An introduction to digital audio
Master the basics from first principles: the physics of sound, principles of hearing etc, then progress onward to fundamental digital principles, conversion, compression and coding and then onto transmission, digital audio workstations, DAT and optical disks. Get up to speed with how digital audio i...
| Autor principal: | |
|---|---|
| Formato: | Libro electrónico |
| Idioma: | Inglés |
| Publicado: |
Oxford ; Boston :
Focal Press
2002.
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| Edición: | 2nd ed |
| Materias: | |
| Ver en Biblioteca Universitat Ramon Llull: | https://discovery.url.edu/permalink/34CSUC_URL/1im36ta/alma991009627315706719 |
Tabla de Contenidos:
- Cover; Dedication; An Introduction to Digital Audio; Copyright; Contents; Preface to the second edition; Chapter 1. Introducing digital audio; 1.1 Audio as data; 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; Chapter 2. Some audio principles; 2.1 The physics of sound; 2.2 Wavelength
- 2.3 Periodic and aperiodic signals2.4 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; Chapter 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 duality3.13 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; 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 Basic digital-to-analog conversion; 4.12 Basic analog-to-digital conversion; 4.13 Alternative convertors; 4.14 Oversampling
- 4.15 Oversampling without noise shaping4.16 Noise shaping; 4.17 Noise-shaping ADCs; 4.18 A one-bit DAC; 4.19 One-bit noise-shaping ADCs; 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 Layer I; 5.13 MPEG Layer II; 5.14 MPEG Layer III; References; Chapter 6. Digital coding principles; 6.1 Introduction
- 6.2 Types of transmission channel6.3 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
