Saludos amigos… gracias por descargar este valioso

material desde www.intercambiosvirtuales.org o desde

www.playmusicamp3.net
A continuación les agrego un tutorial de uso rápido del
dBpoweramp… espero le saquen provecho…
Atentamente, JamesPoetRodriguez (JPR504)

1- Introducción a convertir formatos de sonido con

dbPowerAmp
dbPowerAmp es un programa totalmente gratuito, libre de spyware, adware y cualquier otra pega que
acompañan a muchos programas gratuitos.

En principio, dbPowerAmp permite convertir entre formatos WAV y MP3, pero se pueden descargar e instalar
diferentes codecs disponibles en la web del fabricante.

Nota: Las últimas versiones no incorporan el codec de MP3, que debe descargarse por separado, pagando una
licencia. En cambio, podemos seguir usando las versiones antiguas, como la aquí comentada (10.1), que no
tiene ninguna limitación.

Así, podemos completar una larga lista de formatos, entre los cuales cabe destacar:

db Power Amp Formatos de audio soportados *

incluidos: descargables:
WAV OGG WMA MP4 MP3 Pro
MP3 Real Audio APE (Monkey's Audio) MusePack
y muchos más... (ver Codec Central)

Además, permite extraer sonido de un CD-Audio ("ripear"), para convertirlo en WAV, o comprimirlo
directamente en cualquiera de los otros formatos soportados.

Lamentablemente, el programa está en inglés, pero esto no supone un problema para los que no dominen
dicho idioma, ya que el manejo es muy sencillo, y para entenderlo perfectamente bastará leer éste manual.
2 - Convertir formatos de audio con dbPowerAmp
Una vez instalado el programa, el modo más cómodo de convertir un archivo es buscarlo con MiPC o el
explorador de Windows, seleccionarlo con el botón derecho y elegir la opción "Convert To" (convertir a).

También existe una opción Edit Tag para editar los ID Tags (información sobre título, artista, año, género
musical, etc) del archivo.

Si deseamos convertir varios archivos a la vez, podemos seleccionarlos mediante CTRL-Clic (o Mayús-Clic), y
después elegir "Convert To":

Entonces aparecerá una pantalla en la cual podemos elegir primero el formato al que queremos convertir el
archivo (o archivos):

Con el botón podemos cambiar el nombre del archivo resultante.

Dependiendo del formato de salida elegido, las opciones pueden ser diferentes. Por ejemplo:

en WAV:
Podemos elegir los parámetros de resolución (bits), frecuencia y nº de canales (mono, estéreo, etc) "as
source", es decir, que queden igual a los del archivo original.

E incluso optar por un formato WAV comprimido, donde podremos elegir los formatos instalados en
windows. No recomiendo usar esta opción, ya que puede confundir a los programas reproductores.

en OGG:

En OGG y MP3 podemos elegir el bit rate (relación calidad-tamaño) del archivo con el control deslizante (barra
verde).

en MP3 (codec Lame):

Con el botón "Avanced Options" se mostrarán otros parámetros, entre ellos el "Preset", donde podemos elegir
diferentes calidades estándar:
3 - Parámetros de conversión
Las opciones más habituales son:

 Bit Rate constante (CBR) (en kbps, kilobits por segundo): la más habitual en MP3 es 128 Kbps, que suena
bastante bien, y crea archivos de aprox 1 Mb por minuto. (128/8x60=960 Kbytes).
 Bit rate variable (VBR): algunos formatos permiten usar bit rates diferentes para cada fracción del archivo, de
maner que comprime más los fragmentos donde pueda hacerlo sin perder calidad. Algunos reproductores
portátiles o DVDs domésticos sólo reconocen CBR.
 Mode ó Channels (nº de canales de sonido): Mono, Stereo, 5.1, etc.
 Frecuency (en Khz): la utilizada en CD-Audio es 44.1 Khz.
 Resolución (en Bits): Para CD-Audio son 16 bits.

