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Table Of Contents

1.1 A short history
1.2 Types of reproduction
1.3 Sound systems
1.4 Portable consumer equipment
1.5 Fixed consumer equipment
1.6 High-end hi-fi
1.7 Public address
1.8 Multitrack recording
1.9 Sound radio
1.10 Film and television sound
References
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
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
3.16 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
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
5.1 Introduction
5.2 Microphone principles
5.3 Microphone limitations
5.4 Microphone mechanisms
5.5 Electrodynamic microphones
5.6 Electrostatic microphones
5.7 Phantom power
5.8 Stands and suspensions
5.9 Wind noise
5.10 Radio microphones
6.1 Loudspeaker concepts
6.2 Loudspeaker mechanisms
6.3 Directivity
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
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
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
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
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
10.16 Audio in digital VTRs
polynomials
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
12.1 Introduction
12.2 Tape-cut editing
12.3 Editing on recording media
12.4 The structure of an editor
12.5 Timecode
12.6 Locating the edit point
12.7 Non-linear editing
12.8 Editing in DAT
12.9 Editing in open-reel digital recorders
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
14.1 Introduction
14.2 Objective testing
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The Art of Sound Reproduction

The Art of Sound Reproduction

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Published by deoljagtar

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Published by: deoljagtar on Aug 14, 2010
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06/22/2013

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