Audio processing Books

Book SynopsisModern Recording Techniques is the bestselling, authoritative guide to sound and music recording. Whether youâre just starting out or are looking to improve your skills, this book provides an in-depth guide to the art and technologies of music production and is a must-have reference for all audio bookshelves. Using its familiar and accessible writing style, this new edition has been fully updated, presenting the latest production technologies and including detailed coverage of digital audio workstations (DAWs), networked audio, musical instrument digital interface (MIDI), signal processing and much more. Modern Recording Techniques is supported by a host of video tutorials, which provide additional listening and visual examples, making this text essential reading for students, instructors and professionals.This updated tenth edition includes: Newly expanded Art and Technology chapters, providing more tips, tricks and insights for getting the best out of your recording, mixing, monitoring and mastering An expanded MIDI chapter to include MIDI 2.0 More in-depth coverage of digital audio and the digital audio workstation Greater coverage of immersive audio, including Dolby Atmos Production Table of Contents1. Introduction 2. Sound and Hearing 3. Studio Acoustics and Design 4. Microphones: Design and Application 5. The Analog Tape Recorder 6. Digital Audio Technology 7. The Digital Audio Workstation 8. Groove Tools and Techniques 9. MIDI and Electronic Music Technology 10. The iOS in Music Production 11. Multimedia and the Web 12. Synchronization 13. Amplifiers 14. Power- and Ground-Related Issues 15. Signal Processing 16. The Art and Technology of Monitoring 17. The Art and Technology of Recording 18. The Art and Technology of Mixing 19. The Art and Technology of Mastering 20. Immersive Audio 21. Media Distribution and Manufacturing 22. It's all about the Journey

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Book SynopsisDiscover how to achieve release-quality mixes even in the smallest studios by applying power-user techniques from the world's most successful producers.Mixing Secrets for the Small Studio is the best-selling primer for small-studio enthusiasts who want chart-ready sonics in a hurry. Drawing on the back-room strategies of more than 160 famous names, this entertaining and down-to-earth guide leads you step-by-step through the entire mixing process. On the way, you'll unravel the mysteries of every type of mix processing, from simple EQ and compression through to advanced spectral dynamics and fairy dust effects. User-friendly explanations introduce technical concepts on a strictly need-to-know basis, while chapter summaries and assignments are perfect for school and college use.â Learn the subtle editing, arrangement, and monitoring tactics which give industry insiders their competitive edge, and master the psychological tricks which protect you from all the biggest rookie mistakes.â Find out where you don't need to spend money, as well as how to make a limited budget really count.â Pick up tricks and tips from leading-edge engineers working on today's multi-platinum hits, including Derek MixedByAli Ali, Michael Brauer, Dylan 3D Dresdow, Tom Elmhirst, Serban Ghenea, Jacquire King, the Lord-Alge brothers, Tony Maserati, Manny Marroquin, Noah 50 Shebib, Mark Spike Stent, DJ Swivel, Phil Tan, Andy Wallace, Young Guru, and many, many more...Now extensively expanded and updated, including new sections on mix-buss processing, mastering, and the latest advances in plug-in technology.Table of ContentsTable of ContentsPart 1 Hearing & ListeningChapter 1 Using Nearfield MonitorsChapter 2 Supplementary MonitoringChapter 3 Low-end Damage LimitationChapter 4 From Subjective Impressions To Objective ResultsPart 2 Mix PreparationChapter 5 Essential GroundworkChapter 6 Timing and Tuning AdjustmentsChapter 7 Comping and ArrangementPart 3 BalanceChapter 8 Building the Raw BalanceChapter 9 Compressing for a ReasonChapter 10 Beyond CompressionChapter 11 Equalizing for a ReasonChapter 12 Beyond EQChapter 13 Frequency-Selective DynamicsChapter 14 The Power Of Side ChainsChapter 15 Toward Fluent BalancingPart 4 Sweetening to TasteChapter 16 Mixing with ReverbChapter 17 Mixing with DelaysChapter 18 Stereo EnhancementsChapter 19 Master-buss Processing, Automation, and EndgameChapter 20 ConclusionAppendix 1 Music Studios and the Recording Process: An OverviewAppendix 2 Who's Who: Selected DiscographyAppendix 3 Quote ReferencesAppendix 4 Picture Credits

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Book SynopsisIn this new edition, discover how to achieve commercial-grade recordings, even in the smallest studios, by applying power-user techniques from the world's most successful producers.Recording Secrets for the Small Studio is based on the backroom strategies of more than 250 famous names. This thorough and down-to-earth guide leads you through a logical sequence of practical tasks to build your live-room skills progressively from the ground up, with user-friendly explanations that introduce technical concepts on a strictly need-to-know basis. On the way, you'll unravel the mysteries of many specialist studio tactics and gain the confidence to tackle a full range of real-world recording situations.Specifically designed for small-studio enthusiasts, this book provides an intensive training course for those who want a fast track to releasing quality results, while the chapter summaries, assignments, and extensive online resources are perfect for school aTrade Review'A perfectly targeted and very readable mine of technical information, practical advice and real-world home-studio experience [...] it’s a book that I’d be very happy to recommend unreservedly to enthusiasts, students and experienced practitioners alike.'Hugh Robjohns, Sound on SoundTable of ContentsPart 1: One Source, No Mics 1. Recording a Machine 2. The Human Element 3. Instruments with Pickups Part 2: One Source, One Mic 4. Basic Vocal Recording 5. Beyond Vanilla Vocals 6. Single-Mic Instrument Recording Part 3: One Source, Multiple Mics 7. Multimiking in Mono 8. Multimiking in Stereo Part 4: Multiple Sources, Multiple Mics 9. Ensemble Recording with a Dominant Array 10. Adding Spot Arrays 11. Ensemble Recording with Peer Arrays 12. Going Freestyle 13. Conclusion

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Book SynopsisIn an easy-to-grasp, holistic manner Mastering Audio: The Art and the Science, Third Edition unravels the technical mysteries that regularly challenge audio engineers. Including practical tips and real world experiences, Bob Katz explains the technical detail of the subject in his informative and humorous style. Completely reorganized to focus on workflow, this third edition details mastering by providing a step-by-step approach to the process. First covering practical techniques and basic theory, this industry classic also addresses advanced theory and practice. The bookâs new approach is especially suitable to accompany a one- or two-term course in audio and mastering.Completely rewritten and organized to address changes that will continue to influence the audio world, this third edition includes several new chapters addressing the influence of loudness measurement and assessment and provides explanation of how mastering engineers must integrate loudness measuTrade Review"The definitive work on mastering...an indispensable resource for anyone working with audio. If you only buy one book on audio, this has to be it - it should be required reading for anyone involved with recording, producing or mastering music."-Sound on Sound magazine"After reading it, you will likely consider this book to be required reading for all audio professionals, regardless of technical background, who are interested in creating better sounding audio. I know that I do." - Jim Kaiser, Journal of the AES, March 2008"I just received my book in the mail. Bob, you did a great job with the 2nd edition. This version does not read as clinical as the first edition making it an easier read. I really like the layout and updated info you put in the book."- Glenn Bucci, Revelation Sound Studio"Aimed at intermediate to advanced users, what sets this book apart is the liberal inclusion of practical tips, and the author's ability to be authoritative without being didactic. Even if you already do mastering, this book will help you do it better."- Craig Anderton (editor of EQ magazine) "I have no reservations when I recommend that every engineer working with audio purchase a copy of Mastering Audio."- Tape Op Magazine, March/April 2008"If you want to know what goes on behind the scenes in recording the music you enjoy; and learn more about digital audio, this comprehensive, insightful, and accessible book is without peer."-Absolute Sound (Oct. 2007)"Within the pages of the outstanding third edition of his book Mastering Audio: Tile Art and the Science, Katz not only demystifies the subject of mastering in a logical, well-organized way, but he has created a resource that will be equally of interest to pros and beginners … [The book] examines topics that are important in every stage of the recording process, such as properly dealing with dynamics and monitoring, or understanding dither and jitter. Katz also delves into mixing and effects processing from the standpoint of the mastering engineer and the types of problems he or she typically encounters. Consequently, Mastering Audio should be mandatory reading for anyone making music in a personal studio."-Gino Robair, emusician.com "An important reference book needed during these times of fast-changing audio resolution standards and delivery methods, Katz offers an easy-to understand approach to the many technical conundrums and mysteries that challenge even the seasoned professional audio engineer." - Barry Rudolph, Music ConnectionPraise for the previous edition:"The definitive work on mastering...an indispensable resource for anyone working with audio. If you only buy one book on audio, this has to be it - it should be required reading for anyone involved with recording, producing or mastering music."-Sound on Sound magazine"After reading it, you will likely consider this book to be required reading for all audio professionals, regardless of technical background, who are interested in creating better sounding audio. I know that I do." - Jim Kaiser, Journal of the AES, March 2008"I just received my book in the mail. Bob, you did a great job with the 2nd edition. This version does not read as clinical as the first edition making it an easier read. I really like the layout and updated info you put in the book."- Glenn Bucci, Revelation Sound Studio"Aimed at intermediate to advanced users, what sets this book apart is the liberal inclusion of practical tips, and the author's ability to be authoritative without being didactic. Even if you already do mastering, this book will help you do it better."- Craig Anderton (editor of EQ magazine) "I have no reservations when I recommend that every engineer working with audio purchase a copy of Mastering Audio."- Tape Op Magazine, March/April 2008"If you want to know what goes on behind the scenes in recording the music you enjoy; and learn more about digital audio, this comprehensive, insightful, and accessible book is without peer."-Absolute Sound (Oct. 2007)Table of ContentsPart 1 PreparationChapter 1- No mastering engineer is an islandChapter 2- connecting it togetherChapter 3- An Earientation sessionChpater4- Word lengths and ditherChapter 5- Decibels: Not for DummiesChapter 6- Monitor qualityPart 2 Mastering TechniquesChapter7- Putting the album togetherChapter8- EqualizationChapter 9- MacrodynamicsChapter 10- Downward ProcessChapter 11- The Lost processChapter 12- Noise reductionChapter 13-Top processorsPart 3- Advanced Theory and Practice Chapter 14- How to make better recordings in the 21 centuryChapter 15- Monitor set up and calibrationChapter 16- Additional Mastering TechniquesChapter 17- Analog and digital processingChapter18- How to achieve depth and dimension in recording , mixing and masteringChapter19 Surround sound masteringChapter 20- High sample ratesChapter 21- JitterChapter 22- Technical tips and techniquesPart 4- In conclusionChapter23- Education Education EducationAppendices1- Radio Ready2- the tower of Babel3- Preparing tapes and files3- Premastering for vinyl5- Tape label/ log6- Conversations7- I feel the need for speed8I feel the need for capacity9- Footnotes on the K- system10 Recommended reading, Test CD's11- Biography: Eric James12-Biogropgy: Bob Katz13- Glossary

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Book SynopsisWritten in an encouraging and accessible way, this textbook is about how to compose with sound—to make powerful soundwriting like podcast episodes, audio essays, personal narratives, and documentaries. Using ideas and language from rhetoric and writing studies as well as the authors’ personal experiences with soundwriting, this book teaches soundwriters how to approach the world with a listening ear and body, determine a writing process that feels right, target the perfect audience, use such rhetorical tools as music and sound effects, and work in an audio editor. The many exercises throughout the book and the supportive resources on the companion website will further help budding makers to strengthen their skills and their understanding of what it takes to make compelling audio projects.Trade Review“This is the book we’ve been waiting for: the perfect guide for students and teachers on how to bridge sound studies with sound design and composition. Soundwriting anchors the craft of working with sound in the exciting worlds of audio, sound research, and pragmatic first-person reflections. As a textbook, it provides every essential tool and insight for new audio-composers; as an introduction to sound studies and composition, it draws us into the fascinating and absorbing terrains of musicology, rhetoric, affect studies, and beyond. The book is accessible, theoretically sophisticated, and inspiring.” — Ada Jaarsma, Mount Royal University“As the authors suggest, and as this compelling text aptly demonstrates, this is, indeed, ‘an exciting moment for sound.’ Soundwriting is a timely, smartly conceived, well-designed, innovative, and highly accessible text that provides readers (and listeners) with a rhetorically informed, hands-on approach to composing with sound. In addition to offering users instruction, tips, and activities geared toward the successful realization of sound-based texts, Tanya Rodrigue and Kyle Stedman generously share details of their own soundwriting experiences in a series of reflective, process-based Interludes, further underscoring the complexity, richness, diversity, and potential of writing with sound.” — Jody Shipka, University of Maryland“This is the textbook I wish I had had when I first taught soundwriting and sonic rhetoric. In an increasingly multimediated era, students need to analyze and intervene in their sonic environments, and Soundwriting provides them with tools and approaches for such interventions. A wonderful mixture of theoretical approaches and very practical advice—students and teachers looking for sophisticated approaches to composing with sound in a variety of genres and approaches should turn to (and tune in to!) this book.” — Michael J. Faris, Texas Tech University“Soundwriting crackles and buzzes with exciting ideas and sonic possibilities. Whether you’re a seasoned soundwriter or a total beginner, a student or a teacher, this highly engaging book offers an impressive range of accessible strategies, models, and hands-on activities for every stage of the production process. Rodrigue and Stedman have written an essential guide for anyone interested in the art of sonic composing.” — Steph Ceraso, University of VirginiaTable of Contents Chapter 1: Sound, Soundwriting, and Rhetoric Interlude 1: Revising a Written Memoir into Soundwriting: How Kyle Composed ""Pincushion"" Chapter 2: Listen Like a Soundwriter Interlude 2: Activating Rhetorical and Genre Awareness To Make Soundwriting: How Tanya Composed ""Peaceful Warriors"" Chapter 3: A Toolbox of Choices Interlude 3: Podcasting with a Partner: How Kyle Composed ""Grumble, Grumble"" Chapter 4: Planning and Gathering Sounds Interlude 4: Working Within Constraints at the Transom Traveling Workshop: How Tanya Composed ""Play it Loud"" Chapter 5: Editing, Revising, and Sharing

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Book SynopsisMixing Audio: Concepts, Practices, and Tools is a vital read for anyone wanting to succeed in the field of mixingâcovering the entire mixing process, from fundamental concepts to advanced techniques. Packed full of photos, graphs, diagrams, and audio samples, it teaches the importance of a mixing vision, how to craft and evaluate your mix, and then take it a step further. Mixing Audio describes the theory, the tools, and how these are put into practice while creating mixes. The companion website, featuring over 2,000 audio samples as well as Multitrack Audio Sessions, is a perfect complement to the book. The new edition includes: An extension of the discussion on mastering which now includes the loudness war, LUFS targets, and DIY mastering Updated figures and illustrations throughout A new section covering console emulation Trade Review"Roey Izhaki has put together a text complete with the history, background, tools and techniques needed to develop a solid foundation in the art of mixing audio. His easy-to-read explanations of the various techniques he employs along with the included audio examples will serve someone new to mixing or that seasoned professional looking for a refresher."Keith A. Umbach, Associate Professor of Music, Prince George’s Community College, USA"In Mixing Audio, the reader can find a good guide to learn how to do their mixings from scratch, learning everything you can need to carry out professional mixings from basic audio concepts to awesome equipment handling tricks, and even interesting practical examples!"José A. Ballesteros, Associate Professor, University of Castilla-La Mancha, SpainTable of ContentsPart I: Concepts and practices 1. Music and mixing 2. Some axioms and other gems 3. Learning to mix 4. The process of mixing 5. Related issues 6. Mixing and the brain 7. Mixing domains and objectives Part II: Tools 8. Monitoring 9. Meters 10. Mixing consoles 11. Software mixers 12. Phase 13. Faders 14. Panning 15. Equalizers 16. Introduction to dynamic range processors 17. Compressors 18. Limiters 19. Gates 20. Expanders 21. Duckers 22. Delays 23. Other modulation tools 24. Reverbs 25. Distortion 26. Drum triggering 27. Other tools 28. Automation Part III: Sample mixers 29. "Show Me" (rock n’ roll) 30. "It’s Temps Pt. II" (hip-hop/urban/grime) 31. "Donna Pomini" (techno) 32. "The Hustle" (DnB) 33. Hero (rock)