Converting... Según el formato elegido, disponemos de diferentes parámetros para determinar la calidad y el
tamaño de archivo resultantes.

Output To: Asimismo, debemos decidir dónde queremos dejar el archivo convertido; en la misma carpeta que
el original (Same Folder as Original) o en una carpeta (Folder) que debemos elegir (browse).

Volume Normalize: Si lo activamos, el archivo convertido será normalizado, es decir, se subirá el volumen de
toda la pieza hasta el máximo valor posible (sin llegar a distorsionar).

Esta opción es muy útil si queremos grabar un CD (de audio u otros formatos) con canciones de diferentes
fuentes, que pueden estar grabadas a diferentes volúmenes. Al normalizarlas todas, no tendremos que estar
subiendo y bajando el volumen según sea necesario para cada archivo.

Preserve ID Tags: Si el archivo original tenía ID Tags, activando esta opción, el archivo resultante la
mantendrá.

Delete Source File(s) After Conversion: Activa esta opción si deseas borrar los archivos originales cuando
termine el proceso de conversión.

Después de elegir las opciones deseadas, pulsa el botón Convert, y comenzará el proceso de conversión:

Cuando termine, podrás ver el tiempo total transcurrido, que dependerá del formato original, el de destino, y
las prestaciones de tu PC. En este caso, la conversión de MP3 a OGG 128 Kbps de un archivo de duración 3:48
en un Pentium 4 a 1.7 Ghz:
Y en la carpeta de destino, tendrás el nuevo archivo (junto al original si elegiste la opción Same folder ...):

Como puedes ver, el formato de archivo y los parámetros de conversión influyen en el tamaño del archivo
resultante:

También los tiempos de conversión serán diferentes: por ejemplo, 16 segundos (14x) de MP3 a WMA:

y 4 segundos (52x) de MP3 a WAV:

4 - Descarga e instalación de dbPowerAmp
Puedes descargar el programa desde Internet, desde cualquier página web de descargas de software, como
www.softonic.com, pero también puedes buscarlo en la web del fabricante, como indicamos más adelante.

Nota: Las últimas versiones no incorporan el codec de MP3, que debe descargarse por separado, pagando una
licencia. En cambio, podemos seguir usando las versiones antiguas, como la aquí comentada (10.1), que no
tiene ninguna limitación. Dado que en la página del fabricante sólo está disponible la última versión, que es la
limitada, es más recomendable descargarlo de otros sitios web.

dbPowerAmp Music Converter versión 10.1 (Enero-04) ocupa 1.44 Mb (un disquete), y puedes descargarlo de
la web del fabricante: www.dbpoweramp.com donde también encontrarás otros programas interesantes:

Programas disponibles en www.dbpoweramp.com

abrev nombre descripción tamaño precio

Music convierte archivos de un formato a 1.44

dMC gratis
Converter otro, y extrae audio de CD's Mb

graba archivos de sonido a cds de audio 2.4

dCW CD Writer $14 us
o datos Mb

reproduce Mp3s, WMA, Ogg Vorbis,

1.9
dAP Audio Player Monkeys Audio, Real Audio, Wave y gratis
Mb
Midi

Sveta envía y recibe archivos entre el PC y

2.2
Portable numerosos modelos de reproductores
Mb
Audio musicales portátiles $19 us
ambos
dMC Power amplía las posibilidades de los 378
Pack programas anteriores Kb

Al terminar la descarga, tendrás un archivo de instalación:

La instalación es muy sencilla: haz doble clic al icono anterior, y sigue las instrucciones... la configuración por
defecto es la más adecuada, basta pulsar el botón siguiente cada pantalla...
5 - Instalar un nuevo codec
Si deseamos utilizar o convertir un formato de archivo musical que no soporta dBPowerAmp originalmente,
basta con acudir a Codec Central, elegir el formato deseado, y descargarlo.

Es habitual que, al descargar un archivo musical de internet, por ejemplo, de una red p2p, mediante
programas como Ares (ver mi Tutorial de Ares-p2p), el formato del archivo descargado no sea necesariamente
uno de los más populares, por lo que será necesario convertirlo.

