Audio sampling a practical guide
Bringing sampling to a new generation of audio engineers and composers Audio Sampling explains how to record and create sampled instruments in a software setting. There are many things that go into creating a sampled instrument and many things that can go wrong, this book is a step by step guide thr...
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| Formato: | Libro electrónico |
| Idioma: | Inglés |
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Amsterdam ; Boston :
Focal Press
c2008.
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| Edición: | 1st edition |
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| Ver en Biblioteca Universitat Ramon Llull: | https://discovery.url.edu/permalink/34CSUC_URL/1im36ta/alma991009627662306719 |
Tabla de Contenidos:
- Front Cover; Audio Sampling: A Practical Guide; Copyright Page; Acknowledgments; Foreword; Preface; Contents; 1. Introduction to sampling; 1.1 What is sampling?; 1.2 A sampler survey; 1.2.1 Sample players; 1.2.2 Hardware samplers; 1.2.3 Software samplers; 1.2.4 Tape-based sampling; 1.2.5 Miscellaneous utilities; 1.3 Basic sampler expectations; 1.3.1 Basic editing features; 1.3.2 Editing the audio file length; 1.3.3 Playback direction; 1.3.4 Level control; 1.3.5 Pitch shifting; 1.3.6 Looping; 1.3.7 Capable GUI; 1.3.8 Project manager; 1.4 Other expectations; 1.4.1 Sampler memory
- 1.4.2 Voice count1.4.3 Advanced volume control; 1.4.4 Pitch control; 1.4.5 Spectral control; 1.4.6 Velocity layers; 1.4.7 Round-robin; 1.4.8 Key switching; 1.4.9 Scripting; 1.5 Additional software sampler features; 1.5.1 Low-resolution playback; 1.5.2 Hold samples in memory; 1.5.3 Sample streaming; 1.6 Benefits to using samplers without creating your own instruments; 1.7 Using samplers; 1.7.1 Preproduction; 1.7.2 Production; 1.7.3 Live performance; 1.7.4 Composition; 1.7.5 Post production; 1.8 Benefits to creating your own sampled instruments; 1.8.1 Low-cost solution
- 1.8.2 Need-based solution1.8.3 Unavailable instrument; 1.8.4 Instrument preservation; 1.9 Summary; 2 Making connections; 2.1 Signal chain; 2.2 Capturing the sound source; 2.3 Using microphones; 2.3.1 Power; 2.3.2 High pass filter; 2.3.3 Pad; 2.3.4 Polar patterns; 2.4 Using a line input/instrument input; 2.5 Using microphone preamplifiers; 2.6 Using analog-to-digital converters; 2.7 Using audio interfaces; 2.7.1 Expansion cards; 2.7.2 USB and FireWire; 2.7.3 Miscellaneous connections; 2.7.4 Monitoring; 2.8 Using an alternative to audio interfaces; 2.9 Hooking it all together; 2.10 Cable types
- 2.11 Balanced vs. unbalanced2.12 Grounding; 2.13 MIDI connections; 2.14 General equipment tips and tricks; 2.14.1 Forums; 2.14.2 Patience in buying new gear; 2.14.3 Find a quality reference; 3. Source preparation; 3.1 Choosing your source; 3.1.1 Traditional instruments; 3.1.2 Brand new instruments; 3.1.3 Existing vs. new; 3.1.4 Who should be the performer?; 3.1.5 Non-acoustic sources; Sidebar: Pay Now Or Pay Later, by Storm Gloor; 3.1.6 Straight in; 3.1.7 Batteries of non-pitched instruments; 3.1.8 Focus is on musical instruments; 3.2 Preparing your source
- 3.2.1 The range of your virtual instrument3.2.2 What is the range of a kitchen cupboard?; 3.2.3 Tuning issues; 3.2.4 Instruments can be more or less in tune; 3.2.5 Equal-tempered tuning is easiest; 3.3 Understanding your source; 3.3.1 Change in pressure; 3.3.2 The ear; 3.3.3 The speed of sound; 3.3.4 Applied knowledge; 3.4 Putting it all together; 4. Recording the first sample; 4.1 Ear training; 4.1.1 Goals; 4.1.2 Transparent listening; Why is transparent listening a goal of ear training?; How is transparent listening developed?; 4.1.3 Focused listening; Why is focused listening important?
- How is focused listening developed?