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Book SynopsisPerforming Electronic Music Live lays out conceptual approaches, tools, and techniques for electronic music performance, from DJing, DAWs, MIDI controllers, traditional instruments, live sound design, hardware setups, custom software and hardware, to live visuals, venue acoustics, and live show promotion. Through case studies and contrasting tutorials by successful artists, Kirsten Hermes explores the many different ways in which you can create memorable experiences on stage. Featuring interviews with highly accomplished musicians and practitioners, readers can also expand on their knowledge with hands-on video tutorials for each chapter via the companion website, performingelectronicmusic.live. Performing Electronic Music Live is an essential, all-encompassing resource for professionals, students of music production courses, and researchers in the field of creative-focused performance technology. Table of ContentsChapter 1 – General Advice1. The concept2. Confidence and preparation2.1 Effective rehearsal2.2 Dealing with stage fright2.3 Stepping into the performance persona2.4 Using feedback and being prepared for rejection3. Quality of the production4. Factors that determine the setup choice4.1 The music – genre and composition4.2 The act – personality, motivation and skills4.3 Band members and skills4.4 The performance situation4.4.1 The audience4.4.2 The venue and playback system4.4.3 Risk4.4.4 Budget4.4.5 Need for portabilityTutorial and takeaway points5. ReferencesChapter 2 – DAWs and Controllers1. Non-linearity of time2. Overview of performance DAWs2.1 Ableton Live2.2 Bitwig2.3 Maschine2.4 Logic Pro X2.5 Motu Digital Performer2.6 FL studio2.7 Standalone hardware DAW equivalents3. Plugging in hardware3.1 Live arrangement3.2 One-shots and finger drumming3.3 Performing on software instruments3.4 Controlling audio effects3.5 Other external hardware4. Prepared musical material and live recording5. Collaboration6. Randomness and generative approaches7. Customising the performance interface8. Performing live in more studio-oriented DAWs9. Working with visuals10. Recording the showTutorialFrom a complex studio production to an intuitive live setLooping clipsOne-shotsFollow actionsLive effectsLive keys and vocalsVisuals11. Takeaway pointsReferencesInterview with Robert HenkeChapter 3 – MIDI and CV Performance Controllers1. CV/GATE2. The MIDI protocol2.1 MIDI messages in the MIDI 1 protocol2.2 MIDI 2.03. Types of performance controllers3.1 Buttons3.2 Continuous signals: knobs, faders, sliders3.3 Controllers that resemble traditional musical instruments.3.4 Modular controllers3.5 Motion-controlled performance hardware3.6 Turning non-musical hardware into MIDI controllers3.7 MIDI Polyphonic Expression3.8 Sequencers3.9 Clock signals and MIDI routingTutorial4. Takeaway pointsReferencesChapter 4 – DJing and Turntablism1. A short history of DJing2. Types of DJ in the present day2.1 Touring artist-DJs2.2 Resident DJs2.3 Mobile event DJs2.4 Radio DJs2.5 Online DJ-producers3. DJ techniques3.1 Mixing techniques and turntablism3.2 Virtuoso turntablism3.3 Effects and audio processing3.4 Programming4. DJ tools available today4.1 DJ software and hardware controllers4.2 CDJs4.3 Going retro: using Vinyl for DJing4.4 Headphones, monitors and microphones4.5 Streaming tracks from online platformsTutorial: three DJ setups presented by Dan MurrayPreparationDJ skills and techniquesBeatmatching on vinylGetting creative on CDJsWorking with a hybrid setupPerformance styles5. Takeaway pointsReferencesInterview with Alex M.O.R.P.HChapter 5 - Incorporating Acoustic Instruments and Vocals 1. Traditional instruments in electronic music2. Fusion genres3. Live instruments and vocals that are not on the record4. Instruments that are on the record but not on stage5. Microphones and DI boxes6. Effects and sound manipulation6.1 Vocal effects processing6.2 Vocoders and talk boxes6.3 Effects for other instrumentsTutorial – generated live vocal harmonies, violin and synth7. Takeaway pointsReferencesInterview with Matt RobertsonChapter 6 – Live Synthesis and Sound Design1. Synthesis technology1.1 Synthesis techniques1.1.1 Additive synthesis1.1.2 Subtractive synthesis1.1.3 FM synthesis1.1.4 Waveshaping synthesis1.1.5 Sampling1.1.6 Granular synthesis1.1.7 Wavetable synthesis1.1.8 Physical modelling synthesis1.2 Controls typically found on commercial synthesizers1.2.1 Oscillators1.2.2 Amplifier1.2.3 Amplitude envelope1.2.4 Filters1.2.5 Modulation1.2.6 Clock1.2.7 Effects, sequencing and arpeggiators1.2.8 Playback controls2. A rich history of artists shaping their sound through synthesis2.1 Retro-leaning synths used by current artists3. A brief history of sampling4. Using synths and samplers on stage4.1 Playing live on hardware synthesizers and samplers4.1.1 Choosing hardware synths4.1.2 Working with pre-programmed sequences4.1.3 Modular synthesizers on stage4.2 Performing live with software synthesizersTutorial5. Takeaway pointsReferencesChapter 7 – Performing without a Laptop1. Building blocks of a laptop-free setup1.1 Sound sources1.2 Control signal generators1.2.1 Clock signal generators1.3 Control signal routing tools1.4 Sound processors and effects1.5 Mixers2. All-in-one hardware tools3. Cabling and connectionsTutorial: a modular synthesizer setup (Matt Gooderson)Modular SystemsComponents of the Hardware SetupMelodyRhythmSound SourcesUtility ModulesMultipleQuantiserSample and HoldMixerAudio ModifiersComposition and Performance4. Takeaway pointsReferencesChapter 8 – Programming Custom Performance Tools1. Getting started with programming1.1 What is a program?1.2 What programming language should you learn?2. Inspiring artist examples2.1 Complete playback solutions2.2 Effects plug-ins and software instruments2.3 Expanding the functionality of hardware2.4 Automatic performance tools2.5 Letting the outside environment control the soundTutorial: introducing BBC R&D’s Audio Orchestrator, featuring Jon Francombe and Stephen DavismoonHow does Audio Orchestrator work?The Sequences pageThe Controls pageThe Audio pageThe Appearance pageThe Export page3. Patch It: modular music programming environments3.1 Max/MSP3.2 Pure Data3.3 Other node-based programming environments3.4 Node-based programming in action3.4.1 Effects processing3.4.2 Generative music3.4.3 Sampling and sequencing3.4.4 Working with external hardware3.4.5 Theatre showsTutorial: generative music in Max / MSP, featuring Francesc Moya SerraFirst steps and audio outputMetronome and timingSound triggering with the select objectUsing MIDI notes to perform on a VST synthRandom pitches in a subpatchAdding further complexityRandom note velocities and durationsModulating synthesis parametersFitting the random note pitches to a musical scalePercussionThe performance GUI4. Live coding: making EDM with algorithmsTutorial: an introduction to SuperCollider, featuring Eli FieldsteelThe interfaceGetting startedOscillator UGensCross-fading between soundsWorking with pre-recorded audio samplesWhat else is possible in SuperCollider?5. Takeaway PointsReferencesInterview with Holly HerndonChapter 9 – Building Custom Hardware Tools1. New instruments built from scratch2. The human body as musical instrument3. Adding functionality to existing instruments4. Performing music on toys and household items5. How can you get started?Tutorial: Optical Theremin inside a Game Boy Shell with Rainbow Trash (Dominique Pelletier)What you will needCasingElectronicsTesting connectionsSoldering connectionsClosing up the caseOther things you can do...6. Takeaway pointsReferencesChapter 10 – The Performance Setting1. Common live sound technology2. The soundcheck3. Live sound mixing4. Spaces4.1 Arenas and stadiums4.2 Large Festivals4.3 Nightclubs4.4 Warehouse raves4.5 Concert halls4.6 Outdoor theatres4.7 Small and intimate shows4.8 Controlled acoustic spaces4.9 Installations4.10 Remote settings and streamingTutorial: a large redundancy playback rig, featuring Steven MasseyStems for playbackUninterruptible power supplyRedundancy playback rigOutput routing via a split rackThe monitor mixThe live mix5. Takeaway pointsReferencesInterview with Laura EscudéChapter 11 – Stage Design and Visual Parameters1. Tools for creating visual interest1.1 Moving visuals1.2 Lighting1.3 Dancing and acting1.4 Fashion1.5 Stage design2. What determines the choice of visual stage parameters?2.1 Artist identity2.2 Visual parameters that convey a narrative2.3 Creating an abstract connection between what is seen and heard2.4 Amplifying performance parametersTutorial 3. Takeaway pointsReferencesChapter 12 – Planning and Promotion1. Music branding principles1.1 Artist identity1.2 Target audience2. Creating marketing materials2.1 Visual materials2.2 Biography2.3 Press release2.4 Website2.4.1 A clear representation of the artist image2.4.2 Layout and content2.4.3 Search engine optimization2.5 Social media2.6 Hardcopy marketing materials3. Networking and gig opportunitiesTutorial: music industry Dos and Don’ts presented by Woody van EydenWhere am I now?Where do I want to be?What do I need to do to get there?Who can help me?What should I do in terms of networking?4. Takeaway pointsReferencesChapter 13 – Conclusion1 What do electronic musicians do on stage?2 What constitutes a great electronic music performance?3 How do I choose the concept for my show?3.1 A compelling Performance persona3.2 Virtuosic skills3.3 Technical know-how3.4 A compelling performance setting3.5 Liveness3.6 Core values3.7 Visual interest4 What does my audience expect?5 I am quite shy but I would like to perform live. What can I do?6 I cannot play any instruments or sing. Can I still perform live?7 Should I be a solo artist or form a band?8 What kind of tools do I need to perform electronic music live?9 There are so many different options. What is the right setup for me?10 Who creates electronic performance equipment?11 Where can I try out and buy performance equipment?12 I produce music in a DAW. How can I turn this into a live show?13 Should my live show sound like my record?14 What does "live" mean? Should every sound be created in the moment, or are backing tracks acceptable?15 Is it bad to mime and pretend that I am doing something on stage when I am not?16 I have never produced any music. Where do I begin?17 How should I prepare for my show?17.1 Practice17.2 Sound check17.3 Feedback18 How can I find gig opportunities?Thank you!

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Book SynopsisExplores the principles and practical considerations of spatial sound recording and reproduction. Particular emphasis is given to the increasing importance of multichannel surround sound and 3D audio, including binaural approaches, without ignoring conventional stereo. The enhancement of spatial quality is arguably the only remaining hurdle to be overcome in pursuit of high quality sound reproduction. The rise of increasingly sophisticated spatial sound systems presents an enormous challenge to audio engineers, many of whom are confused by the possibilities and unfamiliar with standards, formats, track allocations, monitoring configurations and recording techniques. The author provides a comprehensive study of the current state of the art in spatial audio, concentrating on the most widely used approaches and configurations. Anyone wishing to expand their understanding of these cutting-edge technologies will want to own this book.Trade Review"This comprehensive and highly readable book collects together all that vital underpinning knowledge that you ought to have at your fingertips... with very little in the way of maths or circuit diagrams to challenge those of us who aren't academic by nature... Technical explanations are lucid and informative and there's some good practical advice too. Would I recommend it to readers of Line-Up? Certainly. Not only will it help you deal with earnest enquirers about Dolby 5.1, but it will also consolidate your understanding of some of the fundamental aspects of our trade. If you're recording or mixing stereo or multichannel sound it could even help you do your job better."Malcolm Nelson, Line-Up magazineTable of ContentsIntroduction to spatial audio; Spatial audio psychoacoustics; Two channel stereo and binaural audio; Multichannel stereo and surround sound systems; Spatial sound monitoring; Two- and three-channel recording techniques; Surround sound recording techniques

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Book SynopsisPro Tools LE and M-Powered is an authoritative guide to Digidesign''s entry-level hardware and software systems. Illustrated throughout with color screen grabs, the book starts by giving you useful overviews and advice about the hardware options available. Subsequent chapters are packed with easy-to-follow instructions, valuable hints and time-saving tips on how to use the software. Includes:* Full coverage of all new features in version 7* Information on tempos, clicks and grooves* Two chapters on MIDI* Useful tutorials on using Reason, Live and SampleTank* Recommendations on backups and transfers* Guidance on the DV Toolkit for post productionFor troubleshooting technical problems, advice on purchasing decisions or inspiration for new ideas, keep this book by your side as a vital reference point.Trade Review"Where else could you find out about Pro Tools version 7 and know you'll get the whole truth? As always, Mike astounds with his ability to go in depth into the detail, without losing the sense of the whole. And he does so with simple and direct language, easy to follow, and often humorous. I am impressed ­ once again!" - Dario Marianelli, Film Composer"This book has all you need to know to take you from beginner's level, recording your first session, up to a professional level. It explains all the new MIDI features in Pro Tools 7 clearly and in detail. Even if you think you already know all about Pro Tools, this book will inspire and inform you about version 7." John Leckie, Record Producer"An excellent introduction and guide to PT LE software & hardware options." - Phil Harding, Record Producer"An essential companion for all LE users...Informs the reader in simple terms what the manuals either leave out or bury within the small print. This book is an absolute must for anyone who needs to plug in & start creating any style of music." - Geoff Smith, ProducerTable of ContentsIntroduction; Understanding the Hardware options for Pro Tools LE; The Digi 002 and the Command|8; Understanding Pro Tools LE Software; Getting Started; Recording MIDI and using Virtual Instruments; Recording Audio; Editing; Mixing; The Outro: Final Mixdown, Burning to CD, and Backup; Appendix 1 Transferring Projects; Appendix 2 DV Toolkit for LE; Jargon Buster

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Book SynopsisEvery session, every gig, every day, recording engineers strive to make the most of their audio signal processing devices. EQ, Compression, Delay, Distortion, Reverb and all those other FX are the well-worn tools of the audio trade. Recording and mixing, live and in the studio, engineers must thoroughly master these devices to stay competitive sonically. Its not enough to just know what each effect is supposed to do. Sound FX explains the basic and advanced signal processing techniques used in professional music production, describing real world techniques used by experienced engineers, and referencing popular music examples released internationally. The reader learns not just how to, but also what if, so they can better achieve what they already hear in the productions they admire and chase what they only hear in their imaginative minds ear. Sound FX will immediately help you make more thorough, more musical use of your sound FX.The accompanying website www.soundfx-Trade Review"Sound FX is a entertaining, informative, and useful book that will find more time on the mixing console and effects rack than on a shelf in the library of practicing engineers, musicians and producers who want a better understanding of what the boxes in the rack or the plugins in their computer can do and why do it." - Neil A. Shaw - AES Journal Dec 07Table of ContentsSECTION 1: Ch1-The Audio Waveform, Ch2-Signal Flow, Ch3-Perception. SECTION 2: Ch4-Distortion, Ch5-Equalization, Ch6-Compression and Limiting, Ch7-Expansion and Gating, Ch8-Volume. SECTION 3: Ch9-Delay, Ch10-Pitch Shift, Ch11-Reverb. SECTION 4 Ch12-A Basic Mix, Ch13-The Snare Drum, Ch14-The Piano, Ch15-The Automated Mix.

