Book description
Designed to make life a little easier by providing all the theoretical background necessary to understand sound reproduction, backed up with practical examples. Specialist terms - both musical and physical - are defined as they occur and plain English is used throughout. Analog and digital audio are considered as alternatives, and the advantages of both are stressed.Audio is only as good as the transducers employed, and consequently microphone and loudspeaker technology also feature heavily - making this the most comprehensive, up-to-date text currently available on all aspects of sound reproduction.
Table of contents
- Front Cover
- Half Title
- Title Page
- Copyright
- Contents
- Preface
- Chapter 1 Introduction
-
Chapter 2 Audio basics
- 2.1 Periodic and aperiodic signals
- 2.2 Frequency response and linearity
- 2.3 The sine wave
- 2.4 Root mean square measurements
- 2.5 The deciBel
- 2.6 Audio level metering
- 2.7 Vectors
- 2.8 Phase angle and power factor
- 2.9 Audio cabling
- 2.10 Moving masses
- 2.11 Introduction to digital processes
- 2.12 Logic elements
- 2.13 Storage elements
- 2.14 Binary adding
- 2.15 Gain control by multiplication
- 2.16 Transforms
- 2.17 The Fourier transform
- 2.18 The discrete cosine transform (DCT)
- 2.19 The wavelet transform
- 2.20 Magnetism
- 2.21 Electromagnetic compatibility (EMC)
- 2.22 Electrical safety
- References
-
Chapter 3 Sound and psychoacoustics
- 3.1 What is sound?
- 3.2 The ear
- 3.3 The cochlea
- 3.4 Level and loudness
- 3.5 Frequency discrimination
- 3.6 Critical bands
- 3.7 Beats
- 3.8 Music and the ear
- 3.9 The sensation of pitch
- 3.10 The physics of sound
- 3.11 The speed of sound
- 3.12 Wavelength
- 3.13 The Doppler effect
- 3.14 The wave number, k
- 3.15 How sound is radiated
- 3.16 Proximity effect
- 3.17 Intensity and power
- 3.18 The inverse square law
- 3.19 Wave acoustics
- 3.20 Radiation into smaller solid angles
- 3.21 Refraction
- 3.22 Reflection, transmission and absorption
- 3.23 Reverberation
- References
-
Chapter 4 Sources of sound
- 4.1 Producing sounds
- 4.2 Vibrating bars
- 4.3 Vibrating panels
- 4.4 Vibrating strings
- 4.5 Vibrating diaphragms
- 4.6 Using airflow
- 4.7 Resonators
- 4.8 The organ
- 4.9 Wind instrument principles
- 4.10 Wind instruments
- 4.11 Brass instruments
- 4.12 Stringed instruments
- 4.13 The pianoforte
- 4.14 Percussion instruments
- 4.15 Electrical and electronic instruments
- 4.16 The human voice
- 4.17 Non-musical sound sources
- 4.18 The sound of a piston engine
- 4.19 Vehicle noise
- 4.20 Aircraft noise
- 4.21 Helicopter noise
- References
- Chapter 5 Microphones
-
Chapter 6 Loudspeakers and headphones
- 6.1 Loudspeaker concepts
- 6.2 Loudspeaker mechanisms
- 6.3 Directivity
- 6.4 The moving coil speaker
- 6.5 Magnets
- 6.6 Coils
- 6.7 Cones
- 6.8 Low-frequency reproduction
- 6.9 Crossover networks
- 6.10 Enclosures
- 6.11 Electrostatic loudspeakers
- 6.12 Power amplifiers
- 6.13 Speaker cables
- 6.14 Active loudspeakers
- 6.15 Headphones
- References
-
Chapter 7 Stereophony
- 7.1 History of stereophony
- 7.2 Directionality in hearing
- 7.3 Hearing in reverberant conditions
- 7.4 The stereophonic illusion
- 7.5 Stereo microphones
- 7.6 Headphone stereo
- 7.7 Alternative microphone techniques
- 7.8 M-S stereo
- 7.9 Mono compatibility
- 7.10 Stereo metering
- 7.11 Surround sound
