Brandon Hall Research, domain analysts for the e-learning industry and providers of  information about tools, technologies, and best practices related to employee training and enterprise learning have just released a comprehensive new guide called Authoring Tool KnowledgeBase 2009: A Buyer’s Guide to 120+ of the Best E-Learning Content Development Applications.

According to their press release, "the current edition of this online, database-driven KnowledgeBase contains 10-20 page profiles of 122 content development tools" including:

• 65 products to create online courses
• 26 products to create online tests and assessments
• 20 products to create software simulations
• 23 products to help you convert your legacy content to e-learning
• 9 products to create non-software simulations
• 8 products to create instructional games

They also include two online software applications:

• A selection tool that helps you narrow your product search by filtering out the tools that don’t meet your needs
• A comparison tool to help you see how two similar products differ

I recently published an article called What’s on your e-learning bookshelf? In it, I listed my shelf of “go to” e-learning texts. I’ve re-published the picture of my shelf below, so that you can see, right there in the middle, a text called E-learning Tools and Technologies by Horton and Horton.

In the early part of this decade learning and development professionals and educators found this text to be an invaluable reference resource. If you had a requirement to understand a new training modality or learning channel in a hurry (as many of us did in five or six years ago as we faster, better, and more integrated communications networks burgeoned) the Horton and Horton text was a good place to begin to find out about it. However, as we reach the end of the decade, the tools and some of the technologies in text (I have the first edition) is looking decidedly dated; Blogger.com was still owned by Pyra Labs; podcasting is not given a look-in in any shape or form. As far as I could discern through a brief search (on Amazon, Wiley Books Online, and Google Books), the 2003 edition is still in print.

The outcome of this is that while the text is still full of good advice, useful information, and valuable insight into topics associated with e-learning design, development and delivery, many  of the products it highlights are deprecated (Authorware), redundant (GoLive), or changed beyond recognition (most products featured in the text). In my view this is where resources like the Brandon Hall KnowledgeBase come into their own. While, necessarily, the text and the information is not as rich as in the Horton and Horton book (see Figure 1 for a comparison between the layout of the two resources), it’s competitive advantage is that is delivers bang up-to-date, regularly refreshed information, and a easy-to-use selection and comparison utility to choose and compare products.

Figure 1. Side-by-side of the texts: Horton (l), Brandon Hall (r)
[Click to enlarge]

In one sense, this is the threshold between the analog and digital forms of information delivery. Putting my cultural anthropology hat on for a moment, I would characterize this as a liminal state. Liminality has been described as "the place in between" (La Shure, 2009)  infused with ambiguity, openness, and indeterminacy.

For example, as a university lecturer delivering a course on learning technology do I include E-Learning Tools and Technologies on the required reading list, or the more up-to-date Authoring Tool KnowledgeBase? How do I set a question on the information in the latter source as it is in one sense, just a list and description of products and their capabilities, with none of the context provided by the former text? Which is more "academic?" Does this reflect the text’s accuracy? Is the cost ($795 annual subscription) of Brandon Hall membership justifiable for students, or people who just was occasional access to information, as opposed to about $40 for the out-of-date Horton and Horton text. How much is the information worth?

These are  difficult questions to answer satisfactorily.

I have no doubt that over time, e-texts will become integrated into the mainstream of academic, professional, and consumer activity. Online libraries like MyAthens already provide access to a range of electronically-available materials for a nominal fee to the individual user as membership to institutions, universities, and libraries.

E-readers like the Kindle, and e-book software like Lexcycle Stanza (recently purchased by Amazon) are beginning to provide the facility to view electronic versions of printed texts.

Maybe this electronic means of access will become more generalized; I use Stanza on my iPhone and it’s changing my reading habits. Perhaps the current practice of hard- and e-texts being used in concert will become firmly embedded as the most effective method of using the old and the new. As usual, people will do what works for them, and the usual rules for adoption of innovations will apply.

Yet the question remains: How out-of-date is too out-of-date?

I think that my Horton printed text still has great value, especially in the context it provides for e-elearning-related technologies; yet I can’t rely on it to provide current information about specific e-learning authoring applications. With over ten years experience in the learning and development industry, I feel competent to apply my well-developed critical faculties to find out what I need from the range of knowledge and information at my disposal. Could I make my tacit, hard-earned ability to analyze, synthesize, and evaluate information available to some-one else? Probably not.

How do you use the resources at your disposal? I’d love to hear your views and about your experiences – let me know.

