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Cutting Edge Web Audio [Multiple-component retail product]

  • Formāts: Multiple-component retail product, 576 pages, height x width x depth: 235x178x22 mm, weight: 824 g, Contains 1 Paperback / softback and 1 CD-ROM
  • Izdošanas datums: 06-May-1998
  • Izdevniecība: Prentice Hall
  • ISBN-10: 0130807532
  • ISBN-13: 9780130807533
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  • Multiple-component retail product
  • Cena: 57,56 €*
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Cutting Edge Web AudioPalielināt
  • Formāts: Multiple-component retail product, 576 pages, height x width x depth: 235x178x22 mm, weight: 824 g, Contains 1 Paperback / softback and 1 CD-ROM
  • Izdošanas datums: 06-May-1998
  • Izdevniecība: Prentice Hall
  • ISBN-10: 0130807532
  • ISBN-13: 9780130807533
Citas grāmatas par šo tēmu:
Permanent link: https://www.kriso.lv/db/9780130807533.html
Keywords:
This book covers everything you need to know to deploy high-quality audio on the Web -- from content creation to choosing formats, and beyond. Cutting Edge Web Audio addresses every significant technology now available for audio on the Web, with detailed tutorials and practical advice on what works best in each application. Coverage includes RealAudio, Shockwave audio, Liquid Audio, QuickTime, MIDI, ProTools 4.0 and more. The book comes with extensive trial software, plus high-quality royalty-free music and sound files you can use in your own Web site or multimedia production. Not just for traditional Web developers -- also for musicians, home hobbyists and everyone else interested in audio on the Web!

Papildus informācija

This book covers everything you need to know to deploy high-quality audio on the Web -- from content creation to choosing formats, and beyond. Cutting Edge Web Audio addresses every significant technology now available for audio on the Web, with detailed tutorials and practical advice on what works best in each application. Coverage includes RealAudio, Shockwave audio, Liquid Audio, QuickTime, MIDI, ProTools 4.0 and more. The book comes with extensive trial software, plus high-quality royalty-free music and sound files you can use in your own Web site or multimedia production. Not just for traditional Web developers -- also for musicians, home hobbyists and everyone else interested in audio on the Web!
Foreword xix(2)
Acknowledgments xxi(2)
Introduction xxiii(8)
About the Author xxxi
Part 1 Getting Started 1(110)
Chapter 1 The Basics
3(10)
In This
Chapter
3(1)
Fearing the Unknown
4(1)
Technology Is Your Friend (or Is It?)
5(1)
The pipeline
5(1)
Streaming audio
5(1)
Downloadable audio
6(1)
Formats
6(5)
Streaming at you!
7(2)
Downloadable audio (not so streaming!)
9(2)
Resources
11(1)
Looking Back to the Future
11(2)
Chapter 2 The Browser Battle
13(10)
In This
Chapter
13(1)
The Playing Field
14(4)
ActiveX controls
15(1)
Native sound
15(1)
Native MIDI and the Soft Synth
16(1)
Streaming at you
17(1)
Third-Party Plug-ins
18(1)
Go Find It!
19(4)
Developmental tools
20(1)
So, who's the winner?
21(2)
Chapter 3 File Formats and Conversions
23(24)
In This
Chapter
23(1)
File Formats
24(2)
Preparing a File for Conversion
26(19)
WaveConvert for Windows and Mac OS
26(10)
To Convert or Not to Convert; That Is the Question!
36(1)
Which Is the Best?
36(2)
WaveConvert Pro
38(1)
Tutorial 3-2: Converting CD audio
38(7)
A Few Final Words
45(2)
Chapter 4 The Music License
47(12)
In This
Chapter
47(1)
The Copyright
48(2)
An example: It could happen to you!
48(1)
So what if
49(1)
Where Do You Fit?
50(4)
If you play it, you might have to pay for it
51(1)
The Web is the real world, too
51(1)
Webcasting
52(1)
Downloadable audio files
52(1)
Royalty-free considerations
53(1)
Performance Rights Organizations
54(1)
The Clip Music and SFX License
54(3)
Common ground: Restrictions!