- 7.12 Microphone criteria for stereo
- 7.13 Loudspeaker criteria for stereo
- References
-
Chapter 8 Digital audio signals
- 8.1 Introduction to digital audio
- 8.2 Binary
- 8.3 Conversion
- 8.4 Sampling and aliasing
- 8.5 Choice of sampling rate
- 8.6 Sampling clock jitter
- 8.7 Aperture effect
- 8.8 Quantizing
- 8.9 Quantizing error
- 8.10 Introduction to dither
- 8.11 Requantizing and digital dither
- 8.12 Dither techniques
- 8.12.1 Rectangular pdf dither
- 8.12.2 Triangular pdf dither
- 8.12.3 Gaussian pdf dither
- 8.13 Basic digital-to-analog conversion
- 8.14 Basic analog-to-digital conversion
- 8.15 Alternative converters
- 8.16 Oversampling
- 8.17 Oversampling without noise shaping
- 8.18 Noise shaping
- 8.19 Noise-shaping ADCs
- 8.20 A one-bit DAC
- 8.21 One-bit noise-shaping ADCs
- 8.22 Two’s complement coding
- 8.23 Level in digital audio
- 8.24 The AES/EBU interface
- References
-
Chapter 9 Analog audio recording
- 9.1 Introduction to analog recording
- 9.2 Tape recording
- 9.3 Magnetic tape
- 9.4 Heads
- 9.5 Biased recording
- 9.6 Cross-field bias
- 9.7 Pre-emphasis and equalization
- 9.8 Sources of noise
- 9.9 Head alignment
- 9.10 Capstan motors
- 9.11 Servo-controlled capstans
- 9.12 Brushless motors
- 9.13 Reel motors
- 9.14 Tension servos
- 9.15 The analog multitrack recorder
- 9.16 The Compact Cassette
- 9.17 Additional quality criteria in stereo
- 9.18 Analog noise reduction
- 9.19 Audio in analog VTRs
- 9.20 The vinyl disk
- 9.21 Vinyl disk players
- References
-
Chapter 10 Digital recording
- 10.1 Introduction
- 10.2 Time compression
- 10.3 Replay synchronization
- 10.4 Practical digital recorders
- 10.5 Channel coding
- 10.6 Group codes
- 10.7 Error correction and concealment
- 10.8 Introduction to the Reed—Solomon codes
- 10.9 Modulo-n arithmetic
- 10.10 The Galois field
- 10.11 R – S calculations
- 10.12 Correction by erasure
- 10.13 Introduction to DAT
- 10.14 Half-inch and 8 mm rotary formats
- 10.15 Digital audio disk systems
- 10.16 Audio in digital VTRs
- Appendix 10.1 Calculation of Reed—Solomon generator polynomials
- References
-
Chapter 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 system
- 11.7 Typical pickups
- 11.8 CD readout
- 11.9 How optical disks are made
- 11.10 How recordable MiniDiscs are made
- 11.11 Channel code of CD and MD
- 11.12 Error-correction strategy
- 11.13 Track layout of MD
- 11.14 Player structure
- 11.15 Sony mastering disk
- References
- Chapter 12 Audio editing
-
Chapter 13 Audio signal processing
- 13.1 Introduction
- 13.2 Level control
- 13.3 Grouping
- 13.4 Automation
- 13.5 Dynamics
- 13.6 Equalization
- 13.7 Multitrack consoles
- 13.8 Console buses
- 13.9 The inline strip
- 13.10 Fader flip
- 13.11 Console operating modes
- 13.12 Solo
- 13.13 Ancillary functions
- 13.14 Stereo mixers
- 13.15 Effects
- 13.16 Introduction to audio compression
- 13.17 Non-uniform coding
- 13.18 Floating-point coding
- 13.19 Predictive coding
- 13.20 Sub-band coding
- 13.21 Transform coding
- 13.22 A simple sub-band coder
- 13.23 Compression formats
- 13.24 ISO MPEG compression
- 13.25 Compression artifacts
- References
- Chapter 14 Sound quality considerations
- Index
Product information
- Title: The Art of Sound Reproduction
- Author(s):
- Release date: November 2012
- Publisher(s): Routledge
- ISBN: 9781136118531
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