{"title":"Audio processing Books","description":"","products":[{"product_id":"computer-speech-technology-computing-s-9780890062975","title":"Computer Speech Technology Computing S","description":"\u003cb\u003eBook Synopsis\u003c\/b\u003e\u003cbr\u003eOffers 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.\u003cbr\u003e\u003cbr\u003e\u003cb\u003eTable of Contents\u003c\/b\u003e\u003cbr\u003eAbout 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.","brand":"Artech House Publishers","offers":[{"title":"Default Title","offer_id":48737806254423,"sku":"9780890062975","price":41.25,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0817\/1739\/5799\/files\/9780890062975.jpg?v=1723811481"},{"product_id":"mastering-audio-9780240818962","title":"Mastering Audio","description":"\u003cb\u003eBook Synopsis\u003c\/b\u003e\u003cbr\u003e\u003cp\u003eIn an easy-to-grasp, holistic manner \u003ci\u003eMastering Audio: The Art and the Science, Third Edition \u003c\/i\u003eunravels 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\u003ci\u003e \u003c\/i\u003ealso addresses advanced theory and practice. The bookâs new approach is especially suitable to accompany a one- or two-term course in audio and mastering.\u003c\/p\u003e\u003cp\u003eCompletely 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 measu\u003cbr\u003e\u003cbr\u003e\u003cb\u003eTrade Review\u003c\/b\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\"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.\"\u003cbr\u003e-Sound on Sound magazine\u003cbr\u003e\u003cbr\u003e\"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\u003cbr\u003e\u003cbr\u003e\"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.\"\u003cbr\u003e- Glenn Bucci, Revelation Sound Studio\u003cbr\u003e\u003cbr\u003e\"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.\"\u003cbr\u003e- Craig Anderton (editor of EQ magazine) \u003cbr\u003e\u003cbr\u003e\"I have no reservations when I recommend that every engineer working with audio purchase a copy of Mastering Audio.\"\u003cbr\u003e- Tape Op Magazine, March\/April 2008\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\"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.\"\u003cbr\u003e-Absolute Sound (Oct. 2007)\u003c\/p\u003e\u003cbr\u003e\u003cp\u003e\"Within the pages of the outstanding third edition of his book \u003ci\u003eMastering Audio: Tile Art and the Science\u003c\/i\u003e, 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, \u003ci\u003eMastering Audio\u003c\/i\u003e should be mandatory reading for anyone making music in a personal studio.\"\u003c\/p\u003e\u003cp\u003e-Gino Robair, emusician.com \u003c\/p\u003e\u003cp\u003e\"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.\" \u003c\/p\u003e\u003cp\u003e- Barry Rudolph, Music Connection\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003ePraise for the previous edition:\u003c\/strong\u003e\u003c\/p\u003e\u003cp\u003e\"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.\"\u003cbr\u003e-Sound on Sound magazine\u003cbr\u003e\u003cbr\u003e\"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\u003cbr\u003e\u003cbr\u003e\"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.\"\u003cbr\u003e- Glenn Bucci, Revelation Sound Studio\u003cbr\u003e\u003cbr\u003e\"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.\"\u003cbr\u003e- Craig Anderton (editor of EQ magazine) \u003cbr\u003e\u003cbr\u003e\"I have no reservations when I recommend that every engineer working with audio purchase a copy of Mastering Audio.\"\u003cbr\u003e- Tape Op Magazine, March\/April 2008\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\"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.\"\u003cbr\u003e-Absolute Sound (Oct. 2007)\u003c\/p\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003eTable of Contents\u003c\/b\u003e\u003cbr\u003e\u003cp\u003ePart 1 Preparation\u003cbr\u003eChapter 1- No mastering engineer is an island\u003cbr\u003eChapter 2- connecting it together\u003cbr\u003eChapter 3- An Earientation session\u003cbr\u003eChpater4- Word lengths and dither\u003cbr\u003eChapter 5- Decibels: Not for Dummies\u003cbr\u003eChapter 6- Monitor quality\u003cbr\u003e\u003cbr\u003ePart 2 Mastering Techniques\u003cbr\u003eChapter7- Putting the album together\u003cbr\u003eChapter8- Equalization\u003cbr\u003eChapter 9- Macrodynamics\u003cbr\u003eChapter 10- Downward Process\u003cbr\u003eChapter 11- The Lost process\u003cbr\u003eChapter 12- Noise reduction\u003cbr\u003eChapter 13-Top processors\u003cbr\u003e\u003cbr\u003ePart 3- Advanced Theory and Practice \u003cbr\u003eChapter 14- How to make better recordings in the 21 century\u003cbr\u003eChapter 15- Monitor set up and calibration\u003cbr\u003eChapter 16- Additional Mastering Techniques\u003cbr\u003eChapter 17- Analog and digital processing\u003cbr\u003eChapter18- How to achieve depth and dimension in recording , mixing and mastering\u003cbr\u003eChapter19 Surround sound mastering\u003cbr\u003eChapter 20- High sample rates\u003cbr\u003eChapter 21- Jitter\u003cbr\u003eChapter 22- Technical tips and techniques\u003cbr\u003e\u003cbr\u003ePart 4- In conclusion\u003cbr\u003eChapter23- Education Education Education\u003cbr\u003e\u003cbr\u003eAppendices\u003c\/p\u003e\u003cp\u003e1- Radio Ready\u003cbr\u003e2- the tower of Babel\u003cbr\u003e3- Preparing tapes and files\u003cbr\u003e3- Premastering for vinyl\u003cbr\u003e5- Tape label\/ log\u003cbr\u003e6- Conversations\u003cbr\u003e7- I feel the need for speed\u003cbr\u003e8\u003cbr\u003eI feel the need for capacity\u003cbr\u003e9- Footnotes on the K- system\u003cbr\u003e10 Recommended reading, Test CD's\u003cbr\u003e11- Biography: Eric James\u003cbr\u003e12-Biogropgy: Bob Katz\u003cbr\u003e13- Glossary\u003c\/p\u003e","brand":"Taylor \u0026 Francis Ltd","offers":[{"title":"Default Title","offer_id":48864266584407,"sku":"9780240818962","price":43.