Cargando…
An introduction to digital audio /
| Clasificación: | Libro Electrónico |
|---|---|
| Autor principal: | |
| Formato: | Electrónico eBook |
| Idioma: | Inglés |
| Publicado: |
Oxford ; Boston [Mass.] :
Focal Press,
2002.
|
| Edición: | 2nd ed. |
| Temas: | |
| Acceso en línea: | Texto completo (Requiere registro previo con correo institucional) |
Tabla de Contenidos:
- 1. Introducing digital audio
- 1.1. Audio as date
- 1.2. What is an audio signal?
- 1.3. Why binary?
- 1.4. Why digital?
- 1.5. Some digital audio processes outlined
- 1.6. Time compression and expansion
- 1.7. Error correction and concealment
- 1.8. Channel coding
- 1.9. Audio compression
- 1.10. Disk-based recording
- 1.11. Rotary-head digital recorders
- 1.12. Digital audio broadcasting
- 1.13. Networks
- Reference
- 2. Sound audio principles
- 2.1. The physics of sound
- 2.2. Wavelength
- 2.3. Periodic and aperiodic signals
- 2.4. Sound and the ear
- 2.5. The cochlea
- 2.6. Mental processes
- 2.7. Level and loudness
- 2.8. Frequency discrimination
- 2.9. Frequency response and linearity
- 2.10. The sine wave
- 2.11. Root mean square measurements
- 2.12. The deciBel
- 2.13. Audio level metering
- References
- 3. Digital principles
- 3.1. Binary codes
- 3.2. Introduction to digital logic
- 3.3. The computer
- 3.4. Timebase correction
- 3.5. Multiplexing
- 3.6. Gain control
- 3.7. Digital faders and controls
- 3.8. A digital mixer
- 3.9. Filters
- 3.10. FIR filters
- 3.11. Sampling-rate conversion
- 3.12. Transforms and duality
- 3.13. The Fourier transform
- 3.14. The discrete cosine transform (DCT)
- 3.15. Modulo-n arithmetic
- 3.16. The Galois field
- 3.17. The phase-locked loop
- References
- 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. Basic digital-to-analog conversion
- 4.12. Basic analog-to-digital conversion
- 4.13. Alternative convertors
- 4.14. Oversampling
- 4.15. Oversampling without noise shaping
- 4.16. Noise shaping
- 4.17. Noise-shaping ADCs
- 4.18. A one-bit DAC
- 4.19. One-bit noise-shaping ADCs
- References.
- 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 Layer I
- 5.13. MPEG Layer II
- 5.14. MPEG Layer III
- 5.15. MPEG-2 AAC
- References
- 6. Digital coding principles
- 6.1. Introduction
- 6.2. Types of transmission channel
- 6.3. Transmission lines
- 6.4. Types of recording medium
- 6.5. Magnetic recording
- 6.6. Azimuth recording and rotary heads
- 6.7. Optical and magneto-optical disks
- 6.8. Equalization and data separation
- 6.9. Slicing and jitter rejection
- 6.10. Channel coding
- 6.11. Simple codes
- 6.12. Group codes
- 6.13. Randomizing and encryption
- 6.14. Synchronizing
- 6.15. Basic error correction
- 6.16. Concealment by interpolation
- 6.17. Parity
- 6.18. Block and convolutional codes
- 6.19. Cyclic codes
- 6.20. Introduction to the Reed-Solomon codes
- 6.21. Correction by erasure
- 6.22. Interleaving
- 6.23. Product codes
- Appendix 6.1. Calculation of Reed-Solomon generator polynomials
- References
- 7. Transmission
- 7.1. Introduction
- 7.2. The AES/EBU interface
- 7.3. Channel status
- 7.4. User bits
- 7.5. MADI, multi-channel audio digital interface
- 7.6. Fibre-optic interfacing
- 7.7. Synchronizing
- 7.8. Asynchronous operation
- 7.9. Routing and networks
- 7.10. Networks
- 7.11. FireWire
- 7.12. Broadband networks and ATM
- 7.13. Introduction to NICAM 728
- 7.14. Audio in digital television broadcasting
- 7.15. Packets and time stamps
- 7.16. MPEG transport streams
- 7.17. Clock references
- 7.18. Program Specific Information (PSI)
- 7.19. Introduction to DAB
- References.
- 8. Digital audio tape recorders
- 8.1. Rotary versus stationary heads
- 8.2. PCM adaptors
- 8.3. Introduction to DAT
- 8.4. DAT specification
- 8.5. DAT block diagram
- 8.6. Track following in DAT
- 8.7. DAT data channel
- 8.8. Multi-channel rotary-head recorders
- 8.9. Stationary-head recorders
- 8.10. DASH format
- 8.11. DCC, digital compact cassette
- References
- 9. Magnetic disk drives
- 9.1. Types of disk drive
- 9.2. Structure of disk
- 9.3. Principle of flying head
- 9.4. Reading and writing
- 9.5. Moving the heads
- 9.6. Rotation
- 9.7. Servo-surface disks
- 9.8. Soft sectoring
- 9.9. Winchester technology
- 9.10. Rotary positioners
- 9.11. The disk controller
- 9.12. Defect handling
- 9.13. Digital audio disk system
- 9.14. Arranging the audio data on disk
- 9.15. Spooling files
- 9.16. Broadcast applications
- 9.17. Sampling rate and playing time
- References
- 10. Digital audio editing
- 10.1. Introduction
- 10.2. Editing with random access media
- 10.3. Editing on recording media
- 10.4. The structure of an editor
- 10.5. Timecode
- 10.6. Locating the edit point
- 10.7. Editing with disk drives
- 10.8. Editing in DAT
- 10.9. Editing in open-reel digital recorders
- 10.10. Jump editing
- References
- 11. Optical disks in digital audio
- 11.1. Types of optical disk
- 11.2. CD and MD contrasted
- 11.3. CD and MD, disk construction
- 11.4. Rejecting surface contamination
- 11.5 . Playing optical disks
- 11.6. Focus and tracking systems
- 11.7. Typical pickups
- 11.8. CD readout in detail
- 11.9. How optical disks are made
- 11.10. How recordable MiniDiscs are made
- 11.11. Channel code of CD and MiniDisc
- 11.12. Error-correction strategy
- 11.13. Track layout of MD
- 11.14. Player structure
- References
- Glossary.