___________

References:

Brandon Hall Research. (2009). Authoring Tool KnowledgeBase 2009: A Buyer’s Guide to 120+ of the Best E-Learning Content Development Applications. [Internet] Available from: http://www.brandon-hall.com/publications/atkb/atkb.shtml Accessed 29 June 2009

Horton, W., & Horton, K. (2003). E-learning Tools and Technologies: A consumer’s guide for trainers, teachers, educators, and instructional designers. Wiley Publishing, Inc., Indianapolis, Indiana

La Shure, C. (2009). Liminality. [Internet] Available from: http://www.liminality.org/about/whatisliminality/ Accessed 29 June 2009

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Now read on…

This post will cover how to integrate your audio-with-metadata files into Adobe Presenter. In my next article I will discuss using markers to generate content for Captivate – the processes are different. While the process is quite straight-forward, it’s easier to show you this process in a demo than describe it in a linear fashion using text and images (after all, this is an E-learning blog, folks!).

First some background: as you probably know, Presenter enables you to publish Microsoft PowerPoint-created content in a Web friendly format. The Presenter Audio Editor supports editing voice-over narration via its functionality in PowerPoint.

As well as using an external audio program, you can perform basic audio and animation editing tasks within your PowerPoint presentation, including:

• Viewing the presentation audio, including slide and animation markers
• Playing, recording, deleting, and editing audio, including adding silence
• Inserting commands to control playback
• Adjusting volume and processing options

Using audio markers
Adobe Presenter displays a visual representation of a presentation’s audio, along with markers that represent commands for controlling playback. Audio is edited incrementally, one slide at a time.

To view audio markers, open the PowerPoint presentation you want to edit. Click the Adobe Presenter menu or ribbon and click the Audio Edit button. The Audio Editor is displayed (see Figure 1).

Figure 1. The Audio Editor in Presenter(click to enlarge)

Using the Slide Navigation drop-down list, you must select a slide to edit its audio (see Figure 2).

The Audio Editor displays a visual representation of the audio file called a waveform. Markers along the top of the waveform represent commands you can use to control the timing of slide transitions, animations, and other events during playback of your content.

In Presenter, you can add four types of markers in the Audio Editor (see Table 1):

Table 1. Markers applied to the Audio Editor

Playing, recording, deleting, and editing audio

Use the playback controls in the Audio Editor to review the audio for the presentation. You can also record new audio, delete selected sections, and insert silence.

Adjusting volume and audio processing options

The Adjust Volume dialog box is used to adjust audio playback levels. Adjust Volume also enables you to undertake basic digital signal processing (DSP) options including normalization (finding the optimal audio volume) and signal boost to enhance quiet audio. The default settings should be fine if you’ve recorded your audio properly. I suggest that you experiment with these settings to understand how changes to these options affect the audio quality of your rendered presentation.

You Try:

To adjust audio volume and digital signal processing options:

1. Click the Tools menu in the Audio Editor and select Volume. The Adjust Volume dialog box is displayed.
2. Adjust the settings and click on OK.
3. Click the File menu and select Exit.When you exit the Audio Editor, Adobe Presenter prompts you to save your changes.
4. Click Yes to close the dialog box and return to PowerPoint.

Adding Audio with Marker to Adobe Presenter

Note: Even though this demo is about adding audio to a presentation, for copyright reasons there is no narration track associated with this file.

Next: Importing audio in to Captivate.

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How do you insert markers and how do you synchronize with captivate slides?

So over the next few days I’m going to outline the process of using markers in audio files, and how these markers can be used to simplify the process of synchronizing audio narration with visual content in presentations created not only in Captivate, but also in Presenter too.

Now read on…

In this post, I am going to focus on using audio markers in Sony Sound Forge, a professional sound-editing program or non-linear editor (NLE). The Sound Forge audio editing suite is the most powerful in a range of audio editing programs owned by Sony and originally developed by Sonic Foundry. I have been using Sound Forge in one form or another since the late 1990’s and in my view, it is the most flexible and adaptable tool in the audio editing market space (see Figure 1). Sound Forge includes a diverse and powerful set of digital audio signal processing tools, as well as many effects for manipulating audio.

Many e-learning professionals use other NLEs (including the open source program Audacity) to create and produce their audio. I would recommend any of the tools I mention in this article as acceptable for audio content creation.