Pero dbPowerAmp no dispone de la capacidad para convertir todos los formatos cuando se descarga, por lo
que será necesario descargar los codecs apropiados para el fichero que deseamos convertir.

Aquí vemos el tamaño y nombres del programa y varios codecs:

Una vez descargado, la instalación es muy sencilla: basta con ejecutar el programa deseado, y aparecerá una
pantalla como ésta (prácticamente idéntica a la de instalación del progama):

Si instalaste el programa en la carpeta por defecto, no debes cambiar nada; en caso contrario, usa el botón
"Cambiar" para buscar la carpeta correcta.

Tras pulsar siguiente, aparecen otras pantallas con información (basta pulsar siguiente en cada una), y por
útlimo, verás una página web comentando las peculiaridades del formato instalado, así como información
sobre los parámetros de conversión disponibles (en inglés)
Digital audio technology is fast moving, constantly innovating, this introduction brings you up to speed in no time.

Audio Representation
Digital Audio signals are represented by three different parameters, each of these has an effect on audio quality, for best quality
match the encoder with the source, example: compressing an Audio CD, encode to 2 Channel, 16 bit, 44.1 KHz.

Channels

Audio CDs contain 2 channels of audio, that is 2 independent audio signals. The idea being your Hi-Fi has two speakers, the
listener sits in the middle facing the speakers, their two ears detect differences from each speaker (created during CD mastering),
this gives depth to the audio reproduction, called stereo separation, as well placing the vocalist in the centre of the two speakers.

Movies benefit more than music from extra speakers, effects sometimes need to appear from behind, it is easier to effect this
when there are actual speakers at the rear. DVDs have 5.1 sound: 5 speakers and .1 is the low frequency sub-woofer.

Why is music not 5.1? traditionally if a concert was attended, all sound would appear to come from the front, nothing from
behind, where as a car chase in a film the police sirens would be behind. That is not to say music cannot improve with more
speakers, certain tracks might try to place the listener in the middle of audio, if I had the choice of 2 very good speaker or 5
average ones, I would choose the two good for music.

Channel Count Common Name

1 Mono
2 Stereo
4 Quadraphonic
6 5.1
8 7.1

Frequency (Sample Rate, or Samples Per Second)

Sound is made up from pressure waves. A single constant wave has its frequency measured in Hz (oscillations per second).
Humans can hear from a lowest frequency of 10's of Hz, up-to higher frequencies just below 20,000 Hz, or 20 KHz.

When talking about digital audio, frequency has a different meaning, it is the rate each sound sample is recorded. Imagine you
were told the temperature out side once a day, your friend was told the temperature four times a day, who would have the more
accurate picture? your friend. The higher the frequency, the more accurate a representation, up to a point...human hearing can
not hear above 20 KHz, so reproducing 50,000 KHz would be a waste of space (each sample takes up space). Nyquist's theorem
states: that to reproduce a 22 KHz sound signal, it must sampled (recorded) at more than 2x the required frequency, a sample rate
of 44.1 KHz can reproduce a 22 KHz signal.

It just so happens that audio CDs have a sample rate of 44.1 KHz, so why is DVD audio 96 KHz, or 192 KHz? is it a marketing ploy?
yes and no. Yes it is a ploy in that more appears to be better, it has already been said that an audio CD can reproduce a sound that
has a higher frequency than people can hear. No, as it is easier (cheaper) to create a piece of audio equipment that plays back a
18 KHz signal without distortion, when fed a 192 KHz signal rather than a 44.1 KHz signal. High-end gear, would not have much
distortion, so there is no point in 96, or 192 KHz audio, just the cheaper consumer gear which improves.
Bit Depth (and Amplitude)

Consider these two audio sine waves:

B has a higher amplitude (2x) than A, it is louder, but B is not twice as loud as A, perceived audio loudness works on a logarithmic
scale. The human ear was designed this way, so that the quietest mouse can be heard whilst the loudest jet tolerated (there is
many order of magnitudes difference between the two).

