book

Sound Synthesis and Sampling, 2nd Edition

by Martin Russ

November 2012

Intermediate to advanced

464 pages

15h 57m

English

Focal Press

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1.1 What is synthesis?1.2 Beginnings1.3 Telecoms research1.4 Tape techniques1.5 Experimental versus popular musical uses of synthesis1.6 Electro-acoustic music1.7 From academic research to commercial production …1.8 Synthesised classics1.9 Synthesis in context1.10 Electronics and acoustics: fundamental principles1.11 Digital and sampling1.12 MIDI (Musical instrument digital interface)1.13 After MIDI1.14 QuestionsTime line
2.1 Analogue and digital2.2 Subtractive synthesis2.3 Additive synthesis2.4 Other methods of analogue synthesis2.5 Topology2.6 Early versus modern implementations2.7 Example instruments2.8 QuestionsTime line
3.1 Wavecycle3.2 Wavetable3.3 DCOs (Digital controlled oscillators)3.4 S&S (Sample and synthesis)3.5 Early versus modern implementations3.6 Example instruments3.7 QuestionsTime line
4.1 Tape-based4.2 Analogue sampling4.3 Digital4.4 Convergence of sampling with S&S synthesis4.5 Example equipment4.6 QuestionsTime line
5.1 FM5.2 Waveshaping5.3 Modelling5.4 Granular synthesis5.5 FOF and other techniques5.6 Analysis–synthesis5.7 Hybrid techniques5.8 Example instruments5.9 QuestionsTime line
6.1 Arranging6.2 Stacking6.3 Layering6.4 Hocketing6.5 Multi-timbrality and polyphony6.6 GM6.7 On-board effects6.8 Editing6.9 QuestionsTime line
7.1 Controller and expander7.2 MIDI control7.3 Keyboards7.4 Keyboard control7.5 Wheels and other hand-operated controls7.6 Foot controls7.7 Ribbon controllers7.8 Wind controllers7.9 Guitar controllers7.10 Advantages and disadvantages7.11 Front panel controls7.12 QuestionsTime line
8.1 Synthesis live8.2 The role of electronics8.3 Drum machines8.4 Sequencers8.5 Workstations8.6 Accompaniment8.7 Groove boxes8.8 Dance, clubs and DJs8.9 Studios on computers8.10 Performance unravelled8.11 QuestionsTime line
9.1 Closing the circle9.2 Control9.3 Commercial imperatives