55(2)
The bottom line is
57(1)
One Last Thought
57(2)
Chapter 5 Clip Music and Sound Effects
59(24)
In This
Chapter
59(1)
The Music
60(1)
The Players
61(17)
Java Beat
62(2)
Presentation Audio from Network Music
64(7)
Music Bytes
71(3)
Digital Jukebox
74(2)
CyberTunz
76(1)
Last Dance
77(1)
Sound Effects
78(3)
Janus Professional Sound Library
78(2)
Other SFX Options
80(1)
The MIDI Connection
81(1)
Now That You Know
81(2)
Chapter 6 Voice Talent
83(28)
In This
Chapter
83(1)
Recording Quality
84(17)
An example of the Good, the not so Bad and the Downright Ugly
84(2)
Desktop recording
86(2)
Tutorial 6-1: Recording and Editing a Voice File
88(13)
Gathering Your Resources
101(4)
Finding a studio
101(2)
Hiring talent
103(2)
Preproduction
105(1)
Recording and Editing in a Virtual Environment
105(6)
Tutorial 6-2: Virtual editing tools
106(4)
Do the wave
110(1)
The voice heard 'round the world
110(1)
Part 2 The Tools 111(360)
Chapter 7 Recording Editing Software and Hardware
113(38)
In This
Chapter
113(1)
Introducing... The Software
114(8)
Two-track tools
114(4)
Multi-track audio recording software
118(3)
MIDI
121(1)
Hardware: An Overview
122(1)
Finishing Touches
123(24)
More stuff
125(21)
TuneBuilder from Airworks (a quick look)
146(1)
Summary
147(4)
Chapter 8 Recording and Editing Tutorials for the PC
151(34)
In This
Chapter
151(1)
Cool Edit 96
152(12)
File formats
152(1)
What you need
153(1)
Tutorial 8-1: Recording CD audio
153(5)
Tutorial 8-2: Cool edit effects
158(5)
How cool is it?
163(1)
Sound Forge 4.0
164(11)
Tutorial 8-3: The loop
164(7)
Tutorial 8-4: Stereo imaging
171(4)
Cool Edit Pro
175(9)
Tutorial 8-5: Multitrack mixing with Cool Edit Pro
175(9)
Sound In the World of Windows
184(1)
Chapter 9 Recording and Editing Tutorials for the Mac
185(56)
In This
Chapter
185(1)
Sound Designer II
186(10)
SDII system requirements
187(1)
Tutorial 9-1: Getting started with Sound Designer II
188(3)
Digital Signal Processing
191(1)
Tutorial 9-2: Using EQ via DSP
192(4)
Retrospect
196(1)
SoundEdit 16 Version 2
196(12)
SoundEdit 16 features
197(1)
SoundEdit 16 system requirements
198(1)
Tutorial 9-3: Combining and mixing sound files
199(5)
So far, so good
204(1)
Tutorial 9-4: Stereo enhancement
204(4)
Peak 1.5 from BIAS
208(9)
Peak 1.5 features
209(1)
Peak 1.5 system requirements
209(1)
Tutorial 9-5: Recording CD audio with Peak
209(8)
Pro Tools 4.0
217(22)
Tutorial 9-6: Recording in Pro Tools 4.0
219(10)
Tutorial 9-7: Mixing multiple sound files
229(10)
Life in the Fast Lane
239(2)
Chapter 10 Advanced Editing and Enhancing Tools
241(34)
In This
Chapter
241(1)
SFX Machine
242(8)
Tutorial 10-1: SFX Machine Basics
243(7)
QSound
250(10)
QTools/AX version 1.0
251(4)
Tutorial 10-2: The QXpander
255(5)
Hyperprism
260(13)
Tutorial 10-3: Hyperprism Audiosuite and Pro Tools 4.0
261(7)
Tutorial 10-4: Surfing the Waves
268(5)
The Best of Enhancement
273(2)
Chapter 11 Real Audio
275(42)
In This
Chapter
275(1)
The Player
276(6)
PerfectPlay
278(1)
Scan and Preset
278(1)
Record
279(1)
Compatibility
280(2)
RealMedia Architecture (RMA)
282(1)
The RealNetworks Server
281(1)
RealAudio via Streaming HTTP
282(1)
Downloadable RealAudio files
282(1)
Development Tools (Overview)
283(1)
Encoding a File
284(17)
Tutorial 11-1: Using The RealAudio Encoder (Mac)
285(1)
Tutorial 11-2: Converting audio to Real Audio (Windows)
288(6)
Tutorial 11-3: Converting Audio to Real Audio (Mac)
294(4)
Tutorial 11-4: Testing a RealAudio File
298(3)
RealSystem 5.0
301(14)
Tutorial 11-5: RealPublisher 5.0
302(13)
Wow!
315(1)
RealAudio in Retrospect
315(2)
Chapter 12 Shockwave Audio
317(28)
In This
Chapter
317(1)
What Is Shockwave Audio?
318(1)
How Does SWA Work?
