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2 Audiospeichertechniken Diplomarbeit Moderne mobile Audiospeicher ausgeführt zum Zweck der Erlangung des akademischen Grades einer/eines „Diplom-Ingenieurin/Diplom-Ingenieurs für technisch-wissenschaftliche Berufe“ am Masterstudiengang Telekommunikation und Medien der Fachhochschule St. Pölten unter der Erstbetreuung von Dipl.-Ing. Franz Zotlöterer Zweitbegutachtung von Dipl.-Ing. Andreas Büchele ausgeführt von Regina Mayer, BSc. Tm0710262040 Wien, am 12.02.2009 ……………………………. Unterschrift Ehrenwörtliche Erklärung Ich versichere, dass - ich diese Diplomarbeit selbstständig verfasst, andere als die angegebenen Quellen und Hilfsmittel nicht benutzt und mich auch sonst keiner unerlaubten Hilfe bedient habe. - ich dieses Diplomarbeitsthema bisher weder im Inland noch im Ausland einem Begutachter oder einer Begutachterin zur Beurteilung oder irgendeiner Form als Prüfungsarbeit vorgelegt habe. Diese Arbeit stimmt mit der von den Begutachter/inne/n beurteilten Arbeit überein. ……………………………… ……………………………………….. Ort, Datum Unterschrift Zusammenfassung Betrachtet man den derzeitigen Markt an mobilen Audiogeräten, wird einem schnell klar, dass es eine wahre Vielzahl an Herstellern gibt, die Produkte in dieser Kategorie entwickeln und herausbringen. Wie entscheidet man sich für das Richtige? Diese Frage ist nur noch schwer zu beantworten. Fakt ist jedoch, dass erst durch die Digitaltechnik diese große Anzahl an Möglichkeiten entstanden ist. Aufgrund dessen ist es notwendig, erst einmal einen Überblick über diese Technik zu bekommen. Es brauchte allerdings seine Zeit, bis die Analog/Digital-Umwandlung in ein Stadium kommt, in welchem sie sich heute befindet. Aus diesem Grund wird in dieser Arbeit eine ausführliche Einführung in die Digitaltechnik gegeben. Die Tatsache, dass man sich mittlerweile auf digitaler Ebene befindet, hat die unterschiedlichsten Audioformate hervorgebracht. Von datenreduziert bis verlustfrei ist alles vorzufinden. Danach richtet sich auch die Entwicklung und Verwendung der Datenträger. Die Speicherkapazitäten werden dabei immer größer und die Träger selbst immer kleiner. Das ermöglicht immer mehr Geräte mit geringerer Größe. Vorteilhaft für die mobile Audiospeicherung ist, dass es mittlerweile mechanisch unempfindliche Datenträger auf dem Markt gibt. Somit gestaltet sich der Umgang damit robuster. Die Entwicklung der Datenträger ist demnach ebenfalls aufgelistet. In den unterschiedlichsten Bereichen werden unterschiedlichste Geräte eingesetzt. Einen Überblick bekommt man im Laufe der Arbeit. Durch Experteninterviews, Erfahrungen des Autors und Internetrecherchen ist der Bereich der mobilen Audiogeräte genauer bewertet worden. Die wichtigsten Erkenntnisse sind: - Die Kosten sind ein sehr bedeutender Faktor geworden, unabhängig um welchen Bereich es sich handelt. Beim Kauf wird das Gerät immer auch im Zusammenhang mit dessen Preis gesehen. - Ein Gerätehersteller kann nicht alle Kundenwünsche erfüllen. Es geht darum, wie billig man ein Gerät mit ausreichender Qualität herstellen kann. Extrawünsche sind oftmals zu teuer zu produzieren. - Ein neuer Bereich ist entstanden, welcher sich zwischen professionellen und Konsumer-Geräten gebildet hat: Die Prosumer-Kategorie. - Der professionelle Bereich findet mittlerweile weitaus weniger Käufer, als es noch vor 10 oder 20 Jahren der Fall war. - Auch die verwendeten Anschlüsse und eingebauten Features geben eine Auskunft darüber, „wie professionell“ ein Gerät ist. Abstract If you are looking at the actual marketplace, you’ll soon find out that there are a lot of manufacturers who develop and publish different products in this category. How do you know which one is the best? The answer is not simple. In fact the digital technique made the huge number of products possible. That’s why this thesis starts with an overview of this technique. It needed time to develop the digitalization and reach the current level. The digitalization afforded different audio formats. You can find compressed and lossless formats. This has also consequences on the development of data medium too. The storage capacity gets larger and the carrier itself gets smaller. That allows very tight devices. A huge advantage is that there exist data carriers which feature no mechanically moveable fragment. They are more robust. In the thesis there is the history of digital carriers. You can find different devices in distinct scopes. There is an overview of that in this thesis. The area of the mobile audio devices is evaluated on the basis of expert interviews, knowledge of the author and internet research. The main findings are: - The costs are always an essential factor. If you buy a mobile audio device, you will see the pricing in conjunction with the device at all times. - The producer can’t meet everyone’s expectation. They just try to produce as cheap as possible. Special requests cost a lot more. - There is a new area between the professional and the consumer devices: the prosumer area. - The target group for the professional devices has decreased since the last 10 or 20 years. - The ports and the integrated features inform the costumer if it’s a professional device or not. Inhaltsverzeichnis 1 Einleitung........................................................................................................................ 