Designing Web Audio & CD-ROM

Audio challenges and limitations

Audio formats do not have universal browser support, nor is there widespread use of one particular format. Adoption of a single audio format has been slow due to technical challenges that include browser incompatibilities, severe bandwidth limitations, and unwieldy plug-ins:

• Lack of standards. The persistent incompatibilities between the latest plug-in releases, combined with a marketplace flooded with different versions of browsers, have left web designers yearning for audio format standards. These concerns may eventually disappear as older browsers go out of circulation and as more web surfers use browsers supporting audio formats such as RealAudio, Flash, MP3, and Beatnik.

• Bandwidth limitations. With the limited bandwidth of standard analog modems, web developers can barely afford to have a full-featured graphic interface, let alone the addition of bandwidth-intensive audio content. Building a web soundtrack in restricted bandwidth conditions is difficult and requires stringent use of graphics and audio content as well as some ingenious workarounds. One such workaround is recycling a small portion of a music loop clip to use as a button sound, as detailed in Chapter 9 .

  Limited bandwidth also makes it difficult to work with many of the current audio technologies. Shockwave and Flash are great tools for creating interactive audio content with images and animation, but at slow modem speeds, frames come jolting to a halt and audio frequently drops out or skips ahead. The widespread use of high-speed digital modems will alleviate these problems.

  Severe bandwidth limitations also significantly reduce audio quality. Proper recording, editing, and encoding of audio files is especially important with limited bandwidth conditions. This book provides the information that will help you create high-quality audio files that are optimized for web delivery.

• Difficult plug-in installation procedures. The process of downloading and installing an audio plug-in is problematic for technically savvy computer users, but for novices, the process presents a whole new level of challenges. Downloading a plug-in disrupts the viewing experience, forces users to answer difficult technical questions, and generally remains far too complicated. In a professional environment that demands quality and reliability, using plug-in-dependent technology for critical content is risky at best. RealNetworks and Macromedia are in the process of developing technical solutions and marketing deals for making the plug-in download process easier. You can read more about the advantages of Macromedia’s Smart-Shockwave and Aftershock plug-in download solutions in Chapter 9. Installing plug-ins is easier in IE5 and Netscape 5, but neither browser is ubiquitous.

Sound advice tips from the sound designer of the film Titanic

Gary Rydstrom, Academy Award-winning sound designer for Jurassic Park, Terminator 2, and Titanic, provides seven common film sound design techniques that also pertain to designing sound for a web site:

• Pay attention to the sounds around you in your everyday life. Imagine how you would recreate them with effects.

• Focus on sounds that have the highest emotional impact. Use sounds that help build and strengthen the character and theme of your web site.

• Use silence in your soundtrack. Remember when adding sound to your web pages that you also have the benefit of visual content to carry meaning.

• The audio elements of your presentation should have a harmonious rhythm or pattern when played in sequence. If you have a good sense of rhythm and timing, you can be a good sound designer.

• Keep your soundtrack varied. Do not use the same monotonous synth drone or music loop on every web page in your site. People quickly tune out repetitive sounds.

• Keep your soundtrack simple. Do not let it get too busy with distracting sounds; the soundtrack should pull you into the content of the web page. Only one or two sounds should be dominant in the mix at any given time.

• Try to orchestrate the sounds in your mix so that they use the entire frequency spectrum of bass, mid-range, and high-pitched tones. Avoid the simultaneous use of sounds that fill the same frequency range, such as a mid-range voice and cello or a bass guitar and baritone male voice.