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0817\/1739\/5799\/files\/9780240818962.jpg?v=1722271148"},{"product_id":"microsound-9780262681544","title":"Microsound","description":"\u003cb\u003eBook Synopsis\u003c\/b\u003e\u003cbr\u003eBelow 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, \u003ci\u003eMicrosound\u003c\/i\u003e offers composition theory, historical accounts, technical overviews, acoustical experiments, descriptions of musical works, and aesthetic reflections.","brand":"MIT Press","offers":[{"title":"Default Title","offer_id":48864308691287,"sku":"9780262681544","price":43.2,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0817\/1739\/5799\/files\/9780262681544.jpg?v=1722271334"},{"product_id":"artificial-intelligence-and-music-ecosystem-9780367405779","title":"Artificial Intelligence and Music Ecosystem","description":"\u003cb\u003eBook Synopsis\u003c\/b\u003e\u003cbr\u003e\u003cp\u003e\u003cem\u003eArtificial Intelligence and Music Ecosystem\u003c\/em\u003e highlights the opportunities and rewards associated with the application of AI in the creative arts. \u003c\/p\u003e\u003cp\u003eFeaturing 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. \u003c\/p\u003e\u003cp\u003eConsidering the perspectives of developers, students and artists, as well as the wider themes of law, ethics and philosophy, \u003ci\u003eArtificial Intelligence and Music Ecosystem \u003c\/i\u003eis an essential introduction for anyone interested in the impact of AI on music, including those studying and working in the creative arts.\u003c\/p\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003eTable of Contents\u003c\/b\u003e\u003cbr\u003e\u003cp\u003eList of contributors\u003c\/p\u003e\u003cp\u003eAcknowledgements\u003c\/p\u003e\u003cp\u003eIntroduction\u003c\/p\u003e\u003cp\u003eChapter 1 The Future – Interview with Jacques Attali\u003c\/p\u003e\u003cp\u003eChapter 2 AI music – On the Meaning of Music: Music is a language without a dictionary – David Cope\u003c\/p\u003e\u003cp\u003eChapter 3 The Developer – What do music software developers do? – Miller Puckette\u003c\/p\u003e\u003cp\u003eChapter 4 The Student – \u003ci\u003eShortcuts\u003c\/i\u003e Guide To Music Theory – Artur Osipov \u003c\/p\u003e\u003cp\u003eChapter 5 The Artist – Interview with Holly Herndon\u003c\/p\u003e\u003cp\u003eChapter 6 Robotics – Fast and Curious: A CNN for Ethical Deep Learning Musical Generation – Richard Savery \u0026amp; Gil Weinberg\u003c\/p\u003e\u003cp\u003eChapter 7 Extended Reality – Music in Immersive XR Environments:The Possibilities (and Approaches) for (AI) – Gareth W. Young \u0026amp; Aljosa Smolic\u003c\/p\u003e\u003cp\u003eChapter 8 Data – A Quantified Quickening: Data, AI and the Consumption and Composition of Music – Jennifer Edmond\u003c\/p\u003e\u003cp\u003eChapter 9 Law– You Can Call Me Hal: AI \u0026amp; Music IP – Martin Clancy\u003c\/p\u003e\u003cp\u003eChapter 10 Ethics – Whose Ethics? Approaches to a Equitable and Sustainable Music Ecosystem – Martin Clancy\u003c\/p\u003e\u003cp\u003eChapter 11 Global Ethics – From Philosophy to Practice A Culturally Informed Ethics of Music AI in Asia – Rujing Stacy Huang, Andre Holzapfel \u0026amp; Bob L. T. Sturm\u003c\/p\u003e\u003cp\u003eChapter 12 Start-ups – AI: Why I Care – Mick Kiely\u003c\/p\u003e\u003cp\u003eChapter 13 Music Industry – Interview with Scott Cohen\u003c\/p\u003e\u003cp\u003eChapter 14 Philosophy – Amor Fati: A Theoretical Model of the Music Ecosystem – Martin Clancy\u003c\/p\u003e\u003cp\u003eIndex\u003c\/p\u003e","brand":"Taylor \u0026 Francis Ltd","offers":[{"title":"Default Title","offer_id":48864499990871,"sku":"9780367405779","price":999.99,"currency_code":"GBP","in_stock":false}]},{"product_id":"modern-recording-techniques-9781032197159","title":"Modern Recording Techniques","description":"\u003cb\u003eBook Synopsis\u003c\/b\u003e\u003cbr\u003e\u003cp\u003e\u003cem\u003eModern Recording Techniques\u003c\/em\u003e 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. \u003c\/p\u003e\u003cp\u003eUsing 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. \u003ci\u003eModern Recording Techniques\u003c\/i\u003e 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.\u003c\/p\u003e\u003cp\u003eThis updated tenth edition includes:\u003c\/p\u003e\u003cul\u003e \u003cli\u003eNewly expanded Art and Technology chapters, providing more tips, tricks and insights for getting the best out of your recording, mixing, monitoring and mastering\u003c\/li\u003e \u003cli\u003eAn expanded MIDI chapter to include MIDI 2.0\u003c\/li\u003e \u003cli\u003eMore in-depth coverage of digital audio and the digital audio workstation\u003c\/li\u003e \u003cli\u003eGreater coverage of immersive audio, including Dolby Atmos Production\u003c\/li\u003e \u003c\/ul\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003eTable of Contents\u003c\/b\u003e\u003cbr\u003e\u003cp\u003e1. 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\u003c\/p\u003e","brand":"Taylor \u0026 Francis Ltd","offers":[{"title":"Default Title","offer_id":48866298462551,"sku":"9781032197159","price":39.89,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0817\/1739\/5799\/files\/9781032197159.jpg?v=1722278006"},{"product_id":"mixing-audio-9781032219448","title":"Mixing Audio","description":"\u003cb\u003eBook Synopsis\u003c\/b\u003e\u003cbr\u003e\u003cp\u003e\u003cem\u003eMixing Audio: Concepts, Practices, and Tools\u003c\/em\u003e is a vital read for anyone wanting to succeed in the field of mixingâcovering the entire mixing process, from fundamental concepts to advanced techniques. \u003c\/p\u003e\u003cp\u003ePacked 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. \u003ci\u003eMixing Audio\u003c\/i\u003e 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. \u003c\/p\u003e\u003cp\u003eThe new edition includes:\u003c\/p\u003e\u003cul\u003e \u003cli\u003eAn extension of the discussion on mastering which now includes the loudness war, LUFS targets, and DIY mastering\u003c\/li\u003e \u003cli\u003eUpdated figures and illustrations throughout\u003c\/li\u003e \u003cli\u003eA new section covering console emulation\u003c\/li\u003e \u003c\/ul\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003eTrade Review\u003c\/b\u003e\u003cbr\u003e\u003cp\u003e\"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.