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Sound Synthesis and Sampling, 3rd Edition

Book Description

Sound Synthesis and Sampling' provides a comprehensive introduction to the underlying principles and practical techniques applied to both commercial and research sound synthesizers. This new edition has been updated throughout to reflect current needs and practices- revised and placed in a modern context, providing a guide to the theory of sound and sampling in the context of software and hardware that enables sound making. For the revised edition emphasis is on expanding explanations of software and computers, new sections include techniques for making sound physically, sections within analog and digital electronics. Martin Russ is well known and the book praised for its highly readable and non-mathematical approach making the subject accessible to readers starting out on computer music courses or those working in a studio.

Table of Contents

  1. Front Cover
  2. Half Title
  3. Title Page
  4. Copyright
  5. Content
  6. PREFACE TO FIRST EDITION
  7. PREFACE TO SECOND EDITION
  8. PREFACE TO THIRD EDITION
  9. VISUAL MAP
  10. ABOUT THIS BOOK
  11. BACKGROUND
    1. 1 Background
      1. 1.1 What is synthesis?
      2. 1.2 Beginnings
      3. 1.3 Telecoms research
      4. 1.4 Tape techniques
      5. 1.5 Experimental versus popular musical uses of synthesis
      6. 1.6 Electro-acoustic music
      7. 1.7 The ‘Produce, Mix, Record, Reproduce’ sound cycle
      8. 1.8 From academic research to commercial production
      9. 1.9 Synthesis in context
      10. 1.10 Acoustics and electronics: fundamental principles
      11. 1.11 Analogue electronics
      12. 1.12 Digital and sampling
      13. 1.13 MIDI, transports and protocols
      14. 1.14 Computers and software
      15. 1.15 Virtualization and integration
      16. 1.16 Questions
      17. 1.17 Timeline
  12. TECHNIQUES
    1. 2 Making Sounds Physically
      1. 2.1 Sounds and musical instruments
      2. 2.2 Hit, scrape and twang
      3. 2.3 Blow into and over
      4. 2.4 Sequencing
      5. 2.5 Recording
      6. 2.6 Performing
      7. 2.7 Examples
      8. 2.8 Questions
      9. 2.9 Timeline
    2. 3 Making Sounds with Analogue Electronics
      1. 3.1 Before the synthesizer
      2. 3.2 Analogue and digital
      3. 3.3 Subtractive synthesis
      4. 3.4 Additive synthesis
      5. 3.5 Other methods of analogue synthesis
      6. 3.6 Topology
      7. 3.7 Early versus modern implementations
      8. 3.8 Sampling in an analogue environment
      9. 3.9 Sequencing
      10. 3.10 Recording
      11. 3.11 Performing
      12. 3.12 Example instruments
      13. 3.13 Questions
      14. 3.14 Timeline
    3. 4 Making Sounds with Hybrid Electronics
      1. 4.1 Wavecycle
      2. 4.2 Wavetable
      3. 4.3 DCOs
      4. 4.4 DCFs
      5. 4.5 S&S
      6. 4.6 Topology
      7. 4.7 Implementations over time
      8. 4.8 Hybrid mixers (automation)
      9. 4.9 Sequencing
      10. 4.10 Recording
      11. 4.11 Performing
      12. 4.12 Example instruments
      13. 4.13 Questions
      14. 4.14 Timeline
    4. 5 Making Sounds with Digital Electronics
      1. 5.1 FM
      2. 5.2 Waveshaping
      3. 5.3 Physical modeling
      4. 5.4 Analogue modeling
      5. 5.5 Granular synthesis
      6. 5.6 FOF and other techniques
      7. 5.7 Analysis–synthesis
      8. 5.8 Hybrid techniques
      9. 5.9 Topology
      10. 5.10 Implementations
      11. 5.11 Digital samplers
      12. 5.12 Editing
      13. 5.13 Storage
      14. 5.14 Topology
      15. 5.15 Digital effects
      16. 5.16 Digital mixers
      17. 5.17 Drum machines
      18. 5.18 Sequencers
      19. 5.19 Workstations
      20. 5.20 Accompaniment
      21. 5.21 Groove boxes
      22. 5.22 Dance, clubs and DJs
      23. 5.23 Sequencing
      24. 5.24 Recording
      25. 5.25 Performing – playing multiple keyboards
      26. 5.26 Examples of digital synthesis instruments
      27. 5.27 Examples of sampling equipment
      28. 5.28 Questions on digital synthesis
      29. 5.29 Questions on sampling
      30. 5.30 Questions on environment
      31. 5.31 Timeline
    5. 6 Making Sounds with Computer Software
      1. 6.1 Mainframes to calculators
      2. 6.2 Personal computers
      3. 6.3 The PC as integrator
      4. 6.4 Computers and audio
      5. 6.5 The plug-in
      6. 6.6 Ongoing integration of the audio cycle
      7. 6.7 Studios on computers: the integrated sequencer
      8. 6.8 The rise of the abstract controller and fall of MIDI
      9. 6.9 Dance, clubs and DJs
      10. 6.10 Sequencing
      11. 6.11 Recording
      12. 6.12 Performing
      13. 6.13 Examples
      14. 6.14 Questions
      15. 6.15 Timeline
  13. APPLICATIONS
    1. 7 Sound-Making Techniques
      1. 7.1 Arranging
      2. 7.2 Stacking
      3. 7.3 Layering
      4. 7.4 Hocketing
      5. 7.5 Multi-timbrality and polyphony
      6. 7.6 GM
      7. 7.7 On-board effects
      8. 7.8 Editing
      9. 7.9 Sequencing
      10. 7.10 Recording
      11. 7.11 Performing
      12. 7.12 Questions
      13. 7.13 Timeline
    2. 8 Controllers
      1. 8.1 Controller and expander
      2. 8.2 MIDI control
      3. 8.3 Keyboards
      4. 8.4 Keyboard control
      5. 8.5 Wheels and other hand-operated controls
      6. 8.6 Foot controls
      7. 8.7 Ribbon controllers
      8. 8.8 Wind controllers
      9. 8.9 Guitar controllers
      10. 8.10 Mixer controllers
      11. 8.11 DJ controllers
      12. 8.12 3D controllers
      13. 8.13 Front panel controls
      14. 8.14 MIDI control and MIDI ‘Learn’
      15. 8.15 Advantages and disadvantages
      16. 8.16 Sequencing
      17. 8.17 Recording
      18. 8.18 Performing
      19. 8.19 Questions
      20. 8.20 Timeline
  14. ANALYSIS
    1. 9 The Future of Sound-Making
      1. 9.1 Closing the circle
      2. 9.2 Control
      3. 9.3 Commercial imperatives
      4. 9.4 Questions
      5. 9.5 Timeline
  15. BIBLIOGRAPHY
  16. JARGON
  17. INDEX