Symbols | A | B | C | D | E | F | G | H | I | J | K | L | M | N | O | P | Q | R | S | T | U | V | W | X | Y | Z

Index: B

background music: 1.2. What you can do with sound on the Web

adding with Beatnik: 11.3.3. Lesson 3: Adding simple background music

background sound, adding with HTML: 1.3.1. Adding a simple background sound

backwards compatibility, RealPlayer: 6.2.3. HTTP streaming tutorial

backwards effect: 4.2.5. Backwards

bandwidth: 6.2.3. HTTP streaming tutorial

codec chart, RealAudio: 6.3.1. Selecting the right RealAudio codecs

dynamic allocation with SureStream: 7. Designing Multimedia Presentations with SMIL and RealSystem G2

limitations: 1.5. Audio challenges and limitations

1.7. Designing web audio

negotiation

live broadcasting: 6.5. Live broadcasting with RealAudio

RealAudio, using with: 6.3.3.3. Using bandwidth negotiation

RealMedia, streaming audio: 5.2.4. Flash and Director Shockwave

RealServer: 6.1.2. RealServer

6.3.1. Selecting the right RealAudio codecs

range of frequencies, amplifying or reducing: 4.3.3. Equalization: customizing your sound

separate audio and animation files: 6.4.4. Creating RealFlash content

Bandwidth Profiler, Flash: 9.2.2.2. Publishing and file size optimization

Bandwidth Tuner: 6.4.4. Creating RealFlash content

BarbaBatch: 6.3.2. Using the RealEncoder

Base Skin, Winamp: 8.3.4.1. Skin-making tutorial

Basic RealServer: 6.3.3. Broadcasting audio with the RealServer

Basic Server Plus, RealNetwork: 6.2. Streaming RealAudio from a web server

bass: 2.1.2. Pitch

removing with high-pass filter: 4.3.4.2. Using low-pass and high-pass filters

batch-encoding

AppleScript, parameters for: 6.3.2.1. Encoding RealAudio with a batch processor

command-line options, RealAudio: 6.3.2.1. Encoding RealAudio with a batch processor

Beatnik: 5.2.5. Beatnik's Rich Music Format (RMF)

9.3.1. Using Shockwave "internal" sounds: embedded cast members versus streamed SWA sounds

10.1. MIDI: A universal approach

10.3. Creating your own MIDI files

11. Designing Audio Web Sites with Beatnik

advantages: 11.1. New possibilities for interactive sound

Beatnik Audio Engine: 11.2. Beatnik authoring system

11.2.2. Beatnik Audio Engine

Beatnik Editor: 11.2. Beatnik authoring system

11.2.3. Beatnik Editor

11.4. Using the Beatnik Editor

11.4.4. Making a custom instrument from your imported samples

copyright window: 11.4.3.1. Working with songs

creating new sessions: 11.4.1. Getting started

General MIDI bank: 11.4.3.2. Working with instruments

Groovoids: 11.4.3.1. Working with songs

importing files: 11.4.2. Importing MIDI and audio files

Instrument menu: 11.4.3.2. Working with instruments

samples: 11.4.3.3. Working with samples

songs: 11.4.3. Manipulating the files

special bank: 11.4.3.2. Working with instruments

system requirements: 11.4. Using the Beatnik Editor

user bank: 11.4.3.2. Working with instruments

Beatnik Player: 11.2. Beatnik authoring system

11.2.1. Beatnik Player

disadvantages: 11.1. New possibilities for interactive sound

Groovoids: 11.2. Beatnik authoring system

HTTP web servers: 5.1. Streaming protocols

interactive mouse rollover sounds: 1.4. Adding sound effects

interactive sound: 11.1. New possibilities for interactive sound

JavaScript: 11.2.4. Authoring with Beatnik

MIDI, use of: 5.3.6. Low bandwidth performance overall

11.2. Beatnik authoring system

Mixman remixers: 11.2. Beatnik authoring system

MP3 files, use of: 11.2. Beatnik authoring system

Music Object: 11.2.5. Introduction to the Music Object

security: 11.4.3.1. Working with songs

sonifying web sites: 11.2.4. Authoring with Beatnik

adding background music: 11.3.3. Lesson 3: Adding simple background music

mouseover, simple: 11.3.1. Lesson 1: A simple mouseover

Music Object, multiple on page: 11.3.4. Lesson 4: Creating multiple Music Object instances on a page

navbar, building: 11.3.2. Lesson 2: Building a sonified navbar

putting together audio behaviors: 11.3.5. Lesson 5: Putting it all together

sound conversion: 11.2.4. Authoring with Beatnik

sound bank: 11.3.2. Lesson 2: Building a sonified navbar

Beggs, Josh: 1.9.2. Timing loops

bender effect: 4.2.4. Bender

BeOS: 8.3.4. Skins

8.3.5. Plug-ins

8.6.2.1. An easier way?

Beyer dynamic microphone: 3.1.1.2. Dynamic microphones

BGSOUND tag: 1.3. Two easy ways to add sound

MIDI: 10.2. Adding MIDI to your web pages

Bias Peak: 1.7.3. Designing music loops

bidirectional microphones: 3.1.1.5. Directionality and pick-up patterns

bird calls, recording: 3.2.2.3. Capturing ambient sounds

bit-depth: 2.2. Digital audio demystified

BitHeadz: 10.1.1. Advantages to using the MIDI format

bitrate: 8.2.1. MP3 technical details

constant: 8.4.1. Encoding MP3 files

encoding: 8.4.1. Encoding MP3 files

for RealSystem G2: 7. Designing Multimedia Presentations with SMIL and RealSystem G2

quality-to-file-size ratio: 8. Playing, Serving, and Streaming MP3

8.4.2.3. 128 Kbps Internet standard

variable: 8.4.1. Encoding MP3 files

BMI, license agreement information: 8.6.2.2. Complying with copyright laws

boards, mixing: 3.1.3. Mixers

Broadcast.com: 5.3.7. Server performance and software quality

broadcasting

through firewalls: 6.4.1. Broadcasting through firewalls

intranets: 6.4.1. Broadcasting through firewalls

large-scale: 5.3.7. Server performance and software quality

browsers

compatibility: 5.3.2. Browser compatibility

JavaScript errors: 6.4.2.2. Note of caution

button rollovers: 1.4. Adding sound effects

button sounds

length: 1.8. Interactive sound effects and buttons

mistakes: 1.7.1. Easy-to-use narration

multitrack digital editor, creating with: 1.8. Interactive sound effects and buttons

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