標(biāo)題: Titlebook: Audio Technology, Music, and Media; From Sound Wave to R Julian Ashbourn Book 2021 The Author(s), under exclusive license to Springer Natur [打印本頁(yè)] 作者: mobility 時(shí)間: 2025-3-21 17:24
書(shū)目名稱Audio Technology, Music, and Media影響因子(影響力)
書(shū)目名稱Audio Technology, Music, and Media影響因子(影響力)學(xué)科排名
書(shū)目名稱Audio Technology, Music, and Media網(wǎng)絡(luò)公開(kāi)度
書(shū)目名稱Audio Technology, Music, and Media網(wǎng)絡(luò)公開(kāi)度學(xué)科排名
書(shū)目名稱Audio Technology, Music, and Media被引頻次
書(shū)目名稱Audio Technology, Music, and Media被引頻次學(xué)科排名
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書(shū)目名稱Audio Technology, Music, and Media讀者反饋
書(shū)目名稱Audio Technology, Music, and Media讀者反饋學(xué)科排名
作者: 壯麗的去 時(shí)間: 2025-3-21 22:04
Self-consistent models of spiral galaxies,s introduced and the resultant global market that was developed. Blumlein’s work on RADAR is also briefly discussed as many may not know of this, or his subsequent death while testing new variations of RADAR in an aircraft crash.作者: exercise 時(shí)間: 2025-3-22 03:43 作者: A精確的 時(shí)間: 2025-3-22 06:07 作者: 貧窮地活 時(shí)間: 2025-3-22 12:37 作者: UTTER 時(shí)間: 2025-3-22 14:34 作者: 帶子 時(shí)間: 2025-3-22 19:43 作者: ILEUM 時(shí)間: 2025-3-22 22:03
Stereo Sound, Film Sound and the Legacy of Alan Dower Blumlein,s introduced and the resultant global market that was developed. Blumlein’s work on RADAR is also briefly discussed as many may not know of this, or his subsequent death while testing new variations of RADAR in an aircraft crash.作者: 描繪 時(shí)間: 2025-3-23 04:14 作者: 裁決 時(shí)間: 2025-3-23 09:19 作者: scrape 時(shí)間: 2025-3-23 13:36
A-D and D-A Convertors and Compressors in the Digital Domain,k. In the perfect world, the digital signal would remain bit-perfect throughout the chain, but, of course, this hardly ever happens. These and other issues are discussed in this chapter. In addition, the effects of using compression within the digital domain are discussed.作者: GULF 時(shí)間: 2025-3-23 14:47 作者: Invertebrate 時(shí)間: 2025-3-23 20:04 作者: LEVER 時(shí)間: 2025-3-23 23:32
Excitation Conditions in Molecular Cloudsels recording in true stereo, thus preserving the sound of the orchestra in place, and most of the larger labels recording the multi-track way, emulating those within the popular music field. This is discussed in some depth.作者: TEM 時(shí)間: 2025-3-24 04:53
Atomic and Ionic Emission Processesssue, as discussed here, is that consumers need products to play these higher sampling frequency recordings, and this in practice means that audio replay in the home is changing completely. Also discussed here is bit depth (the CD standard is 16?bit) and the extended dynamic range that higher bit depths allow.作者: 離開(kāi)真充足 時(shí)間: 2025-3-24 08:13
,Classical Music Is Effectively Broken by?Technology,els recording in true stereo, thus preserving the sound of the orchestra in place, and most of the larger labels recording the multi-track way, emulating those within the popular music field. This is discussed in some depth.作者: etidronate 時(shí)間: 2025-3-24 11:45 作者: 高談闊論 時(shí)間: 2025-3-24 17:37
Book 2021es have changed things, noting what is good and what is less good. The author starts by discussing the physics of sound generation and propagation. He then moves on to outline the history of recorded sound and early techniques and technologies, such as the rise of multi-channel tape recorders and th作者: 可行 時(shí)間: 2025-3-24 22:36 作者: lactic 時(shí)間: 2025-3-25 01:08 作者: Scleroderma 時(shí)間: 2025-3-25 03:39 作者: Headstrong 時(shí)間: 2025-3-25 08:50
Infrared Spectroscopy of Interstellar Shocksd slightly different. One could therefore posit that there is really no such thing as lossless compression where audio is concerned. And, of course, there are counter arguments. This situation is explored within this chapter.作者: intellect 時(shí)間: 2025-3-25 14:58
