Digital Audio Forensics Fundamentals offers an accessible introduction to both the theory and practical skills behind this emerging field of forensic science. Beginning with an overview of the history of the discipline, the reader is guided through forensic principles and key audio concepts, before being introduced to practical areas such as audio enhancement, audio authentication, and the presentation of reports.
Covering all aspects of audio forensics from the capture to the courtroom, this book is pivotal reading for beginners entering the field, as well as experienced professionals looking to develop their knowledge of the practice.
| Acknowledgements |
|
ix | |
| Abbreviations |
|
x | |
|
|
|
1 | (10) |
|
|
|
1 | (2) |
|
|
|
3 | (3) |
|
|
|
6 | (3) |
|
|
|
9 | (1) |
|
|
|
9 | (2) |
|
2 The history of audio forensics |
|
|
11 | (14) |
|
Technological developments |
|
|
11 | (6) |
|
Audio forensics' beginnings |
|
|
17 | (3) |
|
|
|
20 | (2) |
|
|
|
22 | (1) |
|
|
|
22 | (3) |
|
|
|
25 | (17) |
|
|
|
25 | (1) |
|
|
|
25 | (1) |
|
|
|
26 | (1) |
|
|
|
27 | (2) |
|
Standard operating procedures |
|
|
29 | (1) |
|
|
|
30 | (3) |
|
|
|
33 | (1) |
|
The forensic laboratory set-up |
|
|
34 | (3) |
|
|
|
37 | (2) |
|
|
|
39 | (1) |
|
|
|
39 | (3) |
|
4 The human auditory system |
|
|
42 | (13) |
|
|
|
42 | (1) |
|
Overview of the human auditory system |
|
|
42 | (1) |
|
|
|
43 | (2) |
|
|
|
45 | (2) |
|
|
|
47 | (4) |
|
|
|
51 | (1) |
|
|
|
51 | (2) |
|
|
|
53 | (1) |
|
|
|
53 | (2) |
|
|
|
55 | (31) |
|
|
|
55 | (1) |
|
Forensic audio versus studio audio |
|
|
55 | (5) |
|
|
|
60 | (11) |
|
|
|
71 | (6) |
|
|
|
77 | (6) |
|
|
|
83 | (1) |
|
|
|
84 | (2) |
|
|
|
86 | (25) |
|
|
|
86 | (1) |
|
|
|
87 | (1) |
|
|
|
87 | (1) |
|
|
|
88 | (2) |
|
|
|
90 | (3) |
|
|
|
93 | (11) |
|
Perceptual encoding artefacts |
|
|
104 | (3) |
|
|
|
107 | (1) |
|
|
|
108 | (3) |
|
|
|
111 | (5) |
|
|
|
111 | (1) |
|
|
|
111 | (3) |
|
|
|
114 | (1) |
|
|
|
114 | (1) |
|
|
|
115 | (1) |
|
|
|
116 | (9) |
|
|
|
116 | (1) |
|
Overview of sub-disciplines |
|
|
117 | (3) |
|
The acoustics of a gunshot |
|
|
120 | (1) |
|
|
|
121 | (2) |
|
|
|
123 | (1) |
|
|
|
123 | (2) |
|
|
|
125 | (7) |
|
|
|
125 | (1) |
|
|
|
126 | (1) |
|
|
|
126 | (1) |
|
|
|
127 | (2) |
|
|
|
129 | (1) |
|
|
|
130 | (1) |
|
|
|
130 | (2) |
|
|
|
132 | (47) |
|
|
|
132 | (1) |
|
Quality versus intelligibility |
|
|
132 | (6) |
|
|
|
138 | (4) |
|
Manipulation versus enhancement |
|
|
142 | (1) |
|
Quality issues and solutions |
|
|
143 | (24) |
|
|
|
167 | (4) |
|
|
|
171 | (1) |
|
|
|
171 | (2) |
|
|
|
173 | (1) |
|
|
|
173 | (6) |
|
|
|
179 | (62) |
|
|
|
179 | (2) |
|
|
|
181 | (2) |
|
|
|
183 | (3) |
|
|
|
186 | (2) |
|
|
|
188 | (48) |
|
|
|
236 | (1) |
|
|
|
237 | (1) |
|
|
|
238 | (3) |
|
|
|
241 | (7) |
|
|
|
241 | (1) |
|
|
|
241 | (1) |
|
|
|
242 | (5) |
|
|
|
247 | (1) |
|
|
|
247 | (1) |
|
|
|
248 | (7) |
|
|
|
248 | (1) |
|
|
|
249 | (4) |
|
|
|
253 | (1) |
|
|
|
253 | (2) |
| Glossary |
|
255 | (9) |
| Index |
|
264 | |
James Zjalic is a multimedia forensics examiner from Birmingham, UK. He holds a masters degree in Media Forensics from the National Centre of Media Forensics at the University of Colorado, Denver, USA, and a bachelors degree in Audio Engineering. His casework experience covers the entire scope of the justice system, from criminal through to civil arenas in relation to the most serious of offences and on behalf of various high profile organisations. Research highlights include peer-reviewed publications and international presentations on a range of multimedia forensics topics, including audio authentication and enhancement.
Rohkem infot Taylor & Francis e-raamatute kohta