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Introduction to Digital Audio, 2nd Edition

Name: Introduction to Digital Audio, 2nd Edition
Author: John Watkinson
ISBN: 9781136116933

by John Watkinson

July 2013

Intermediate to advanced

419 pages

14h 24m

English

Routledge

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Cover
Halftitle
Title
Copyright
Contents
Preface to the second edition
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
2. Some 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
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
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

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
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
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
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
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
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
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
Glossary
Index

Content preview from Introduction to Digital Audio, 2nd Edition

5 Compression

5.1 Introduction

Compression, bit rate reduction and data reduction are all terms which mean basically the same thing in this context. In essence the same (or nearly the same) audio information is carried using a smaller quantity and/or rate of data. It should be pointed out that in audio compression traditionally means a process in which the dynamic range of the sound is reduced, typically by broadcasters wishing their station to sound louder. However, when bit rate reduction is employed, the dynamics of the decoded signal are unchanged. Provided the context is clear, the two meanings can co-exist without a great deal of confusion.

There are several reasons why compression techniques are popular:

(a) Compression extends the playing ...

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Introduction to Digital Audio, 2nd Edition

by John Watkinson

5

Compression

5.1 Introduction

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