The Big Time, with 24 Tracks Everywhere,s in the way classical music was recorded and the sound that record buyers heard, which did not necessarily correspond with the sound of the orchestra as heard in the concert hall. The importance of true stereo sound is also discussed.作者: 集聚成團(tuán) 時(shí)間: 2025-3-25 18:28 作者: Fecal-Impaction 時(shí)間: 2025-3-25 20:47
Digital Arrives, But Something Is Not Right, of equipment, and of course, publicly available CD players varied significantly. This is all discussed in this chapter, together with the evolution of digital recording. Other digital formats are also discussed.作者: debacle 時(shí)間: 2025-3-26 01:01 作者: Excise 時(shí)間: 2025-3-26 06:22 作者: 退潮 時(shí)間: 2025-3-26 10:20
Stereo Sound, Film Sound and the Legacy of Alan Dower Blumlein,vention of stereophonic sound, the moving coil microphone and the sound for film. The sudden flourish of what became known simply as ‘High Fidelity’ is introduced and the resultant global market that was developed. Blumlein’s work on RADAR is also briefly discussed as many may not know of this, or h作者: expeditious 時(shí)間: 2025-3-26 14:12 作者: macrophage 時(shí)間: 2025-3-26 16:47 作者: gnarled 時(shí)間: 2025-3-26 23:59 作者: Brochure 時(shí)間: 2025-3-27 02:30
Multi-Channel Tape Recorders,ing the subject of maintenance which was very important to the performance of these machines. Also discussed are the increases in tape width, the difference in tape formulations and the introduction of noise reduction systems. A brief overview of the transition from master tape to disc is included.作者: 和平主義 時(shí)間: 2025-3-27 06:25
The Advent of the Big Studios,discussed, as are the plethora of outboard electronics with which the better studios had to equip themselves. The career of George Martin is touched upon briefly, as he is regarded as one of the first influential producers in the field of popular music. The curve of ever increasing physical tape tra作者: Platelet 時(shí)間: 2025-3-27 09:52
The Record Business,ts to be established in many countries. This is discussed together with typical business models and the relationship between artist and record label. The introduction of independent record labels in the popular music field, together with the smaller specialist labels in classical music, is also expl作者: 瘋狂 時(shí)間: 2025-3-27 14:54 作者: 不可比擬 時(shí)間: 2025-3-27 21:42 作者: Optimum 時(shí)間: 2025-3-28 01:59
How the Technology Changed the Music,the introduction of CD was quickly accepted by the majority but questioned by a few who made comparisons with good quality analogue sound. The impact upon the record market was also significant, as record labels rushed to digitise their back catalogues. However, early recordings made in digital were作者: 銀版照相 時(shí)間: 2025-3-28 02:49
,Classical Music Is Effectively Broken by?Technology,phones in front of almost every instrument, in the knowledge that they could mix the audio in any way they wished after the event. They would argue that this produced the right sound of each instrument, but it did not reproduce the sound of the orchestra as the conductor and audience heard it, or ho作者: acheon 時(shí)間: 2025-3-28 07:22
Digital Arrives, But Something Is Not Right, quickly accepted by both the manufacturers and the buying public. However, after a while, when some began to listen critically to the sound of CDs, they realised that something was missing. At that time, there were few truly digital recordings and those that did exist had been recorded on a variety作者: arthrodesis 時(shí)間: 2025-3-28 13:18
A-D and D-A Convertors and Compressors in the Digital Domain,y, the digital to analogue convertors that are used for replay in CD players, portable devices and other systems are crucial to the quality of playback. In the perfect world, the digital signal would remain bit-perfect throughout the chain, but, of course, this hardly ever happens. These and other i作者: Morose 時(shí)間: 2025-3-28 14:46
High-Resolution Digital Recording and Re-Sampling,han the 44.1 kHz standard of CD. The Digital Audio Tape (DAT) introduced by Sony could record with a sampling rate of up to 48?kHz, and this was quickly adopted within the professional and broadcast world. Others, particularly those making recording equipment, brought in sampling rates of 96 kHz and作者: Eructation 時(shí)間: 2025-3-28 22:22
