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Core Audio was designed with the goal of complete agnosticism across all file formats and audio codecs. In other words, the goal is that you should be able to use the same code for any supported type of audio. To accomplish this, Core Audio applies certain generalizations to all audio types. All audio files are treated as a series of audio packet data that are enclosed in an envelope. The encoding format of the packet data is distinct from the envelope format, so you can mix and match to some extent. It works like this: AudioFileStream reads enough of the incoming data to determine the type of the file and its overall structure. Once it has done this, it provides an AudioStreamBasicDescription struct to you, and you then pass this struct to your AudioQueue so that it knows what kind of data it will be decoding. From there, the AudioFileStream will produce packets of audio data. You then use AudioQueue to allocate buffers that will store the packets as they are queued up for delivery to the audio hardware.

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As stated previously, the parsing and queuing process works the same way for all supported audio types. For example, you re probably familiar with Advance Audio Coding (AAC) audio files. What you may not know is that AAC is a way to encode audio data, but there are multiple envelope formats that can deliver AAC encoded audio. One such commonly known format is MPEG-4 Part 14 (referred to as MP4, also known as M4A), the format that iTunes uses by default. M4A is the envelope format, and AAC is the encoding.

A jump is triggered by an interval reference and is delineated by the interval name being enclosed in angle brackets, in the second column. Function intervals and extension intervals are referenced with their respective keyword or punctuation preceding the left angle bracket, just as in the definition. | <Attribute Check> and Pixel Count | <Picture Size> A managed interval reference has two formats: one short and one long. In the short format, the interval name is followed by the management component values or other component names, each preceded by a colon. Goal Number [] | <Random Number : 1 : 100 : 0> Even though it s more effort, the long format is highly recommended because, with it, each interval s purpose is more obvious, which makes it much simpler to learn how to use all of the intervals. Further, it allows more flexibility, with multiple purposes for the same component type. This format has each colon preceded, with no space, by the management component name; this combination is a label. Because of the occasional consecutive entity names (which can embed spaces) here, each management component name must be preceded by a semicolon. Goal Number [] | <Random Number; Low Number: 1; High Number: 100; Decimal Places: 0>

As it turns out, M4A isn t the best format for streaming audio. It contains a significant amount of data at the beginning defining the structure of the file, the presence of which can increase delay to the first music you hear. It s also difficult to begin playback in the middle of an M4A file. A better envelope for delivering audio is Audio Data Transport Stream (ADTS), a format that includes structural playback data all throughout the file rather than at the beginning. Thus, ADTS can play audio with a smaller up-front data size and more easily support playback of audio starting in the middle of a file (a feature that Pandora Radio uses to great effect). While the Core Audio API insulates you from having to know these details, it will nevertheless be important for you to understand them if you intend to deliver audio to the iPhone. Which format produces the smallest files What are the licensing restrictions Which encoding rate produces the best trade-off of audio quality to file size