antal and you know, 653 00:40:22,520 --> 00:40:28,160 Speaker 1: in a complete analog environment before it became so popular 654 00:40:28,200 --> 00:40:33,120 Speaker 1: to have louder songs recorded on digital equipment in digital 655 00:40:33,719 --> 00:40:37,120 Speaker 1: and and reproduced on digital equipment. And in a lot 656 00:40:37,160 --> 00:40:42,480 Speaker 1: of cases the materials that now that that loudness is 657 00:40:43,560 --> 00:40:47,799 Speaker 1: being has become somewhat of a priority. UM. A lot 658 00:40:47,880 --> 00:40:50,960 Speaker 1: of the music is reproduced loud, and then that the 659 00:40:51,040 --> 00:40:54,240 Speaker 1: high end and low end are trimmed off to create 660 00:40:54,239 --> 00:40:58,560 Speaker 1: a digital file. So it's almost in some cases like 661 00:40:58,600 --> 00:41:02,320 Speaker 1: a solid block of sound and in the highs and lows, 662 00:41:02,880 --> 00:41:08,560 Speaker 1: and there is less dynamic range. UM. And again this 663 00:41:08,640 --> 00:41:11,000 Speaker 1: is this, this is a human element element, and you 664 00:41:11,040 --> 00:41:14,640 Speaker 1: know what people are listening for? What do I want from? Uh? 665 00:41:14,680 --> 00:41:16,320 Speaker 1: This new CD that I'm going to buy? So I 666 00:41:16,360 --> 00:41:18,319 Speaker 1: want to crank it up in my car and go 667 00:41:18,440 --> 00:41:20,520 Speaker 1: driving down the boulevard and have people notice who I 668 00:41:20,560 --> 00:41:24,799 Speaker 1: am and associate this music with me. Um. The answers 669 00:41:24,840 --> 00:41:33,320 Speaker 1: always yes, yeah, yeah, um, polka all the time? People Okay, funny, 670 00:41:33,400 --> 00:41:36,640 Speaker 1: that's also the disco sound. Um but um but yeah, 671 00:41:36,680 --> 00:41:39,600 Speaker 1: I mean, And this is a this can be a problem, 672 00:41:39,640 --> 00:41:42,840 Speaker 1: you know, because then you don't have the same you 673 00:41:42,880 --> 00:41:46,080 Speaker 1: don't get that dynamic range, and you say, well, is 674 00:41:46,080 --> 00:41:48,239 Speaker 1: this something that's important to me or not? Again, it's 675 00:41:48,280 --> 00:41:50,800 Speaker 1: it's partially a matter of choice, but it's also partially 676 00:41:51,400 --> 00:41:55,279 Speaker 1: what the market is asking for, and people are producing 677 00:41:55,320 --> 00:41:58,400 Speaker 1: and putting out to the market as well well. And 678 00:41:58,440 --> 00:42:01,560 Speaker 1: there's also the argument, and this becomes a circular argument, 679 00:42:02,000 --> 00:42:04,720 Speaker 1: but there's also the argument that the equipment that people 680 00:42:04,719 --> 00:42:08,959 Speaker 1: are using to listen to music is incapable of distinguishing 681 00:42:09,000 --> 00:42:12,720 Speaker 1: some of the subtleties that we might associate with earlier 682 00:42:12,760 --> 00:42:17,920 Speaker 1: types of music. Therefore, since the playback equipment cannot handle it, 683 00:42:18,000 --> 00:42:21,439 Speaker 1: why would you put it in there? Why bother to do? 684 00:42:21,480 --> 00:42:24,000 Speaker 1: That when you can take this other route, which is 685 00:42:24,400 --> 00:42:28,719 Speaker 1: exactly what the equipment can handle, and that thus you 686 00:42:28,840 --> 00:42:33,000 Speaker 1: also get to a more homogenized sound across various industries 687 00:42:33,120 --> 00:42:35,440 Speaker 1: or various genres. I guess I should say. Is it 688 00:42:35,480 --> 00:42:42,000 Speaker 1: also pasteurized? It can be, It can be pasteurized rarely. 689 00:42:42,280 --> 00:42:44,200 Speaker 1: Do you have vitamin D added? Yeah, there's a lot 690 00:42:44,200 --> 00:42:46,759 Speaker 1: of vitamin D deficiency in the music industry. So it's 691 00:42:47,239 --> 00:42:50,600 Speaker 1: a scandal. It's about it's poised to break wide open. Yeah, 692 00:42:50,600 --> 00:42:54,840 Speaker 1: there's also florid. Yeah. Well, fortunately they did lick the 693 00:42:54,920 --> 00:42:58,480 Speaker 1: scurvy problem, so that was good. Not literally that would 694 00:42:58,520 --> 00:43:03,399 Speaker 1: be gross. So anyway, my earbuds are wet. Is there 695 00:43:03,400 --> 00:43:06,040 Speaker 1: anything else in particular? You want to talk about sound files? 