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Index: S

sales, music: 1.7.3. Designing music loops

sampling frequency: 8.2.1. MP3 technical details

sampling rate: 2.2. Digital audio demystified

8.4.2.3. 128 Kbps Internet standard

codecs: 6.3.1. Selecting the right RealAudio codecs

screens, transitions between: 1.9.2. Timing loops

scripting controls, fade-out: 1.9.2. Timing loops

scrollingnews window type, RealText: 7.4.2. Window types

example of: 7.4.2. Window types

sc_serv.ini: 8.6.1.4. Additional server options

SDMI (see Secure Digital Music Initiative)

Secure Digital Music Initiative (SDMI): 8.4.3.1. Selecting tracks

8.7.1. Is MP3 legal?

security

broadcasting over Intranet: 6.4.1. Broadcasting through firewalls

Internet music delivery: 5.2.7. Liquid Audio

music piracy: 8.4.3.1. Selecting tracks

seek time: 3.1.2. Microphone pre-amps

Selective Record option, RealAudio batch encoding: 6.3.2.1. Encoding RealAudio with a batch processor

seq tag, SMIL: 7.2.2. Establishing a timeline

sequencers: 10.3.3. MIDI file editing tutorial

servers: 5.2.2. Windows Media Technologies (Netshow)

(see also RealServer; web servers)

CDDB: 8.4.1.1. Working with the CDDB

FTP: 8.5.1. Creating your own MP3 site

Liquid Server: 8.8. MP3 resources

Server Name option, RealAudio batch encoding: 6.3.2.1. Encoding RealAudio with a batch processor

Windows Media Server: 5.2.2. Windows Media Technologies (Netshow)

Shockwave: 5.1. Streaming protocols

9. Interactive Sound Design with Flash and Shockwave

9.3. Introduction to Shockwave

audio files, exporting: 9.3.4. Exporting Shockwave audio files

audio files, optimizing: 9.3.5. Optimizing your Shockwave audio files

creating transparent loops: 9.3.2. Creating transparent Shockwave loops

drawbacks: 9.1.1. Drawbacks to Flash and Shockwave

9.3. Introduction to Shockwave

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

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

embedding in frames: 1.7.3.3. Optimum loop length

interactive mouse rollover sounds: 1.4. Adding sound effects

interactive multimedia: 9.1. Flash and Shockwave basics

Lingo: 9.3. Introduction to Shockwave

Rasberry Media Player, using with: 9.3.6. Quick and easy audio streaming with Shockwave

streaming audio: 9.3.3. Shockwave streaming audio

transparent movies: 1.7.3.3. Optimum loop length

Shockwave Flash files (.swf): 6.4.4. Creating RealFlash content

shotgun microphones: 3.1.1.5. Directionality and pick-up patterns

SHOUTcast: 5.3.7. Server performance and software quality

8.6. Start your own MP3 radio station

8.8. MP3 resources

configuring: 8.6.2. Configuring and starting the system

DSP plug-in: 8.6.1. Running your own station

MP3 codec: 8.6.1.2. Installing an appropriate MP3 codec

server software: 8.6.1.3. Installing the SHOUTcast server software

servers: 8.6. Start your own MP3 radio station

sibilance, removing: 4.3.4.1. Removing sibilance

signal-to-noise (s/n) ratio

mixing boards: 3.1.3. Mixers

signals, routing with mixers: 3.1.3. Mixers

silence

smoothing out: 4.1.2. Avoiding gaps between edited sections

using in soundtracks: 1.5. Audio challenges and limitations

Silicon Graphics: 6.6.5.1. Remote encoding and management

sites

determining purpose of: 1.7. Designing web audio

navigation, improving: 1.2. What you can do with sound on the Web

skins

creating: 8.3.4. Skins

templates: 8.3.4.1. Skin-making tutorial

Smart-Shockwave: 1.5. Audio challenges and limitations

SMFs (standard MIDI files): 10.3.1. MIDI editors

SMIL (Synchronized Multimedia Integration Language): 5.2. Streaming media formats

5.2.2. Windows Media Technologies (Netshow)

6.4.5. Creating synchronized RealAudio presentations with RealSystem 5.0

applications supporting: 7. Designing Multimedia Presentations with SMIL and RealSystem G2

Composer and Allaire authoring tools: 7. Designing Multimedia Presentations with SMIL and RealSystem G2

display area: 7.2.1. SMIL syntax

RealFlash file, sourcing into: 7.5. RealFlash

RealSystem G2, use with: 7.2. SMIL

syntax: 7.2.1. SMIL syntax

timeline: 7.2.2. Establishing a timeline

smil tag, SMIL: 7.2.1. SMIL syntax

SND files, converting to RealMedia formats: 6.3.2. Using the RealEncoder

Solaris: 5.2.2. Windows Media Technologies (Netshow)

6.3.3.2. RealServer system requirements

6.5. Live broadcasting with RealAudio

remote encoding: 6.6.5.1. Remote encoding and management

Sonic Foundry: 4. Optimizing Your Sound Files

sonic realism: 1.7.3. Designing music loops

Sonicopia: 11.3.5. Lesson 5: Putting it all together

sonifying web sites, Beatnik System: 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

multiple Music Object instances 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