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Book SynopsisFully updated throughout this best selling title on surround sound offers you a wealth of practical information, now considered the ''go to'' book for those requiring a working knowledge. Concentrating specifically on surround audio, Holman provides clear comprehensive explanations of complex concepts, making this a must have book for all those in the field.Trade ReviewPraise for previous edition:"After revolutionizing theatrical film surround sound and promoting among other things the use of single common subwoofers in home theatre surround systems, he went on to design and set up some of the top multi-channel studios of today. His book lays out all the types of multichannel sounds, from its roots in film to its new uses in DVD video and audio and DTV broadcast." - Audiophile Audition "His book lays out all the types of multichannel sound, from its roots in film to its new uses in DVD video and audio and DTV broadcast. It would be a valuable reference for anyone involved in surround sound production in any form and for home theatre dealers and installers as well." - Audiophile Audition "Apart from the nuts and bolts, enough theory and debate is provided to keep any practitioner or sound student happy...Holman has a rare gift for simple explanation of complex concepts. I have read many sound textbooks but this volume has clarified things I never fully grasped before. 5.1 Surround Sound should be the first port of call if you are new to the subject and will provide a good source of reference for anyone already involved." - Studio SoundTable of ContentsIntroduction, Monitoring, Multichannel Microphone Technique, Multichannel Mixing, Delivery Formats, Psychoacoustics, Appendix 1- Sample Rate, Appendix 2- Word length, Appendix 3- surround Resources, Index

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Book SynopsisVoice Over for Animation takes animation and voice-over students and professionals alike through the animated voice-over world. The book provides information, exercises, and advice from professional voice-over artists. Now you can develop your own unique characters, and learn techniques to exercise your own voice gain the versatility you need to compete. You can also learn how to make a professional sounding demo CD, and find work in the field. The accompanying downloadable resources are professionally recorded, and feature: scripts, Animation Talent Agent interviews, Casting Director interviews and Interviews with Animation Voice-Over Artists like Nancy Cartwright (Bart, The Simpsons) and Cathy Cavadini (Blossom, Power Puff Girls) and Bill Farmer (Goofy). This is an invaluable resource for animators and voice-over artists.Trade ReviewMJ Lallo quotes:Nancy Cartwright: "MJ Productions is the coolest VO studio in LA.", Ned Loft (Disney): "MJ is a fun and talented artist and teacher.", Brian Nefsky (Disney Imagineering): "MJ runs great classes and is a great VO talent."New quotes likely from:June Foray (voice-over artist, Natasha, from Rocky and Bullwinkle. Still working regularly today.)Lucille Bliss (Smurfette and many more)Both of these voice-over artists have already agreed to be interviewed for the new book. There will be many more. Women In Animation has a number of animation voice-over artists and recording studio owners as members.Nancy Cartwright: "MJ Productions is the coolest VO studio in LA."Ned Loft (Disney): "MJ is a fun and talented artist and teacher."Brian Nefsky (Disney Imagineering): "MJ runs great classes and is a great VO talent."Table of ContentsChapter OutlineChapter 1: Introduction to Animation Voice-OversChapter 2: Voice Techniques and ExercisesChapter 3: Animation Voice-Over TechniquesChapter 4: DialectsChapter 5: Developing CharactersChapter 6: Your Demo CD Chapter 7: Finding an AgentChapter 8: Voice CastingChapter 9: Recording for CartoonsChapter 10: Recording for Animated Features, Games, Theme Parks, Toys, and NarrationChapter 11: ADR (Automated Dialogue Replacement)Chapter 12: Dubbing

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Book SynopsisSound for Film and Television, Third Edition provides a thorough introduction to the fascinating field of recording, editing, mixing, and exhibiting film and television sound. It strikes a fine balance between aesthetic and technical content, combining theory and practice to approach sound as both an art and a science. This new edition has been completely updated to reflect the latest advances in HD technology, new hardware and software systems, new distribution methods, wireless sound capture, and more. Also, analog-related content has been reduced and transferred to the chapters covering historical techniques. Sections on troubleshooting and FAQs have been added to help you avoid common pitfalls in sound production. Written by one of Hollywood's leading sound experts, Sound for Film and Television provides a solid grounding in all aspects of the sound process. Basic principles are presented with illustrations demonstratingTrade Review"Holman covers a lot of ground in just over 250 pages. His knowledge of the subject and many of the major industry players is evident. Sound for Film and Television is a concise, informative, entertaining, and intimate review that can serve as an introduction to the subject for the student and a snapshot of current techniques and processes for the practitioner.-The Journal of the Audio Engineering Society"The best overall technical introduction to film sound...As one would expect from the developer of the THX Sound System, among many other achievements, this book has a comprehensive approach and features one of the best introductions to psychoacoustics that you'll read anywhere."- Larry Blake, Mix Magazine"The book provides a fascinating and incredibly informative introduction to the world of film and television sound and is well recommended."- James Eade, Lighting and Sound International"The best overall technical introduction to film sound...As one would expect from the developer of the THX Sound System, among many other achievements, this book has a comprehensive approach and features one of the best introductions to psychoacoustics that you'll read anywhere."--Larry Blake, Mix Magazine"The book provides a fascinating and incredibly informative introduction to the world of film and television sound and is well recommended."--James Eade, Lighting and Sound International"Holman covers a lot of ground in just over 250 pages. His knowledge of the subject and many of the major industry players is evident. Sound for Film and Television is a concise, informative, entertaining, and intimate review that can serve as an introduction to the subject for the student and a snapshot of current techniques and processes for the practitioner."--The Journal of the Audio Engineering SocietyTable of ContentsPreface to the Third Edition, Introduction, Chapter 1. Objective Sound, Chapter 2. Psychoacoustics, Chapter 3. Audio Fundamentals, Chapter 4. Capturing Sound, Chapter 5. Microphone Technicalities, Chapter 6. Handling the Output of Microphones, Chapter 7. Production Sound, Chapter 8. Sync, Sank, Sunk, Chapter 9. Transfers, Chapter 10. Sound Design, Chapter 11. Editing, Chapter 12. Mixing, Chapter 13. From Print Masters to Exploitation, Appendix I. Working with Decibels, Appendix II. Filmography, Appendix III. The Eleven Commandments of filmsound, Appendix IV. Bibliography, Glossary, Index, About the Author, Companion Website Page, Instructions for accompanying DVD

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Book SynopsisLong considered one of the key books on the well-informed audio engineerâs shelf, Sound System Engineering provides an accurate, complete, and concise tool for all those involved in designing, implementing, and testing sound reinforcement systems. This new fourth edition includes eight new chapters leading the reader through both cutting-edge topicsâe.g., IBMâs proposed thought-controlled sound systemâand solid basics, such as loudspeaker specifications, wave equations, and digital audio.Topics covered include: Psychoacoustics and how the brain processes sound Digital theory Mathematics for audio systems Using the decibel Interfacing electrical and acoustical systems Audio and acoustic measurements Large room and small room acoustics Designing for acoustic gain Designing for speech intelligibility Table of Contents Chapter 1 Why Sound System Engineering? Chapter 2 Voices Out of the Past Chapter 3 Sound and Our Brain Chapter 4 Psychoacoustics Chapter 5 Digital Theory Chapter 6 Mathematics for Audio Systems Chapter 7 Using the Decibel Chapter 8 Interfacing Electrical and Acoustic Systems Chapter 9 Loudspeaker Directivity and Coverage Chapter 10 The Acoustic Enviroment Chapter 11 Audio and Acoustic Measurements Chapter 12 Large Room Acoustics Chapter 13 Small Room Acoustics Chapter 14 Designing for Acoustic Gain Chapter 15 Designing for Speech Intelligibility Chapter 16 What is Waving and Why Chapter 17 Microphones Chapter 18 Loudspeakers and Loudspeaker Arrays Chapter 19 Power Ratings for Amplifiers and Loudspeakers Chapter 20 Computer-Aided System Design Chapter 21 Signal Delay and Signal Synchronization Chapter 22 Signal Processing Chapter 23 Digital Audio Formats and Transports Chapter 24 Sound System Equalization Chapter 25 Putting It All Together Appendix

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Book SynopsisAn innovative investigation of the inner workings of Spotify that traces the transformation of audio files into streamed experience.Spotify provides a streaming service that has been welcomed as disrupting the world of music. Yet such disruption always comes at a price. Spotify Teardown contests the tired claim that digital culture thrives on disruption. Borrowing the notion of “teardown” from reverse-engineering processes, in this book a team of five researchers have playfully disassembled Spotify's product and the way it is commonly understood.Spotify has been hailed as the solution to illicit downloading, but it began as a partly illicit enterprise that grew out of the Swedish file-sharing community. Spotify was originally praised as an innovative digital platform but increasingly resembles a media company in need of regulation, raising questions about the ways in which such cultural content as songs, books, and films are now typically made availa

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Book SynopsisBelow the level of the musical note lies the realm of microsound, of sound particles lasting less than one-tenth of a second. Recent technological advances allow us to probe and manipulate these pinpoints of sound, dissolving the traditional building blocks of music—notes and their intervals—into a more fluid and supple medium. The sensations of point, pulse (series of points), line (tone), and surface (texture) emerge as particle density increases. Sounds coalesce, evaporate, and mutate into other sounds. Composers have used theories of microsound in computer music since the 1950s. Distinguished practitioners include Karlheinz Stockhausen and Iannis Xenakis. Today, with the increased interest in computer and electronic music, many young composers and software synthesis developers are exploring its advantages. Covering all aspects of composition with sound particles, Microsound offers composition theory, historical accounts, technical overviews, acoustical experiments, descriptions of musical works, and aesthetic reflections.

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Book SynopsisHandmade Electronic Music: The Art of Hardware Hacking provides a long-needed, practical, and engaging introduction to the craft of makingâas well as creatively cannibalizingâelectronic circuits for artistic purposes. With a sense of adventure and no prior knowledge, the reader can subvert the intentions designed into devices such as radios and toys to discover a new sonic world. You will also learn how to make contact microphones, pickups for electromagnetic fields, oscillators, distortion boxes, mixers, and unusual signal processors cheaply and quickly. At a time when computers dominate music production, this book offers a rare glimpse into the core technology of early live electronic music, as well as more recent developments at the hands of emerging artists.This revised and expanded third edition has been updated throughout to reflect recent developments in technology and DIY approaches. New to this edition are chapters contributed by a diverse group of practitioTrade ReviewPraise for the Second Edition"Nicolas Collins wants to tear apart your CD player." WIRED magazine"Nic Collins’ book passes the torch of home-brew electronics to the next generation of musical experimentalists. Providing practical and fun recipes for sonic adventures, it simultaneously introduces the reader to the past and present field of electronic sound art." Chris Brown, Mills College Center for Contemporary Music"This is a terrific, unique, and much needed book; I wish I had it fifteen years ago." Dan Trueman, Princeton Laptop Orchestra, Princeton University"The most radical music book I’ve read so far this year. This jargon-free text offers a fresh alternative to the usual instruments prized by the music business." Christopher Delaurenti, The Stranger, Seattle"With wit, wisdom and enviable clarity, Nicolas Collins guides the would-be hardwarehacker through the possibilities and pitfalls of playing with electricity. Those who follow his guidance assiduously will not only be able to make noise that is both personal andinstilled with the virtue of self-discovery; they will also gain an education and mostimportant of all, stay alive."David Toop"Nic Collins has provided an informative and gently structured doorway through which anyone can enter the limitless world of possibilities to be discovered in a raw, hands-on approach to sculpting original, electronic arts hardware. Even starting with little experience, a motivated reader can emerge with invaluable circuit building, hacking and bending skills, while also gaining an enhanced understanding of what goes on inside the boxes and behind the panels of artist-invented, electronic music devices."David Rosenboom, Composer-Performer, Richard Seaver Distinguished Chair in Music and Dean, The Herb Alpert School of Music, California Institute of the Arts"A friendly portal into the seemingly arcane art form of circuit bending and building, rich with insights into the history and spirit of experimental electronic music. Chockfull of projects, ideas, and inspirations . . . enough to keep your neighborhood circuitbender out of trouble for years to come."Mark TraylePraise for the First Edition"Here we have, at last, an electronics book that caters to people who have ideas first, and electronics second. Collins offers a splendidly integrative look into the history of‘sound art,’ basic electronics, and junk revisioning."Meara O’Reilly, MAKE magazine and makezine.com"There are times in the history of any art form when its true visionaries set down in words, the blueprint behind an entire generation of genius. Collins has done just that with Handmade Electronic Music, an essential manifesto of know-how, trade secrets, andaesthetic accomplishment leaping off from Cage and Tudor and landing in today’sclassroom."Thom Holmes, author of Electronic and Experimental MusicTable of ContentsForeword to First Edition (David Behrman)Introduction PART I: STARTING1. Getting Started: Tools and Material Needed 2. The Seven Basic Rules of Hacking: General Advice PART II: LISTENING3. The Victorian Synthesizer: Twitching Loudspeakers 4. In/Out: Speaker as Microphone, Microphone as Speaker, the Symmetry of it All 5. How to Solder: an Essential Skill 6. Circuit Sniffing: Eavesdropping on Hidden Magnetic Music 7. How to Make a Contact Mike: Using Piezo Disks to Pick up Tiny Sounds 8. Turn Your Wall into a Speaker: Resonating Objects with Transducers, Motors and More 9. Paper Speakers (Jess Rowland)10. Tape Heads: Play Your Credit11. Electret Microphones: Binaural on a Budget12. Laying of Hands: transforming a Radio into a Synthesizer by Making Your Skin Part of the Circuit PART III: BUILDING13. My First Oscillator™: Six Oscillators on a Chip, Guaranteed to Work14. Solder Up! From Breadboard to Circuit Board15. Getting Messy: Modulation, Feedback, Instability and Crickets 16. Soft Circuitry: An Introduction to E-Textile Interfaces (Lara and Sarah Grant) 17. On/Off (More Fun With Photo Resistors): Gating, Tremolo, Panning and More18. Mixers and Matrices: Very Simple, Very Cheap, Very Clean Ways of Configuring Lots of Circuits19. Boost and Distort: A Simple Circuit that Goes from Clean Preamp to Total Distortion20. Analog to Digital Conversion, Sort of: Modulating Other Audio with Your Circuits, Pitch Tracking, and a Sequencer21. Beyond Bending: Triggering, Sequencing and Modulating Circuit Bent Toys (Alex Inglizian) 22. Video Hacking (LoVid (Tali Hinkis, Kyle Lapidus) and Jon Satrom)23. An Introduction to Op Amps24. A Little Hacker’s Amp 25. The Mumma-Tudor Ring Modulator (Michael Johnsen and You Nakai)26. Paper Circuits (Peter Blasser)27. Rule the Airwaves: Build a Radio Transmitter (Brett Balogh) 28. A Grab Bag of Samples: A Voltage Controlled Radio Receiver (Holger Heckeroth)29. A Lo-Fi Sampler and Looper (Holger Heckeroth) 30. The Bissell Function Block: A Lag Processor (Peter Speer)31. Sounds from Neural Networks (Wolfgang Spahn)PART IV: COMPUTING 32. Sharing Traces: Designing and Fabricating Your Own Printed Circuit Boards with Fritzing (Eduardo Rosario)33. Microcontroller Sound (Joseph Kramer)34. Small Sound: Pure Data on the Raspberry Pi (Robb Drinkwater) 35. Data Hacking: The Foundations of Glitch Art (Nick Briz)PART V: CONNECTING36. Handmade Sound Communities (Lisa Kori and David Novak)37. Hello World!COMPANION WEBSITE CONTENTS1. Project SupportSharing Traces -- Designing and Fabricating Your Own Printed Circuit Boards (Eduardo Rosario)Microcontroller Sound (Joseph Kramer): Data files and additional projects for chapter 33Paper Circuits (Peter Blasser): Circuit board artwork for Rungling circuit in chapter 26Sounds from Neural Networks (Wolfgang Spahn): Circuit board artwork for Confetti Neuron circuit in chapter 312. Technical BootcampOhm’s Law for Dummies: How to Understand Resistors Switches: How to Understand Different Switches, and Make Your Own Jack, Batt and Pack: Powering and Packaging Your Circuits Power Supplies: Carbon Footprints from AA to EEE 3. Circuit BendingTickle the Clock: Finding the Clock Circuit in Toys Hack the Clock: Changing the Clock Speed for Cool New Noises Video Music/Music Video: Translating Video Signals into Sound, Hacking Cameras, and Extracting Sounds from Remote Controls Beyond the Pot: Photoresistors, Pressure Pads and Other Ways to Play Your Toy LCD Art: Making Animated Modern Daguerreotypes and Alternate Video Projectors 4. Culture and HistoryDo It With Others: Hardware Hacking in South America (Florencia Curci, Alma Laprida and Sebastián Rey) Hacer con Otrxs: Hardware Hacking en Sudamérica (Florencia Curci, Alma Laprida and Sebastián Rey) (Original Spanish version of Do It With Others) Bleep Listening (Ezra Teboul) A History of Japanese Hacking and DIY Music (ADACHI Tomomi) 日本のハッキング・DIY音楽史 （足立智美）(Original Japanese version of A History of Japanese Hacking and DIY Music) (ADACHI Tomomi) Livening Things Up: Australian Hand-Built Electronic Instruments (Caleb Kelly and Pia van Gelder) Gambioluthiery: Hacking and DIY in Brazil (Giuliano Obici) A Brief Personal History of dorkbot-nyc (Douglas Repetto) The Contact Microphone: A Cultural Object (Daniela Fantechi) David Tudor (You Nakai and Michael Johnsen) Pixel Artists (LoVid and Jon Satrom) Circuit Board as Design (Eduardo Rosario) Circuit Bending (Nicolas Collins) Visual Music (Nicolas Collins) The Future Was Then (Nicolas Collins) 5. Tutorials6. Gallery of Artist's Work

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Book SynopsisThis is the third edition of Character Development and Storytelling for Games, a standard work in the field that brings all of the teaching from the first two books up to date and tackles the new challenges of today. Professional game writer and designer Lee Sheldon combines his experience and expertise in this updated edition. New examples, new game types, and new challenges throughout the text highlight the fundamentals of character writing and storytelling.But this book is not just a box of techniques for writers of video games. It is an exploration of the roots of character development and storytelling that readers can trace from Homer to Chaucer to Cervantes to Dickens and even Mozart. Many contemporary writers also contribute insights from books, plays, television, films, and, yes, games.Sheldon and his contributors emphasize the importance of creative instinct and listening to the inner voice that guides successful game writers and designers. Join him on Table of ContentsPreface to the Third Edition. Acknowledgments. About the Author. Introduction. Part I Background. Chapter 1 Equations. Chapter 2 The Story Remains the Same. Part II Creating Characters. Chapter 3 Respecting Characters. Chapter 4 Character Roles. Chapter 5 Character Traits. Chapter 6 Character Encounters. Part III Telling the Story. Chapter 7 Once Upon a Time. Chapter 8 Respecting Story. Chapter 9 Bringing the Story to Life. Chapter 10 Games: Charting New Territory. Chapter 11 Story Anatomy. Chapter 12 Editing. Chapter 13 The Roots of a New Storytelling. Chapter 14 Modular Storytelling. Part IV Games People Play Today. Chapter 15 Game Types. Chapter 16 Game Genres. Chapter 17 Storytelling in Virtual Worlds. Chapter 18 Storytelling in Small Games. Chapter 19 Storytelling in Applied Games. Part V Reflections. Chapter 20 Postlude: Endgame. INDEX.