1 2 Audiospeichertechniken ............................................................................................... 2 2.1 Digitaltechnik............................................................................................................. 2 2.1.1 A/D-Wandlung.................................................................................................... 2 2.1.2 Nichtlineare Signalverarbeitung ......................................................................... 6 2.1.3 Analog/Digital Wandler....................................................................................... 7 2.1.4 Datenreduktion von Digitalsignalen.................................................................... 7 2.1.4.1 Verlustfreie Datenreduktion......................................................................... 9 2.1.4.2 Verlustbehaftete Datenreduktion............................................................... 11 2.1.4.3 Dateiformate.............................................................................................. 13 2.2 Geschichte der Audiospeichertechnik..................................................................... 15 2.2.1 Analoge Audiospeichertechniken..................................................................... 15 2.2.1.1 Mechanische Audiospeichertechnik.......................................................... 15 2.2.1.2 Magnetische Audiospeichertechnik........................................................... 18 2.2.2 Digitale Audiospeichertechniken ...................................................................... 23 2.2.2.1 CD – Compact Disc................................................................................... 23 2.2.2.2 SACD – Super Audio Compact Disc ......................................................... 26 2.2.2.3 DVD – Digital Versatile Disc...................................................................... 26 2.2.2.4 MVI – Music Video Interactive................................................................... 28 2.2.2.5 MD – Minidisc............................................................................................ 28 2.2.2.6 DAT – Digital Audio Tape.......................................................................... 30 2.2.2.7 DCC – Digital Compact Cassette.............................................................. 30 2.2.2.8 CompactFlash®-Karten............................................................................. 31 2.2.2.9 SD-Karten.................................................................................................. 32 2.2.2.10 Festplatten............................................................................................... 35 2.2.2.11 Holografische Speicher ........................................................................... 36 3 Mobile Audioaufnahmegeräte..................................................................................... 39 3.1 Cantar-X2................................................................................................................ 40 3.2 Edirol R-1 von Roland ............................................................................................. 40 3.3 Edirol R-4 von Roland ............................................................................................. 41 3.4 Edirol R-09 HR von Roland..................................................................................... 42 3.5 Fostex FR – II.......................................................................................................... 43 3.6 Fostex PD-6 ............................................................................................................ 44 3.7 HHB DRM85 ........................................................................................................... 44 3.8 M-Audio Microtrack II .............................................................................................. 45 3.9 Marantz PMD 670 ................................................................................................... 46 3.10 Marantz PMD 660 ................................................................................................. 46 3.11 Marantz PMD 671 ................................................................................................
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