Computer sound design : synthesis techniques and programming / Eduardo Reck Miranda.
By: Miranda, Eduardo Reck
Contributor(s): Miranda, Eduardo ReckPublisher: Boston, Mass. : Focal Press, 2002Edition: 2nd ed001: 9124ISBN: 0240516931Subject(s): Electronic music | Sound designDDC classification: 786.76 MIR
| Item type | Current library | Collection | Call number | Copy number | Status | Date due | Barcode | |
|---|---|---|---|---|---|---|---|---|
| Book | MAIN LIBRARY Book | 786.76 MIR (Browse shelf(Opens below)) | 1 | Available | 080397 |
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| 786.74 RUS Sound synthesis and sampling / | 786.74 SHE Refining sound : a practical guide to synthesis and synthesizers / | 786.7419 VAI Vintage synthesizers : Groundbreaking Instruments and Pioneering Designers of Electronic Music Synthesizers / | 786.76 MIR Computer sound design : synthesis techniques and programming / | 787.61 BEN Guitar Facts | 787.61 SEG The world of guitars | 789.9 HOL Electronic and experimental music / |
Enhanced descriptions from Syndetics:
This comprehensive introduction to software synthesis techniques and programming is intended for students, researchers, musicians, sound artists and enthusiasts in the field of music technology. The art of sound synthesis is as important for the electronic musician as the art of orchestration is important for symphonic music composers. Those who wish to create their own virtual orchestra of electronic instruments and produce original sounds will find this book invaluable. It examines a variety of synthesis techniques and illustrates how to turn a personal computer into a powerful and flexible sound synthesiser. The book also discusses a number of ongoing developments that may play an important role in the future of electronic music making. Previously published as Computer Sound Synthesis for the Electronic Musician, this second edition features a foreword by Jean-Claude Risset and provides new information on: · the latest directions in digital sound representation · advances in physical modelling techniques · granular and pulsar synthesis · PSOLA technique · humanoid voice synthesis · artificial intelligence · evolutionary computing The accompanying CD-ROM contains examples, complementary tutorials and a number of synthesis systems for PC and Macintosh platforms, ranging from low level synthesis programming languages to graphic front-ends for instrument and sound design. These include fully working packages, demonstration versions of commercial software and experimental programs from top research centres in Europe, North and South America.
First ed. has title: Computer sound synthesis for the electronic musician.
Includes bibliographical references and index.
Table of contents provided by Syndetics
- Series introduction (p. ix)
- Foreword (p. xi)
- Preface (p. xv)
- 1 Computer sound synthesis fundamentals (p. 1)
- 1.1 Digital representation of sound (p. 1)
- 1.2 Basics of computer programming for sound synthesis (p. 8)
- 2 Loose modelling approaches: from modulation and waveshaping to Walsh and wavetable (p. 19)
- 2.1 Amplitude modulation (p. 20)
- 2.2 Frequency modulation (p. 23)
- 2.3 Waveshaping synthesis (p. 38)
- 2.4 Walsh synthesis (p. 41)
- 2.5 Binary instruction (p. 43)
- 2.6 Wavetable synthesis (p. 43)
- 3 Spectrum modelling approaches: from additive to analysis-resynthesis and formant (p. 49)
- 3.1 Additive synthesis (p. 50)
- 3.2 An introduction to spectrum analysis (p. 51)
- 3.3 Analysis and resynthesis (p. 57)
- 3.4 Formant synthesis (p. 66)
- 4 Source modelling approach: from subtractive and waveguides to physical and modal (p. 69)
- 4.1 Subtractive synthesis (p. 71)
- 4.2 Waveguide filtering (p. 75)
- 4.3 Karplus-Strong synthesis (p. 77)
- 4.4 Cellular automata lookup table (p. 78)
- 4.5 Physical modelling (p. 80)
- 4.6 Modal synthesis (p. 97)
- 5 Time-based approaches: from granular and pulsar to PSOLA and statistical (p. 100)
- 5.1 Granular synthesis (p. 101)
- 5.2 Pulsar synthesis (p. 111)
- 5.3 Resynthesis by fragmentation and growth (p. 113)
- 5.4 Waveset distortion (p. 117)
- 5.5 PSOLA (p. 118)
- 5.6 Statistical wavecycle synthesis (p. 119)
- 5.7 Sequential waveform composition (p. 121)
- 6 Practical case studies and sound design secrets: from humanoid singing to Klingon phasers (p. 125)
- 6.1 Associating cause and effect (p. 126)
- 6.2 Synthesising human vocal sounds using subtractive synthesis (p. 128)
- 6.3 Physical modelling synthesis of the human voice (p. 137)
- 6.4 Towards a framework for sound design using granular synthesis (p. 152)
- 7 Towards the cutting edge: artificial intelligence, supercomputing and evolutionary systems (p. 157)
- 7.1 Artificial intelligence sound synthesis (p. 157)
- 7.2 Supercomputing and sound synthesis (p. 172)
- 7.3 Evolutionary sound synthesis (p. 182)
- 8 Introduction to the software on the accompanying CD-ROM (p. 193)
- 8.1 pcmusic (p. 193)
- 8.2 Nyquist (p. 197)
- 8.3 Som-A (p. 201)
- 8.4 Audio Architect (p. 203)
- 8.5 Reaktor (p. 206)
- 8.6 NI-Spektral Delay (p. 207)
- 8.7 Praat (p. 208)
- 8.8 Reality (p. 211)
- 8.9 Diphone (p. 213)
- 8.10 The CDP sound transformation toolkit (p. 215)
- 8.11 Sound Shaper (p. 217)
- 8.12 LASy (p. 218)
- 8.13 Wigout and TrikTraks (p. 220)
- 8.14 SMS (p. 222)
- 8.15 Chaosynth (p. 224)
- 8.16 Pulsar Generator (p. 226)
- 8.17 Koblo Vibra 1000 (p. 227)
- 8.18 crusherX-Live (p. 228)
- 8.19 Virtual Waves (p. 229)
- Appendix 1 Mathematical specifications (p. 233)
- Appendix 2 Formant values (p. 240)
- Appendix 3 Artist's Inductive Machine Learning Algorithm (p. 242)
- References (p. 245)
- CD-ROM instructions (p. 249)
- Index (p. 257)
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