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Главная » Книги » Теория » The Art of Digital Audio. Third Edition


Книги » Теория: The Art of Digital Audio. Third Edition

The Art of Digital Audio. Third Edition
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:
  •     Internet audio
  •     PC Audio technology
  •     DVD
  •     MPEG Audio compression
  •     Digital Audio Broadcasting
  •     Audio networks
    
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


Contents

 

Preface
Acknowledgements

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 5 Compression
5.1    Introduction
5.2    Lossless and perceptive coding
5.3    Compression principles
5.4    Codec level calibration
5.5    Quality measurement
5.6    The limits
5.7    Some guidelines
5.8    Audio compression tools
5.9    Sub-band coding
5.10 Transform coding
5.11 Compression formats
5.12 MPEG Audio compression
5.13 MPEG Layer I
5.14 MPEG Layer II
5.15 MPEG Layer III
5.16 MPEG-2 AAC
5.17 apt-X
5.18 Dolby AC-3
5.19 ATRAC
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

Index

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