The art of digital audio
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...
| Autor principal: | |
|---|---|
| Formato: | Libro electrónico |
| Idioma: | Inglés |
| Publicado: |
Oxford ; Boston :
Focal Press
c2001.
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| Edición: | 3rd ed |
| Materias: | |
| Ver en Biblioteca Universitat Ramon Llull: | https://discovery.url.edu/permalink/34CSUC_URL/1im36ta/alma991009627350106719 |
Tabla de Contenidos:
- The Art of Digital Audio; Copyright; 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 NetworksReference; 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 safetyReferences; 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; 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 conversion3.25 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-n 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 dither4.12 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
