The art of digital audio:
Gespeichert in:
| 1. Verfasser: | |
|---|---|
| Format: | Buch |
| Sprache: | English |
| Veröffentlicht: |
Oxford u.a.
Focal Press
1995
|
| Ausgabe: | 2. ed., repr. |
| Schlagworte: | |
| Online-Zugang: | Inhaltsverzeichnis |
| Beschreibung: | XIV, 685 S. zahlr. graph. Darst. |
| ISBN: | 0240513207 0240513703 |
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| 245 | 1 | 0 | |a The art of digital audio |c John Watkinson |
| 250 | |a 2. ed., repr. | ||
| 264 | 1 | |a Oxford u.a. |b Focal Press |c 1995 | |
| 300 | |a XIV, 685 S. |b zahlr. graph. Darst. | ||
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Datensatz im Suchindex
| _version_ | 1804124769054883840 |
|---|---|
| adam_text | The Art of Digital Audio
Second Edition
John Watkinson
Nachrichtentechnische Bibliothek
TH D
Inv -Nr :
D
I ot /
Contents
Preface xiii
Chapter 1 Why digital? 1
1 1 The characteristics of analog audio 1
1 2 What is digital audio? 2
1 3 Why binary? 4
1 4 Why digital? 7
1 5 Some digital audio processes outlined 8
1 6 The sampler 10
1 7 The programmable delay 11
1 8 Time compression 13
1 9 Synchronization 13
1 10 Error correction and concealment 15
1 11 Channel coding 18
1 12 Data reduction 19
1 13 Hard disk recorders 19
1 14 The PCM adaptor 20
1 15 An open-reel digital recorder 22
1 16 Rotary-head digital recorders 24
1 17 Digital compact cassette 25
1 18 Digital audio broadcasting 27
1 19 The potential 28
Reference 30
Chapter 2 Some essential principles 31
2 1 Pure binary code 31
2 2 Two’s complement 35
2 3 Introduction to digital processes 38
2 4 Logic elements 39
2 5 Storage elements 41
2 6 Binary adding 44
2 7 Gain control by multiplication 47
2 8 Digital faders and controls 48
29A digital mixer 52
2 10 Modulo-n arithmetic 54
V
vi Contents
2 11 The Galois field 54
2 12 Noise and probability 57
2 13 Filters 59
2 14 Transforms 65
2 15 FIR and IIR filters compared 67
2 16 FIR filters 68
2 17 The need for sampling-rate conversion 73
2 18 Categories of rate conversion 75
2 19 Integer-ratio conversion 76
2 20 Fractional-ratio conversion 81
2 21 Variable-ratio conversion 83
2 22 Timebase compression and correction 88
2 23 FIFO buffering 89
References 92
Chapter 3 Conversion 93
3 1 What can we hear? 93
3 2 The information content of analog audio 94
3 3 Introduction to conversion 96
3 4 Sampling and aliasing 96
3 5 Reconstruction 99
3 6 Filter design 101
3 7 Choice of sampling rate 104
3 8 Sample and hold 106
3 9 Sampling-clock jitter 108
3 10 Aperture effect 112
3 11 Quantizing 114
3 12 Quantizing error 116
3 13 Introduction to dither 120
3 14 Requantizing and digital dither 123
3 15 Dither techniques 127
3 15 1 Rectangular pdf dither 127
3 15 2 Triangular pdf dither 129
3 15 3 Gaussian pdf dither 129
3 16 Basic digital-to-analog conversion 130
3 17 Basic analog-to-digital conversion 137
3 18 Alternative converters 142
3 19 Oversampling 147
3 20 Oversampling without noise shaping 153
3 21 Noise shaping 154
3 22 Noise-shaping ADCs 158
3 23 A1 bit DAC 161
3 24 One bit noise-shaping ADCs 163
3 25 Factors affecting converter quality 163
3 26 Operating levels in digital audio 169
References 170
Contents vii
Chapter 4 Advanced digital audio processing 173
4 1 Introduction 173
4 2 HR filters 174
4 3 The z-transform 180
4 4 Bandpass filters 186
4 5 Higher-order filters: cascading 191
4 6 Pole/zero positions 192
4 7 Structure of digital mixing desks 197
4 8 Effects 201
4 9 Introduction to data reduction 202
4 10 Non-uniform coding 206
4 11 Floating-point coding 208
4 12 Predictive coding 210
4 13 Sub-band coding 212
4 14 Transform coding 216
4 15 A simple sub-band coder 218
4 16 Data reduction formats 220
4 17 ISO Layer I - simplified MUSIC AM 221