696 00:43:06,040 --> 00:43:10,040 Speaker 1: I mean, like I said, there are literally hundreds of 697 00:43:10,160 --> 00:43:13,040 Speaker 1: different types of sound files, some of which are really 698 00:43:13,080 --> 00:43:15,920 Speaker 1: obscure and haven't been used in more than a decade 699 00:43:15,920 --> 00:43:19,359 Speaker 1: except on legacy systems. Yeah. The we had we had 700 00:43:19,360 --> 00:43:21,160 Speaker 1: a couple of people write us in and ask us 701 00:43:21,400 --> 00:43:24,439 Speaker 1: to do this, and I'm wondering if we actually, uh, 702 00:43:24,680 --> 00:43:26,120 Speaker 1: this is not the kind of thing that we can 703 00:43:26,160 --> 00:43:29,800 Speaker 1: wrap up in a nice package and tie off because 704 00:43:30,040 --> 00:43:31,920 Speaker 1: it is such a diverse thing. And it's not it's 705 00:43:31,920 --> 00:43:36,160 Speaker 1: probably not going to end because even once we standardize, 706 00:43:36,160 --> 00:43:39,719 Speaker 1: we get closer to standardizing on maybe two or three 707 00:43:40,480 --> 00:43:44,800 Speaker 1: audio standards, um, somebody will still be working on coming 708 00:43:44,880 --> 00:43:47,399 Speaker 1: up with a better way to reproduce sound, and thus 709 00:43:47,400 --> 00:43:50,160 Speaker 1: we'll introduce a new file format for us to consider, right, 710 00:43:50,239 --> 00:43:53,120 Speaker 1: And and plus just with new equipment coming out, things 711 00:43:53,160 --> 00:43:56,200 Speaker 1: like video game systems, like handheld video game systems, they 712 00:43:56,280 --> 00:44:00,239 Speaker 1: have their own proprietary sound file extensions too, like the 713 00:44:00,320 --> 00:44:04,160 Speaker 1: Nintendo ones have their own proprietary sound file extensions. So 714 00:44:04,320 --> 00:44:06,320 Speaker 1: and then we still have people going back and trying 715 00:44:06,400 --> 00:44:12,879 Speaker 1: to reproduce the eight bit sound, right. So yeah, it's 716 00:44:12,880 --> 00:44:15,040 Speaker 1: it's one of those things that I do not expect 717 00:44:15,080 --> 00:44:16,920 Speaker 1: us to ever reach a point where we're going to 718 00:44:17,000 --> 00:44:20,359 Speaker 1: have the one standard audio file and some of them, 719 00:44:20,440 --> 00:44:22,760 Speaker 1: some of them will become kind of de facto standards, 720 00:44:22,800 --> 00:44:25,120 Speaker 1: just because the fact that so many people are using it. 721 00:44:25,600 --> 00:44:27,480 Speaker 1: But that's not the same thing as to say we've 722 00:44:27,520 --> 00:44:30,839 Speaker 1: all settled on one particular file format, and with with 723 00:44:30,960 --> 00:44:33,520 Speaker 1: things like DRM in the picture, I mean that obviously 724 00:44:34,160 --> 00:44:38,160 Speaker 1: is a big issue. Driver. Yeah, they're there are companies 725 00:44:38,200 --> 00:44:40,759 Speaker 1: that famously got out of it, you know, Apple being 726 00:44:40,760 --> 00:44:44,000 Speaker 1: one of them, uh saying that you know what, we 727 00:44:44,120 --> 00:44:46,759 Speaker 1: have come to the same conclusion that our listeners have been, 728 00:44:46,880 --> 00:44:50,400 Speaker 1: uh saying, which is that, um, this is a negative 729 00:44:50,440 --> 00:44:52,360 Speaker 1: impact on their experience, and we don't want to do 730 00:44:52,400 --> 00:44:56,360 Speaker 1: it anymore. Um, it's a good business decision for Apple 731 00:44:56,400 --> 00:44:59,600 Speaker 1: at the time. Uh. There's other companies that are still 732 00:44:59,760 --> 00:45:02,480 Speaker 1: for really behind DRM and they say that that is 733 00:45:02,560 --> 00:45:05,680 Speaker 1: the good business decision for them in their in their 734 00:45:05,719 --> 00:45:11,120 Speaker 1: particular situation. And maybe maybe