Bit depth is the resolution audio samples can be stored with, consider these 3 images as representations of bit depth:

8 bit 16 bit 24 bit

8 bit has the worst detail, it looks coarse, for audio it sounds coarse, but there is not too much difference between 16 bit and 24
bit, they are both reaching the limits of perception. Audio CDs are 16 bit, whereas DVDs are 24 bit, again is it a marketing ploy? yes
and no, yes most people cannot hear the difference between the two, no as 16 bit audio CDs have been spoilt by the loudness
race: that is CDs produced now are volume compressed, that is the quiet parts are pushed up louder, so that when played on the
radio or TV the track sounds louder (a 1980's CD would sound quiet in comparison to one from 2000). The downside is that 16 bit
CDs are no longer effectively 16 bit, the full audible range is not being used. 24 bit helps, but in the long run, the same fate
(loudness war) might happen to 24 bit DVD-audio discs.

Compression

When talking audio, compression can have two meanings: volume compression where the volume levels are
'compressed' to make the overall piece louder and audio compression, used to reduce the file size. We are
discussing audio compression, of which there are two types:

 Lossy the majority of compressed audio files are lossy, when encoding audio quality is sacrificed to achieve higher rates of
 compression. How much quality is lost depends on the encoder and settings used for compression, bit rate plays the
biggest role in determining final quality, higher bit rate files have better quality than lower bit rate files. Bit rate is
normally presented in Kbps (Kilo-bits-per-second).

Bit rate can be fixed at the same value throughout the file, know as Constant Bit Rate, or CBR. Bit rate can
constantly vary on demand, an audio track might have quiet parts, it stands to reason that for these quiet
parts a lower bit rate could be used, whilst complex parts a higher bit rate could be used. When the bit rate is
allowed to change it is called Variable Bit Rate, or VBR. Finally there is Average Bit Rate (ABR), basically it is
VBR but with constraints, those constraints are to give the whole file an average set bit rate, so the final file
size can be roughly known (with VBR it could be any size).

Typically a lossy 3 minute audio track might be 3 MB in size, around 10 to 1 compression (at 160 Kbps), or
10% of it's uncompressed size. Common lossy encoders are: mp3, ogg vorbis, windows media audio (wma),
advanced audio compression (AAC, typically stored in a .m4a container).

 Lossless: audio which is compressed using lossless can be uncompressed exactly the same (bit for bit) as the source file, it
is without loss. Lossless is slowly gaining ground on Lossy, the main advantage being once your CD collection is ripped into
lossless that is it, no more re-ripping, unlike lossy where the need to re-rip might present its self if a newer encoder is
released. Lossless can be converted to any other Lossless format without loss, lossless can be converted to any lossy
format and has the same quality as though ripping from audio CD.

The main reason Lossless is held back, is the final compression rates which are no where near as good as
Lossy, a typical 3 minute audio track might be around 30 MB uncompressed, Lossless could compress down
to 15 MB, around 2 to 1 compression, or 50% of it's uncompressed size.

Spoon's Audio Guide: CD Ripping

To Rip (verb): Extract audio Digitally from an Audio CD, also known as Digital Audio Extraction (DAE).

Audio CDs

Format
Audio CDs have been around since the 1980's and contain uncompressed audio: 2 Channels, 16 bit, 44.1 KHz. Audio quality from
Audio CDs is above perception, that is the general public cannot hear a difference between 16 bit and 24 bit (DVD-Audio or SACD),
neither can they hear a difference between 44.1KHz and 96KHz or 192KHz (again DVD-Audio and SACD). There is a slight caveat in
this last statement, in that in the last number of years there has been a loudness race, that is CDs produced now are volume
compressed, that is the quiet parts are pushed up louder, so that when played on the radio or TV the track sounds louder (and more
people will apparently purchase, a 1980's CD would sound quiet in comparison to one from 2005). The downside is that 16 bit CDs
are no longer effectively 16 bit, the full audible range is not being used. 24 bit helps, but in the long run, the same fate (loudness
war) might happen to 24 bit discs.