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Book SynopsisWhat does the Coen Brothersâ Barton Fink have in common with Norman McLarenâs Synchromy? Or with audiovisual sculpture? Or contemporary music video? Composing Audiovisually interrogates how the relationship between the audiovisual media in these works, and our interaction with them, might allow us to develop mechanisms for talking about and understanding our experience of audiovisual media across a broad range of modes. Presenting close readings of audiovisual artefacts, conversations with artists, consideration of contemporary pedagogy and a detailed conceptual and theoretical framework that considers the nature of contemporary audiovisual experience, this book attempts to address gaps in our discourse on audiovisual modes, and offer possible starting points for future, genuinely transdisciplinary thinking in the field.Trade ReviewSituating practice firmly at the heart of her discourse, Dr. Harris unpacks the creative process from a composer's perspective, revealing valuable insights which challenging traditional media hierarchies and elaborate nuanced understandings of audiovisual composition. This text will be of importance to students, fellow composers and auiodvisuolologists, providing a desperately needed injection of new perspectives into the topic.Andrew Knight-Hill, University of Greenwich, London.Harris courageously crafts transdisciplinary inroads into difficult territory, providing teachers, composers, students and theorists multi-perspectival approaches to a broad range of audiovisual practice and identifying and challenging limits of current language and conceptions.Bret Battey, De Montfort University, LeicesterTable of ContentsIntroductionSection 1 - Thinking AudiovisuallyThinking AudiovisuallyChapter One - Discourse on Audiovisual ExperienceChapter Two - Analysis of questionnaire resultsChapter Three - Defining Transperceptual AttentionCoda - some terminology for Transperceptual AttentionSection 2 - Composing AudiovisuallyComposing AudiovisuallyChapter Four - the elements of audiovisual compositionChapter Five - Teaching AudiovisuallySection 3 - Analysing AudiovisuallyAnalysing AudiovisuallyCase Study 1 - For TashiCase Study 2 - CinechineCase Study 3 - pebblesCase Study 4 - Hitchcock EtudesCase Study 5 - Close to be close to meCase Study 6 - A Love StoryCase Study 7 - Open AirReflectionsEpilogue - Final Reflections

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Book SynopsisThis book covers everything you need to know to master the fundamentals of location sound recording and postproduction sound in a comprehensive one-stop guide.This user-friendly book provides real world situations to analyze the many kinds of location recording configurations and postproduction scenarios and offers easy-to-adopt, budget-conscious solutions to some of the most common issues that arise when working with sound. Chapters cover the theory of sound, preproduction with a sound emphasis, microphone selection, testing equipment, how to boom and mix on set, synchronization and time code, and editing sound while doing a picture cut in a traditional picture software platform. Additionally, the book discusses bringing a project into a Digital Audio Workstation and explores basic sound design, dialogue editing, Automated Dialogue Replacement, Foley, sound effects, music for film, re-recording the final mix, and outputting sound to finish a project. Accompanying examples alTrade Review"Michael's book is a wonderful resource for the maverick independent filmmaker who makes up a one-person crew and has to learn everything on the job. Its focus on sound makes the book unique. Even if you have the budget to hire a sound team, it is helpful to read about production and postproduction sound to know what to expect. This book will help you avoid making terrible and costly mistakes. Save a lot of money - read this book first."-Ruth HernandezADR editor The Marvelous Mrs. MaiselHBO's High maintenance Season 4"This book provides the aspiring filmmaker with a great overview of everything that they need to understand about sound but most often do not. Starting from recording through to post-production it explores the technologies, tools and techniques you need to succeed."- Kira SummersBirmingham City UniversityTable of Contents1 The Modern Filmmaker. 2 Tech Concepts You Need To Understand. 3 Location Sound Recording: The Basics. 4 Location Recording Microphone Basics. 5 Configurations of Location Recording Set Ups. 6 Train Your Ears…Learn Your Gear…Test Your Devices All The Way Through To Your Final Intended Output. 7 Location Sound Recording – Preparing For The Shoot. 8 Booming And Mixing Techniques. 9 More Asset Gathering When Location Sound Recording, Or What You Need To Come Away With (Hint: It’s Not Just Great Sounding Dialogue). 10 Location Sound Recording In Practice – Specimen Film – Turn Back Night. 11 Sound Post-Production – An Introduction To Sound Editing. 12 Sound Post-Production That Starts In The Picture Edit Stage. 13 Sound Editing And Mixing In Your Editing Application. 14 Organizing Your Picture Cut For Exporting To Your DAW. 15 The Basic Sound Design Project Structure. 16 Let’s Talk Deeper About Dialogue Editing. 17 Automated Dialogue Replacements (ADR) – Yes You Too Will Need Some Of It – Sound Editing That Requires Looping Or "Comping". 18 To Foley Or Not To Foley. 19 It’s All For Effect – An Overview On The Creation, Uses, Abuses, And Editing of Sound Effects In Film. 20 Music Getting It Right And Left. 21 Putting It All Together…Sample Sound Edit/Mix

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Book SynopsisArtificial Intelligence and Music Ecosystem highlights the opportunities and rewards associated with the application of AI in the creative arts. Featuring an array of voices, including interviews with Jacques Attali, Holly Herndon and Scott Cohen, this book offers interdisciplinary approaches to pressing ethical and technical questions associated with AI. Considering the perspectives of developers, students and artists, as well as the wider themes of law, ethics and philosophy, Artificial Intelligence and Music Ecosystem is an essential introduction for anyone interested in the impact of AI on music, including those studying and working in the creative arts.Table of ContentsList of contributorsAcknowledgementsIntroductionChapter 1 The Future – Interview with Jacques AttaliChapter 2 AI music – On the Meaning of Music: Music is a language without a dictionary – David CopeChapter 3 The Developer – What do music software developers do? – Miller PucketteChapter 4 The Student – Shortcuts Guide To Music Theory – Artur Osipov Chapter 5 The Artist – Interview with Holly HerndonChapter 6 Robotics – Fast and Curious: A CNN for Ethical Deep Learning Musical Generation – Richard Savery & Gil WeinbergChapter 7 Extended Reality – Music in Immersive XR Environments:The Possibilities (and Approaches) for (AI) – Gareth W. Young & Aljosa SmolicChapter 8 Data – A Quantified Quickening: Data, AI and the Consumption and Composition of Music – Jennifer EdmondChapter 9 Law– You Can Call Me Hal: AI & Music IP – Martin ClancyChapter 10 Ethics – Whose Ethics? Approaches to a Equitable and Sustainable Music Ecosystem – Martin ClancyChapter 11 Global Ethics – From Philosophy to Practice A Culturally Informed Ethics of Music AI in Asia – Rujing Stacy Huang, Andre Holzapfel & Bob L. T. SturmChapter 12 Start-ups – AI: Why I Care – Mick KielyChapter 13 Music Industry – Interview with Scott CohenChapter 14 Philosophy – Amor Fati: A Theoretical Model of the Music Ecosystem – Martin ClancyIndex

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Book SynopsisDistortion in Music Production offers a range of valuable perspectives on how engineers and producers use distortion and colouration as production tools. Readers are provided with detailed and informed considerations on the use of non-linear signal processing, by authors working in a wide array of academic, creative, and professional contexts.Including comprehensive coverage of the process, as well as historical perspectives and future innovations, this book features interviews and contributions from academics and industry practitioners. Distortion in Music Production also explores ways in which music producers can implement the process in their work and how the effect can be used and abused through examination from technical, practical, and musicological perspectives. This text is one of the first to offer an extensive investigation of distortion in music production and constitutes essential reading for students and practitioners working in music produTable of ContentsPart I Technology of Distortion 1. A History of Distortion in Music Production; 2. The Development of Audio Software with Distortion; 3. A Browser-based WebAudio Ecosystem to Dynamically Play with Real-time Simulations of Historic Guitar Tube Amps and Their Typical Distortions; 4. Non-linearity and Dynamic Range Compressors; 5. Low Order Distortion in Creative Recording and Mixing; Part II Perception and Semantics of Distortion 6. Understanding the Semantics of Distortion; 7. An Ecological Approach to Distortion in Mixing Audio: Is Distortion an Expected, Rather than an Unwanted Artefact?; 8. Towards a Lexicon for Distortion Pedals; Part III Retrospective Perspectives of Distortion 9. Hit Hardware: Vintage Processing Technologies and the Modern Recordist; 10. Even Better than the Real Thing: A Comparison of Traditional and Software-Emulated Distortion in the Contemporary Audio Production Workflow; 11. ‘It Just Is My Inner Refusal’: Innovation and Conservatism in Guitar Amplification Technology; 12. A Saturated Market; Part IV Musicology of Distortion 13. The Studio’s Function in Creating Distortion Related Compositional Structures in Hard Rock and Heavy Metal; 14. The Distortion of Space in Music Production; 15. Distorting Jazz Guitar: Distortion as Effect, Creative Tool and Extension of the Instrument; 16. 'Got a Flaming Heart': Vocal Climax in the Music of Led Zeppelin; 17. The Aesthetics of Distortion

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Book SynopsisFinding Your Career in the Modern Audio Industry equips the reader with the skills they need to turn an interest in audio, sound, or music technology into a career.This book provides insight for aspiring professionals seeking audio-related opportunities in entertainment, technology, education, and more. In the audio industry, there is typically a gap between those in-training and those with professional (and financially sustainable) careers. This book bridges the information gap, offering practical and real-world advice to those in this volatile stage of their career. Including 70+ interviews with professionals from over 20 countries, Finding Your Career in the Modern Audio Industry offers insight into how others (across the industry and the world) have applied entrepreneurial thinking, problem-solving, and creative solutions to build their careers.Including international case studies and interviews with diverse professionals, Finding Your Career iTrade Review"When I received word about this book, I first thought "How could anyone write about finding a career in the audio biz?" The possibilities and personal experiences of this lifelong process are simply too big and varied to write about. Then, I started reading and, WOW, through the use of straightforward talk and first-hand excerpts from industry pro experiences, I think she nailed it! I'm a huge fan of anyone who'll take the time to help others find their way in the audio and music production industry. We all need guidance to make it through our own personal maze in life. I'd truly recommend it to anyone who wants to devote their life towards getting and maintaining a career in the music industry." David Miles Huber, 4X Grammy-nominated musician and producer"April’s book contains immensely valuable information and detailed advice for anyone trying to carve out a career in the audio industry where freelancing is now the norm. The interviews with so many varied professionals are especially informative – they form a tapestry of different experiences from which April draws out the key messages and common themes. It is refreshing to hear from so many different voices in the audio world, and I really wish I had been able to read this book 20 years ago! I can recommend this to anyone currently working in audio, whatever their career stage, but especially to those trying to start out."Caroline Haigh, Institute of Sound Recording, University of Surrey"You need non-audio skills to succeed in the audio industry. April Tucker’s Finding Your Career in the Modern Audio Industry spells it out, showing a structure and a process for introspective assessments of your goals, your limits, your dreams, as well as essential outward-facing action: networking, job searching, marketing yourself, and more. Business acumen can’t be ignored, and can be mastered: negotiating rates and salaries, contracts, accounting, etc. You might be focused on one career path, but this book widens your view to full range of possibilities in the wide world of audio. With quotes and advice from folks across all facets of the industry throughout each chapter, Tucker’s book is a pleasure to read, and you’ll see there is no mystery to beginning your career in the modern audio industry."Alex U. Case, Sound Recording Technology, University of Massachusetts LowellTable of ContentsAcknowledgementsPrefacePart 1 – PlanningPart 1 helps the reader define their personal preferences, challenges and barriers and how that can affect the direction of a career path. These chapters teach the fundamentals of networking, business relationships, marketing, sales, and finding opportunities, all of which are critical foundational skills towards any career in the entertainment or audio industry. Industry Introduction Defining Your Dream & Goals Defining Your Barriers Networking Business Relationships Preparing to Seek Out Opportunities The Search for Work Marketing & Sales (How to Land the Gig) What Makes You Stand Out? Part 2 – Operations Part 2 addresses the logistics of operating a business, whether doing an occasional freelance gig or making a living off of freelance work. These chapters help readers with common business concerns: learning how to set rates, create an invoice, offers and contracts, and managing financial information. Rates and Knowing Your Worth Offers, Bids & Contracts Accounting & Financial Planning for Your Business Part 3 - Career Paths Part 3 takes the principles and ideas of the earlier chapters and puts them into practice. Each chapter addresses the needs specific or unique to these industries. These chapters are largely based on quotes, interviews, stories, and case studies. What business advice would someone who’s been through it give to someone who’s just getting started? Live Sound & Theater Music Production Interactive Media (Game Audio) Sound for Picture (Broadcast, Production & Post-Production) Spoken Word Audio Beyond Entertainment Part 4 The Audio Industry Around the World Q&A Moving Forward Appendix: Bios of intervieweesSupplemental material available online Recommendations, sample contracts, other resources Index

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Book SynopsisDesigning Software Synthesizer Plugins in C++ provides everything you need to know to start designing and writing your own synthesizer plugins, including theory and practical examples for all of the major synthesizer building blocks, from LFOs and EGs to PCM samples and morphing wavetables, along with complete synthesizer example projects.The book and accompanying SynthLab projects include scores of C++ objects and functions that implement the synthesizer building blocks as well as six synthesizer projects, ranging from virtual analog and physical modelling to wavetable morphing and wave-sequencing that demonstrate their use. You can start using the book immediately with the SynthLab-DM product, which allows you to compile and load mini-modules that resemble modular synth components without needing to maintain the complete synth project code. The C++ objects all run in a stand-alone mode, so you can incorporate them into your current projects or whip up a quick experTable of ContentsList of FiguresList of TablesPreface1 SynthLab Introduction2 The Synth Engine3 Synth Voices, Synth Modules, and Module Cores4 Synth Operational Modes: Polyphony and Voice-Stealing5 Learning and Using the SynthLab Objects & Projects6 Modulation: Theory and Calculations7 Envelope Generators and DCA8 Low Frequency Oscillators 9 Wavetable Oscillators 10 Virtual Analog Oscillators 11 PCM Sample Playback Oscillators 12 Synthesizer Filters 13 Karplus-Strong Plucked String Model 14 The Modulation Matrix15 Wave Morphing and Wave Sequencing 16 The SynthLab Synth Projects

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Book SynopsisLeading with Sound is the must-have companion guide to working on video game projects. Focused on the creative, collaborative, philosophical and organizational skills behind game sound and eschewing the technical, this book celebrates the subjects most essential to leading with sound in video game development at any level. Refuting the traditional optics of sound as a service in favour of sound as a pro-active visionary department, , this book examines each of the four food-groups of dialogue, sound design, music and mix, not through the usual technical and production lenses of âhowâ and âwhenâ, but the essential lens of âwhyâ that enables leadership with sound. Leading with Sound is essential reading for aspiring sound designers, inside and outside of the classroom, as well as experienced professionals in the game industry.Table of ContentsPart One: Ports of Entry01 What is this Book About?02 The Big Four: Understanding the Four Food-groups of Audio (and how they inter-relate)03 What Drives the Mix of Your Game.04 Taking a Psychological Approach to Sound Categorization05 What is a Game Developer?06 What is Game Audio?07 What You May be Missing: Vision to Drive Your Tools and Pipelines 08 Communication Essentials: Managing Expectations of Quality (The ‘L’ Scale)09 Developing Early Audio VisionsPart Two: Sound Design10 Why do we Need Sounds?11 Working with Sound.12 Higher Level is Better.13 What is Causing these Sounds and Where are they Located? 14 Ambiguity and Clarity.15 Designing for Three Audiences. (Player, Spectator, Creator) 16 Thinking Horizontally, Vertically, and Diagonally about Asset Design.17 Designing a Moment: Temporality in Interactive Sound Design.18 Leading with Sound: Spectacle and Immersion.Part Three: Music19 Why do we Need Music?20 Music as Creative Crutches: Reaching for Music Too Soon & Too Late.21 Defining the Sound: Towards an Iconic Music Design 22 The Shape of Emotion: We Can’t Feel Emotion All the Time.23 Diegetic, Non-Diegetic and Trans-Diegetic Musical Spaces.24 Non-Diegetic Space in Recorded Music25 Leading with Music: Music as Spectacle Throughout Production and Post-Release Part Four: Voice26 Why do we Need Voice?27 Early Dialogue Development28 The Sound of Voice: Dialects, Culture and Meaning29 Casting Philosophies (Auditions, Recording, Iteration) 30 Let’s do it Again31 Rethinking Dialogue Production: Infinite Alternatives32 Leading with Voice: Leveraging the Spectacle of Performance Part Five: Mix33 Why do we Need to Mix?34 Mix Essentials35 Philosophy of the Mix: Narrative Dynamics (Pushing, Pulling, Shaping) 36 Some Defining Terminology and Features of Non-Linear Mixing 37 Mix Consistency38 Building the Mix39 Planning and Surviving the Major Milestone and Final Mixes. 40 Leading with the Mix: The First and Last Thing You Think About. Part Six: Fade Out41 The Importance of a Holistic (Four-Food-group) Vision 42 Studio Culture: A Theory of Everything 43 Game Audio Studio Spaces: Architectural Problems in Video Game Sound. 44 Games are for Everyone: Accessibility, Options and Customization in Audio for Gamers.45 Finding Our Place, Between Vision and Service.