that's true. Uh. Personally, Uh, 735 00:45:11,360 --> 00:45:14,440 Speaker 1: if the DRM is is intrusive in any way, I 736 00:45:14,480 --> 00:45:19,879 Speaker 1: just find it awful. Yeah. If there's if there's a requirement, yeah, 737 00:45:20,320 --> 00:45:22,400 Speaker 1: like you must have an Internet connection to listen to 738 00:45:22,400 --> 00:45:27,080 Speaker 1: your music. Like really that doesn't seem right. Even better 739 00:45:27,239 --> 00:45:29,600 Speaker 1: when he goes, you must have an internet connection your 740 00:45:29,600 --> 00:45:32,880 Speaker 1: listeners music, but I have an Internet connection. Why aren't 741 00:45:32,920 --> 00:45:35,440 Speaker 1: you playing? Right? You must have the band in your 742 00:45:35,440 --> 00:45:37,840 Speaker 1: living room to listen to this music, but they're sitting 743 00:45:37,920 --> 00:45:41,360 Speaker 1: right here. Yeah, Marian Call, she can't play anything for 744 00:45:41,520 --> 00:45:43,879 Speaker 1: me until after I run the actual foul and then 745 00:45:44,040 --> 00:45:47,239 Speaker 1: then she starts playing. That's totally not true. Uh. And 746 00:45:47,239 --> 00:45:48,680 Speaker 1: if you guys don't know who Marian Call is, you 747 00:45:48,719 --> 00:45:50,399 Speaker 1: should definitely look her up and listen to her music. 748 00:45:50,400 --> 00:45:53,759 Speaker 1: It's awesome. So we're gonna wrap this up. There are 749 00:45:53,840 --> 00:45:56,600 Speaker 1: so many things we could say about sound files. We 750 00:45:56,600 --> 00:45:59,960 Speaker 1: could do an episode about each type of major sound five, 751 00:46:00,200 --> 00:46:03,919 Speaker 1: and then do episodes where we would group ten more 752 00:46:03,960 --> 00:46:07,759 Speaker 1: obscure sound files together, and we would still be recording episodes. 753 00:46:08,000 --> 00:46:11,440 Speaker 1: Well passed episode five for tech Stuff. So we are 754 00:46:11,520 --> 00:46:14,279 Speaker 1: not going to do that because some market research tells 755 00:46:14,360 --> 00:46:16,520 Speaker 1: us that you would all leave, So we're not going 756 00:46:16,560 --> 00:46:18,759 Speaker 1: to do that. But but if you have any questions 757 00:46:18,960 --> 00:46:21,960 Speaker 1: about sound files in general, or any sort of tech 758 00:46:22,040 --> 00:46:25,160 Speaker 1: topic you would like us to address in a future episode, 759 00:46:25,600 --> 00:46:27,920 Speaker 1: please let us know. Send us an email or I 760 00:46:27,920 --> 00:46:31,279 Speaker 1: addresses tech Stuff at Discovery dot com, or send us 761 00:46:31,320 --> 00:46:33,480 Speaker 1: a message on Facebook or Twitter, or handle it both 762 00:46:33,480 --> 00:46:35,840 Speaker 1: of those as tech Stuff. Hs W and Chris and 763 00:46:35,880 --> 00:46:39,439 Speaker 1: I will talk to you again really soon for more 764 00:46:39,480 --> 00:46:41,759 Speaker 1: on this and thousands of other topics. Is it how 765 00:46:41,800 --> 00:46:48,000 Speaker 1: stuff works dot com. See guys, I told you we 766 00:46:48,080 --> 00:46:51,160 Speaker 1: talked to you again really soon. That really soon is 767 00:46:51,280 --> 00:46:53,960 Speaker 1: right now. I'm just reminding you that we have our 768 00:46:54,000 --> 00:46:57,560 Speaker 1: photo upload widget live on the site at www dot 769 00:46:57,600 --> 00:47:00,920 Speaker 1: how stuff works dot com. Slash upgrade your heck. Toyota 770 00:47:01,000 --> 00:47:03,839 Speaker 1: is giving us the chance to let you share your creativity. 771 00:47:04,080 --> 00:47:08,160 Speaker 1: So send us those pictures of your modifications, your tech ideas, 772 00:47:08,160 --> 00:47:10,920 Speaker 1: those gadgets that you've created, all those hacks. If you're 773 00:47:10,960 --> 00:47:14,600 Speaker 1: steampunking everything in sight, put on your goggles and show 774 00:47:14,640 --> 00:47:17,719 Speaker 1: that to us. We can't wait to see them. Brought 775 00:47:17,800 --> 00:47:20,120 Speaker 1: to you by the two thousand twelve Toyota Camera