Enhanced descriptions from Syndetics:

Sound Synthesis and Sampling provides a comprehensive introduction to the underlying principles and practical techniques applied to both commercial and research sound synthesizers. This second edition has been rigorously updated throughout and includes a new chapter on performance, examining how synthesizers have become embedded within more sophisticated musical performance instruments. Martin Russ' highly readable and non-mathematical approach makes the subject accessible whatever your level of experience. The book features: · Detailed illustrations to aid your understanding · Topics presented in bite-size sections within each chapter · Additional notes in the margin to reinforce important points · Examples of representative instruments and software · Time lines showing the development of a topic in its historical context · Questions at the end of each chapter for checking your comprehension · A glossary for quick reference · A jargon guide to demystify the varied terminology As such, the book is particularly suitable for students of music technology, audio engineering, acoustics, electronics and related courses. Musicians, engineers and multimedia specialists will also want to keep a copy to hand for reference. .

Table of contents provided by Syndetics

• Series introduction (p. ix)
• Preface to first edition (p. x)
• Preface to second edition (p. xi)
• Visual map (p. xii)
• About this book (p. xiii)
• Background (p. 1)
• 1 Background (p. 3)
• 1.1 What is synthesis? (p. 3)
• 1.2 Beginnings (p. 11)
• 1.3 Telecoms research (p. 13)
• 1.4 Tape techniques (p. 16)
• 1.5 Experimental versus popular musical uses of synthesis (p. 21)
• 1.6 Electro-acoustic music (p. 22)
• 1.7 From academic research to commercial production ... (p. 23)
• 1.8 Synthesised classics (p. 27)
• 1.9 Synthesis in context (p. 29)
• 1.10 Electronics and acoustics: fundamental principles (p. 32)
• 1.11 Digital and sampling (p. 46)
• 1.12 MIDI (Musical instrument digital interface) (p. 55)
• 1.13 After MIDI (p. 58)
• 1.14 Questions (p. 59)
• Time line (p. 60)
• Techniques (p. 69)
• 2 Analogue synthesis (p. 71)
• 2.1 Analogue and digital (p. 71)
• 2.2 Subtractive synthesis (p. 75)
• 2.3 Additive synthesis (p. 109)
• 2.4 Other methods of analogue synthesis (p. 120)
• 2.5 Topology (p. 129)
• 2.6 Early versus modern implementations (p. 137)
• 2.7 Example instruments (p. 145)
• 2.8 Questions (p. 149)
• Time line (p. 150)
• 3 Hybrid synthesis (p. 155)
• 3.1 Wavecycle (p. 156)
• 3.2 Wavetable (p. 165)
• 3.3 DCOs (Digital controlled oscillators) (p. 172)
• 3.4 S&S (Sample and synthesis) (p. 181)
• 3.5 Early versus modern implementations (p. 191)
• 3.6 Example instruments (p. 193)
• 3.7 Questions (p. 196)
• Time line (p. 196)
• 4 Sampling (p. 197)
• 4.1 Tape-based (p. 198)
• 4.2 Analogue sampling (p. 201)
• 4.3 Digital (p. 203)
• 4.4 Convergence of sampling with S&S synthesis (p. 215)
• 4.5 Example equipment (p. 216)
• 4.6 Questions (p. 218)
• Time line (p. 219)
• 5 Digital synthesis (p. 223)
• 5.1 FM (p. 224)
• 5.2 Waveshaping (p. 241)
• 5.3 Modelling (p. 246)
• 5.4 Granular synthesis (p. 257)
• 5.5 FOF and other techniques (p. 259)
• 5.6 Analysis-synthesis (p. 267)
• 5.7 Hybrid techniques (p. 274)
• 5.8 Example instruments (p. 275)
• 5.9 Questions (p. 280)
• Time line (p. 281)
• Applications (p. 285)
• 6 Using synthesis (p. 287)
• 6.1 Arranging (p. 287)
• 6.2 Stacking (p. 289)
• 6.3 Layering (p. 292)
• 6.4 Hocketing (p. 294)
• 6.5 Multi-timbrality and polyphony (p. 296)
• 6.6 GM (p. 304)
• 6.7 On-board effects (p. 307)
• 6.8 Editing (p. 317)
• 6.9 Questions (p. 327)
• Time line (p. 328)
• 7 Controllers (p. 330)
• 7.1 Controller and expander (p. 331)
• 7.2 MIDI control (p. 333)
• 7.3 Keyboards (p. 339)
• 7.4 Keyboard control (p. 342)
• 7.5 Wheels and other hand-operated controls (p. 342)
• 7.6 Foot controls (p. 344)
• 7.7 Ribbon controllers (p. 346)
• 7.8 Wind controllers (p. 347)
• 7.9 Guitar controllers (p. 348)
• 7.10 Advantages and disadvantages (p. 349)
• 7.11 Front panel controls (p. 350)
• 7.12 Questions (p. 353)
• Time line (p. 353)
• 8 Performance (p. 355)
• 8.1 Synthesis live (p. 355)
• 8.2 The role of electronics (p. 362)
• 8.3 Drum machines (p. 363)
• 8.4 Sequencers (p. 371)
• 8.5 Workstations (p. 375)
• 8.6 Accompaniment (p. 379)
• 8.7 Groove boxes (p. 381)
• 8.8 Dance, clubs and DJs (p. 383)
• 8.9 Studios on computers (p. 383)
• 8.10 Performance unravelled (p. 386)
• 8.11 Questions (p. 387)
• Time line (p. 387)
• Analysis (p. 391)
• 9 The future of synthesis (p. 393)
• 9.1 Closing the circle (p. 393)
• 9.2 Control (p. 394)
• 9.3 Commercial imperatives (p. 396)
• References (p. 399)
• Glossary (p. 403)
• Jargon (p. 436)
• Index (p. 444)