Layout
An audio CD is often referred to as Red Book (because the technical details were enclosed in a red book), and consist of:
Lead In Area
Audio Tracks, each track is separated by 'gaps' of around 2 seconds
Lead Out

The design of audio CD players did not put a constraint on the player locating a track precisely, a player could jump roughly where
the track starts this is why Lead In / Out and Gaps between audio tracks exist, these 'landing areas' contain silence.
CD Disc Types

Outside of standard audio CDs, exist CDs which are:

 Gapless (aka. live mix CDs) these discs do not have 2 second gaps between tracks, the idea is one track mixes into
another and is popular with Dance,
 Enhanced CDs (CD Extra): a combination of audio, followed by a data session. This data session might have a video
viewable on a computer, normal CD players are unaware of the enhanced part of the CD. Once copy-controlled
CDs started appearing on the market, it was fashionable to have Trojans which auto-installed when the CD is
inserted.
 Hidden Track One Audio (HTOA): before track 1 is a hidden track, playable on CD players by skipping back. If your
CD Ripper supports HTOA (dBpoweramp) it can be ripped if the drive can read HTOA.
 Hidden last track: the last track can be 'hidden' by having a long section of silence between the published last track
and the hidden one (perhaps a few minutes). Another possibility is to have many silence tracks (two seconds long)
before the last hidden track,
 DualDisc: One side is Audio CD, the other DVD - never really took off.
 Game Audio CDs, where there is a data session followed by an audio session, popular on PlayStation discs.

Secure Ripping

Secure ripping is the process of ripping audio CDs without errors, errors manifest as audible pops, clicks, or extended periods of
silence (where the CD drive has substituted the error with silence), rips with errors are sub-optimal. Secure ripping is different,
errors are detected, potentially recovered and unrecoverable tracks are separated out, the last thing your speakers need are tracks
with speaker damaging pops and clicks.

Secure ripping has many pre-requisites, each need to be fulfilled to rip securely: from finding a quality CD
drive (C2, cache invalidation, over-reading, drive offset). Each of these is covered later in 'Drives and Features'.

Secure ripping has progressed leaps and bounds over the years since the
introduction of AccurateRip, previously secure ripping programs relied upon C2
error pointers or by reading the same area twice to detect errors. Lets examine
each of these methods:

C2 Error Pointers

Each drive chipset implements C2 pointers with differing levels of quality, even the best implementation can still let through 3% or
more errors through. Having C2 helps, but should not be relied upon alone.

Re-Reading

CD is read twice, if a section contains an error it will likely return different errors, so can be detected. This is true mostly but not
always, consistent errors exist and in our opinion present more of a problem to secure ripping than the C2 error pointer detection
'hole'.

As mentioned AccurateRip helps enormously with secure ripping, a CD rip is compared to an independently ripped disc (different
drive, different CD - no 2 discs would have the same scratch).

Finally, not all Secure Rippers are equal, when in doubt test: all secure rippers should give the same results as
another secure ripper (as long as the correct drive offset is used), also use a program which compares only the
audio data, not the whole file (where ID Tags might be different), Illustrate have a [Calculate Audio CRC] utility
codec which can do just that.
 Drives and Features

Modern CD drives (every drive bar a handful in the last 4 years) support Accurate Stream, this feature allows a CD drive to precisely
locate an area of CD (unlike their counter part - ordinary CD players), it also puts an end to the requirement for a CD Ripper to jitter
correct (that is jump back more than required to re-sync when ripping blocks).

Every drive has an offset, if two different (model) CD drives were to read the same track the results from the 2nd drive would be
slightly offset by a number of samples, because the track starting point would be different, for example take the following audio
track where 24 samples are read (each number represents an audio sample):

As you can see each different drive reads the same track differently, Ripping programs are able to internally correct for a drives
offset. Offsets can be measured in samples, or bytes (samples x 4).

