Sound synthesis and sampling
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 syn...
| Otros Autores: | |
|---|---|
| Formato: | Libro electrónico |
| Idioma: | Inglés |
| Publicado: |
Boston :
Elsevier/Focal Press
2004.
|
| Edición: | 2nd ed |
| Colección: | Music technology series.
|
| Materias: | |
| Ver en Biblioteca Universitat Ramon Llull: | https://discovery.url.edu/permalink/34CSUC_URL/1im36ta/alma991009627439106719 |
Tabla de Contenidos:
- Cover; Sound Synthesis and Sampling; Copyright; Contents; Series introduction; Preface to first edition; Preface to second edition; Visual map; About this book; Background; 1 Background; 1.1 What is synthesis?; 1.2 Beginnings; 1.3 Telecoms research; 1.4 Tape techniques; 1.5 Experimental versus popular musical uses of synthesis; 1.6 Electro-acoustic music; 1.7 From academic research to commercial production ...; 1.8 Synthesised classics; 1.9 Synthesis in context; 1.10 Electronics and acoustics: fundamental principles; 1.11 Digital and sampling; 1.12 MIDI (Musical instrument digital interface)
- 1.13 After MIDI1.14 Questions; Time line; Techniques; 2 Analogue synthesis; 2.1 Analogue and digital; 2.2 Subtractive synthesis; 2.3 Additive synthesis; 2.4 Other methods of analogue synthesis; 2.5 Topology; 2.6 Early versus modern implementations; 2.7 Example instruments; 2.8 Questions; Time line; 3 Hybrid synthesis; 3.1 Wavecycle; 3.2 Wavetable; 3.3 DCOs (Digital controlled oscillators); 3.4 S&S (Sample and synthesis); 3.5 Early versus modern implementations; 3.6 Example instruments; 3.7 Questions; Time line; 4 Sampling; 4.1 Tape-based; 4.2 Analogue sampling; 4.3 Digital sampling
- 4.4 Convergence of sampling with S&S synthesis4.5 Example equipment; 4.6 Questions; Time line; 5 Digital synthesis; 5.1 FM; 5.2 Waveshaping; 5.3 Modelling; 5.4 Granular synthesis; 5.5 FOF and other techniques; 5.6 Analysis-synthesis; 5.7 Hybrid techniques; 5.8 Example instruments; 5.9 Questions; Time line; Applications; 6 Using synthesis; 6.1 Arranging; 6.2 Stacking; 6.3 Layering; 6.4 Hocketing; 6.5 Multi-timbrality and polyphony; 6.6 GM; 6.7 On-board effects; 6.8 Editing; 6.9 Questions; Time line; 7 Controllers; 7.1 Controller and expander; 7.2 MIDI control; 7.3 Keyboards
- 7.4 Keyboard control7.5 Wheels and other hand-operated controls; 7.6 Foot controls; 7.7 Ribbon controllers; 7.8 Wind controllers; 7.9 Guitar controllers; 7.10 Advantages and disadvantages; 7.11 Front panel controls; 7.12 Questions; Time line; 8 Performance; 8.1 Synthesis live; 8.2 The role of electronics; 8.3 Drum machines; 8.4 Sequencers; 8.5 Workstations; 8.6 Accompaniment; 8.7 Groove boxes; 8.8 Dance, clubs and DJs; 8.9 Studios on computers; 8.10 Performance unravelled; 8.11 Questions; Time line; Analysis; 9 The future of synthesis; 9.1 Closing the circle; 9.2 Control
- 9.3 Commercial imperativesReferences; Glossary; Jargon; Index
