The Csound Book: Perspectives in Software Synthesis, Sound Design, Signal Processing, and Programming (review)
The Csound Book: Perspectives in Software Synthesis, Sound Design, Signal Processing, and Programming (review)
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Csound 书：软件综合、声音设计、信号处理和编程的观点（评论）
DOI：
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发表时间：
2001
期刊：
影响因子：
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通讯作者：
Robert S. Thompson
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文献类型：
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作者：
Robert S. Thompson
在整本书中，Kefauver先生的抽样率很高，避免了他这样做的数学澄清或解释。虽然始终向后弯曲以最少的数学来完成这些高度技术性的主题？解释数字信息如何重建为模拟信号。必须不断提醒自己，这是学生的数字音频介绍，而不是针对计算机科学家或电子工程师的全面的科学工作。讨论系统。我认为，紧凑型光盘（CD）和数字视频光盘的各种口味六和七个讨论的应用程序和数字音频编辑和工作站操作的技术首先使我们简要介绍了基于计算机的音频编辑，然后以非常一般的方式进行讨论由于将这些章节与特定的系统紧密联系在一起，因此他的解释非常通用，因此我不确定他希望什么。在这些章节中，除了为读者提供简短和一般的概述，但第八章简要介绍了数字音频传输计划。 S/ PDIF（Sony/ Philips数字界面格式）是讨论的主要格式，一两个单词就其历史和有用性而言。指出一些已过时的专有格式的简短形式。稍后将解决第一章的问题。包括一些声学和一些音频理论，有许多精美的文本，可以为这些基本主题提供出色的介绍，包括Kefauver先生自己的出色录音手册（MI Publisting Handishing，假设读者是学生，在处理更高级主题（例如数字音频）之前综合，记录技术等）为什么，为什么每个作者或编辑都被迫开始每个中间文本或高级文本，而另一种不必要的声音介绍了这些声音和音频？即将到来，似乎完全是个坏消息：数字音频的基本原理声音和音频。我感谢作者的原理和实践，他的书在文献中填补了严重的空白。
ferent sampling rates. Mr. Kefauver goes to great pains throughout the book to avoid mathematical clarification or explanation. That he does this so admirably is a testament to his many years successfully teaching these concepts to aspiring recording engineers. Is it necessary or even desirable, though, to always bend over backwards to accomplish these highly technical topics with a minimum of math? I think not. Chapter Three takes on the task of explaining how the digital information is reconstructed into an analog signal. Mr. Kefauver does an excellent job explaining digital-to-analog converters, error detection, oversampling, and one-bit conversion. While reading this chapter (and the next five), I had to constantly remind myself that this is an introductory text on digital audio for the student, not a comprehensive scholarly work targeted to computer scientists or electronics engineers. Chapters Four and Five discuss storage systems. First, tape-based systems, then disc. Much effort is expended to explain the different formats currently in use for archiving and storage. Both optical and magnetic systems are discussed in detail. Special mention should be made concerning the author’s comprehensive descriptions of the various flavors of compact disc (CD) and digital video disc (DVD). In my opinion, this is the most comprehensive section of the book and well worth the purchase price. Chapters Six and Seven discuss applications and techniques of digital audio editing and workstation operations. Mr. Kefauver first gives us a brief historical overview of computer-based audio editing and then proceeds to discuss, in a very general way, the operation of software for editing and production. Since tying these chapters too closely to a specific system would probably limit the potential audience, his explanations are extremely generic and therefore limited. I’m not sure what he hoped to accomplish in these chapters except to offer the reader a very brief and general overview of the subject with few specifics. Finally, Chapter Eight gives a short overview of digital audio transmission schemes. AES/EBU (Audio Engineering Society/European Broadcasting Union) and S/ PDIF (Sony/Philips Digital Interface Format) are the dominant formats discussed, with a word or two about their history and usefulness. Not much more is said after pointing out the brief existence of a few proprietary formats which are now obsolete. Brief mention is made of digital transmission in radio. The appendix includes a good glossary of terminology, an excellent bibliography, and an index. In my opening paragraph I mentioned that I would tackle the issue of Chapter One later. My question: Why does each and every audio or electronic/computer music text seem to begin with an introductory chapter on sound including a little acoustics and a little audio theory? There are many, many fine texts that provide excellent introductions to these foundational topics, including Mr. Kefauver’s own excellent The Audio Recording Handbook (MI Publishing, 1997). Assuming the readers are students, they should already have taken a course in the physics of sound or introductory audio theory before tackling more advanced subjects like digital audio (or computer synthesis, recording techniques, etc.). Why, why, why does every author or editor feel compelled to begin each intermediate or advanced text with yet another unnecessary introduction to sound and audio? These are always incomplete, rarely adequate to explain the complex material which is coming, and seem to be totally beside the point. The bad news: Chapter One of Fundamentals of Digital Audio is guilty of including an unnecessary introduction to sound and audio. The good news: it is short, easily passed over, refers the reader to more comprehensive sources, and does not detract from this otherwise excellent title. I would gladly select this book as a text in an undergraduate course introducing the principles and practices of digital audio. My thanks to the author, whose book fills a serious void in the literature.