4 18 ISO Layer II - MUSICAM 221
4 19 ISO Layer III 221
4 20 apt-X100 222
4 21 Dolby AC-2 222
4 22 PASC 223
4 23 The ATRAC coder 226
References 227
Chapter 5 Digital recording and transmission principles 229
5 1 Introduction to the channel 229
5 2 Types of transmission channel 230
5 3 Types of recording medium 235
5 4 Magnetic recording 235
5 5 Azimuth recording and rotary heads 241
5 6 Optical disks 242
5 7 Magneto-optical disks 244
5 8 Equalization 245
5 9 Data separation 245
5 10 Slicing 246
5 11 Jitter rejection 250
5 12 Channel coding 252
5 13 Recording oriented codes 256
5 14 Communications-oriented codes 257
5 15 General-purpose codes 258
5 16 Miller2 code 262
5 17 Group codes 263
5 18 4/5 code of MADI 265
5 19 2/3 code 265
5 20 EFM code in CD 267
5 21 4/6M code of ProDigi 269
viii Contents
5 22 The 8/10 group code of RDAT 270
5 23 Tracking signals 271
5 24 Convolutional RLL codes 273
5 25 Graceful degradation 274
5 26 Randomizing 275
5 27 Communications codes 275
5 28 Convolutional randomizing 280
5 29 Synchronizing 282
References 284
Chapter 6 Error correction 286
6 1 Sensitivity of message to error 286
6 2 Error mechanisms 287
6 3 Basic error correction 288
6 4 Error handling 289
6 5 Concealment by interpolation 290
6 6 Parity 291
6 7 Wyner-Ash code 293
6 8 Block and convolutional codes 295
6 9 Hamming code 298
6 10 Hamming distance 300
6 11 Cyclic codes 304
6 12 Punctured codes 309
6 13 Applications of cyclic codes 310
6 14 Burst correction 312
6 15 Fire code 314
6 16 Introduction to the Reed-Solomon codes 320
6 17 R-S calculations 323
6 18 Correction by erasure 327
6 19 B-adjacent code 330
6 20 Interleaving 331
6 21 Product codes 337
6 22 Introduction to error correction in RDAT 339
6 23 Editing interleaved recordings
Appendix 6 1 Calculation of Reed-Soloman generator
polynomials 347
References 347
Chapter 7 Transmission and broadcast systems 348
7 1 Introduction 348
7 2 PCM-F1 interconnect 348
7 3 SDIF-2 interconnect 350
7 4 PCM-3324 interconnect 353
7 5 Melco interconnect 353
7 6 Introduction to the AES/EBU interface 353
7 7 The electrical interface 355
7 8 Frame structure 358
7 9 Talkback in auxiliary data 360
Contents ix
7 10 Professional channel status 360
7 11 Consumer channel status 365
7 12 User bits 369
7 13 MADI - Multi-channel Audio Digital Interface 370
7 14 MADI data transmission 371
7 15 MADI frame structure 371
7 16 MADI audio channel format 372
7 17 Fibre-optic interfacing 372
7 18 Synchronizing 374
7 19 Timing tolerance of serial interfaces 376
7 20 Asynchronous operation 379
7 21 Routing 380
7 22 Introduction to NICAM 728 381
7 23 NICAM 728 frame structure 384
7 24 The NICAM sound/data block 387
7 25 Companding, scaling and parity 387
7 26 Introduction to DAB 389
7 27 DAB principles 390
References 393
Chapter 8 Rotary-head recorders 395
8 1 Use of video recorders 395
8 2 Pseudo-video 397
8 3 Sony PCM adaptor 397
8 4 JVC PCM adaptor 401
8 5 EIAJ format 402
8 6 Decca rotary recorders 406
8 7 Introduction to RDAT 409
8 8 RDAT specification 415
8 9 RDAT block diagram 416
8 10 Track following in RDAT 418
8 11 Aligning for interchange 422
8 12 RDAT data channel 425
8 13 Sound and subcode in shuttle 428
8 14 Timecode in RDAT 430
8 15 Non-tracking replay 437
8 16 Quarter-inch rotary 438
8 17 Half-inch and 8 mm rotary formats 438
Appendix 8 1 Timecode to Pro R time conversion 439
References 440
Chapter 9 Stationary-head recorders 441
9 1 Requirements of audio production 441
9 2 Why stationary head? 441
9 3 Outline of recorder 442
9 4 DASH format 444
9 5 DASH control track 446
9 6 Cue tracks 449
x Contents
9 7 Versions of DASH 449
9 8 Redundancy in DASH 450
9 9 Block contents 457
9 10 How error correction works in DASH 459
9 11 Interleave in DASH-M and DASH-S 462
