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Desktop Audio Technology Digital audio and MIDI principles Music Technology 1st Edition by Francis Rumsey ISBN 0240519191 9780240519197

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Author(s): Francis Rumsey
ISBN(s): 9780240519197, 0240519191
Edition: 1
File Details: PDF, 5.07 MB
Year: 2003
Language: english
SKU: EB-1765652 Category: Tag:

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ISBN 10: 0240519191
ISBN 13: 9780240519197
Author: Francis Rumsey

In this thorough introduction to the technology behind audio workstations, Dr Francis Rumsey explains not only how digital audio works but also how to make best use of its capabilities. A combined revision of his two successful titles, MIDI Systems and Control and The Audio Workstation Handbook, this new book covers recent developments such as surround sound formats, direct stream digital, new audio project formats, new interfaces and alternatives to MIDI.Desktop Audio Technology begins by setting out principles of digital audio and how these are applied in recording, replay and editing within workstations. MIDI and synthetic audio control is then covered, looking at the means by which artificial sounds can be controlled and manipulated. This is followed by explanations of hardware, including storage devices, buses, computer interfaces and audio processing options. Dr Rumsey then focuses on transferring audio between systems, including coverage of audio interfaces, networking and file formats. The next section examines audio software, providing working examples of different commercial packages that exemplify some of the concepts previously described. The final chapter considers operational issues such as recent spatial reproduction formats, consumer format mastering and quality control issues, as well as troubleshooting and systems issues.If you are a student, lecturer or practitioner in the field of audio and are looking for an authoritative technical guide to the underlying principles of digital audio and MIDI, this book is for you.Dr Francis Rumsey is a Reader in Sound Recording at the University of Surrey (UK) and a Visiting Professor at the School of Music in Piteå (Sweden). He is a Fellow of the Audio Engineering Society and a regular contributor to the AES Journal. Dr Rumsey is also author of Spatial Audio and co-author of Sound and Recording (with Tim McCormick) and The Digital Interface Handbook (with John Watkinson), all published by Focal Press.

Desktop Audio Technology Digital audio and MIDI principles Music Technology 1st Table of contents:

1 Introduction to desktop audio technology
1.1 about this book
1.2 audio workstations
1.3 audio and the computer industry
1.4 audio and quality

2 Digital audio principles
2.1 analog and digital information
2.2 binary number systems
    2.2.1 basic binary
    2.2.2 negative numbers
    2.2.3 fixed- and floating-point representation
    2.2.4 logical operations
2.3 basic A/D and D/A conversion of control information
2.4 A/D conversion of audio signals
    2.4.1 audio sampling
    2.4.2 filtering and aliasing
    2.4.3 quantisation
    2.4.4 relationship between sample resolution and sound quality
    2.4.5 use of dither
    2.4.6 types of dither
    2.4.7 oversampling in A/D conversion
    2.4.8 noise shaping in A/D conversion
2.5 D/A conversion
    2.5.1 a basic D/A convertor
    2.5.2 oversampling in D/A conversion
2.6 sound quality vs. sample rates and resolutions
    2.6.1 psychoacoustic limitations
    2.6.2 sampling rate
    2.6.3 quantising resolution
2.7 direct stream digital (DSD)
2.8 changing the resolution of an audio signal (requantisation)
2.9 dynamic range enhancement
2.10 error correction
2.11 intro to digital audio signal processing
    2.11.1 gain changing (level control)
    2.11.2 crossfading
    2.11.3 mixing
    2.11.4 digital filters and EQ
    2.11.5 digital reverb and other effects
    2.11.6 dynamics processing
    2.11.7 sample rate conversion
2.12 audio data reduction
    2.12.1 why reduce the data rate?
    2.12.2 lossless and lossy coding
    2.12.3 MPEG – example of lossy coding
    2.12.4 other data-reduced formats
further reading

3 Recording, replay and editing principles
3.1 the sound file
3.2 RAM buffering
3.3 disk drive performance issues
3.4 allocation units or transfer blocks
3.5 multichannel recording and replay
    3.5.1 multitrack or multichannel?
    3.5.2 inputs, outputs, tracks and channels
    3.5.3 track usage, storage capacity, disk assignment
    3.5.4 dropping-in
3.6 system latency
3.7 principles of audio editing
    3.7.1 advantages of non-linear editing
    3.7.2 sound files and sound segments
    3.7.3 edit point handling
    3.7.4 crossfading
    3.7.5 editing modes
    3.7.6 simulation of ‘reel-rocking’

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