1 Introduction to desktop audio technology
1.3 Audio and the computer industry
2.1 Analog and digital information
2.2.3 Fixed- and floating-point representation
2.3 Basic A/D and D/A conversion of control information
2.4 A/D conversion of audio signals
2.4.4 Relationship between sample resolution and sound quality
2.4.7 Oversampling in A/D conversion
2.4.8 Noise shaping in A/D conversion
2.5.2 Oversampling in D/A conversion
2.6 Sound quality versus sample rates and resolutions
2.6.1 Psychoacoustic limitations
2.7 Direct Stream Digital (DSD)
2.8 Changing the resolution of an audio signal (requantisation)
2.11 Introduction to digital audio signal processing
2.11.1 Gain changing (level control)
2.11.4 Digital filters and equalisation
2.11.5 Digital reverberation and other effects
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
3 Recording, replay and editing principles
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 and disk assignment
3.7 Principles of audio editing
3.7.1 Advantages of non-linear editing
3.7.2 Sound files and sound segments
3.7.6 Simulation of ‘reel-rocking’
4 MIDI and synthetic audio control
4.3 MIDI and digital audio contrasted
4.5.1 Channel and system messages contrasted
4.5.2 Note on and note off messages
4.5.5 Polyphonic key pressure (aftertouch)
4.5.12 Universal system exclusive messages
4.6 MIDI control of sound generators
4.6.1 MIDI note assignment in synthesisers and samplers
4.6.2 Polyphony, voice and note assignment
4.6.3 MIDI functions of sound generators
4.6.4 MIDI data buffers and latency
4.6.5 Handling of velocity and aftertouch data
4.6.6 Handling of controller messages
4.6.7 Registered and non-registered parameter numbers
4.9 Scalable polyphonic MIDI (SPMIDI)
4.10 Standard MIDI files (SMF)
4.10.1 General structure of MIDI files
4.10.5 Time signatures and tempo maps
4.11 Downloadable Sounds (DLS) and SoundFonts
4.13 SAOL and SASL in MPEG 4 Structured Audio
4.14.1 Introduction to MIDI synchronisation
4.14.2 Music-related timing data
4.14.3 Timecode and synchronisation
4.15 MIDI machine control (MMC)
5.1.1 Storage requirements of digital audio and video
5.1.3 Disk drive specifications
5.1.4 Magnetic hard disk drives
5.1.6 Removable magnetic media
5.1.7 Optical disks in general
5.1.8 CAV and CLV modes in optical storage
5.1.9 The magneto-optical (M-O) drive
5.1.10 Phase-change optical recording
5.1.11 Compact discs and drives
5.1.13 Optical disc filing structures
5.2.4 IEEE 1394 (Firewire) and USB
5.3 Filing systems and volume partitions
5.4 Formatting, fragmentation and optimisation of media
5.5 Audio processing and synthesis hardware
5.5.2 Audio processing latency
5.5.4 Host-based audio processing
5.5.6 Synthesis engines on sound cards
5.6 External synchronisation interfaces
5.8.2 The basic MIDI interface
5.8.3 MIDI connectors and cables
5.8.4 Interfacing a computer to a MIDI system
5.9 Drivers and audio I/O software
6 Audio formats and data interchange
6.1.4 Sound Designer II format
6.1.11 Edit decision list (EDL) files
6.1.13 The Open Media Framework Interchange (OMFI)
6.1.14 MXF – the Media Exchange Format
6.1.15 AAF – the Advanced Authoring Format
6.2 Disk pre-mastering formats
6.3 Interconnecting audio devices
6.4 Computer networks and digital audio interfaces compared
6.5 Dedicated audio interface formats
6.5.2 The AES 3 interface (AES 3)
6.5.3 Standard consumer interface (IEC 60958-3)
6.5.4 Carrying data-reduced audio over standard digital interfaces
6.5.5 Tascam digital interface (TDIF)
6.5.6 Alesis digital interface
6.5.8 Sony digital interface for DSD (SDIF-3)
6.5.9 Sony multichannel DSD interface (MAC-DSD)
6.6.1 Basic principles of networking
6.6.5 Audio network requirements
6.6.7 Protocols for the Internet
6.7 Streaming audio over computer interfaces
6.7.1 Audio over Firewire (IEEE 1394)
6.7.2 Audio over universal serial bus (USB)
6.8 Digital content protection
7.1.2 Tracks, channels, instruments and environments
7.1.3 Input and output filters
7.1.5 Displaying, manipulating and editing information
7.1.7 Automation and non-note MIDI events
7.1.8 MIDI mixing and external control
7.1.10 Synchronised digital video
7.5 Audio editing and post-production software
7.6 Mastering and restoration software
7.7 Advanced audio processing software and development tools
8 Operational and systems issues
8.1 Level control and metering
8.2 Spatial reproduction formats
8.2.1 Introduction to multichannel formats
8.2.2 4-channel surround (3-1 stereo)
8.2.3 5.1 channel surround (3-2 stereo)
8.2.6 Surround panning and spatial effects
8.3 Controlling and maintaining sound quality
8.4 Preparing for and understanding release media
8.4.5 MPEG-4, web and interactive authoring
8.5.1 Requirements for synchronisation
8.5.2 Timecode synchronisation
8.5.3 Synchronisation to external audio, film or video references
8.6.2 Digital interface troubleshooting