\"\u003c\/p\u003e\u003cp\u003eKeith A. Umbach, \u003ci\u003eAssociate Professor of Music, Prince George’s Community College, USA\u003c\/i\u003e\u003c\/p\u003e\u003cp\u003e\"In \u003ci\u003eMixing Audio,\u003c\/i\u003e 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!\"\u003c\/p\u003e\u003cp\u003eJosé A. Ballesteros\u003ci\u003e, Associate Professor, University of Castilla-La Mancha, Spain\u003c\/i\u003e\u003c\/p\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003eTable of Contents\u003c\/b\u003e\u003cbr\u003e\u003cp\u003e\u003cstrong\u003ePart I: Concepts and practices\u003c\/strong\u003e 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 \u003cstrong\u003ePart \u003c\/strong\u003e\u003cstrong\u003eII: \u003c\/strong\u003e\u003cstrong\u003eTools \u003c\/strong\u003e8.\u003cstrong\u003e \u003c\/strong\u003eMonitoring 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 \u003cstrong\u003ePart \u003c\/strong\u003e\u003cstrong\u003eIII: Sample mixers \u003c\/strong\u003e29. \"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)\u003c\/p\u003e","brand":"Taylor \u0026 Francis Ltd","offers":[{"title":"Default Title","offer_id":48866299314519,"sku":"9781032219448","price":49.39,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0817\/1739\/5799\/files\/9781032219448.jpg?v=1722278011"},{"product_id":"metal-music-manual-9781138809321","title":"Metal Music Manual","description":"\u003cb\u003eBook Synopsis\u003c\/b\u003e\u003cbr\u003e\u003cp\u003e\u003cem\u003eMetal Music Manual\u003c\/em\u003e shows you the creative and technical processes involved in producing contemporary heavy music for maximum sonic impact. From pre-production to final mastered product, and fundamental concepts to advanced production techniques, this book contains a world of invaluable practical information. Assisted by clear discussion of critical audio principles and theory, and a comprehensive array of illustrations, photos, and screen grabs, \u003ci\u003eMetal Music Manual\u003c\/i\u003e is the essential guide to achieving professional production standards. \u003c\/p\u003e\u003cp\u003e\u003c\/p\u003e\u003cp\u003eThe extensive companion website features multi-track recordings, final mixes, processing examples, audio stems, etc., so you can download the relevant content and experiment with the techniques you read about. The website also features video interviews the author conducted with the following acclaimed producers, who share their expertise, experience, and insight into the processes involved:\u003c\/p\u003e\u003cul\u003e\u003cli\u003eFredrik Nordström (Dim\u003cbr\u003e\u003cbr\u003e\u003cb\u003eTable of Contents\u003c\/b\u003e\u003cbr\u003e\u003cp\u003eAcknowledgments\u003c\/p\u003e\n\u003cp\u003eForeword\u003c\/p\u003e\n\u003cp\u003eChapter 1: Introduction\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003cp\u003e \u003c\/p\u003e \u003c\/li\u003e\n\u003cli\u003eAudio\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e \u003c\/p\u003e \u003c\/li\u003e\n\u003cli\u003eVideo Interviews\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e \u003c\/p\u003e \u003c\/li\u003e\n\u003cli\u003eForum\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003eChapter 2: Contemporary Metal Music\u003c\/p\u003e\n\u003cp\u003eChapter 3: The Parameters of Heaviness\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003cp\u003e \u003c\/p\u003e \u003c\/li\u003e\n\u003cli\u003eDistortion\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e \u003c\/p\u003e \u003c\/li\u003e\n\u003cli\u003eProximity\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e \u003c\/p\u003e \u003c\/li\u003e\n\u003cli\u003ePerceived Loudness\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e \u003c\/p\u003e \u003c\/li\u003e\n\u003cli\u003eThe Distortion Paradox\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e \u003c\/p\u003e \u003c\/li\u003e\n\u003cli\u003eSonic Weight\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e \u003c\/p\u003e \u003c\/li\u003e\n\u003cli\u003eTransients\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e \u003c\/p\u003e \u003c\/li\u003e\n\u003cli\u003eSpectral Dynamics and Transient Brightness\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e \u003c\/p\u003e \u003c\/li\u003e\n\u003cli\u003eClarity\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e \u003c\/p\u003e \u003c\/li\u003e\n\u003cli\u003eDefinition\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e \u003c\/p\u003e \u003c\/li\u003e\n\u003cli\u003eIntelligibility\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e \u003c\/p\u003e \u003c\/li\u003e\n\u003cli\u003ePerformance Precision\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003ePre-Production\u003c\/p\u003e\n\u003cp\u003eChapter 4: Pre-Production\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003cp\u003e \u003c\/p\u003e \u003c\/li\u003e\n\u003cli\u003eVision and Leadership\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e \u003c\/p\u003e \u003c\/li\u003e\n\u003cli\u003eRehearsals\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e \u003c\/p\u003e \u003c\/li\u003e\n\u003cli\u003eThe Budget\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e \u003c\/p\u003e \u003c\/li\u003e\n\u003cli\u003eClick Tracks\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e \u003c\/p\u003e \u003c\/li\u003e\n\u003cli\u003eIn Practice\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e \u003c\/p\u003e \u003c\/li\u003e\n\u003cli\u003eTempo Mapping\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e \u003c\/p\u003e \u003c\/li\u003e\n\u003cli\u003eClick Tones\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e \u003c\/p\u003e \u003c\/li\u003e\n\u003cli\u003eGuide Tracks\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e \u003c\/p\u003e \u003c\/li\u003e\n\u003cli\u003eClick-Free Tracking\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e \u003c\/p\u003e \u003c\/li\u003e\n\u003cli\u003eLive Guide Tracks without a Click\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e \u003c\/p\u003e \u003c\/li\u003e\n\u003cli\u003eOverdubs without a Click\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e \u003c\/p\u003e \u003c\/li\u003e\n\u003cli\u003eThe Click Track Acid Test\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003eChapter 5: Sound at Source\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003cp\u003e \u003c\/p\u003e \u003c\/li\u003e\n\u003cli\u003eDrums\u003c\/li\u003e\n\u003cli\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003cp\u003e \u003c\/p\u003e \u003c\/li\u003e\n\u003cli\u003eDrum Shells\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e \u003c\/p\u003e \u003c\/li\u003e\n\u003cli\u003eShell Thickness, Diameter, Depth and Hardware\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e \u003c\/p\u003e \u003c\/li\u003e\n\u003cli\u003eSymmetry and Flatness\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e \u003c\/p\u003e \u003c\/li\u003e\n\u003cli\u003eDrumheads and Re-Heading\u003c\/li\u003e\n\u003cli\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003cp\u003e \u003c\/p\u003e \u003c\/li\u003e\n\u003cli\u003eBatter Heads\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e \u003c\/p\u003e \u003c\/li\u003e\n\u003cli\u003eResonant Heads\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e \u003c\/p\u003e \u003c\/li\u003e\n\u003cli\u003eRe-Heading\/Bedding-In\u003c\/li\u003e\n\u003c\/ul\u003e \u003cp\u003e \u003c\/p\u003e \u003c\/li\u003e\n\u003cli\u003eDrum Tuning\u003c\/li\u003e\n\u003cli\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003cp\u003e \u003c\/p\u003e \u003c\/li\u003e\n\u003cli\u003eKick Tuning\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e \u003c\/p\u003e \u003c\/li\u003e\n\u003cli\u003eSnare Tuning\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e \u003c\/p\u003e \u003c\/li\u003e\n\u003cli\u003eToms Tuning\u003c\/li\u003e\n\u003c\/ul\u003e \u003cp\u003e \u003c\/p\u003e \u003c\/li\u003e\n\u003cli\u003eDampening\u003c\/li\u003e\n\u003cli\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003cp\u003e \u003c\/p\u003e \u003c\/li\u003e\n\u003cli\u003eKick Dampening\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e \u003c\/p\u003e \u003c\/li\u003e\n\u003cli\u003eSnare and Toms Dampening\u003c\/li\u003e\n\u003c\/ul\u003e \u003cp\u003e \u003c\/p\u003e \u003c\/li\u003e\n\u003cli\u003eHats, Ride and Cymbals\u003c\/li\u003e\n\u003c\/ul\u003e \u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003cp\u003e \u003c\/p\u003e \u003c\/li\u003e\n\u003cli\u003eBass and Guitar\u003c\/li\u003e\n\u003cli\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003cp\u003e \u003c\/p\u003e \u003c\/li\u003e\n\u003cli\u003eDown-Tuning\u003c\/li\u003e\n\u003cli\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003cp\u003e \u003c\/p\u003e \u003c\/li\u003e\n\u003cli\u003eBaritones\/Longer Scale Lengths\u003c\/li\u003e\n\u003c\/ul\u003e \u003cp\u003e \u003c\/p\u003e \u003c\/li\u003e\n\u003cli\u003eGuitar Overdrive Pedals\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e \u003c\/p\u003e \u003c\/li\u003e\n\u003cli\u003eAmp\/Cab\/Mic Simulation and Modelling\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e \u003c\/p\u003e \u003c\/li\u003e\n\u003cli\u003eAmplifiers\u003c\/li\u003e\n\u003cli\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003cp\u003e \u003c\/p\u003e \u003c\/li\u003e\n\u003cli\u003eBass Amps\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e \u003c\/p\u003e \u003c\/li\u003e\n\u003cli\u003eGuitar Amps\u003c\/li\u003e\n\u003c\/ul\u003e \u003cp\u003e \u003c\/p\u003e \u003c\/li\u003e\n\u003cli\u003eLoudspeakers and Loudspeaker Cabinets\u003c\/li\u003e\n\u003c\/ul\u003e \u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003eEngineering\u003c\/p\u003e\n\u003cp\u003eChapter 6: Engineering Overview\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003cp\u003e \u003c\/p\u003e \u003c\/li\u003e\n\u003cli\u003eIsolation=Separation=Control\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e \u003c\/p\u003e \u003c\/li\u003e\n\u003cli\u003eHeadroom\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e \u003c\/p\u003e \u003c\/li\u003e\n\u003cli\u003ePrinted Compression\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e \u003c\/p\u003e \u003c\/li\u003e\n\u003cli\u003ePrinted EQ\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003eChapter 7: Drums\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003cp\u003e \u003c\/p\u003e \u003c\/li\u003e\n\u003cli\u003eSet Up\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e \u003c\/p\u003e \u003c\/li\u003e\n\u003cli\u003eKick Drums\u003c\/li\u003e\n\u003cli\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003cp\u003e \u003c\/p\u003e \u003c\/li\u003e\n\u003cli\u003eAttack Mic\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e \u003c\/p\u003e \u003c\/li\u003e\n\u003cli\u003ePorthole Placement\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e \u003c\/p\u003e \u003c\/li\u003e\n\u003cli\u003eLow Frequency Capture\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e \u003c\/p\u003e \u003c\/li\u003e\n\u003cli\u003eIsolation Tunnels\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e \u003c\/p\u003e \u003c\/li\u003e\n\u003cli\u003eDouble Kick Performance Solutions\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e \u003c\/p\u003e \u003c\/li\u003e\n\u003cli\u003eKick Building\u003c\/li\u003e\n\u003c\/ul\u003e \u003cp\u003e \u003c\/p\u003e \u003c\/li\u003e\n\u003cli\u003eSnare Top\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e \u003c\/p\u003e \u003c\/li\u003e\n\u003cli\u003eSnare Bottom\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e \u003c\/p\u003e \u003c\/li\u003e\n\u003cli\u003eToms\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003cp\u003e \u003c\/p\u003e \u003c\/li\u003e\n\u003cli\u003eBatter Mic\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e \u003c\/p\u003e \u003c\/li\u003e\n\u003cli\u003eDouble Miked Toms\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e \u003c\/p\u003e \u003c\/li\u003e\n\u003cli\u003eConcert Toms\u003c\/li\u003e\n\u003c\/ul\u003e \u003cp\u003e \u003c\/p\u003e \u003c\/li\u003e\n\u003cli\u003eMetalwork\u003c\/li\u003e\n\u003cli\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003cp\u003e \u003c\/p\u003e \u003c\/li\u003e\n\u003cli\u003eHats\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e \u003c\/p\u003e \u003c\/li\u003e\n\u003cli\u003eRide\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e \u003c\/p\u003e \u003c\/li\u003e\n\u003cli\u003eCymbals\u003c\/li\u003e\n\u003cli\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003cp\u003e \u003c\/p\u003e \u003c\/li\u003e\n\u003cli\u003eSpaced Pair\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e \u003c\/p\u003e \u003c\/li\u003e\n\u003cli\u003eClose Miked Cymbals\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e \u003c\/p\u003e \u003c\/li\u003e\n\u003cli\u003ePaired Cymbal Miking\u003c\/li\u003e\n\u003c\/ul\u003e \u003c\/li\u003e\n\u003c\/ul\u003e \u003cp\u003e \u003c\/p\u003e \u003c\/li\u003e\n\u003cli\u003eRoom Mics and Controlled Cohesion\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e \u003c\/p\u003e \u003c\/li\u003e\n\u003cli\u003eTriggers\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e \u003c\/p\u003e \u003c\/li\u003e\n\u003cli\u003eRecording Drum Hits from the Kit used for Tracking\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e \u003c\/p\u003e \u003c\/li\u003e\n\u003cli\u003eSample Creation\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e \u003c\/p\u003e \u003c\/li\u003e\n\u003cli\u003eDrum Edits and Quantization\u003c\/li\u003e\n\u003cli\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003cp\u003e \u003c\/p\u003e \u003c\/li\u003e\n\u003cli\u003eGridding\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e \u003c\/p\u003e \u003c\/li\u003e\n\u003cli\u003ePhase\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e \u003c\/p\u003e \u003c\/li\u003e\n\u003cli\u003eRetention of Human Feel\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e \u003c\/p\u003e \u003c\/li\u003e\n\u003cli\u003eMicro-Editing\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e \u003c\/p\u003e \u003c\/li\u003e\n\u003cli\u003eQuantization-Based Tools\u003c\/li\u003e\n\u003c\/ul\u003e \u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003eChapter 8: Guitars\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003cp\u003e \u003c\/p\u003e \u003c\/li\u003e\n\u003cli\u003eD.I.’s and Re-amping\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e \u003c\/p\u003e \u003c\/li\u003e\n\u003cli\u003eSpeaker Selection\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e \u003c\/p\u003e \u003c\/li\u003e\n\u003cli\u003eIsolation Tactics\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e \u003c\/p\u003e \u003c\/li\u003e\n\u003cli\u003eAmp Volume\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e \u003c\/p\u003e \u003c\/li\u003e\n\u003cli\u003eMic Selection\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e \u003c\/p\u003e \u003c\/li\u003e\n\u003cli\u003eLoudspeaker Frequency Radiation\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e \u003c\/p\u003e \u003c\/li\u003e\n\u003cli\u003eMic Placement\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e \u003c\/p\u003e \u003c\/li\u003e\n\u003cli\u003eProximity Effect\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e \u003c\/p\u003e \u003c\/li\u003e\n\u003cli\u003eOff-Axis Placement\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e \u003c\/p\u003e \u003c\/li\u003e\n\u003cli\u003eDouble Miking\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e \u003c\/p\u003e \u003c\/li\u003e\n\u003cli\u003eDouble Tracking (vs. Quad Tracking)\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e \u003c\/p\u003e \u003c\/li\u003e\n\u003cli\u003eQuad Tracking\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e \u003c\/p\u003e \u003c\/li\u003e\n\u003cli\u003eTonal Variation\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e \u003c\/p\u003e \u003c\/li\u003e\n\u003cli\u003eMulti Amp\/Cab Recording for Double-Tracked Guitars\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e \u003c\/p\u003e \u003c\/li\u003e\n\u003cli\u003eMix Center Rhythm Thickener\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003eChapter 9: Bass\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003cp\u003e \u003c\/p\u003e \u003c\/li\u003e\n\u003cli\u003eD.I. \u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e \u003c\/p\u003e \u003c\/li\u003e\n\u003cli\u003eDirty D.I.