By Jan Maes, Marc Vercammen
A professional group from SONY Europe explains the expertise at the back of latest significant electronic audio purchaser items, together with the Compact Disc, MiniDisc, great Audio CD, DVD-Audio, MP3 and electronic Audio Tape.
starting with a desirable evaluate of the historical past of audio know-how, this fourth version addresses the rules and applied sciences which underpin a few of the codecs at present to be had. substantial technical element is supplied, with broad use of illustrations to augment figuring out.
Audio engineers, scholars and hi-fi fanatics who are looking to achieve an knowing of how those applied sciences were built will locate no higher creation than this authoritative consultant from SONY, a forerunner within the electronic audio industry.
Read or Download Digital Audio Technology: A Guide to CD, MiniDisc, SACD, DVD PDF
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Additional info for Digital Audio Technology: A Guide to CD, MiniDisc, SACD, DVD
Practical circuits have buffer ampliﬁers at input, in order not to load the source, and output, to be able to drive a load such as an A/D converter. 8 Sine wave before (top) and after (bottom) sample-hold. 42 Principles of sampling charge of the hold capacitor does not leak away. Also, the switch must be very fast and have low off-stage leakage. 9. Sample-hold circuits are not only used in A/D conversion but also in D/A conversion, to remove transients (glitches) from the output of the D/A converter.
CD-recordable The original disc-based speciﬁcations as formulated jointly by Philips and Sony also described recordable CD formats (the socalled ‘orange book’ speciﬁcation). Originally, this techology was mostly used for data storage applications, but as of the middle of the 1990s, this technology 22 A short history of audio technology also emerged for audio applications. Two formats have been developed: CD-recordable (CD-R) and CD-rewritable (CD-RW). CD-R draws its technology from the original CD-WO (writeonce) speciﬁcation.
This frequency is compatible with television and motion picture system frame frequencies (50 and 60 Hz), and has an integer relationship (3/2) with the 32 kHz sampling of the PCM network used by broadcast companies. The relationships between sampling frequency and frame frequencies (1/960, 1/800) enable the application of time coding, which is essential for editing and synchronization of the tape recorder. 1 kHz (CD sampling frequency) and 48 kHz, Sony’s studio recorders can use either frequency.