318(1)
What Do I Need to Get Going with SWA?
319(1)
Creating and Auditioning a Shockwave Audio File
320(15)
Tutorial 12-1: SoundEdit 16, converting WAVE to SWA
321(7)
Tutorial 12-2: Auditioning a SWA file (Mac)
328(3)
Tutorial 12-3: Batch file conversions for the Mac
331(4)
Some Advanced SoundEdit 16 Stuff
335(9)
Tutorial 12-4: Using AudioTrack
335(2)
More SoundEdit 16 Xtras
337(1)
Tutorial 12-5: Windows-Xtra Convert WAV to SWA
338(6)
One Last Look
344(1)
One Last Thought
344(1)
Chapter 13 Liquid Audio
345(34)
In This
Chapter
345(1)
The Liquid MusicPlayer
346(2)
The LiquidMusic Server
348(1)
Development Tools
349(27)
The Liquifier Pro
349(6)
Tutorial 13-1: The Edit pane
355(7)
Tutorial 13-2: The Preview pane
362(4)
Tutorial 13-3: The Print pane
366(3)
The Publish pane
369(2)
Tutorial 13-4: Testing a LA1 file
371(3)
Liquid Audio for Pro Tools
374(2)
Real Media and Liquid Audio
376(1)
The Bottom Line
376(3)
Chapter 14 Beatnik!
379(32)
In This
Chapter
379(2)
What It Is and Isn't
381(27)
Tutorial 14-1: MIDI to Beatnik
381(12)
Tutorial 14-2: Converting to RMF
393(5)
Tutorial 14-3: Importing an audio file
398(4)
Touring the Instrument Window
402(6)
The Bottom Line
408(1)
Java and Headspace
409(1)
And We're Outta Here
409(2)
Chapter 15 QuickTime
411(34)
In This
Chapter
411(1)
QuickTime 3.0
412(1)
MIDI and QuickTime Musical Instruments
413(2)
MPEG Audio
415(1)
Tutorials and Tools
415(27)
Before we get started
416(1)
Tutorial 15-1: Creating a QuickTime audio file
417(5)
Tutorial 15-2: Editing a file within QuickTime
422(6)
The New button?
428(1)
Tutorial 15-3: Using the QuickTime Musical Instruments
428(6)
Tutorial 15-4: Saving Audio and MIDI into QuickTime Options are good
442(1)
The Future of QuickTime Audio
442(3)
Chapter 16 MIDI On The Web
445(26)
In this
Chapter
445(1)
Playback: MIDI Browser Plug-Ins
446(22)
Live Update
447(1)
Crescendo for RealMedia
448(1)
The Yamaha MIDPlug
449(1)
WebTracks
450(1)
More MIDI Plug-ins
450(1)
The Software Synthesizer
451(1)
What about Microsoft?
452(1)
The Internet Music Kit
453(1)
Tutorial 16-1: The Internet Music Kit
453(15)
MIDI Resources on the Web
468(3)
Part 3 Back to the Future 471(44)
Chapter 17 Embed Audio
473(32)
In This
Chapter
473(1)
Embed a MIDI File
474(9)
Tutorial 17-1: Embedding MIDI the easy way
474(5)
Tutorial 17-2: Embed a MIDI file 2
479(4)
Embed a QuickTime Movie
483(21)
Tutorial 17-3: Let Communicator do it
484(4)
Now what?
488(1)
Tutorial 17-4: Embed A QuickTime Movie 2-The coding sessions
489(4)
Tutorial 17-5: Embed RealAudio
493(4)
How real do you want it?
497(1)
Tutorial 17-6: Embed Shockwave Audio
498(4)
Okay, it works; now what?
502(2)
One last shock
504(1)
The Fear of Embed
504(1)
Chapter 18 The Future
505(10)
In This
Chapter
505(1)
MPEG Audio
506(2)
What is MPEG?
506(1)
Streamworks from Xing Technology
507(1)
Audioactive
508(1)
Streaming MPEG is
508(1)
Java Sound
508(2)
General MIDI sound set
509(1)
Multiple file playback
509(1)
Open integration
510(1)
Marimba and Castanet
510(1)
DirectX Confusion
511(1)
PatroNet
511(1)
The Future Is Before Us
512(1)
Look to the Web
513(2)
Appendix A Glossary 515(6)
Appendix B CD-ROM Contents 521(6)
Index 527
Ron Simpson, Jr. is owner, principal composer, sound designer and Pro Tools editor/author at Southwest Digital Music, Phoenix, AZ, a leading specialist in music and sound design for interactive media.