\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e \u003c\/p\u003e \u003c\/li\u003e\n\u003cli\u003e(Series) Amp\/Cab Distortion \u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e \u003c\/p\u003e \u003c\/li\u003e\n\u003cli\u003eAmp\/Cab\/Mic \u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003cp\u003e \u003c\/p\u003e \u003c\/li\u003e\n\u003cli\u003eIsolation, Speaker Selection \u0026amp; Master Volume \u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e \u003c\/p\u003e \u003c\/li\u003e\n\u003cli\u003eMic Selection \u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e \u003c\/p\u003e \u003c\/li\u003e\n\u003cli\u003eMic Placement \u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e \u003c\/p\u003e \u003c\/li\u003e\n\u003cli\u003eDouble Miking\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e \u003c\/p\u003e \u003c\/li\u003e\n\u003cli\u003ePhase Alignment\u003c\/li\u003e\n\u003c\/ul\u003e \u003cp\u003e \u003c\/p\u003e \u003c\/li\u003e\n\u003cli\u003eEmulation\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e \u003c\/p\u003e \u003c\/li\u003e\n\u003cli\u003eLayers\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e \u003c\/p\u003e \u003c\/li\u003e\n\u003cli\u003e(Parallel) Reinforcement Distortion\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003eChapter 10: Vocals\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003cp\u003e \u003c\/p\u003e \u003c\/li\u003e\n\u003cli\u003eScheduling\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e \u003c\/p\u003e \u003c\/li\u003e\n\u003cli\u003eCoaching, Communication and Comping\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e \u003c\/p\u003e \u003c\/li\u003e\n\u003cli\u003eEngineering\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e \u003c\/p\u003e \u003c\/li\u003e\n\u003cli\u003ePolar Patterns and Gang Vocals\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e \u003c\/p\u003e \u003c\/li\u003e\n\u003cli\u003eHandheld Vocal Recording\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e \u003c\/p\u003e \u003c\/li\u003e\n\u003cli\u003eVocal Compression \u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e \u003c\/p\u003e \u003c\/li\u003e\n\u003cli\u003eMonitoring\u003c\/li\u003e\n\u003cli\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003cp\u003e \u003c\/p\u003e \u003c\/li\u003e\n\u003cli\u003eHeadphone-less Vocal Recording\u003c\/li\u003e\n\u003c\/ul\u003e \u003cp\u003e \u003c\/p\u003e \u003c\/li\u003e\n\u003cli\u003eRecording Further Instruments\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003eMixing\u003c\/p\u003e\n\u003cp\u003eChapter 11: Edits, Polarity and Phase Alignment, Samples and Gates\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003cp\u003e \u003c\/p\u003e \u003c\/li\u003e\n\u003cli\u003eEdits\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e \u003c\/p\u003e \u003c\/li\u003e\n\u003cli\u003eMix Groups\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e \u003c\/p\u003e \u003c\/li\u003e\n\u003cli\u003ePolarity and Phase Alignment\u003c\/li\u003e\n\u003cli\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003cp\u003e \u003c\/p\u003e \u003c\/li\u003e\n\u003cli\u003eDrums \u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e \u003c\/p\u003e \u003c\/li\u003e\n\u003cli\u003ePhase Alignment\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e \u003c\/p\u003e \u003c\/li\u003e\n\u003cli\u003eBass \u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e \u003c\/p\u003e \u003c\/li\u003e\n\u003cli\u003eGuitars\u003c\/li\u003e\n\u003c\/ul\u003e \u003cp\u003e \u003c\/p\u003e \u003c\/li\u003e\n\u003cli\u003eWaveform Edits\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e \u003c\/p\u003e \u003c\/li\u003e\n\u003cli\u003eMulting\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e \u003c\/p\u003e \u003c\/li\u003e\n\u003cli\u003eDrum Samples – Overview\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e \u003c\/p\u003e \u003c\/li\u003e\n\u003cli\u003eDrum Sample Selection\u003c\/li\u003e\n\u003cli\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003cp\u003e \u003c\/p\u003e \u003c\/li\u003e\n\u003cli\u003eDrum Samples Libraries vs. Samples Created from the Kit used for Tracking\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e \u003c\/p\u003e \u003c\/li\u003e\n\u003cli\u003eKick Sample Selection\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e \u003c\/p\u003e \u003c\/li\u003e\n\u003cli\u003eSnare Sample Selection\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e \u003c\/p\u003e \u003c\/li\u003e\n\u003cli\u003eTom Sample Selection\u003c\/li\u003e\n\u003c\/ul\u003e \u003cp\u003e \u003c\/p\u003e \u003c\/li\u003e\n\u003cli\u003eSample Implementation\u003c\/li\u003e\n\u003cli\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003cp\u003e \u003c\/p\u003e \u003c\/li\u003e\n\u003cli\u003eKick\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e \u003c\/p\u003e \u003c\/li\u003e\n\u003cli\u003eSnare\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e \u003c\/p\u003e \u003c\/li\u003e\n\u003cli\u003eToms\u003c\/li\u003e\n\u003c\/ul\u003e \u003cp\u003e \u003c\/p\u003e \u003c\/li\u003e\n\u003cli\u003eIsolation vs. Cohesion\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e \u003c\/p\u003e \u003c\/li\u003e\n\u003cli\u003eGating\u003c\/li\u003e\n\u003cli\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003cp\u003e \u003c\/p\u003e \u003c\/li\u003e\n\u003cli\u003eKick and Snare Gating\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e \u003c\/p\u003e \u003c\/li\u003e\n\u003cli\u003eKeyed Gating\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e \u003c\/p\u003e \u003c\/li\u003e\n\u003cli\u003eToms: Gating vs. Automation vs. Waveform Edits\u003c\/li\u003e\n\u003c\/ul\u003e \u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003eChapter 12. Balance and Stereo Width\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003cp\u003e \u003c\/p\u003e \u003c\/li\u003e\n\u003cli\u003eMix Group Component Balance\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e \u003c\/p\u003e \u003c\/li\u003e\n\u003cli\u003eMix Balance\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e \u003c\/p\u003e \u003c\/li\u003e\n\u003cli\u003ePanning and Stereo Width\u003c\/li\u003e\n\u003cli\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003cp\u003e \u003c\/p\u003e \u003c\/li\u003e\n\u003cli\u003eMix Center\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e \u003c\/p\u003e \u003c\/li\u003e\n\u003cli\u003eSides\u003c\/li\u003e\n\u003c\/ul\u003e \u003cp\u003e \u003c\/p\u003e \u003c\/li\u003e\n\u003cli\u003eMonitoring and Room Acoustics\u003c\/li\u003e\n\u003cli\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003cp\u003e \u003c\/p\u003e \u003c\/li\u003e\n\u003cli\u003eMonitoring Level\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e \u003c\/p\u003e \u003c\/li\u003e\n\u003cli\u003eHeadphone Monitoring \u003c\/li\u003e\n\u003c\/ul\u003e \u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003eChapter 13: Compression\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003cp\u003e \u003c\/p\u003e \u003c\/li\u003e\n\u003cli\u003eSignal Chain Order\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e \u003c\/p\u003e \u003c\/li\u003e\n\u003cli\u003eCompression Parameters\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e \u003c\/p\u003e \u003c\/li\u003e\n\u003cli\u003eTimbral Coloration and Transient Design\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e \u003c\/p\u003e \u003c\/li\u003e\n\u003cli\u003eDrum Compression\u003c\/li\u003e\n\u003cli\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003cp\u003e \u003c\/p\u003e \u003c\/li\u003e\n\u003cli\u003eSignal Stability\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e \u003c\/p\u003e \u003c\/li\u003e\n\u003cli\u003ePunch\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e \u003c\/p\u003e \u003c\/li\u003e\n\u003cli\u003eTransient Design\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e \u003c\/p\u003e \u003c\/li\u003e\n\u003cli\u003eAttack Settings\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e \u003c\/p\u003e \u003c\/li\u003e\n\u003cli\u003eRelease, Threshold, Ratio\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e \u003c\/p\u003e \u003c\/li\u003e\n\u003cli\u003eMake-Up Gain\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e \u003c\/p\u003e \u003c\/li\u003e\n\u003cli\u003eHats, Ride, and Cymbal Compression\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e \u003c\/p\u003e \u003c\/li\u003e\n\u003cli\u003eRoom Mic Compression\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e \u003c\/p\u003e \u003c\/li\u003e\n\u003cli\u003eParallel Compression\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e \u003c\/p\u003e \u003c\/li\u003e\n\u003cli\u003eDrum Bus Compression\u003c\/li\u003e\n\u003c\/ul\u003e \u003cp\u003e \u003c\/p\u003e \u003c\/li\u003e\n\u003cli\u003eBass Compression \u003c\/li\u003e\n\u003cli\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003cp\u003e \u003c\/p\u003e \u003c\/li\u003e\n\u003cli\u003eReinforcement Distortion\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e \u003c\/p\u003e \u003c\/li\u003e\n\u003cli\u003eSeries Bass Compression\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e \u003c\/p\u003e \u003c\/li\u003e\n\u003cli\u003eSignal Bracketing\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e \u003c\/p\u003e \u003c\/li\u003e\n\u003cli\u003eParallel Bass Compression\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e \u003c\/p\u003e \u003c\/li\u003e\n\u003cli\u003eBass Automation\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e \u003c\/p\u003e \u003c\/li\u003e\n\u003cli\u003eKeyed Compression\u003c\/li\u003e\n\u003c\/ul\u003e \u003cp\u003e \u003c\/p\u003e \u003c\/li\u003e\n\u003cli\u003eRhythm Guitar Compression \u003c\/li\u003e\n\u003cli\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003cp\u003e \u003c\/p\u003e \u003c\/li\u003e\n\u003cli\u003ePalm Muted ‘Chug-Thump’\u003c\/li\u003e\n\u003c\/ul\u003e \u003cp\u003e \u003c\/p\u003e \u003c\/li\u003e\n\u003cli\u003eLead Guitar Compression \u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e \u003c\/p\u003e \u003c\/li\u003e\n\u003cli\u003eVocal Compression\u003c\/li\u003e\n\u003cli\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003cp\u003e \u003c\/p\u003e \u003c\/li\u003e\n\u003cli\u003eParallel Vocal Compression\u003c\/li\u003e\n\u003c\/ul\u003e \u003cp\u003e \u003c\/p\u003e \u003c\/li\u003e\n\u003cli\u003eSibilance and De-Essing\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e \u003c\/p\u003e \u003c\/li\u003e\n\u003cli\u003eLimiting\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003eChapter 14: EQ\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003cp\u003e \u003c\/p\u003e \u003c\/li\u003e\n\u003cli\u003eParametric EQ\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e \u003c\/p\u003e \u003c\/li\u003e\n\u003cli\u003eHigh Pass Filters\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e \u003c\/p\u003e \u003c\/li\u003e\n\u003cli\u003eSweep EQ\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e \u003c\/p\u003e \u003c\/li\u003e\n\u003cli\u003eCorrective and Surgical EQ\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e \u003c\/p\u003e \u003c\/li\u003e\n\u003cli\u003eInstrument EQ\u003c\/li\u003e\n\u003cli\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003cp\u003e \u003c\/p\u003e \u003c\/li\u003e\n\u003cli\u003eDrums\u003c\/li\u003e\n\u003cli\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003cp\u003e \u003c\/p\u003e \u003c\/li\u003e\n\u003cli\u003eKick Drum\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e \u003c\/p\u003e \u003c\/li\u003e\n\u003cli\u003eOptimized Kick HPF Cut Settings\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e \u003c\/p\u003e \u003c\/li\u003e\n\u003cli\u003eKick Weight\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e \u003c\/p\u003e \u003c\/li\u003e\n\u003cli\u003eLow-Mids – Broad Corrective EQ\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e \u003c\/p\u003e \u003c\/li\u003e\n\u003cli\u003eAttack\/Click\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e \u003c\/p\u003e \u003c\/li\u003e\n\u003cli\u003eFrequency Bracketing\u003c\/li\u003e\n\u003c\/ul\u003e \u003cp\u003e \u003c\/p\u003e \u003c\/li\u003e\n\u003cli\u003eSnare Top\/Snare Samples\u003c\/li\u003e\n\u003cli\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003cp\u003e \u003c\/p\u003e \u003c\/li\u003e\n\u003cli\u003eThe