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Название: The Art of Digital Audio. Third Edition Автор: John Watkinson Издательство: Focal Press Год: 2001 Страниц: 752 Язык: Английский Формат: pdf Качество: отличное Размер: 11.7Mб
Described as "the most comprehensive book on digital audio to date", it is widely acclaimed as an industry "bible". Covering the very latest developments in digital audio technology, it provides an thorough introduction to the theory as well as acting as an authoritative and comprehensive professional reference source. Everything you need is here from the fundamental principles to the latest applications, written in an award-winning style with clear explanations from first principles. New material covered includes internet audio, PC audio technology, DVD, MPEG audio compression, digital audio broadcasting and audio networks. Whether you are in the field of audio engineering, sound recording, music technology, broadcasting and communications media or audio design and installation, this book has it all. Written by a leading international audio specialist, who conducts professional seminars and workshops around the world, the book has been road tested for many years by professional seminar attendees and students to ensure their needs are taken into account, and all the right information is covered.
This new edition now includes:
PC Audio technology
MPEG Audio compression
Digital Audio Broadcasting
Digital audio professionals will find everything they need here, from the fundamental principles to the latest applications, written in an award-winning style with clear explanations from first principles. John Watkinson is an international consultant in audio, video and data recording. He is a Fellow of the AES, a member of the British Computer Society and a chartered information systems practitioner. He presents lectures, seminars, conference papers and trainingcourses worldwide. He is the author of many other Focal Press books, including: the Kraszna-Krausz award winning MPEG-2; The Art of Digital Audio; An Introduction to Digital Video; The Art of Sound Reproduction; An Introduction to Digital Audio; TV Fundamentals and Audio for Television. He is also co-author, with Francis Rumsey, of The Digital Interface Handbook, and contributor to the Loudspeaker and Headphone Handbook, 3rd edition.
The 'Bible' of Digital Audio
Get everything youneed on digital audio in just one book
Gain a thorough understanding of all the latest technology
Chapter 1 Why digital? 1.1 Introduction 1.2 What is digital audio? 1.3 Why binary? 1.4 Why digital? 1.5 Some digital audio processes outlined 1.6 The sampler 1.7 The programmable delay 1.8 Time compression 1.9 Synchronization 1.10 Error correction and concealment 1.11 Channel coding 1.12 Compression 1.13 Hard disk recorders 1.14 The PCM adaptor 1.15 An open-reel digital recorder 1.16 Rotary head digital recorders 1.17 Digital Compact Cassette 1.18 Digital audio broadcasting 1.19 Audio in PCs 1.20 Networks Reference
Chapter 2 Some audio principles 2.1 The physics of sound 2.2 The speed of sound 2.3 Wavelength 2.4 Periodic and aperiodic signals 2.5 Sound and the ear 2.6 Hearing 2.7 The cochlea 2.8 Mental processes 2.9 Level and loudness 2.10 Frequency discrimination 2.11 Critical bands 2.12 Beats 2.13 Music and the ear 2.14 The sensation of pitch 2.15 Frequency response and linearity 2.16 The sine wave 2.17 Root mean square measurements 2.18 The deciBel 2.19 Audio level metering 2.20 Vectors 2.21 Phase angle and power factor 2.22 Audio cabling 2.23 EMC 2.24 Electrical safety References
Chapter 3 Digital principles 3.1 Pure binary code 3.2 Two's complement 3.3 Introduction to digital processing 3.4 Logic elements 3.5 Storage elements 3.6 Binary adding 3.7 The computer 3.8 The processor 3.9 Interrupts 3.10 Programmable timers 3.11 Timebase compression and correction 3.12 Gain control 3.13 Digital faders and controls 3.14 A digital mixer 3.15 Effects 3.16 The phase-locked loop 3.17 Multiplexing principles 3.18 Packets 3.19 Statistical multiplexing 3.20 Filters 3.21 Transforms 3.22 FIR and IIR filters 3.23 FIR filters 3.24 Sampling rate conversion 3.25 IIR Filters 3.26 The z-transform 3.27 Bandpass filters 3.28 Higher-order filters: cascading 3.29 Pole/zero positions 3.30 The Fourier transform 3.31 The discrete cosine transform (DCT) 3.32 The wavelet transform 3.33 Modulo-и arithmetic 3.34 The Galois field 3.35 Noise and probability References
Chapter 4 Conversion 4.1 Introduction to conversion 4.2 Sampling and aliasing 4.3 Reconstruction 4.4 Filter design 4.5 Choice of sampling rate 4.6 Sample and hold 4.7 Sampling clock jitter 4.8 Aperture effect 4.9 Quantizing 4.10 Quantizing error 4.11 Introduction to dither 4.12 Requantizing and digital dither 4.13 Dither techniques 4.14 Basic digital-to-analog conversion 4.15 Basic analog-to-digital conversion 4.16 Alternative convertors 4.17 Oversampling 4.18 Oversampling without noise shaping 4.19 Noise shaping 4.20 Noise-shaping ADCs 4.21 A one-bit DAC 4.22 One-bit noise-shaping ADCs 4.23 Operating levels in digital audio References
