digital-audio

19Feb06

Digital Audio and the Mac

by David Ozab, dozab@atpm.com

It’s all about bandwidth. As we recall from Part I of this series, the CD standard is 44.1KHz sampling rate and 16-bit sampling resolution. That means that at least 215,200 bits must be transmitted each second (44,100 16-bit words for both left and right channels) in order for the file to stream in real time. This rate of transfer is no problem either within a computer or among peripherals, but it far exceeds the baud rate of dialup modems (less than 56K).

other topics at this link:

Fundamentals

Before we can discuss the specifics of digital sampling and synthesis, we need to ask some fundamental questions. What is sound? What causes us to perceive pitch, loudness, and timbre? How do we record and reproduce music? What are the differences between analog and digital recordings?

Hardware

Last month we discussed software. Digital audio software can only reach its true potential, though, when combined with hardware. The G3 and G4 feature 16-bit 44.1 kHz audio input and output, and the new iMacs have a decent sound system when Harman Kardon’s iSub is added. But both serious hobbyists and budding professionals need a dedicated audio interface. The prices range from about $250 to over $13,000, depending on the system level desired.

Software

What’s out there? Before we start, we have to know what we’re looking for. There are different kinds of digital audio applications. The first step is understanding what they do. To help matters, I’ve divided the programs into two main categories: samplers and hard disk recorders. Although samplers and hard disk recorders both record, edit, and output digital audio, the user interacts with them in different ways. I’ve also subdivided hard disk recorders into stereo and multi-track applications and added a third category for CD burners and MP3 encoders. 

What’s a Codec?…and more

 

recurso web:

http://www.atpm.com/Back/digital-audio.shtml

 

 

 

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