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Book SynopsisProviding vital reading for audio students and trainee engineers, Sound and Recording is the essential guide for anyone who wants a solid grounding in both theory and industry practices in audio, sound, and recording. This updated and comprehensively restructured edition includes new content on DAW configuration, effects processing, 3D/immersive audio systems, object-based audio, and VR audio technology.This bestselling book introduces you to the principles of sound, perception, audio technology, and systems. Sound and Recording is the ideal audio engineering text for students, an accessible reference for professionals, and a comprehensive introduction for hobbyists.Table of ContentsPreface to the second editionPreface to the third editionPreface to the fourth editionPreface to the fifth editionPreface to the sixth editionPreface to the seventh edition Preface to the eighth editionChapter 1: Audio and Acoustics FundamentalsChapter 2: Auditory Perception and Sound QualityChapter 3: MicrophonesChapter 4: LoudspeakersChapter 5: Digital Audio PrinciplesChapter 6: Digital Recording and Editing SystemsChapter 7: Mixing, metering and signal levelsChapter 8: Signal Processing and EffectsChapter 9: Audio data reductionChapter 10: Digital Audio Interfaces and NetworkingChapter 11: Analog Lines and InterconnectionChapter 12: Power AmplifiersChapter 13: MIDI and Musical Instrument ControlChapter 14: SynchronizationChapter 15: Two-Channel StereoChapter 16: Surround Sound and Immersive Audio GlossaryIndex

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Book SynopsisAural/Oral Dramaturgies: Theatre in the Digital Age  focuses on the aural turn' in contemporary theatre-making, examining a number of seemingly disparate trends that foreground speech and sound -- post-verbatim' theatre, ''amplified storytelling'' (works using microphones and headphones), and gig theatre' that incorporates live music performance. Its main argument is that the dramaturgical underpinnings of these works contribute to an understanding of theatre as an extra-literary activity, greater than the centrality of the script that traditionally dominated many historical discussions. This quality is usually expressed in terms of the corporeality in dance and physical theatre, but the aural/oral turn gives an alternative viewpoint on the interplay between text and performance. The book''s case studies draw on the ways in which a range of theatre companies engage with the dramaturgy of speech and sound in their work. It is further accompaniedTrade Review"How does an audience hear a live performance? What are the relationships between speech and sound, polyphony and counterpoint, that generate meaning for a viewer/listener at the theatre? How is theatre as a form situated within the oral and aural domains? In this book, Radosavljević radicalises and reclaims sound as central to the act of theatre-making, and how its aural contours and shapes have changed and are changing new work in amplified storytelling and gig theatre and post-verbatim theatre. This book is thorough, deeply considered, provocative and alters with whispery and sometimes loud insistence on the material, technological and spiritual dimensions of speech and sound in performance. Animated and situated within interstitial cultural and linguistic spaces, Radosavljevic asks their reader to take into account the effect and affect of text and non-text-centered works and artists that are creating pieces that demand acts of replay, rewind and multi-tracking, taking audiences on journeys through spatial and temporal orientation and disorientations in order to achieve new dramaturgical forms. This book is a complex, symphonic work that demands multiple re-readings!" — Caridad Svich, Rutgers University-New Brunswick, USA"Duška Radosavljević’s book gives a critically and creatively rigorous and meta-sensitive analysis of dramaturgical intersections between Post-Verbatim, Amplified Storytelling and Gig Theatre. Operating in-between the disciplinary borderlines – and yet firmly rooted in theatre and performance studies – the book offers a needed discussion on dramaturgical innovations within contemporary sound and speech-based performance-making and its dialogue with digital developments. Radosavljević’s explorations are enriched by her international and multilingual outlook and sensitivity evident in compelling examples, her meta-criticality towards language, and aurality and orality as concepts. The book makes an exemplary case – additionally spelt out in its final section – for interdisciplinarity within theatre research methodology and the ethics of dialogue between oneself, research, artists, and the broad theatre community. It is an academic gift for scholars of all levels. It will also be an invaluable addition to reading lists in modules exploring dramaturgy, digital theatre, contemporary performance making, and research methodologies." — Dr Kasia Lech, Canterbury Christ Church University, UKTable of Contents1. Introduction(s): The Difficult Second Album 2. Post-Verbatim 3. Amplified Storytelling 4. Gig Theatre 5. Conclusion(s): Au/o/ralities in the Digital Age

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Book SynopsisDrum Sound and Drum Tuning assists drummers, sound engineers, and music students in learning critical skills related to drum sound and achieving an optimised and personalised drum kit set-up. The book covers the essential theories of percussion acoustics and develops this knowledge in order to facilitate creative approaches to drum tuning and professional-level recording and mixing of drums. All aspects of drumhead vibration, drumhead equalisation, and resonant drumhead coupling are de-mystified, alongside discussions relating to drumhead types, drum shell vibration, and tuning to musical intervals for different performance genres. The book develops drum sound theory and creative analysis into a detailed dissection of recording and production techniques specifically for drums, including discussions on studio technologies, room acoustics, microphone techniques, phase coherence, and mixing drums with advanced digital audio workstation (DAW) techniques and creative procTable of ContentsList of FiguresList of Tables1 Introduction1.1 Values of Great Drum Sound1.2 Why Bother with Drum Tuning?1.3 About this Book1.3.1 Educational Approach1.3.2 Online Resources1.3.3 Interviews with Esteemed Professionals1.3.4 Companion Software and Examples1.4 Don’t Forget to Listen!2 Drumhead Vibration and the Science of Sound2.1 Sound Sources, Acoustic Transmission and Sound Reception2.2 Evaluating Frequencies2.3 The Single Most Valuable Musical Acoustics Theory!2.4 Measuring and Analysing Drum Modes3 Tuning the Pitch of a Cylindrical Drum3.1 Exploring the Pitch Range of a Cylindrical Drum3.2 Musical Frequencies3.3 Coupled Drumheads4 Lug Tuning and Clearing the Drumhead4.1 Evaluating the First Overtone of a Drum4.2 Beat Frequencies4.3 The Sound of a Uniformly Tuned Drumhead4.4 Lug Tuning with Assistance5 Tuning the Resonant Drumhead – What, Why and How?5.1 Harmonics and In-Harmonic Overtones5.2 Musical Intervals5.3 Controlling Overtones and Intervals with the Resonant Drumhead6 A Holistic Approach to Drum Tuning6.1 Simplicity Wins6.2 Setting the Fundamental Pitch6.3 Implementing Lug Tuning and Resonant Head Tuning6.4 Damping and Decay Times7 The Wonderful World of Drumheads7.1 Guitar Strings on Steroids!7.2 The Drumhead Equation7.3 Drumhead Types and Features7.4 Resonant Drumhead Selection7.5 Experience Drumheads!8 Timbre: The Truth about Drum Shell Vibration8.1 Introducing Timbre8.2 Tuning Fork Example with Mass Loading8.3 Drum Shell Vibration8.4 Loading the Drum Shell8.5 Bearing Edges and Precision Manufacturing8.6 Considering the Drum Shell Vibration Frequency when Tuning9 Tuning for Different Musical Styles and Genres 9.1 Creative Objectives9.2 Drum Sizes for Different Music Genres9.3 Pitches and Intervals on the Kit9.4 Tuning Suggestions for Different Genres9.5 Drumheads for Different Music Genres10 Snare Drum Tuning 10.1 Key Aspects of Snare Tuning10.2 Holistic Approach to Snare Tuning10.3 Manipulating Snare Drum Timbre10.4 Comparing Snare Timbre Example11 Kick Drum Tuning 11.1 Kick Drum Tone and Dynamics11.2 Drumheads for the Kick Drum11.3 Kick Drum Tuning Range11.4 Controlling the Kick Drum Timbre12 Production and Preparation for Drum Recording12.1 Production and Pre-Production12.2 Setting Standards and Getting Results12.3 Choosing and Evaluating the Recording Space12.3.1 Room Size and Dimensions12.3.2 Room Materials and Reverberation Characteristics 12.3.3 Sound Isolation and Background Noise Levels 12.3.4 Suitability for a Room’s Use in a Recording Project12.3.5 Positioning Drums within a Room12.4 Tuning and Performance for Recording13 Fundamental Technologies for Drum Recording13.1 Microphones and Transducers13.1.1 Dynamic Microphones13.1.2 Condenser Microphones13.1.3 Ribbon Microphones13.1.4 Other Audio Transducers13.2 Microphone Characteristics13.2.1 Microphone Polar Patterns13.2.2 Other Microphone Characteristics13.3 The Complete Recording Signal Chain13.3.1 Audio Convertors13.3.2 Mixing Desk13.3.3 Microphone Preamplifiers13.3.4 Recording with FX13.4 Monitoring and Foldback13.4.1 Control Room Monitoring13.4.2 Headphone Foldback14 We Need to Talk About Phase! 14.1 What Exactly is Phase?14.2 Time Delay and Comb Filtering14.3 Mono Compatibility14.4 Signal Polarity 15 Microphone Techniques for Recording Drums15.1 Microphone Placement Approaches15.2 Stereo Recording for Drums15.2.1 Defining The Stereo Field15.2.2 Spaced Pair Technique15.2.3 X-Y Technique15.2.4 Blumlein Pair Technique15.2.5 ORTF Technique15.2.6 Mid-Side Technique15.2.7 Baffled Omnidirectional Pair Technique15.2.8 Decca Tree Technique15.2.9 Left-Right-Center Technique15.3 Using Spot Microphone Techniques15.3.1 Kick Drum Microphone Technique15.3.2 Snare Drum Microphone Technique15.3.3 Tom Drum Microphone Technique15.3.4 Close Cymbal Microphone Technique15.4 Room Microphones 15.5 Microphone Choices for Recording Drums15.6 Developing a Personal Approach16 Mixing Drums: Balance and Dynamics16.1 Balance, Panning and Bussing16.2 Dynamics Processing16.2.1 Compression and Limiting16.2.2 Gates and Expanders16.2.3 Envelope Shaping16.3 Hybrid mixing17 Mixing Drums: Creative Processing17.1 Equalisation and Spectral Processing17.1.1 Cutting Low Frequencies17.1.2 Treating the Fundamental and Overtones of Each Drum17.1.3 Adding Attack and Presence17.1.4 Controlling High Frequencies17.2 Using Reverb to Regain Authenticity17.3 Delay for Drums17.4 Distortion and Enhancers17.5 Sequential and Sidechain and Processing17.6 Drum Replacement17.7 The Final MixdownIndex

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Book SynopsisThe Game Music Toolbox provides readers with the tools, models, and techniques to create and expand a compositional toolbox, through a collection of 20 iconic case studies taken from different eras of game music. Discover many of the composition and production techniques behind popular music themes from games such as Cyberpunk 2077, Mario Kart 8, The Legend of Zelda, Street Fighter II, Diablo, Shadow of the Tomb Raider, The Last of Us, and many others. The Game Music Toolbox features: Exclusive interviews from industry experts Transcriptions and harmonic analyses 101 music theory introductions for beginners Career development ideas and strategies Copyright and business fundamentals An introduction to audio implementation for composers Practical takeaway tasks to equip readers with techniquesTable of Contents1. SPACE INVADERS (1978) - Mickey Mousing, Programmable Sound Generators, and the Birth of Interactive Game Music 2. BALLBLAZER (1985) - Algorithmic Guitar Solos to Infinity! 3. THE LEGEND OF ZELDA (1986) – Music Sequences, Musical SFX, and the SNES sound 4. AMEGAS (1987) - The Birth of the Tracker Sequencer 5. THE SECRET OF THE MONKEY ISLAND (1990) – The Secrets of Pirate Reggae! 6. STREET FIGHTER II (1991) –Melodic Tension in Guile’s, Ken’s and Blanka’s themes 7. MORTAL KOMBAT (1992) – From the Arcades to the Dance Floor, Formulaic Writing Makes a Classic Hit 8. DIABLO (1996): Chromatic chords and non-functional harmony in Tristram Village 9. ASSASSIN’S CREED - Music as a Time Travelling Device in Four Historical Games of the Franchise 10. JOURNEY (2012) – a Masterclass in Monothematic Scoring 11. THE LAST OF US (2013) – WHEN LESS IS MORE – SPACE & SILENCE AS STORYTELLING DEVICES 12. ALIEN ISOLATION (2014) – In Space None Can Hear You Scream! - Controlling Tension with a Vertical Layers System 13. MARIO KART 8 (2014) – Music as an Information Device 14. APOTHEON (2016) – Recombinant Cells - A Generative Technique for Producing Musical Variation 15. NO MAN’S SKY (2016) – A Conversation With the Audio Director Paul Weir 16. DOOM (2016) – The Doom Instrument – Using FX chains creatively 17. CALL OF DUTY WW2 (2017) – A Conversation with the Composer Wilbert Roget, II 18. SHADOW OF THE TOMB RAIDER (2018) – Music as Meditation, Lost Instruments, and 3D Mixing 19. CONTROL (2019) - A Conversation with Composer Petri Alanko 20. CYBERPUNK 2077 (2021) – Diegetic Music in Night City, Riff-based Composition, and the Sound of Sci-Fi

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Book SynopsisCoproduction in the Recording Studio: Perspectives from the Vocal Booth details how recording studio environments affect performance in the vocal booth.Drawing on interviews with professional session singers, this book considers sociocultural and sociotechnical theory, the modern home studio space, as well as isolation and self-recording in light of the COVID-19 pandemic.This is cutting-edge reading for advanced undergraduates, scholars and professionals working in the disciplines of recording studio production, vocal performance, audio engineering and music technology.Table of Contents1 Introduction; 2 Stepping into the sociocultural space; 3 Stepping into the creative space; 4 Stepping into the sociotechnical space; 5 Stepping into the remote recording space; 6 What does this mean?