Over-reading enables a drive with a non-zero offset to recover the last few samples (if has a + offset), or the first few samples (for a -
offset), as these samples will appear to the drive in either the lead out, or lead in area. Not many drives are able to over-read, but
fear not as these audio samples are nearly always silence.

C2 Error Pointers are a form or error detection. Audio CDs have many layers of error correction and detection. What happens if
there is an error which cannot be corrected (recovered)? a CD drive can either pass the audio out as is, with possible pops and clicks,
or interpolate the audio, that is silence out the blocks with errors. Either way there is an error and a secure ripper might not be able
to detect the error (if a re-read returns the same error...). C2 Error Pointers are a way for the drive to inform the ripper that a
section of audio has an error, sounds good, except the implementation of C2 Pointers can be:

 Drive does not support C2

 Drive does not support C2, but pretends it does in the feature lookup
 Drive supports C2, actual implementation can be from poor to good.

As mentioned before, even the best C2 implementations can still let errors through, but overall using C2 with a ripper which
correctly supports it (dBpoweramp Reference) is helpful, consider it an extra layer which can catch errors. There has grown a culture
of recommending c2 is always switched off, this has grown up around EAC where it's implementation of c2 pointers relies on c2
alone and not secure re-reading, unlike in dBpoweramp where c2 pointers can be used. A ripper should have a test section where
the detection of C2 pointers can be detected with a scratched CD.

Caching is employed by the majority of drives to improve performance, but caching stops secure extraction: when a secure ripper
tries to re-rip the same section a 2nd time, instead of getting audio from the disc, audio comes from the cache (which is the same as
the first rip). A secure ripper must be able to detect and invalidate the cache (by reading more than the cache value before the
section of audio desired).

CD-Text was invented by Philips and Sony, audio CDs do not contain details of the track names and artist(s) on the disc - CD Text
adds these details, but requires a compatible drive and disc with CD-Text (majority do not have CD-Text). CD-Text would have been a
good standard if implemented on all audio CDs and drives. Computer based CD Rippers instead use the Internet to get the track
names (by looking up the discs in an online database).

Copy Protections Employed

The music industry engaged in a folly around 2002, with the idea that CDs could be made unreadable on
computers, but still play on CD players. The first method employed used a fake 2nd session with invalid track
times, CD players can only read the first session, computers will use the last session and thus be fooled. Good
CD Rippers can read the first session, then it is down to the CD drive to be able to read outside of the false first
session (over-read). The method was also bypassed using the infamous black marker pen trick (draw over the
2nd session of the disc).

The 2nd copy protection employed is the deliberate inserting of noise and errors into the audio, that is right
you heard it right, music companies were intentionally inserting errors into the discs, the idea being that CD
players would interpolate (silence) the errors out, where as a computer would not (but could be done in
software), either way playback on any device would have a sub-optimal rendition.

The final copy protection employed is the installation of a Trojan program when the audio CD is inserted in to
a computer (hidden in an Enhanced CD), these Trojan programs can install filters into Windows which disrupt
audio ripping. Sony experienced a huge backlash when it did just this, and hid the fact they had installed
something nasty on PCs, which opened a huge security hole in PCs. For this reason it is best to disable autorun
when ripping Audio CDs.

It is safe now to say that the experiment with audio CD protections has failed.

Getting Technical

Audio CD times are represented as M S F (minutes, seconds, frames), where there are 75 frames per second,
each frame consists of 2352 audio bytes, or 588 samples. One second of uncompressed audio CD data = 75 x
2352 = 176400 bytes, or 176 KB.

dBpoweramp CD Ripper Setup Guide

This setup guide is a walk through of the steps involved in obtaining the best possible results from ripping
Audio CDs using dBpoweramp CD Ripper.

Secure or not Secure?

Secure Ripping is the process where a CD Ripping program does its utmost to detect and potentially recover
errors when ripping audio CDs. A number of technologies are employed for this feat:

 AccurateRip: an online database of results from other peoples ripping, using these results CD Ripper is
able to know with almost certainty that a rip was error free,
 C2 error pointers: a feature of some (not all) CD drives to report to a ripping program that the last read
block contained errors,
 Re-reading: more often than not errors will change each time they are read, then can be detected and
recovered by reading multiple times.

