Sound on the Web is a reality, and the number of audio-enabled Web pages is increasing rapidly. Helmstetter and Simpson claim that if you want to convey a message with the greatest possible impact--if you want to make it engaging, entertaining, and memorable--sound is necessary. Their book takes readers step by step through the existing technology and the issues they need to be aware of in order to develop Web pages that include sound.

The book is divided into 13 chapters grouped into four parts. It includes a CD-ROM with high-resolution music files, sound effects, demo software, tutorials, and shareware utility files, for both Macintoshes and PCs.

Part 1, the introduction, consists of chapters 1 and 2. Helmstetter describes the book’s four distinct intended audiences (hobbyists; professional Web page developers; Web server administrators; and accomplished musicians, sound designers, and recording engineers) and explains how the book is organized. The book is platform-independent, and the tutorials include both Mac and PC examples. In chapter 2, the reader is guided onto the Web to listen to samples and learn about the industry.

Part 2 contains chapters 3 through 5, in which the authors discuss how to put sound on the Web. They present the basics of downloadable and streamed audio and the differences between them, then discuss the acquisition and preparation of sound and its integration into HTML. Theory is complemented by examples. The tutorials use sample audio files, which are provided on the CD-ROM.

Part 3 (chapters 6 through 9) presents the available hardware and software tools. Chapter 6 examines microphones, mixing boards, and speakers. In chapters 7 and 8, Simpson compares various hardware and software products, making useful suggestions, with performance and price as his main criteria. In chapter 9 he explains many issues related to MIDI. Tutorials guide the reader in the use of sequencing software.

Part 4 deals with the process of recording, editing, and mixing. Chapter 10 explains how to convert CD audio to digital audio and how to convert to different audio file formats. The tutorials use demo versions of SoundEdit and SoundForge, provided on the CD-ROM.

Chapters 11 and 12 contain advice to professionals on how to enlist expert help for their sound and music needs. Licenses, copyrights, and related legal matters are also discussed. These two chapters are outside the scope of the book. Those who will ultimately seek expert help will not need to have learned the material presented in the preceding chapters.

The book is supplemented with a glossary of technical terms and a list--which is certainly not exhaustive--of software and hardware vendors, including addresses, phone numbers, and Web site addresses. The authors also provide a sample license agreement supplied by the American Society of Composers, Authors and Publishers (ASCAP).

Overall, the book is well organized and easy to read. It is meant for readers familiar with the Web and with building pages in HTML, who want to extend their knowledge of audio. Throughout the book, there are many references to relevant Web sites where readers can obtain software and find more information on various issues. The authors also include a list of Web sites and Usenet newsgroups that offer general information on sound and music. Since the book deals with technologies that change rapidly, the authors direct readers to their own Web site, which they promise to keep up to date.