Figure 1. Sound Forge waveform editor UI (click to enlarge)

Sound Forge software allows you to edit, record, encode, and master nearly all forms of digital audio including WAV, AIFF, and MP3. According to the Sound Forge website, the application has tools for:

• Sound Design and Mastering
• Stereo and Multichannel Recording
• Audio Editing and Workflow
• Powerful Effects Processing
• Audio-for-Video
• Dolby Digital AC-3 export

I’m not going to discuss the fundamentals of audio editing here, but we can say that to a great extent, audio editors are like ‘word processors for sound.’ All the good ones, including Steinberg WaveLab, Audacity and Adobe Audition employ the same user paradigm, and as a result the features of one are pretty much replicated in all the others.

In audio editing, the purpose of a marker is to highlight a specific moment or event on the timeline so that you can return to it later. You may want to highlight a extraneous noise like a cough or click for deletion, or mark two points in a selection to copy or remove it. In audio narration, markers are typically used to set the transition between two sentences, slides or onscreen event (see Figure 2).

Figure 2. Sound Forge marker (click to enlarge)

Using Sound Forge

Some basics…

Opening a File

Sound Forge can edit WAV, MP3, AIFF and a range of other file types. To open a file, just click FILE-> OPEN. The file will open in either mono or stereo, depending on the specific file format.

Controlling Playback

Open a sound file. Use all of the buttons highlighted in Figure 1 (don’t forget to zoom in and out).

Selecting Sounds

Its easy to select a particular sound area. Just click and drag over it. If selecting a stereo sound, drag between the left and right channel to get them both (see Figure 3).

Figure 3. Click and drag to select audio – stereo instance (click to enlarge)

You Try:

1. Practice selecting areas of the wave.
2. Adjust the selection by dragging at the point where the selection ends.
3. Play the selection.
4. Copy and paste the selection to the end of the sound
5. Delete sections by selecting them and hitting delete on your keyboard.

You can also select in smaller segments (right down to the single bit level) by holding SHIFT on your keyboard and using the LEFT or RIGHT arrow keys. The more you zoom in to the waveform, the higher the level of precision you can achieve.

Markers

Markers enable you to choose edit points and to help you to accurately events in the waveform timeline. To add a marker:

1. Click a point in the waveform.
2. Select SPECIAL >> INSERT MARKER from the menu, or press the M key

If you have many markers in your audio file, it’s useful to name them. It’s typical for audio narration for e-learning presentations to have many slides or events, and by extension quite a number of markers. I suggest that you name the markers for the slide or event that the following narration describes. To name a marker, right-click its handle and select EDIT… (see Figure 4). Enter some appropriate text in the dialog box – here, I have called the marker “Course Outline.”

Figure 4. The Edit Marker dialog box (click to enlarge)

Marker Navigation

You can automatically navigate from marker to marker by pressing CTRL + LEFT ARROW to go back, or CTRL + RIGHT ARROW to move forward through the timeline.You can select the waveform between markers by pressing SHIFT + CTRL + LEFT / RIGHT arrow.

You Try:

Using your sound editor of choice, try out the activities described in today’s blog post. Click the link to download a fully functional 30-day trial version of Sound Forge.

Saving Markers

Markers are automatically included when you save your audio file. Some professional audio editors also enable you to save the markers as metadata in a separate file called an Edit Decision List (EDL) which is useful when you’re creating video presentations, but that as they say, is another story…

Next: Using markers with Adobe Presenter.
Soon: Using markers with Adobe Captivate.

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Technorati Tags: Adding Markers,Adobe Captivate,Elearning,E-Learning,Audio,Narration,Content,Captivate,Adobe Presenter,Sound Forge

Today I will be treating of the final phrase of Don Morrison’s definition of e-learning,

The continuous assimilation of knowledge and skills by adults stimulated by synchronous and asynchronous learning events – and sometimes Knowledge management outputs – which are authored, delivered engaged with, supported and administered using internet technologies.

(2004, p.4)

I would suggest that the process of authoring, delivering, engaging with, supporting and administering content to be time-critical components of the e-learning delivery chain. E-learning can be authored in a time-frame that is appropriate for the audience – with some of the newer methodologies like Rapid e-Learning, easier-to-use content creation tools means that subject matter experts (SMEs) are now in a position to author content in a way that was not possible a decade ago: disintermediation of the traditional instructional design process enables experts to deliver content to where it is needed as soon as it’s possible to do so (Cocheau, 2005). In the same fashion, Jay Cross describes “eLearning is learning on Internet Time, the convergence of learning and networks” (2004, p.104); organisations working on internet time are in a position to develop using e-learning in ways that are not possible to achieve via any other learning or training approach. Having elaborated upon the justification for the chosen definition of the term ‘e-learning’, I’m going to dedicate a number of posts to non-formal learning and why you’re using it (even if you don’t know you’re using it).