It goes without question that this guide will detail secure ripping, rather than the non-secure ripping mode
(often referred to as burst, as employed by programs such as Windows Media Player, or iTunes).
Installation
Install the latest version of dBpoweramp which contains CD Ripper & Music Converter. After installation
decide which audio format is to be used, preferably a lossless audio format (lossless is an audio format which
compresses and un-compresses without loss of audio quality - a file compressed with a lossless encoder will
decompress 100% identical to the source file). Popular audio formats are FLAC, Apple Lossless and Windows
Media Audio (WMA) Lossless. The choice of audio format depends on the programs used for playback: iTunes
prefers Apple Lossless, Windows Media Player obviously is happy with WMA Lossless and practically all other
programs (and non-portable hardware players) prefer FLAC. This guide will continue with FLAC as its codec of
choice.

A huge range of codecs can be installed from Codec Central FLAC and Apple Lossless are installed by default.
Configuring

This is where the real 'work' begins, effort put in at this stage will ensure best possible results - we have a
saying 'rip once - rip right', ripping is a time consuming process, it should be only done once and perfect,
verified results can be achieved.

Configuring Audio Encoder

Start CD Ripper (Start >> Programs >> dBpoweramp Music Converter >> dBpoweramp CD Ripper) and in the
lower left corner:

Change Rip To audio encoder to FLAC. Lossless audio codecs do not have many options, compression at the
default level is adequate for most people, all compression modes are lossless, the higher modes require much
more CPU encoding time and will only achieve an extra 1% compression. For FLAC Level 5 is a good selection (a
good balance between minimal compression time and reasonable compression).

By default ripped audio files are placed in the Music folder saved under \Artist\Album\Track Number Artist -
Title this option could be changed to suit using Set next to Naming.

Configuring DSP Effects

Click the DSP tab and Add a DSP effect ReplayGain (not ReplayGain (apply) ). This effect calculates the
loudness of the audio track and writes such a value to the ID Tag. A compatible audio player can use that value
to correct the volume of the track so tracks from different discs all appear with the same volume, ReplayGain
does not change the audio, only contains a loudness value which a player can use. On the ReplayGain settings
page:
EBU R128 is a new form of Replaygain calculation, if ripping to an Apple format enable the iTunNORM tag
option to write in a format iTunes can use.

Depending upon which audio player is used, if the player can handle 24 bit audio files, then adding the DSP
effect HDCD is useful, in that any HDCD audio CDs (a special encoded audio CD with 20 bits of encoded audio
information) will be detected and encoded to a 24 bit audio file, non HDCDs are left at 16 bit.

Configuring Secure Ripping

Click Options Button (top toolbar) and change the Ripping Method to Secure (Recover Errors):
Looking further down the page:

[Advanced option] If your CD drive supports reading into the lead / lead out, check the option Read into Lead-
in or Lead-out (most CD drives do not support this). CD drives have a fixed offset, later in this guide the offset
of the drive is found, for drives with a + offset the CD drive would have to be able to read into the Lead-out,
where a drive with a - offset would have to read into the Lead-in. By over-reading (if the drive is capable) the
first or last few samples can be read from the CD, in most instances these samples are silence. Visit
www.daefeatures.co.uk to determine the status of your CD drive.

Now is time to configure the CD drive for secure ripping, click Secure Settings next to the Secure (Recover
Errors) line:

The settings for Ultra Secure depend on your CD drives ability to report C2 error pointers (C2 pointers tell CD
Ripper when a section of audio has errors).