Sony Memory Stick players: 8.8. MP3 resources

Sony Walkman: 8.4.3.1. Selecting tracks

sound

digital audio, converting to: 2.2. Digital audio demystified

editing: 4. Optimizing Your Sound Files

ornamental: 1.7.3.2. Good ambient loop mixing

producing: 2.1. The science of sound

sweetening: 4.2. Digital effects

types of: 1.7. Designing web audio

wet versus dry: 2.1.5. Reverberation and delay

sound cards

better, analog to digitial conversion: 6.6.2. Capturing live audio with the RealEncoder

input levels: 6.3. Professional webcasting

sound design

colors: 1.7.2. Using sound effects

frequencies, selecting: 1.9.1. Selecting sounds

history: 1.6. Solid sound design

interactive, case study: 1.9. Interactive sound design case study

interactive sound effects and buttons: 1.8. Interactive sound effects and buttons

principles of: 1.6. Solid sound design

techniques: 1.5. Audio challenges and limitations

web audio: 1.7. Designing web audio

mistakes to avoid: 1.7.1. Easy-to-use narration

music loops: 1.7.3. Designing music loops

narration: 1.7.1. Easy-to-use narration

sound effects: 1.7.2. Using sound effects

sound effects: 1.4. Adding sound effects

1.7. Designing web audio

ambient loops, compared to: 1.7.3.1. Sound loops versus repetitive sound effects

event-driven: 9.2.1. Flash audio: event-driven sound versus streaming sound

Flash intro screen: 1.7.2. Using sound effects

interactive: 1.8. Interactive sound effects and buttons

JavaScript example: 1.4. Adding sound effects

libraries: 1.7.3. Designing music loops

sonic realism: 1.7.3. Designing music loops

using: 1.7.2. Using sound effects

Sound Forge: 4. Optimizing Your Sound Files

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

Acid looping tool: 1.7.3. Designing music loops

pitch shift: 4.2.3. Pitch shift

sound loops

length: 1.7.3.3. Optimum loop length

repeating: 1.9.2. Timing loops

seamless loops, creating: 1.7.3.4. Sound loop tutorial: creating seamless loops with a sound editor

sound peaks, reducing: 4.3.2. Compression: reducing sound peaks and spikes

sound waves: 2.1.4. Sound propagation and acoustics

SoundBlaster AWE32: 10.3. Creating your own MIDI files

SoundBlaster Pro sound card: 6.6.1. Capturing high-quality live sound

SoundEdit 16: 3.2.1.3. Desktop audio recording

4. Optimizing Your Sound Files

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

bender effect: 4.2.4. Bender

digital effects: 4.2.1. Reverb

normalization: 4.3.1. Normalization: maximizing the dynamic range

pitch shift: 4.2.3. Pitch shift

SoundEdit Pro

reverberation: 4.2.1. Reverb

SoundFX PageTunes: 10.2.2. Add a bit of spice to your site

SoundJam: 8.3. Playing MP3 files

8.8. MP3 resources

SoundPlay: 8.6.2.1. An easier way?

soundtracks

looping: 1.3.2. Adding a looping music soundtrack

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

speech

microphones for recording: 6.6.1. Capturing high-quality live sound

RealAudio file, encoding from AIFF or WAV: 5.1.1. Lossy compression

spikes

reducing: 4.3.2. Compression: reducing sound peaks and spikes

removing: 4.1.3.1. Deleting a spike

Spinner: 5.3.4. Learning curve and documentation support

standard MIDI files (SMFs): 10.3.1. MIDI editors

standards

digital audio encoding: 2.2. Digital audio demystified

lack of: 1.5. Audio challenges and limitations

MPEG: 8.2. What is MP3?

Stanford University MedNET: 6.1.3. RealPlayer

static encoding: 6.1.1. RealEncoder and RealPublisher

steps: 4.2.4. Bender

stereo ISDN: 6.3.1. Selecting the right RealAudio codecs

stereo playback: 9.2.1. Flash audio: event-driven sound versus streaming sound

strategy games: 5.2.4. Flash and Director Shockwave

streaming formats: 5.2. Streaming media formats

advantages and disadvantages: 5.3. Selecting the right format

audio fidelity: 5.3.5. Audio fidelity and compression

costs: 5.3.3. Cost for streaming audio

Director Shockwave: 5.2.4. Flash and Director Shockwave

documentation and support: 5.3.4. Learning curve and documentation support

Flash: 5.2.4. Flash and Director Shockwave

Liquid Audio: 5.2.7. Liquid Audio

low-bandwidth environments: 5.3.6. Low bandwidth performance overall

MIDI: 5.2.8. MIDI

MP3: 5.2.6. MP3

Quicktime: 5.2.3. QuickTime

RealMedia: 5.2.1. RealMedia and RealAudio

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

Windows Media: 5.2.2. Windows Media Technologies (Netshow)

streaming sounds, event sounds vs.: 9.2.1. Flash audio: event-driven sound versus streaming sound

studio recordings: 3.2.1. Studio recording

acoustics: 3.2.1.1. Proper room acoustics: capturing a "dry" signal

condenser microphones: 3.1.1.3. Condenser microphones

desktop: 3.2.1.3. Desktop audio recording

isolation: 3.2.1.2. Optimizing your recording environment

studio reference headphones: 3.1.7. Headphones

studio reference speakers: 3.1.5. Studio reference speakers

studio voice-overs, dynamic microphones: 3.1.1.2. Dynamic microphones

subsonic sound: 2.1. The science of sound

Sun OS 4.1.x: 6.3.3.2. RealServer system requirements

SureStream: 7.1. SureStream

SVCD (MPEG-1 supervideo): 8.4.3.1. Selecting tracks

SWA Export Xtra: 9.3.4. Exporting Shockwave audio files

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

SWF files: 6.4.4. Creating RealFlash content

swftune utility: 6.4.4. Creating RealFlash content

Synchronized Multimedia Integration Language (see SMIL)

synchronized multimedia presentations: 5.2.1. RealMedia and RealAudio

synthesizers: 10.3. Creating your own MIDI files

system noise: 4.1.2. Avoiding gaps between edited sections

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