Desktop audio technology digital audio and MIDI principles
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, thi...
| Autor principal: | |
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| Formato: | Libro electrónico |
| Idioma: | Inglés |
| Publicado: |
Oxford :
Focal
2004.
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| Edición: | 1st edition |
| Colección: | Music technology series.
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| Materias: | |
| Ver en Biblioteca Universitat Ramon Llull: | https://discovery.url.edu/permalink/34CSUC_URL/1im36ta/alma991009627392606719 |
Tabla de Contenidos:
- Cover; Desktop Audio Technology: Digital audio and MIDI principles; Copyright; Contents; Series introduction; 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 aliasing2.4.3 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 versus 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 correction2.11 Introduction 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 equalisation; 2.11.5 Digital reverberation 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 - an 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 issues3.4 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 and 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'; 4 MIDI and synthetic audio control; 4.1 Background; 4.2 What is MIDI?
- 4.3 MIDI and digital audio contrasted4.4 Basic MIDI principles; 4.4.1 System specifications; 4.4.2 Simple interconnection; 4.4.3 MIDI channels; 4.4.4 Message format; 4.5 MIDI messages in detail; 4.5.1 Channel and system messages contrasted; 4.5.2 Note on and note off messages; 4.5.3 Velocity information; 4.5.4 Running status; 4.5.5 Polyphonic key pressure (aftertouch); 4.5.6 Control change; 4.5.7 Channel modes; 4.5.8 Program change; 4.5.9 Channel aftertouch; 4.5.10 Pitch bend wheel; 4.5.11 System exclusive; 4.5.12 Universal system exclusive messages; 4.5.13 Tune request; 4.5.14 Active sensing
- 4.5.15 Reset