If C2 pointers are supported use this ability (in other programs the recommendation might be to always
disable C2 support, this is not true in CD Ripper). Before checking C2 Error Pointers for Error Detection, it is
best to actually do a test with a simulated damaged audio CD: take an audio CD which is never to be used
again, with a black permanent marker pen draw a triangle onto the silver side of the CD (side which is normally
placed downwards into a CD player):
Place this CD in your CD drive and click Detect c2 Support, if your drive supports C2 pointers it will detect by
the end of the disc - noting if a c2 pointer error is signalled right at the start then the cd drive might not be
compatible (the above black marker test would signal a c2 error about 1/4 of the way through the test).

Caching
For a secure ripper to work correctly the cache must be invalidated, this is normally done by reading an area
larger than the drives cache, by default CD ripper sets a 1024KB cache. The cache can be detected (it is likely
to be much much smaller than the default value). Detecting cache size is quite difficult, it is recommended
that 3 or 4 different unscratched CDs are used to detect the value. A 'no brainer' and safe option is to leave
the cache as 1024KB.

Clear Read Cache with FUA is an option which can quickly clear the cache, it should only be used on
compatible Plextor drives (the older true Plextors), there is an option to test for this feature.

Continuing with the options, set these:

The Secure Rip Abort options will end ripping early if the disc is badly damaged, this is important as a secure
ripper can sometimes try too much to recover a damaged disc, sometimes spending 2 hours on one disc,
which is not overly healthy for a CD drive. A Secure Extraction Log is used to save details (to a text file) of all
actions taken on a disc (which tracks had errors, where the errors were), noting that Log Filename is left as the
default value. The log file is saved to the Music Folder as a text file.

Moving up the options page, to Ultra Secure:

If your drive supports C2 pointers, set as Minimum Ultra Passes: 1 Maximum Ultra Passes: 2 End After
Clean Passes: 1

If your drive does not support C2 pointers, set as Minimum Ultra Passes: 2 Maximum Ultra Passes:
4 End After Clean Passes: 2

Maximum Re-Reads control how many times a 'bad' section is retried, with C2 pointer support this can be set
to a higher number, such as 60. Without C2 support it is not recommended that this value be increased, as
there is more of a chance of a consistent error getting through ripping.

Configuring AccurateRip
AccurateRip consists of an online database of other users ripping results, by comparing your CD rip (a small
CRC of the track data) to theirs it can be known with almost certainty that the rip was free from errors. Before
AccurateRip can be used it must find your drives read offset. To do so insert a popular CD, if the CD can be
used AccurateRip will offer to find the offset:

Normally only 1 CD is needed, but if your CD drive does not appear in AccurateRip's main database of CD
drives then 3 matching results from 3 different discs will be required. When finding the offset for your drive, it
is not required to actually rip the CD. Once the offset is found it will be reported:
When AccurateRip is operating it will report a message next to a track such as 'Accurate (12)': this reports your
rip matched 12 other peoples rips (the confidence number), anything above a confidence of 1 can be relied
upon. On a damaged track the report might be 'Inaccurate (2)', where your rip disagrees with two other
peoples Rips. If all the tracks dis-agree with AccurateRip then it is likely your CD is a different pressing to the
one in AccurateRip's database.

Meta Data
Finally an important part of CD Ripping, often overlooked is Metadata, quality track details and album art are
important in the 'rip one - rip right' philosophy, CD Ripper uses 5 online metadata providers, with PerfectMeta
active automated metadata retrieval results are as good as possible for an automated system, occasional
manual intervention might be required:

If the track names are wrong, or require correction, press ALT + M (or click Review Metadata) to activate the
PerfectMeta review page, clicking on a different provider (buttons at the top) uses all the data from that
provider, or clicking on a single item shown will use that item.

Missing album art can be added quickly by clicking Choose Art.

By default CD Ripper will embed album art inside each ripped audio file (audio format permitting) and also
write a Folder.jpg file to the location of the album.

Fuentes del contenido de este tutorial:

http://www.dbpoweramp.com/spoons-audio-guide.htm
http://www.guiasytutoriales.es/dbpoweramp/codec.html

TUTORIAL COMPILADO Y CREADO POR JAMESPOETRODRIGUEZ PARA:

www.playmusicamp3.net
www.intercambiosvirtuales.org