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Book SynopsisThe Live Music Business: Management and Production of Concerts and Festivals, Third Edition, shines a light on the enigmatic live music business, offering a wealth of inside advice and trade secrets to artists and bands looking to make a living in the industry.Trade Review"Part business book, part career development plan, The Live Music Business is full of practical advice and information."—Adam Moujahid, Artist Manager, 285 Group (Maribou State, George FitzGerald)"I encourage anyone interested in getting into the live music business to read this book."—Geoff Meall, Booking Agent, Paradigm Agency (Muse, My Chemical Romance, Sum 41, Super Furry Animals) "The Live Music Business is a MUST READ for anyone wanting to enter the live industry. Andy Reynolds is one of very few qualified to give such an experienced and insightful description of such a complex industry."—Ben Bushell, Course Leader, London College of Music "There are few people who have combined industry experience with academic process. Andy is one of them. Any information he presents in a book should be taken seriously by students studying the live music business."—Steve Melhuish, CEO, Music Business School"Andy has years of experience of both working in the live music business and teaching. He has laid out his vast knowledge in a clear, concise way. Any student studying the wider music business should buy and read this book."—Jamie Johnston, Label Owner, Physical Education Recordings"The Live Music Business is an insightful new guide that simplifies and demystifies the business of concerts and music festivals. Read this book!"—Danny Hagan, Senior Lecturer and Head of Subject: Music Technology, Music Management and Popular Music Performance, University of West London Table of ContentsIntroduction / Part One: Live Music Management / 1. THE ARTISTS / 2. ARTIST MANAGEMENT / 3. BOOKING AGENTS / 4. CONCERT PROMOTERS / 5. CREATING THE DEALS / 6. THE CONTRACT / 7. THE CONTRACT RIDER / 8. REVENUE STREAMS FROM LIVE MUSIC – ARTISTS / 9. REVENUE STREAMS FROM LIVE MUSIC –PROMOTERS AND ORGANISERS / 10. MARKETING AND PROMOTION / 11. FESTIVALS / 12. STRATEGY / Part Two: Live Music Production / 13. PLANNING A TOUR / 14. BUDGET / 15. WAGES / 16. TRANSPORT / 17. ACCOMMODATION / 18. PRODUCTION / 19. OTHER PRODUCTION CONSIDERATIONS / Appendix 1: Concert Production Personnel / Appendix 2: A Performance Contract / Appendix 3: Contract Rider / Appendix 4: Tour Budget Sheet / Appendix 5: Day-to-Day Schedules

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Book SynopsisThe Audio Expert is a comprehensive reference book covering all aspects of audio, with both practical and theoretical explanations. It is written for people who want to understand audio at the deepest, most technical level, but without needing an engineering degree. The Audio Expert explains how audio really works in much more depth than usual, using common sense plain-English explanations and mechanical analogies, with minimal math. It uses an easy to read conversational tone, and includes more than 400 figures and photos to augment the printed text.However, this book goes beyond merely explaining how audio works. It brings together the concepts of audio, aural perception, musical instrument physics, acoustics, and basic electronics, showing how they're intimately related. It also describes in great detail many practices and techniques used by recording and mixing engineers, including video production and computers. This book is meant for intermediate Trade Review"Winer has made his own experiments on many topics and shows measurements for many of these. Very laudable. ... All in all, this is a very useful reference book." - AES JournalTable of ContentsPart 1 Audio Defined - Chapter 1: Audio Basics; Chapter 2: Audio Fidelity, Measurements, and Myths; Chapter 3: Hearing, Perception, and Artifact Audibility; Chapter 4: Gozintas and Gozoutas.Part 2 Analog and Digital Recording, Processing, and Methods - Chapter 5: Mixers, Buses, Routing, and Summing; Chapter 6: Recording Devices and Methods; Chapter 7: Mixing Devices and Methods; Chapter 8: Digital Audio Basics; Chapter 9: Dynamics Processors; Chapter 10: Frequency Processors; Chapter 11: Time Domain Processors; Chapter 12: Pitch and Time Manipulation Processors; Chapter 13: Other Audio Processors; Chapter 14: Synthesizers; Chapter 15: MIDI Basics.Part 3 Video Production - Chapter 16: Video Production.Part 4 Transducers - Chapter 17: Microphones and Pickups; Chapter 18: Loudspeakers and Earphones.Part 5 Room Acoustics, Treatment, and Monitoring - Chapter 19: Acoustic Basics; Chapter 20: Room Shapes, Modes, and Isolation; Chapter 21: Acoustic Treatment; Chapter 22: Room Measuring.Part 6 Electronics and Computers - Chapter 23: Basic Electronics in 60 Minutes; Chapter 24: Test Procedures; Chapter 25: Computers.Part 7 Musical Instruments - Chapter 26: Musical Instruments.

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Book SynopsisUnderstanding and Crafting the Mix, 3rd edition provides the framework to identify, evaluate, and shape your recordings with clear and systematic methods. Featuring numerous exercises, this third edition allows you to develop critical listening and analytical skills to gain greater control over the quality of your recordings. Sample production sequences and descriptions of the recording engineer's role as composer, conductor, and performer provide you with a clear view of the entire recording process. Dr. William Moylan takes an inside look into a range of iconic popular music, thus offering insights into making meaningful sound judgments during recording. His unique focus on the aesthetic of recording and mixing will allow you to immediately and artfully apply his expertise while at the mixing desk. A companion website features recorded tracks to use in exercises, reference materials, additional examples of mixes and sound qualities, and mixed tracks.Table of ContentsIntroduction- Overview of Organization and Materials Establishing an Accurate Playback of Recordings- Part One. Defining the Art of Recording: The Sound Characteristics and the Aesthetic Qualities of Audio Recordings Chapter 1. The Elements of Sound and Audio Recording Chapter 2. The Aesthetic and Artistic Elements of Sound in Audio Recordings Chapter 3. The Musical Message and the Listener Part Two. Learning to Listen, Beginning to Hear: Acquiring Fundamental Listening Skills and Establishing an Effective Approach to Listening Chapter 4. Listening and Evaluating Sound for the Aspiring Audio Professional Chapter 5. Fundamental Listening Skills Chapter 6. A System for Evaluating Sound Chapter 7. Evaluating Pitch in Audio and Music Recordings Chapter 8. Evaluating Loudness in Audio and Music Recordings Chapter 9. Evaluating Sound Quality Chapter 10. Evaluating the Spatial Elements of Two Channel Sound Chapter 11. Evaluating the Spatial Elements of Surround Sound Chapter 12. Complete Evaluations and Understanding Observations Chapter 13. The Roles of the Recordist and the Aesthetics of Recording Production Chapter 14. The Sounds of Recordings: Shaping Musical Ideas and Musical Expression Chapter 15. Preproduction and Preliminary Stages: Embracing Reality and Defining the Materials of the Project Chapter 16. Recording and Tracking: Capturing and Shaping the Performance Chapter 17. Crafting the Mix, and Finalizing the Production

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Book SynopsisThis book collects a wealth of information about spatial audio coding into one comprehensible volume. It is a thorough reference to the 3GPP and MPEG Parametric Stereo standards and the MPEG Surround multi-channel audio coding standard. It describes key developments in coding techniques, which is an important factor in the optimization of advanced entertainment, communications and signal processing applications. Until recently, technologies for coding audio signals, such as redundancy reduction and sophisticated source and receiver models did not incorporate spatial characteristics of source and receiving ends. Spatial audio coding achieves much higher compression ratios than conventional coders. It does this by representing multi-channel audio signals as a downmix signal plus side information that describes the perceptually-relevant spatial information. Written by experts in spatial audio coding, Spatial Audio Processing: reviews psychoacousticTable of ContentsAuthor Biographies. Foreword. Preface. 1 Introduction. 1.1 The human auditory system. 1.2 Spatial audio reproduction. 1.3 Spatial audio coding. 1.4 Book outline. 2 Background. 2.1 Introduction. 2.2 Spatial audio playback systems. 2.2.1 Stereo audio loudspeaker playback. 2.2.2 Headphone audio playback. 2.2.3 Multi-channel audio playback. 2.3 Audio coding. 2.3.1 Audio signal representation. 2.3.2 Lossless audio coding. 2.3.3 Perceptual audio coding. 2.3.4 Parametric audio coding. 2.3.5 Combining perceptual and parametric audio coding. 2.4 Matrix surround. 2.5 Conclusions. 3 Spatial Hearing. 3.1 Introduction. 3.2 Physiology of the human hearing system. 3.3 Spatial hearing basics. 3.3.1 Spatial hearing with one sound source. 3.3.2 Ear entrance signal properties and lateralization. 3.3.3 Sound source localization. 3.3.4 Two sound sources: summing localization. 3.3.5 Superposition of signals each evoking one auditory object. 3.4 Spatial hearing in rooms. 3.4.1 Source localization in the presence of reflections: the precedence effect. 3.4.2 Spatial impression. 3.5 Limitations of the human auditory system. 3.5.1 Just-noticeable differences in interaural cues. 3.5.2 Spectro-temporal decomposition. 3.5.3 Localization accuracy of single sources. 3.5.4 Localization accuracy of concurrent sources. 3.5.5 Localization accuracy when reflections are present. 3.6 Source localization in complex listening situations. 3.6.1 Cue selection model. 3.6.2 Simulation examples. 3.7 Conclusions. 4 Spatial Audio Coding. 4.1 Introduction. 4.2 Related techniques. 4.2.1 Pseudostereophonic processes. 4.2.2 Intensity stereo coding. 4.3 Binaural Cue Coding (BCC). 4.3.1 Time–frequency processing. 4.3.2 Down-mixing to one channel. 4.3.3 ‘Perceptually relevant differences’ between audio channels. 4.3.4 Estimation of spatial cues. 4.3.5 Synthesis of spatial cues. 4.4 Coding of low-frequency effects (LFE) audio channels. 4.5 Subjective performance. 4.6 Generalization to spatial audio coding. 5 Parametric Stereo. 5.1 Introduction. 5.1.1 Development and standardization. 5.1.2 AacPlus v2. 5.2 Interaction between core coder and spatial audio coding. 5.3 Relation to BCC. 5.4 Parametric stereo encoder. 5.4.1 Time/frequency decomposition. 5.4.2 Parameter extraction. 5.4.3 Down-mix. 5.4.4 Parameter quantization and coding. 5.5 Parametric stereo decoder. 5.5.1 Analysis filterbank. 5.5.2 Decorrelation. 5.5.3 Matrixing. 5.5.4 Interpolation. 5.5.5 Synthesis filterbanks. 5.5.6 Parametric stereo in enhanced aacPlus. 5.6 Conclusions. 6 MPEG Surround. 6.1 Introduction. 6.2 Spatial audio coding. 6.2.1 Concept. 6.2.2 Elementary building blocks. 6.3 MPEG Surround encoder. 6.3.1 Structure. 6.3.2 Pre- and post-gains. 6.3.3 Time–frequency decomposition. 6.3.4 Spatial encoder. 6.3.5 Parameter quantization and coding. 6.3.6 Coding of residual signals. 6.4 MPEG Surround decoder. 6.4.1 Structure. 6.4.2 Spatial decoder. 6.4.3 Enhanced matrix mode. 6.5 Subjective evaluation. 6.5.1 Test 1: operation using spatial parameters. 6.5.2 Test 2: operation using enhanced matrix mode. 6.6 Conclusions. 7 Binaural Cues for a Single Sound Source. 7.1 Introduction. 7.2 HRTF parameterization. 7.2.1 HRTF analysis. 7.2.2 HRTF synthesis. 7.3 Sound source position dependencies. 7.3.1 Experimental procedure. 7.3.2 Results and discussion. 7.4 HRTF set dependencies. 7.4.1 Experimental procedure. 7.4.2 Results and discussion. 7.5 Single ITD approximation. 7.5.1 Procedure. 7.5.2 Results and discussion. 7.6 Conclusions. 8 Binaural Cues for Multiple Sound Sources. 8.1 Introduction. 8.2 Binaural parameters. 8.3 Binaural parameter analysis. 8.3.1 Binaural parameters for a single sound source. 8.3.2 Binaural parameters for multiple independent sound sources. 8.3.3 Binaural parameters for multiple sound sources with varying degrees of mutual correlation. 8.4 Binaural parameter synthesis. 8.4.1 Mono down-mix. 8.4.2 Extension towards stereo down-mixes. 8.5 Application to MPEG Surround. 8.5.1 Binaural decoding mode. 8.5.2 Binaural parameter synthesis. 8.5.3 Binaural encoding mode. 8.5.4 Evaluation. 8.6 Conclusions. 9 Audio Coding with Mixing Flexibility at the Decoder Side. 9.1 Introduction. 9.2 Motivation and details. 9.2.1 ICTD, ICLD and ICC of the mixer output. 9.3 Side information. 9.3.1 Reconstructing the sources. 9.4 Using spatial audio decoders as mixers. 9.5 Transcoding to MPEG Surround. 9.6 Conclusions. 10 Multi-loudspeaker Playback of Stereo Signals. 10.1 Introduction. 10.2 Multi-channel stereo. 10.3 Spatial decomposition of stereo signals. 10.3.1 Estimating ps,b, Ab and pn,b. 10.3.2 Least-squares estimation of sm, n1,m and n2,m. 10.3.3 Post-scaling. 10.3.4 Numerical examples. 10.4 Reproduction using different rendering setups. 10.4.1 Multiple loudspeakers in front of the listener. 10.4.2 Multiple front loudspeakers plus side loudspeakers. 10.4.3 Conventional 5.1 surround loudspeaker setup. 10.4.4 Wavefield synthesis playback system. 10.4.5 Modifying the decomposed audio signals. 10.5 Subjective evaluation. 10.5.1 Subjects and playback setup. 10.5.2 Stimuli. 10.5.3 Test method. 10.5.4 Results. 10.6 Conclusions. 10.7 Acknowledgement. Frequently Used Terms, Abbreviations and Notation. Terms and abbreviations. Notation and variables. Bibliography. Index.

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Book SynopsisWhen Speech and Audio Signal Processing published in 1999, it stood out from its competition in its breadth of coverage and its accessible, intutiont-based style. This book was aimed at individual students and engineers excited about the broad span of audio processing and curious to understand the available techniques. Since then, with the advent of the iPod in 2001, the field of digital audio and music has exploded, leading to a much greater interest in the technical aspects of audio processing. This Second Edition will update and revise the original book to augment it with new material describing both the enabling technologies of digital music distribution (most significantly the MP3) and a range of exciting new research areas in automatic music content processing (such as automatic transcription, music similarity, etc.) that have emerged in the past five years, driven by the digital music revolution. New chapter topics include: PsychoacTable of ContentsPREFACE TO THE 2011 EDITION xxi CHAPTER 1 INTRODUCTION 1 PART I HISTORICAL BACKGROUND CHAPTER 2 SYNTHETIC A UDIO: A BRIEF HISTORY 9 CHAPTER 3 SPEECH ANALYSIS AND SYNTHESIS OVERVIEW 21 CHAPTER 4 BRIEF HISTORY OF AUTOMATIC SPEECH RECOGNITION 40 CHAPTER 5 SPEECH-RECOGNITION OVERVIEW 59 PART II MATHEMATICAL BACKGROUND CHAPTER 6 DIGITAL SIGNAL PROCESSING 73 CHAPTER 7 DIGITAL FILTERSAND DISCRETE FOURIER TRANSFORM 87 CHAPTER 8 PATTERN CLASSIFICATION 105 CHAPTER 9 STATISTICAL PATTERN CLASSIFICATION 124 PART III ACOUSTICS CHAPTER 10 WAVE BASICS 141 CHAPTER 11 ACOUSTIC TUBE MODELING OF SPEECH PRODUCTION 152 CHAPTER 12 MUSICAL INSTRUMENT ACOUSTICS 158 CHAPTER 13 ROOM ACOUSTICS 179 PART IV AUDITORY PERCEPTION CHAPTER 14 EAR PHYSIOLOGY 193 CHAPTER 15 PSYCHOACOUSTICS 209 CHAPTER 16 MODELS OF PITCH PERCEPTION 218 CHAPTER 17 SPEECH PERCEPTION 232 CHAPTER 18 HUMAN SPEECH RECOGNITION 250 PART V SPEECH FEATURES CHAPTER 19 THE AUDITORY SYSTEM AS A FILTER BANK 263 CHAPTER 20 THE CEPSTRUM AS A SPECTRAL ANALYZER 277 CHAPTER 21 LINEAR PREDICTION 286 PART VI A UTOMATIC SPEECH RECOGNITION CHAPTER 22 FEATURE EXTRACTION FOR ASR 301 CHAPTER 23 LINGUISTIC CATEGORIES FOR SPEECH RECOGNITION 319 CHAPTER 24 DETERMINISTIC SEQUENCE RECOGNITION FOR ASR 337 CHAPTER 25 STATISTICAL SEQUENCE RECOGNITION 350 CHAPTER 26 STATISTICAL MODEL TRAINING 364 CHAPTER 27 DISCRIMINANT ACOUSTIC PROBABILITY ESTIMATION 381 CHAPTER 28 ACOUSTIC MODEL TRAINING: FURTHER TOPICS 394 CHAPTER 29 SPEECH RECOGNITION AND UNDERSTANDING 416 PART VII SYNTHESIS AND CODING CHAPTER 30 SPEECH SYNTHESIS 431 CHAPTER 31 PITCH DETECTION 455 CHAPTER 32 VOCODERS 473 CHAPTER 33 LOW-RATE VOCODERS 493 CHAPTER 34 MEDIUM-RATE AND HIGH-RATE VOCODERS 505 CHAPTER 35 PERCEPTUAL A UDIO CODING 531 PART VIII OTHER APPLICATIONS CHAPTER 36 SOME ASPECTS OF COMPUTER MUSIC SYNTHESIS 553 CHAPTER 37 MUSIC SIGNAL ANALYSIS 567 CHAPTER 38 MUSIC RETRIEVAL 581 CHAPTER 39 SOURCE SEPARATION 59 CHAPTER 40 SPEECH TRANSFORMATIONS 617 CHAPTER 41 SPEAKER VERIFICATION 633 CHAPTER 42 SPEAKER DIARIZATION 644