9 12 Splice handling in DASH 462
9 13 Multitrack ProDigi format 463
9 14 Punching and editing 473
9 15 DCC - Digital Compact Cassette 475
9 16 Outline of DCC format 480
9 17 Auxiliary track 484
References 484
Chapter 10 Magnetic disk drives 485
10 1 Types of disk drive 485
10 2 Disk terminology 486
10 3 Structure of disk 486
10 4 Principle of flying head 489
10 5 Reading and writing 489
10 6 Moving the heads 492
10 7 Controlling a seek 496
10 8 Rotation 499
10 9 Cooling and filtration 499
10 10 Servo-surface disks 500
10 11 Soft sectoring 502
10 12 Embedded-servo drives 505
10 13 Winchester technology 508
10 14 Servo-surface Winchester drives 510
10 15 Rotary positioners 513
10 16 Floppy disks 514
10 17 Defect handling 518
10 18 Bad-block files 518
10 19 Sector skipping 519
10 20 Defect skipping 520
10 21 Revectoring 521
10 22 Error handling strategy 522
10 23 The disk controller 523
10 24 Digital audio disk systems 526
10 25 Arranging the audio data on disk 530
10 26 Spooling files 531
10 27 Broadcast applications 532
10 28 Sampling rate and playing time 532
References 533
Chapter 11 Digital audio editing 534
11 1 Introduction 534
11 2 Editing with random access media 535
11 3 Editing on recording media 536
Contents xi
11 4 The structure of an editor 536
11 5 Timecode 539
11 6 Locating the edit point 540
11 7 Editing with disk drives 543
11 8 Rotary-head CD mastering 545
11 9 Assembly in U-matic recorders 549
11 10 Editing in RD AT 551
11 11 Editing in open-reel digital recorders 552
11 12 Jump editing 554
References 556
Chapter 12 Optical disks in audio 557
12 1 Types of optical disk 557
12 2 CD and MD contrasted 560
12 3 CD and MD - disk construction 561
12 4 Rejecting surface contamination 563
12 5 Playing optical disks 566
12 6 Focus systems 571
12 7 Tracking systems 574
12 8 Typical pickups 578
12 9 CD readout in detail 582
12 10 How optical disks are made 588
12 11 Direct metal mastering 594
12 12 MiniDisc read/write in detail 595
12 13 How recordable MiniDiscs are made 598
12 14 Channel code of CD and MiniDisc 599
12 15 Deserialization 608
12 16 Error-correction strategy 613
12 17 Track layout of MD 616
12 18 CD subcode 620
12 19 MD table of contents 628
12 20 CD player structure 628
12 21 MD recorder/player structure 637
12 22 Sony mastering disk 639
References 639
Chapter 13 Digital audio in video tape recorders 641
13 1 Introduction 641
13 2 Problems of analog audio in VTRs 641
13 3 Video 8 format 642
13 4 Relationship to video 643
13 5 Need for data reduction 645
13 6 Interleave process 646
13 7 Audio-only mode 649
13 8 Digital VTRs 649
13 9 Comparison of D-l, D-2 and D-3 650
13 10 A typical D VTR machine outlined 651
13 11 DVTR track layouts 653
xii Contents
13 12 Recording techniques in DVTRs 657
13 13 Track sectoring 660
13 14 Audio strategy of D-l 663
13 15 Audio strategy of D-2 666
13 16 Audio strategy of D-3 667
13 17 Writing audio sectors 670
13 18 Synchronization between audio sampling rate and
video field rate 670
13 19 AES/EBU compatibility 671
References 672
Index 673
|
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| title | The art of digital audio |
| title_auth | The art of digital audio |
| title_exact_search | The art of digital audio |
| title_full | The art of digital audio John Watkinson |
| title_fullStr | The art of digital audio John Watkinson |
| title_full_unstemmed | The art of digital audio John Watkinson |
| title_short | The art of digital audio |
| title_sort | the art of digital audio |
| topic | Digitales Tonsignal (DE-588)4229078-8 gnd Digitale Audiotechnik (DE-588)4140447-6 gnd |
| topic_facet | Digitales Tonsignal Digitale Audiotechnik |
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