References:

Cocheau, T. (2005) Rapid eLearning: Disintermediate or Die! [Internet] Available from: http://ww.elearningforum.com/downloads/rapid_elearning.doc [Accessed 15th May 2006]

Cross, J. (2004) An informal history of eLearning. On the Horizon [Internet] 12(3). pp.103-110. Available from: http://www.emeraldinsight.com/Insight/viewPDF.jsp?Filename=html/
Output/Published/EmeraldFullTextArticle/Pdf/2740120301.pdf [Accessed 20th February, 2007]

Morrison, D. (2004) E-Learning Strategies: how to get implementation and delivery right first time, Chichester: John Wiley & Sons, Ltd.

Today I will be treating of the final phrase of Don Morrison’s definition of e-learning,

The continuous assimilation of knowledge and skills by adults stimulated by synchronous and asynchronous learning events – and sometimes Knowledge management outputs – which are authored, delivered engaged with, supported and administered using internet technologies.

(2004, p.4)

I would suggest that the process of authoring, delivering, engaging with, supporting and administering content to be time-critical components of the e-learning delivery chain. E-learning can be authored in a time-frame that is appropriate for the audience – with some of the newer methodologies like Rapid e-Learning, easier-to-use content creation tools means that subject matter experts (SMEs) are now in a position to author content in a way that was not possible a decade ago: disintermediation of the traditional instructional design process enables experts to deliver content to where it is needed as soon as it’s possible to do so (Cocheau, 2005). In the same fashion, Jay Cross describes “eLearning is learning on Internet Time, the convergence of learning and networks” (2004, p.104); organisations working on internet time are in a position to develop using e-learning in ways that are not possible to achieve via any other learning or training approach. Having elaborated upon the justification for the chosen definition of the term ‘e-learning’, I’m going to dedicate a number of posts to non-formal learning and why you’re using it (even if you don’t know you’re using it).

References:

Cocheau, T. (2005) Rapid eLearning: Disintermediate or Die! [Internet] Available from: http://ww.elearningforum.com/downloads/rapid_elearning.doc [Accessed 15th May 2006]

Cross, J. (2004) An informal history of eLearning. On the Horizon [Internet] 12(3). pp.103-110. Available from: http://www.emeraldinsight.com/Insight/viewPDF.jsp?Filename=html/
Output/Published/EmeraldFullTextArticle/Pdf/2740120301.pdf [Accessed 20th February, 2007]

Morrison, D. (2004) E-Learning Strategies: how to get implementation and delivery right first time, Chichester: John Wiley & Sons, Ltd.

Today I will be treating of the final phrase of Don Morrison’s definition of e-learning,

The continuous assimilation of knowledge and skills by adults stimulated by synchronous and asynchronous learning events – and sometimes Knowledge management outputs – which are authored, delivered engaged with, supported and administered using internet technologies.

(2004, p.4)

I would suggest that the process of authoring, delivering, engaging with, supporting and administering content to be time-critical components of the e-learning delivery chain. E-learning can be authored in a time-frame that is appropriate for the audience – with some of the newer methodologies like Rapid e-Learning, easier-to-use content creation tools means that subject matter experts (SMEs) are now in a position to author content in a way that was not possible a decade ago: disintermediation of the traditional instructional design process enables experts to deliver content to where it is needed as soon as it’s possible to do so (Cocheau, 2005). In the same fashion, Jay Cross describes “eLearning is learning on Internet Time, the convergence of learning and networks” (2004, p.104); organisations working on internet time are in a position to develop using e-learning in ways that are not possible to achieve via any other learning or training approach. Having elaborated upon the justification for the chosen definition of the term ‘e-learning’, I’m going to dedicate a number of posts to non-formal learning and why you’re using it (even if you don’t know you’re using it).

References:

Cocheau, T. (2005) Rapid eLearning: Disintermediate or Die! [Internet] Available from: http://ww.elearningforum.com/downloads/rapid_elearning.doc [Accessed 15th May 2006]

Cross, J. (2004) An informal history of eLearning. On the Horizon [Internet] 12(3). pp.103-110. Available from: http://www.emeraldinsight.com/Insight/viewPDF.jsp?Filename=html/
Output/Published/EmeraldFullTextArticle/Pdf/2740120301.pdf [Accessed 20th February, 2007]

Morrison, D. (2004) E-Learning Strategies: how to get implementation and delivery right first time, Chichester: John Wiley & Sons, Ltd.