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Book SynopsisRapid development in different fields of Digital Audio Effects (DAFX) has led to new algorithms. The Second Edition of DAFX - Digital Audio Effects investigates digital signal processing, its application to sound, and how its effects on sound can be used within music.Table of ContentsPreface. List of Contributors. 1 Introduction (V. Verfaille, M. Holters, U. Zölzer). 1.1 Digital Audio Effects DAFX with MATLAB. 1.2 Classifications of DAFX. 1.3 Fundamentals of Digital Signal Processing. 1.4 Conclusion. Bibliography. 2 Filters and Delays (P. Dutilleux, M. Holters, S. Disch, U. Zölzer). 2.1 Introduction. 2.2 Basic Filters. 2.3 Equalizers. 2.4 Time-varying Filters. 2.5 Basic Delay Structures. 2.6 Delay-based Audio Effects. 2.7 Conclusion. Sound and Music. Bibliography. 3 Modulators and Demodulators (P. Dutilleux, M. Holters, S. Disch, U. Zölzer). 3.1 Introduction. 3.2 Modulators. 3.3 Demodulators. 3.4 Applications. 3.5 Conclusion. Sound and Music. Bibliography. 4 Nonlinear Processing (P. Dutilleux, K. Dempwolf, M. Holters, U. Zölzer). 4.1 Introduction. 4.2 Dynamic Range Control. 4.3 Musical Distortion and Saturation Effects. 4.4 Exciters and Enhancers. 4.5 Conclusion. Sound and Music. Bibliography. 5 Spatial Effects (V. Pulkki, T. Lokki, D. Rocchesso). 5.1 Introduction. 5.2 Concepts of spatial hearing. 5.3 Basic spatial effects for stereophonic loudspeaker and headphone playback. 5.4 Binaural techniques in spatial audio. 5.5 Spatial audio effects for multichannel loudspeaker layouts. 5.6 Reverberation. 5.7 Modeling of room acoustics. 5.8 Other spatial effects. 5.9 Conclusion. 5.10 Acknowledgements. References. 6 Time-Segment Processing (P. Dutilleux, G. De Poli, A. von dem Knesebeck, U. Zölzer). 6.1 Introduction. 6.2 Variable Speed Replay. 6.3 Time Stretching. 6.4 Pitch Shifting. 6.5 Time Shuffling and Granulation. 6.6 Conclusion. Sound and Music. References. 7 Time-Frequency Processing (D. Arfib, F. Keiler, U. Zölzer, V. Verfaille, J. Bonada). 7.1 Introduction. 7.2 Phase Vocoder Basics. 7.3 Phase Vocoder Implementations. 7.4 Phase Vocoder Effects. 7.5 Conclusion. References. 8 Source-Filter Processing (D. Arfib, F. Keiler, U. Zölzer, V. Verfaille). 8.1 Introduction. 8.2 Source-Filter Separation. 8.3 Source-Filter Transformations. 8.4 Conclusion. References. 9 Adaptive Digital Audio Effects (V. Verfaille, D. Arfib, F. Keiler, A. von dem Knesebeck, U. Zölzer). 9.1 Introduction. 9.2 Sound-Feature Extraction. 9.3 Mapping Sound Features to Control Parameters. 9.4 Examples of Adaptive DAFX. 9.5 Conclusions. References. 10 Spectral Processing (J. Bonada, X. Serra, X. Amatriain, A. Loscos). 10.1 Introduction. 10.2 Spectral Models. 10.3 Techniques. 10.4 Effects. 10.5 Conclusions. References. 11 Time and Frequency Warping-Musical Signals (G. Evangelista). 11.1 Introduction. 11.2 Warping. 11.3 Musical Uses of Warping. 11.4 Conclusion. References. 12 Virtual Analog Effects (V. Välimäki, S. Bilbao, J. O. Smith, J. S. Abel, J. Pakarinen, D. Berners). 12.1 Introduction. 12.2 Virtual Analog Filters. 12.3 Circuit-Based Valve Emulation. 12.4 Electromechanical Effects. 12.5 Tape-Based Echo Simulation. 12.6 Antiquing of Audio Files. 12.7 Conclusion. References. 13 Automatic Mixing (E. Perez-Gonzalez, J. D. Reiss). 13.1 Introduction. 13.2 AM-DAFX. 13.3 Cross-adaptive AM-DAFX. 13.4 AM-DAFX Implementations. 13.5 Conclusion. References. 14 Sound Source Separation (G. Evangelista, S. Marchand, M. D. Plumbley, E. Vincent). 14.1 Introduction. 14.2 Binaural Source Separation. 14.3 Source Separation from Single-Channel Signals. 14.4 Applications. 14.5 Conclusions. Acknowledgments. References. Glossary. Index.

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Book SynopsisThe purpose of this text is to teach speech analysis and synthesis through user-computer interaction. This text provides a means to study the features and properties of speech as a signal without having to record data and write software to analyze the data. An extensive speech database is provided on the accompanying CD-ROMs along with various software programs to analyze the data including a run-time version of MATLAB which allows the data to be used without purchasing MATLAB separately.The text also provides the theoretical basis of underlying the software algorithms used for speech analysis and synthesis. The goal of this approach is to strike a balance between theory and practice, thereby aiding the student''s understanding of the basic concepts, assumptions, and limitations of the theory of speech analysis and synthesis.Table of ContentsSpeech Analysis Toolbox. Speech Production, Labeling, and Characteristics. Data and Measurements. Linear Prediction. Speech Synthesis and a Formant Speech Synthesis Toolbox. Vocos - A Voice Conversion Toolbox. Time Modification of Speech Toolbox. Animated Vocal Fold Model Toolbox. Articulatory Speech Synthesis Toolbox. Appendices. Index.

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Book SynopsisHow can we engineer systems capable of cocktail party listening? Human listeners are able to perceptually segregate one sound source from an acoustic mixture, such as a single voice from a mixture of other voices and music at a busy cocktail party. How can we engineer machine listening systems that achieve this perceptual feat? Albert Bregman''s book Auditory Scene Analysis, published in 1990, drew an analogy between the perception of auditory scenes and visual scenes, and described a coherent framework for understanding the perceptual organization of sound. His account has stimulated much interest in computational studies of hearing. Such studies are motivated in part by the demand for practical sound separation systems, which have many applications including noise-robust automatic speech recognition, hearing prostheses, and automatic music transcription. This emerging field has become known as computational auditory scene analysis (CASA). Computational Auditory ScenTable of ContentsForeword. Preface. Contributors. Acronyms. 1. Fundamentals of Computational Auditory Scene Analysis (DeLiang Wang and Guy J. Brown). 1.1 Human Auditory Scene Analysis. 1.1.1 Structure and Function of the Auditory System. 1.1.2 Perceptual Organization of Simple Stimuli. 1.1.3 Perceptual Segregation of Speech from Other Sounds. 1.1.4 Perceptual Mechanisms. 1.2 Computational Auditory Scene Analysis (CASA). 1.2.1 What Is CASA? 1.2.2 What Is the Goal of CASA? 1.2.3 Why CASA? 1.3 Basics of CASA Systems. 1.3.1 System Architecture. 1.3.2 Cochleagram. 1.3.3 Correlogram. 1.3.4 Cross-Correlogram. 1.3.5 Time-Frequency Masks. 1.3.6 Resynthesis. 1.4 CASA Evaluation. 1.4.1 Evaluation Criteria. 1.4.2 Corpora. 1.5 Other Sound Separation Approaches. 1.6 A Brief History of CASA (Prior to 2000). 1.6.1 Monaural CASA Systems. 1.6.2 Binaural CASA Systems. 1.6.3 Neural CASA Models. 1.7 Conclusions 36 Acknowledgments. References. 2. Multiple F0 Estimation (Alain de Cheveigné). 2.1 Introduction. 2.2 Signal Models. 2.3 Single-Voice F0 Estimation. 2.3.1 Spectral Approach. 2.3.2 Temporal Approach. 2.3.3 Spectrotemporal Approach. 2.4 Multiple-Voice F0 Estimation. 2.4.1 Spectral Approach. 2.4.2 Temporal Approach. 2.4.3 Spectrotemporal Approach. 2.5 Issues. 2.5.1 Spectral Resolution. 2.5.2 Temporal Resolution. 2.5.3 Spectrotemporal Resolution. 2.6 Other Sources of Information. 2.6.1 Temporal and Spectral Continuity. 2.6.2 Instrument Models. 2.6.3 Learning-Based Techniques. 2.7 Estimating the Number of Sources. 2.8 Evaluation. 2.9 Application Scenarios. 2.10 Conclusion. Acknowledgments. References. 3. Feature-Based Speech Segregation (DeLiang Wang). 3.1 Introduction. 3.2 Feature Extraction. 3.2.1 Pitch Detection. 3.2.2 Onset and Offset Detection. 3.2.3 Amplitude Modulation Extraction. 3.2.4 Frequency Modulation Detection. 3.3 Auditory Segmentation. 3.3.1 What Is the Goal of Auditory Segmentation? 3.3.2 Segmentation Based on Cross-Channel Correlation and Temporal Continuity. 3.3.3 Segmentation Based on Onset and Offset Analysis. 3.4 Simultaneous Grouping. 3.4.1 Voiced Speech Segregation. 3.4.2 Unvoiced Speech Segregation. 3.5 Sequential Grouping. 3.5.1 Spectrum-Based Sequential Grouping. 3.5.2 Pitch-Based Sequential Grouping. 3.5.3 Model-Based Sequential Grouping. 3.6 Discussion. Acknowledgments. References. 4. Model-Based Scene Analysis (Daniel P. W. Ellis). 4.1 Introduction. 4.2 Source Separation as Inference. 4.3 Hidden Markov Models. 4.4 Aspects of Model-Based Systems. 4.4.1 Constraints: Types and Representations. 4.4.2 Fitting Models. 4.4.3 Generating Output. 4.5 Discussion. 4.5.1 Unknown Interference. 4.5.2 Ambiguity and Adaptation. 4.5.3 Relations to Other Separation Approaches. 4.6 Conclusions. References. 5. Binaural Sound Localization (Richard M. Stern, Guy J. Brown, and DeLiang Wang). 5.1 Introduction. 5.2 Physical and Physiological Mechanisms Underlying Auditory Localization. 5.2.1 Physical Cues. 5.2.2 Physiological Estimation of ITD and IID. 5.3 Spatial Perception of Single Sources. 5.3.1 Sensitivity to Differences in Interaural Time and Intensity. 5.3.2 Lateralization of Single Sources. 5.3.3 Localization of Single Sources. 5.3.4 The Precedence Effect. 5.4 Spatial Perception of Multiple Sources. 5.4.1 Localization of Multiple Sources. 5.4.2 Binaural Signal Detection. 5.5 Models of Binaural Perception. 5.5.1 Classical Models of Binaural Hearing. 5.5.2 Cross-Correlation-Based Models of Binaural Interaction. 5.5.3 Some Extensions to Cross-Correlation-Based Binaural Models. 5.6 Multisource Sound Localization. 5.6.1 Estimating Source Azimuth from Interaural Cross-Correlation. 5.6.2 Methods for Resolving Azimuth Ambiguity. 5.6.3 Localization of Moving Sources. 5.7 General Discussion. Acknowledgments. References. 6. Localization-Based Grouping (Albert S. Feng and Douglas L. Jones). 6.1 Introduction. 6.2 Classical Beamforming Techniques. 6.2.1 Fixed Beamforming Techniques. 6.2.2 Adaptive Beamforming Techniques. 6.2.3 Independent Component Analysis Techniques. 6.2.4 Other Localization-Based Techniques. 6.3 Location-Based Grouping Using Interaural Time Difference Cue. 6.4 Location-Based Grouping Using Interaural Intensity Difference Cue. 6.5 Location-Based Grouping Using Multiple Binaural Cues. 6.6 Discussion and Conclusions. Acknowledgments. References. 7. Reverberation (Guy J. Brown and Kalle J. Palomäki). 7.1 Introduction. 7.2 Effects of Reverberation on Listeners. 7.2.1 Speech Perception. 7.2.2 Sound Localization. 7.2.3 Source Separation and Signal Detection. 7.2.4 Distance Perception. 7.2.5 Auditory Spatial Impression. 7.3 Effects of Reverberation on Machines. 7.4 Mechanisms Underlying Robustness to Reverberation in Human Listeners. 7.4.1 The Role of Slow Temporal Modulations in Speech Perception. 7.4.2 The Binaural Advantage. 7.4.3 The Precedence Effect. 7.4.4 Perceptual Compensation for Spectral Envelope Distortion. 7.5 Reverberation-Robust Acoustic Processing. 7.5.1 Dereverberation. 7.5.2 Reverberation-Robust Acoustic Features. 7.5.3 Reverberation Masking. 7.6 CASA and Reverberation. 7.6.1 Systems Based on Directional Filtering. 7.6.2 CASA for Robust ASR in Reverberant Conditions. 7.6.3 Systems that Use Multiple Cues. 7.7 Discussion and Conclusions. Acknowledgments. References. 8. Analysis of Musical Audio Signals (Masataka Goto). 8.1 Introduction. 8.2 Music Scene Description. 8.2.1 Music Scene Descriptions. 8.2.2 Difficulties Associated with Musical Audio Signals. 8.3 Estimating Melody and Bass Lines. 8.3.1 PreFEst-front-end: Forming the Observed Probability Density Functions. 8.3.2 PreFEst-core: Estimating the F0’s Probability Density Function. 8.3.3 PreFEst-back-end: Sequential F0 Tracking by Multiple-Agent Architecture. 8.3.4 Other Methods. 8.4 Estimating Beat Structure. 8.4.1 Estimating Period and Phase. 8.4.2 Dealing with Ambiguity. 8.4.3 Using Musical Knowledge. 8.5 Estimating Chorus Sections and Repeated Sections. 8.5.1 Extracting Acoustic Features and Calculating Their Similarity. 8.5.2 Finding Repeated Sections. 8.5.3 Grouping Repeated Sections. 8.5.4 Detecting Modulated Repetition. 8.5.5 Selecting Chorus Sections. 8.5.6 Other Methods. 8.6 Discussion and Conclusions. 8.6.1 Importance. 8.6.2 Evaluation Issues. 8.6.3 Future Directions. References. 9. Robust Automatic Speech Recognition (Jon Barker). 9.1 Introduction. 9.2 ASA and Speech Perception in Humans. 9.2.1 Speech Perception and Simultaneous Grouping. 9.2.2 Speech Perception and Sequential Grouping. 9.2.3 Speech Schemes. 9.2.4 Challenges to the ASA Account of Speech Perception. 9.2.5 Interim Summary. 9.3 Speech Recognition by Machine. 9.3.1 The Statistical Basis of ASR. 9.3.2 Traditional Approaches to Robust ASR. 9.3.3 CASA-Driven Approaches to ASR. 9.4 Primitive CASA and ASR. 9.4.1 Speech and Time-Frequency Masking. 9.4.2 The Missing-Data Approach to ASR. 9.4.3 Marginalization-Based Missing-Data ASR Systems. 9.4.4 Imputation-Based Missing-Data Solutions. 9.4.5 Estimating the Missing-Data Mask. 9.4.6 Difficulties with the Missing-Data Approach. 9.5 Model-Based CASA and ASR. 9.5.1 The Speech Fragment Decoding Framework. 9.5.2 Coupling Source Segregation and Recognition. 9.6 Discussion and Conclusions. 9.7 Concluding Remarks. References. 10. Neural and Perceptual Modeling (Guy J. Brown and DeLiang Wang). 10.1 Introduction. 10.2 The Neural Basis of Auditory Grouping. 10.2.1 Theoretical Solutions to the Binding Problem. 10.2.2 Empirical Results on Binding and ASA. 10.3 Models of Individual Neurons. 10.3.1 Relaxation Oscillators. 10.3.2 Spike Oscillators. 10.3.3 A Model of a Specific Auditory Neuron. 10.4 Models of Specific Perceptual Phenomena. 10.4.1 Perceptual Streaming of Tone Sequences. 10.4.2 Perceptual Segregation of Concurrent Vowels with Different F0s. 10.5 The Oscillatory Correlation Framework for CASA. 10.5.1 Speech Segregation Based on Oscillatory Correlation. 10.6 Schema-Driven Grouping. 10.7 Discussion. 10.7.1 Temporal or Spatial Coding of Auditory Grouping. 10.7.2 Physiological Support for Neural Time Delays. 10.7.3 Convergence of Psychological, Physiological, and Computational Approaches. 10.7.4 Neural Models as a Framework for CASA. 10.7.5 The Role of Attention. 10.7.6 Schema-Based Organization. Acknowledgments. References. Index.