Chapter 6 Digital recording and transmission principles 6.1 Introduction to the channel 6.2 Types of transmission channel 6.3 Types of recording medium 6.4 Magnetism 6.5 Magnetic recording 6.6 Azimuth recording and rotary heads 6.7 Optical disks 6.8 Magneto-optical disks 6.9 Equalization 6.10 Data separation 6.11 Slicing 6.12 Jitter rejection 6.13 Channel coding 6.14 Recording-oriented codes 6.15 Transmission-oriented codes 6.16 General-purpose codes 6.17 Miller2 code 6.18 Group codes 6.19 4/5 code of MADI 6.20 2/3 code 6.21 EFM code in CD 6.22 The 8/10 group code of DAT 6.23 Tracking signals 6.24 Convolutional RLL codes 6.25 Graceful degradation 6.26 Randomizing 6.27 Communications codes 6.28 Convolutional randomizing 6.29 Synchronizing References
Chapter 7 Error correction 7.1 Sensitivity of message to error 7.2 Error mechanisms 7.3 Basic error correction 7.4 Error handling 7.5 Concealment by interpolation 7.6 Parity 7.7 Block and convolutional codes 7.8 Hamming code 7.9 Hamming distance 7.10 Cyclic codes 7.11 Punctured codes 7.12 Applications of cyclic codes 7.13 Burst correction 7.14 Introduction to the Reed-Solomon codes 7.15 R-S calculations 7.16 Correction by erasure 7.17 Interleaving 7.18 Product codes 7.19 Introduction to error correction in DAT 7.20 Editing interleaved recordings Appendix 7.1 Calculation of Reed-Solomon generator polynomials References
Chapter 8 Transmission 8.1 Introduction 8.2 Introduction to AES/EBU interface 8.3 The electrical interface 8.4 Frame structure 8.5 Talkback in auxiliary data 8.6 Professional channel status 8.7 Consumer channel status 8.8 User bits 8.9 MADI - multi-channel digital audio interface 8.10 MADI data transmission 8.11 MADI frame structure 8.12 MADI audio channel format 8.13 Fibre-optic interfacing 8.14 Synchronizing 8.15 Asynchronous operation 8.16 Routing 8.17 Networks 8.18 Introduction to NICAM 728 8.19 Audio in digital television broadcasting 8.20 Packets and time stamps 8.21 MPEG transport streams 8.22 Clock references 8.23 Program Specific Information (PSI) 8.24 Multiplexing 8.25 Introduction to DAB 8.26 DAB principles References
Chapter 9 Digital audio tape recorders 9.1 Types of recorder 9.2 PCM adaptors 9.3 Introduction to DAT 9.4 Track following in DAT 9.5 Aligning for interchange 9.6 DAT data channel 9.7 Sound and subcode in shuttle 9.8 Timecode in DAT 9.9 Non-tracking replay 9.10 Quarter-inch rotary 9.11 Half-inch and 8 mm rotary formats 9.12 Digital audio in VTRs 9.13 Stationary-head recorders 9.14 DASH format 9.15 DCC - digital compact cassette Appendix 9.1 Timecode for Pro R conversion References
Chapter 10 Magnetic disk drives 10.1 Types of disk drive 10.2 Disk terminology 10.3 Structure of disk 10.4 Principle of flying head 10.5 Reading and writing 10.6 Moving the heads 10.7 Controlling a seek 10.8 Rotation 10.9 Servo-surface disks 10.10 Soft sectoring 10.11 Winchester technology 10.12 Servo-surface Winchester drives 10.13 Rotary positioners 10.14 Floppy disks 10.15 Error handling 10.16 RAID arrays 10.17 The disk controller 10.18 Digital audio disk systems 10.19 Arranging the audio data on disk 10.20 Spooling files 10.21 Broadcast applications 10.22 Sampling rate and playing time References
Chapter 11 Digital audio editing 11.1 Introduction 11.2 Editing with random access media 11.3 Editing on recording media 11.4 The structure of an editor 11.5 Timecode 11.6 Locating the edit point 11.7 Editing with disk drives 11.8 CD mastering 11.9 Editing in DAT 11.10 Editing in open-reel digital recorders 11.11 Jump editing References Chapter 12 Digital audio in optical disks 12.1 Types of optical disk 12.2 CD, DVD and MD contrasted 12.3 CD and MD - disk construction 12.4 Rejecting surface contamination 12.5 Playing optical disks 12.6 Focus systems 12.7 Tracking systems 12.8 Typical pickups 12.9 DVD and CD readout in detail 12.10 How optical disks are made 12.11 Direct metal mastering 12.12 MiniDisc read/write in detail 12.13 How recordable MiniDiscs are made 12.14 Channel code of CD and MiniDisc 12.15 Deserialization 12.16 Error-correction strategy 12.17 Track layout of MD 12.18 CD subcode 12.19 MD table of contents 12.20 CD player structure 12.21 MD recorder/player structure 12.22 Structure of a DVD player References
Chapter 13 Sound quality considerations 13.1 Introduction 13.2 Information capacity 13.3 Loudspeaker problems 13.4 Subjective and objective testing 13.5 Objective testing 13.6 Subjective testing 13.7 Digital audio quality 13.8 Use of high sampling rates 13.9 Digital audio interface quality 13.10 Compression in stereo References