Boris Smus《Web Audio API》无水印英文PDF

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Web Audio API 是一个强大的JavaScript API，它允许网页开发者在浏览器中创建、处理和控制音频流，从而实现丰富的音频体验。本资源是一本英文无水印的PDF版本，由Boris Smus撰写，版权于2013年，享有所有权利保留。这本书是由著名的出版商O'Reilly Media发行的，地址位于美国加利福尼亚州塞巴斯托波尔。《Web Audio API》这本手册详细介绍了如何利用浏览器的内置音频处理能力，包括创建音源（如音频节点）、混音、路由、效果器和播放控制等核心概念。书中覆盖了从基础概念到高级应用的全面内容，适合对音频编程感兴趣的开发人员，无论是初学者还是经验丰富的开发者，都能从中找到所需的技术指导。作者Boris Smus以其深入浅出的写作风格，通过实例和实践项目展示了如何利用Web Audio API来构建交互式音乐应用、声音可视化、游戏音效或其他基于音频的创新体验。书中还包含了关于性能优化、兼容性问题以及如何处理跨平台开发的实用建议。该PDF文档经过多种阅读软件如FoxitReader、PDF-XChangeViewer、SumatraPDF和Firefox的测试，确保了良好的可读性和兼容性。如果你是Web开发者，正在寻求提升网页音频功能的专业技能，或者想深入了解浏览器音频处理技术，这本书无疑是学习资料的一个宝贵资源。此外，O'Reilly Media提供了在线版本的购买选项，对于教育、商业或销售推广用途，读者可以通过访问http://my.safaribooksonline.com获取更多相关信息。如果你在阅读过程中发现任何错误或需要技术支持，O'Reilly的官方客户服务团队可以通过电话或电子邮件提供帮助。《Web Audio API》是一本实用的手册，旨在帮助读者掌握浏览器音频开发的核心技术，对于前端开发者来说，无论是在开发现代网页应用还是探索新的交互式体验，都是一次不可多得的学习之旅。

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CHAPTER 1

Fundamentals

This chapter will describe how to get started with the Web Audio API, which browsers

are supported, how to detect if the API is available, what an audio graph is, what audio

nodes are, how to connect nodes together, some basic node types, and finally, how to

load sound files and playback sounds.

A Brief History of Audio on the Web

The first way of playing back sounds on the web was via the

tag, which let

website authors automatically play background music when a visitor opened their pages.

This feature was only available in Internet Explorer, and was never standardized or

picked up by other browsers. Netscape implemented a similar feature with the

<embed>

tag, providing basically equivalent functionality.

Flash was the first cross-browser way of playing back audio on the Web, but it had the

significant drawback of requiring a plug-in to run. More recently, browser vendors have

rallied around the HTML5

<audio>

element, which provides native support for audio

playback in all modern browsers.

Although audio on the Web no longer requires a plug-in, the

<audio>

tag has significant

limitations for implementing sophisticated games and interactive applications. The fol‐

lowing are just some of the limitations of the

<audio>

element:

• No precise timing controls

• Very low limit for the number of sounds played at once

• No way to reliably pre-buffer a sound

• No ability to apply real-time effects

• No way to analyze sounds

There have been several attempts to create a powerful audio API on the Web to address

some of the limitations I previously described. One notable example is the Audio Data

API that was designed and prototyped in Mozilla Firefox. Mozilla’s approach started

with an

<audio>

element and extended its JavaScript API with additional features. This

API has a limited audio graph (more on this later in “The Audio Context” (page 3)),

and hasn’t been adopted beyond its first implementation. It is currently deprecated in

Firefox in favor of the Web Audio API.

In contrast with the Audio Data API, the Web Audio API is a brand new model, com‐

pletely separate from the

<audio>

tag, although there are integration points with other

web APIs (see Chapter 7). It is a high-level JavaScript API for processing and synthe‐

sizing audio in web applications. The goal of this API is to include capabilities found in

modern game engines and some of the mixing, processing, and filtering tasks that are

found in modern desktop audio production applications. The result is a versatile API

that can be used in a variety of audio-related tasks, from games, to interactive applica‐

tions, to very advanced music synthesis applications and visualizations.

Games and Interactivity

Audio is a huge part of what makes interactive experiences so compelling. If you don’t

believe me, try watching a movie with the volume muted.

Games are no exception! My fondest video game memories are of the music and sound

effects. Now, nearly two decades after the release of some of my favorites, I still can’t get

Koji Kondo’s Zelda and Matt Uelmen’s Diablo soundtracks out of my head. Even the

sound effects from these masterfully-designed games are instantly recognizable, from

the unit click responses in Blizzard’s Warcraft and Starcraft series to samples from Nin‐

tendo’s classics.

Sound effects matter a great deal outside of games, too. They have been around in user

interfaces (UIs) since the days of the command line, where certain kinds of errors would

result in an audible beep. The same idea continues through modern UIs, where well-

placed sounds are critical for notifications, chimes, and of course audio and video com‐

munication applications like Skype. Assistant software such as Google Now and Siri

provide rich, audio-based feedback. As we delve further into a world of ubiquitous

computing, speech- and gesture-based interfaces that lend themselves to screen-free

interactions are increasingly reliant on audio feedback. Finally, for visually impaired

computer users, audio cues, speech synthesis, and speech recognition are critically im‐

portant to create a usable experience.

Interactive audio presents some interesting challenges. To create convincing in-game

music, designers need to adjust to all the potentially unpredictable game states a player

can find herself in. In practice, sections of the game can go on for an unknown duration,

and sounds can interact with the environment and mix in complex ways, requiring

2 | Chapter 1: Fundamentals

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