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Book SynopsisIn this book, Geoff Hill demonstrates modern software and hardware being applied to the processes behind loudspeaker design and modelling. Modern computing power has progressed to the point that such analyses are now practical for any interested individual or small company. Loudspeaker Modelling and Design: A Practical Introduction examines the process from initial concept through specifications and theoretical simulations and onto detailed design. It demonstrates the processes of design and specification, by using detailed simulations of a loudspeaker driver; sufficient to give re-assurance that a design is practical and will perform as expected.This book brings together many different strands of modelling from electro-magnetic through to mechanical and acoustic, without getting bogged down in theoretical discussions and arguments. This practice-based book shows the techniques used in designing modern loudspeakers and transducers.Trade Review"[Hill] includes a good section and advice on design considerations for the application of the speaker and the constraints of the design with lots of frequently asked questions to satisfy the budding designer. [...] I enjoyed this book and found it a useful reference." - Tim French, audio specialist"The book is written in an easy-to-read and informative style, offering many practical asides and interesting anecdotes that make it even more readable." - Peter Mapp, Sound and Communications"Geoff Hill’s book fills a unique niche in providing insight into the methods actually used in designing loudspeaker drivers. If you’re interested in loudspeakers, you should certainly consider buying a copy!" - Richard Honeycutt, audioXpress"This is a unique book written by a veteran of loudspeaker design from a novel and practical perspective. Geoff Hill is a passionate engineer and active member of the Audio Engineering Society and is able to bring the topic to life using his 40 years of practical experience. The book is well worth the cost and is worthy of a place on any loudspeaker designer’s, electroacoustics consultant’s or enthusiast’s bookshelf.’’ - Peter Mapp, Peter Mapp AssociatesTable of ContentsI INTRODUCTIONWhat tools do I need to design loudspeakers?II BASIC THEORY1 How Does a Loudspeaker Work? 2 Frequency Response 3 Frequency versus Time 4 Resonance & Damping 5 Finite Element Analysis 6 Young’s Modulus III LOUDSPEAKER MODELS7 Small Signal Model 8 Polynomial Models 9 Thiele-Small Parameters 10 Large Signal Domain and Model IV THE DESIGN PROCESS 11 There is a Job To Do - But exactly what? 12 Common Questions for Most Loudspeakers 13 Specifying a loudspeaker driver 14 Project Planning and a Bill of Materials 15 Designing a Subwoofer V WHAT’S REALLY GOING ON INSIDE A LOUDSPEAKER? 16 Driver Design 17 Magnet 18 Voice Coil 19 Bl(x) 20 Le(x) 21 Motor Unit VI FEA, BEM AND INTEGRATION 22 Material Specifications 23 Mechanical Finite Element Analysis or FEA 24 Cms(x) 25 Suspension 26 Mechanical Simulations 27 PafLS 28 Linkwitz Transform VII MECHANICAL DESIGN 29 Visual and Mechanical Design 30 Chassis 31 Cabinet VIII MEASURING A LOUDSPEAKER 32 Acoustical Measurements 33 A Universal Loudspeaker Driver Test System 34 Tetrahedral Test Chamber - White Paper IX APPENDICES A Glossary B References C ABEC and VACS Tutorial D FEMM Tutorial E Fusion 360 Tutorial F HOLMImpulse Tutorial G Klippel LPM Tutorial H Mecway TutorialI Microcap Tutorial J Appendix PafLS K Appendix Theoretical Bl(x) L Statistical Analysis of Loudspeakers M WinISD

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Book SynopsisRecording Classical Music presents the fundamental principles of digitally recording and editing acoustic music in ambient spaces, focusing on stereo microphone techniques that will help musicians understand how to translate live environments into recorded sound.The book covers theory and the technical aspects of recording from sound source to delivery: the nature of soundwaves and their behavior in rooms, microphone types and the techniques of recording in stereo, proximity and phase, file types, tracking and critical listening, loudness, meters, and the post-production processes of EQ, control of dynamic range (compressors, limiters, dynamic EQ, de-essers), and reverberation (both digital reflection simulation and convolution), with some discussion of commercially available digital plugins. The final part of the book applies this knowledge to common recording situations, showcasing not only strategies for recording soloists and small ensembles, along with case studies of several recordings, but also studio techniques that can enhance or replace the capture of performances in ambient spaces, such as close miking and the addition of artificial reverberation.Recording Classical Music provides the tools necessary for anyone interested in classical music production to track, mix, and deliver audio recordings themselves or to supervise the work of others.Trade Review"This book is packed with informed and useful information. If you need to know about how sound works, and read tons of information about how classical music is recorded in the real world, then you must read this book. Perfect for anyone interested in classical music." - Paul Baily - classical recording and post production, Re:SoundTable of ContentsPart 1, Fundamental Principles1 SoundwavesEnclosed SpacesPerformance Venues 2 Audio Chain from Sound Source to ListenerIntegrity within an Audio ChainBasic Concepts and TerminologyPart 2, Production3 Microphone TypesThe Behavior of a Pure DiaphragmCondenser MicrophonesDynamic and Ribbon Microphones4 Microphone CharacteristicsFrequency ResponseDirectional (Polar) PatternsRandom Energy EfficiencyDistance FactorProximity EffectPhase5 Stereo Microphone Techniques Coincident PairsNear-Coincident ArraysSpaced Microphones 6 TrackingCritical ListeningSetting LevelsRoom AmbiencePart 3, Post-Production7 EQ – Frequency BalanceDigital FiltersCommon Practices8 Control of Dynamic RangeCompressorsLimitersDynamic EQDe-essers9 ReverberationDigital Reflection SimulationConvolution10 DeliveryFile Types Loudness and MetersPart 4, Common Recording Strategies11 Solo PianoRecording in StereoUnfavorable Room Acoustics12 Soloists with Piano Accompaniment13 Small Ensembles14 SessionsSolo PianoSolo Cello Double Bass and Piano15 Studio Techniques: Re-Creating the Aural Sense of Historic SpacesPre-ProductionProductionPost-Production

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Book SynopsisOffers a non-technical overview of all the major areas in the computer processing of human speech: speech recognition; speech synthesis; speaker recognition; language identification, lip synchronisation; and co-channel separation.Table of ContentsAbout Speech - Introduction. How Speech Is Produced. Acoustic Phonetics. Phonemics. Articulatory Processes. Representing Speech in the Computer - Introduction. Microphones. Sampling. Speech Digitization. The Frequency Domain. Speech Recognition - Introduction. Speech Recognition: What It Is; What It Isn't. Why Speech Recognition Is Easy for Us and Difficult for Our Computers. Brief History of Speech Recognition. Three Dimensions of Speech Recognition. Units of Speech Recognition. Representing the Units. Comparing the Units. Future Challenges I. Errors. Performance Evaluation of Speech Recognizers. Error Reduction. Error Detection and Correction. Future Challenges II. Speech Synthesis - Introduction and History. Parametric Coding. Concatenative Synthesis. Text-to-Speech Processing. Concept-to-Speech. Performance Evaluation. Future Challenges. Speaker Recognition, Language Identification, and Lip Synching - Introduction to Speech Classification Problems. Speaker Recognition versus Speech Recognition. Types of Speaker Recognition. Text Dependent, Text Independent, and Text Prompted Speaker Recognition. Voiceprints. Methods of Speaker Recognition. Performance Evaluation of Speaker Recognition Systems. Future Challenges I. Language Identification. Future Challenges II. Lip Synch. Future Challenges III. Applications in Speech Recognition - Criteria for a Good Application. Damping Enthusiasm: 2001 Won't Be 2001. Human Factors. Application Areas. Applications in Speech Synthesis At the Tone, the Time Will Be When To Use Text-to-Speech; When To Use Digitized Speech. Application Areas. Applications of Speaker Recognition, Language Identification, and Lip Synching - Applications in Speaker Recognition. Applications in Language Identification. Applications in Lip Synching. Glossary.

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Book SynopsisRemastering Music and Cultural Heritage presents a detailed account of the culture and practice of remastering music recordings. By investigating the production processes and the social, nostalgic and technological components of remastering practice, the book demonstrates the application of these techniques to iconic recordings by artists including The Beatles, Elton John and Oasis.Through comprehensive interviews with music production professionals directly involved in both the original productions and remastered releases of these iconic recordings â and detailed digital audio analysis â this book offers an extensive insight into music production and remastering practice. Readers learn about the music production techniques behind creating some of the most well-recognised and loved albums of all time, as well as the processes used to create the remasters, to help guide their own projects.Remastering Music and Cultural Heritage is essential reading for studentsTable of Contents1. Remastering from vintage formats 2. Remastering The Beatles' Abbey Road 3. Remastering Elton John's Goodbye Yellow Brick Road 4. Remastering Oasis' (What’s the Story) Morning Glory? 5. Remastering Mozart's The Magic Flute

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Book SynopsisMaking it HUGE in Video Games recounts the astonishing journey of an unassuming, middle-of-the-bell-curve young man, rising from mundane beginnings to scale the dizzying heights of artistic distinction and financial success in the worldwide video game industry.This is the story of Chance Thomas, a moderately talented musician who struggled and grew to compose original scores for some of the most well-known entertainment properties in the world. Detailed personal accounts and instructive side bars carry readers across the jagged peaks and valleys of an absolutely achievable career in video games. World-famous IP's get personal treatment here The Lord of the Rings, Marvel, Avatar, Dungeons & Dragons, Warhammer, DOTA 2, King Kong, The Settlers, and many more.Readers will discover unvarnished true stories about starting out, pitching and pursuing gigs, negotiating contracts, composing anTable of ContentsIntroductionAcknowledgementsChapter 01. Music Degree... What Now?Chapter 02. Quest for Glory and Grammy AwardsChapter 03. The Lord of the Rings, Part OneChapter 04. King KongChapter 05. Left BehindChapter 06. Academy AwardChapter 07. The Lord of the Rings, Part TwoChapter 08. EA GamesChapter 09. AvatarChapter 10. GDC, GANG, and GSCChapter 11. Warcraft and Other Peripheral Life SaversChapter 12. DOTA 2Chapter 13. Faeria and RoguebookChapter 14. Might & Magic and Combat of GiantsChapter 15. Rise and Fall of HUGEsoundChapter 16. WarhammerChapter 17. Swinging For The FencesChapter 18. Avatar 2Chapter 19. The SettlersChapter 20. Church MusicChapter 21. Securing the Future

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Soundwalking brings together a diverse group of contemporary scholars, artists and thinkers in one of the first comprehensive studies of soundwalking the practice of moving through space while carefully listening to what it has to say to address urgent challenges and concerns of an environmental, ethical, social and technological nature.Besides gaining insight into the historical development of soundwalking as a scholarly method and artistic genre, the reader will have a chance to learn from emerging voices concerned with this practice, of many different backgrounds and positionalities. Soundwalking demonstrates how attentive listening and walking might help with more careful and responsible navigation through the complex dimensions of our shared environments and entangled histories, often imperceptible on a day-to-day basis. The book encourages scholars, artists, and also those unfamiliar with the concept, to engage with it in their respective fields and su

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Book SynopsisSounds of the Pandemic offers one of the first critical analyses of the changes in sonic environments, artistic practice, and listening behaviour caused by the Coronavirus outbreak. This multifaceted collection provides a detailed picture of a wide array of phenomena related to sound and music, including soundscapes, music production, music performance, and mediatisation processes in the context of COVID-19. It represents a first step to understanding how the pandemic and its by-products affected sound domains in terms of experiences and practices, representations, collective imaginaries, and socio-political manipulations. This book is essential reading for students, researchers, and practitioners working in the realms of music production and performance, musicology and ethnomusicology, sound studies, and media and cultural studies.Table of ContentsPart 1: Accounts: Sounds from a World under Lockdown 1. Listening to the First Lockdown: The Auditory Experience of Wrocław’s Inhabitants 2. Together in Discipline and Turmoil: Remembering Public Sounds during the COVID-19 Pandemic in the Czech Republic and Slovakia 3.Listening to the Hustle and the Hush: Sound, City, and the Pandemic 4. Applauses and Banners, Horns and Fireworks: Tracing the Sonic Expression of French Social Movements during Lockdown 5. Pandemic Soundscaping: Rediscovering a New Aura in the Mediatised Sonic Reality 6. Not People but a Sound: Virtual Audio and the Appropriation of Fandom Practices in Pandemic Football 7. A Digital Archive of Participatory Location Rhythm Performances: Listening as a Way of Attending to the Pandemic Part 2: Experiences: Musicking in the Face of the Pandemic 8. Huapanguitos pa seguir aguantando en cuarentena: Mexican SonTube Channels as Emergent Digital Spaces of Music and Community during COVID-19 9. "WHY DO THEY DANCE IN THE MIDDLE OF THE PANDEMIC?" Post-Pandemic Cumbia, Mediated Live Music, and Digital Heritage from Mexico City 10. Sardinian Traditional Music during the COVID-19 Pandemic 11. Becoming Visible: Proud Roma and Sinti Musicians in Italy during the Pandemic 12. Rethinking Intermedia Practices during the Pandemic: Staging and Conception of Alexander Schubert’s Virtual Reality Video Game Genesis 13. Musicians in the Brazilian Pandemic: Facing COVID-19 during the Bolsonaro Regime and the Aldir Blanc Emergency Bill 14. Musical Performance during and after the COVID-19 Pandemic: Days of Future Passed? Part 3: Perspectives: Rethinking Sound and Music against the Backdrop of a Global Crisis 15. Coronamusic(king): Types, Repertoires, Consolatory Function 16. The Pandemic as a Catalyst for Remotivity in Music 17. Music in Lockdown: On Sonic Spaces during the COVID-19 Pandemic, March – June 2020 18. What a Blackbird Has Told Me: Latent Acoustic Learning in the Times of COVID-19 19. The Sounds and Silence of COVID-19 Quarantine: Media Representation, Debility, and Neoliberal Biopolitics 20. Four Sounds against Capitalocene: Lockdown, Music, and the Artist as Producer 21. Afterword: Coping with Crisis through Coronamusic

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Book SynopsisProviding an essential and unique bridge between the theories of signal processing, machine learning, and artificial intelligence (AI) in music, this book provides a holistic overview of foundational ideas in music, from the physical and mathematical properties of sound to symbolic representations. Combining signals and language models in one place, this book explores how sound may be represented and manipulated by computer systems, and how our devices may come to recognize particular sonic patterns as musically meaningful or creative through the lens of information theory.Introducing popular fundamental ideas in AI at a comfortable pace, more complex discussions around implementations and implications in musical creativity are gradually incorporated as the book progresses. Each chapter is accompanied by guided programming activities designed to familiarize readers with practical implications of discussed theory, without the frustrations of free-form coding.Surveying sTrade Review"Deep and Shallow by Shlomo Dubnov and Ross Greer is an exceptional journey into the convergence of music, artificial intelligence, and signal processing. Seamlessly weaving together intricate theories with practical programming activities, the book guides readers, whether novices or experts, toward a profound understanding of how AI can reshape musical creativity. A true gem for both enthusiasts and professionals, this book eloquently bridges the gap between foundational concepts of music information dynamics as an underlying basis for understanding music structure and listening experience, and cutting-edge applications, ushering us into the future of music and AI with clarity and excitement."Gil Weinberg, Professor and Founding Director, Georgia Tech Center for Music Technology"The authors make an enormous contribution, not only as a textbook, but as essential reading on music information dynamics, bridging multiple disciplines of music, information theory, and machine learning. The theory is illustrated and grounded in plenty of practical information and resources."Roger B. Dannenberg, Emeritus Professor of Computer Science, Art & Music, Carnegie Mellon UniversityTable of ContentsPrefaceChapter 1 Introduction to Sounds of MusicChapter 2 Noise: the Hidden Dynamics of MusicChapter 3 Communicating Musical InformationChapter 4 Understanding and (Re)Creating Sound Chapter 5 Generating and Listening to Audio InformationChapter 6 Artificial Musical BrainsChapter 7 Representing Voices in Pitch and TimeChapter 8 Noise Revisited: Brains that ImagineChapter 9 Paying (Musical) AttentionChapter 10 Last Noisy Thoughts, Summary and ConclusionAppendix A Introduction to Neural Network Frameworks: Keras, Tensorflow, PytorchAppendix B Summary of Programming Examples and ExercisesAppendix C Software Packages for Music and Audio Representation and AnalysisAppendix D Free Music and Audio Editting SoftwareAppendix E DatasetsAppendix F Figure AttributionsReferences Index

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