Lossless Compression, certain amount of information is discarded, using the lossless algorithm which assumes that there is redundancy within the original file, then something must surely be missing. This suggestion is reaffirmed by the fact that the same file, encoded with different lossless algorithms, does indeed soun作者: LAST 時(shí)間: 2025-3-28 23:35
The Revolution in Playback Technology,ssette came along, and then the CD and, finally music in file formats which may be played back on a variety of devices, including computers. But there were also commercial failures such as SACD, DCC, MiniDisc, Elcaset and DAT. Now, there is a revival of vinyl discs and the record players upon which 作者: 不連貫 時(shí)間: 2025-3-29 06:56
The Social Revolution in Consumed Music,ved in recording it. Indeed, in some respects, it has been the technology which has enabled such changes. But there is also a social aspect involved, and this is discussed within this chapter. Also discussed is the manner in which recording an orchestra has changed and what this means for our percep作者: 最后一個(gè) 時(shí)間: 2025-3-29 10:43
ction, the role of the Audio Engineer in the 21.st.?century, and a brief look at technology today and where it is headed. This book is ideal for anyone interested in recorded sound...“[Julian Ashbourn] strives 978-3-030-62431-6978-3-030-62429-3作者: TATE 時(shí)間: 2025-3-29 12:43
Book 2021ssing where we should be headed for both popular and classical music recording and reproduction, the role of the Audio Engineer in the 21.st.?century, and a brief look at technology today and where it is headed. This book is ideal for anyone interested in recorded sound...“[Julian Ashbourn] strives 作者: Campaign 時(shí)間: 2025-3-29 18:16
https://doi.org/10.1007/978-3-030-62429-3Audio Engineering; Recorded Sound; Tape and digital recorders; Microphone techniques; Audio technology; A作者: albuminuria 時(shí)間: 2025-3-29 22:35 作者: 膽小懦夫 時(shí)間: 2025-3-30 01:58
Oscar A. Gonzalez,Dimitri Gadottiperspectives. It also introduces the remarkable Kathleen Ferrier to readers not previously familiar with her. It discusses how the early record labels flourished as a result of the infrastructure put in place for the V-Disc and how they subsequently tried to differentiate themselves.作者: Merited 時(shí)間: 2025-3-30 07:12
William Sheehan,Christopher J. Conseliceple in order to explain these properties. It additionally explores how different instruments produce sound and why an orchestra sounds the way it does. It also introduces the reader to microphone polar patterns.作者: Sciatica 時(shí)間: 2025-3-30 11:13 作者: 一小塊 時(shí)間: 2025-3-30 13:30 作者: 炸壞 時(shí)間: 2025-3-30 16:47
J. Mayo Greenberg,Seung-Soo Hongts to be established in many countries. This is discussed together with typical business models and the relationship between artist and record label. The introduction of independent record labels in the popular music field, together with the smaller specialist labels in classical music, is also explored.作者: 遭受 時(shí)間: 2025-3-30 21:55
Erratum to: Galactic Radio Astronomy,ir skills across a broad repertoire, and this trend is discussed accordingly. Technical excellence and record reviews are introduced, including those of the Gramophone magazine which were highly respected. Some real-world experiences of recording orchestras and concert bands are included, in order to place things in perspective.作者: ACRID 時(shí)間: 2025-3-31 04:29 作者: 小卒 時(shí)間: 2025-3-31 09:00 作者: Aprope 時(shí)間: 2025-3-31 10:35 作者: 公式 時(shí)間: 2025-3-31 15:56 作者: 沉積物 時(shí)間: 2025-3-31 18:41
,The ‘V’ Record Label for the US Troops,perspectives. It also introduces the remarkable Kathleen Ferrier to readers not previously familiar with her. It discusses how the early record labels flourished as a result of the infrastructure put in place for the V-Disc and how they subsequently tried to differentiate themselves.作者: 音樂(lè)等 時(shí)間: 2025-4-1 01:14