Baxandall Curve\u003c\/li\u003e\n\u003c\/ul\u003e \u003c\/li\u003e\n\u003c\/ul\u003e \u003cp\u003e \u003c\/p\u003e \u003c\/li\u003e\n\u003cli\u003eIntelligent EQ\u003c\/li\u003e\n\u003cli\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003cp\u003e \u003c\/p\u003e \u003c\/li\u003e\n\u003cli\u003eSnare Bottom\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e \u003c\/p\u003e \u003c\/li\u003e\n\u003cli\u003eToms\u003c\/li\u003e\n\u003c\/ul\u003e \u003cp\u003e \u003c\/p\u003e \u003c\/li\u003e\n\u003cli\u003eContext and Interdependence\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003cp\u003e \u003c\/p\u003e \u003c\/li\u003e\n\u003cli\u003eMetalwork\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e \u003c\/p\u003e \u003c\/li\u003e\n\u003cli\u003eRoom Mics\u003c\/li\u003e\n\u003c\/ul\u003e \u003cp\u003e \u003c\/p\u003e \u003c\/li\u003e\n\u003cli\u003eLow Pass Filters\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e \u003c\/p\u003e \u003c\/li\u003e\n\u003cli\u003eSpectral Masking\u003c\/li\u003e\n\u003cli\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003cp\u003e \u003c\/p\u003e \u003c\/li\u003e\n\u003cli\u003eDistributed Creative and Corrective EQ\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e \u003c\/p\u003e \u003c\/li\u003e\n\u003cli\u003eAnti-Masking in Mono\u003c\/li\u003e\n\u003c\/ul\u003e \u003cp\u003e \u003c\/p\u003e \u003c\/li\u003e\n\u003cli\u003eBass\u003c\/li\u003e\n\u003cli\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003cp\u003e \u003c\/p\u003e \u003c\/li\u003e\n\u003cli\u003eThe Missing Fundamental\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e \u003c\/p\u003e \u003c\/li\u003e\n\u003cli\u003eLow-End\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e \u003c\/p\u003e \u003c\/li\u003e\n\u003cli\u003eLow-Mids\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e \u003c\/p\u003e \u003c\/li\u003e\n\u003cli\u003eHigh-Mids\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e \u003c\/p\u003e \u003c\/li\u003e\n\u003cli\u003eAdditional Layers\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e \u003c\/p\u003e \u003c\/li\u003e\n\u003cli\u003eBass Reinforcement Distortion\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e \u003c\/p\u003e \u003c\/li\u003e\n\u003cli\u003eFrequency Bracketing\u003c\/li\u003e\n\u003c\/ul\u003e \u003cp\u003e \u003c\/p\u003e \u003c\/li\u003e\n\u003cli\u003eChannel EQ \/ Group EQ\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e \u003c\/p\u003e \u003c\/li\u003e\n\u003cli\u003eRhythm Guitar EQ\u003c\/li\u003e\n\u003cli\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003cp\u003e \u003c\/p\u003e \u003c\/li\u003e\n\u003cli\u003eHPF and Low Frequency Emphasis (Cabinet Thump\/Sonic Weight)\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e \u003c\/p\u003e \u003c\/li\u003e\n\u003cli\u003eMids\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e \u003c\/p\u003e \u003c\/li\u003e\n\u003cli\u003eBig Mono vs. Panoramic Width\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e \u003c\/p\u003e \u003c\/li\u003e\n\u003cli\u003eLow highs – Mid Highs\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e \u003c\/p\u003e \u003c\/li\u003e\n\u003cli\u003eMirrored EQ\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e \u003c\/p\u003e \u003c\/li\u003e\n\u003cli\u003eDynamic EQ\u003c\/li\u003e\n\u003c\/ul\u003e \u003cp\u003e \u003c\/p\u003e \u003c\/li\u003e\n\u003cli\u003eVocals\u003c\/li\u003e\n\u003cli\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003cp\u003e \u003c\/p\u003e \u003c\/li\u003e\n\u003cli\u003eHPF and Lows to Low Mids \u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e \u003c\/p\u003e \u003c\/li\u003e\n\u003cli\u003eMids\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e \u003c\/p\u003e \u003c\/li\u003e\n\u003cli\u003eHighs\u003c\/li\u003e\n\u003c\/ul\u003e \u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003eChapter 15: Effects Processing and Automation\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003cp\u003e \u003c\/p\u003e \u003c\/li\u003e\n\u003cli\u003eReverb\u003c\/li\u003e\n\u003cli\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003cp\u003e \u003c\/p\u003e \u003c\/li\u003e\n\u003cli\u003eReverb Decay and Pre-Delay Times\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e \u003c\/p\u003e \u003c\/li\u003e\n\u003cli\u003eDrums\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e \u003c\/p\u003e \u003c\/li\u003e\n\u003cli\u003eDecay vs. Level\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e \u003c\/p\u003e \u003c\/li\u003e\n\u003cli\u003eSnare Reverb – Aux Sends\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e \u003c\/p\u003e \u003c\/li\u003e\n\u003cli\u003eGuitars and Bass\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e \u003c\/p\u003e \u003c\/li\u003e\n\u003cli\u003eVocals\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e \u003c\/p\u003e \u003c\/li\u003e\n\u003cli\u003eProcessing the Reverb Return Paths\u003c\/li\u003e\n\u003cli\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003cp\u003e \u003c\/p\u003e \u003c\/li\u003e\n\u003cli\u003eEQ\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e \u003c\/p\u003e \u003c\/li\u003e\n\u003cli\u003e(Reverb Return) Transient Design, Compression, Tape Emulation and Pitch Shifting\u003c\/li\u003e\n\u003c\/ul\u003e \u003cp\u003e \u003c\/p\u003e \u003c\/li\u003e\n\u003cli\u003eReverse Reverb, Special Effects and Automation\u003c\/li\u003e\n\u003c\/ul\u003e \u003cp\u003e \u003c\/p\u003e \u003c\/li\u003e\n\u003cli\u003eDelay\u003c\/li\u003e\n\u003cli\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003cp\u003e \u003c\/p\u003e \u003c\/li\u003e\n\u003cli\u003eProcessing the Delay Return Paths\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e \u003c\/p\u003e \u003c\/li\u003e\n\u003cli\u003ePitch Thickening Width Enhancement\u003c\/li\u003e\n\u003c\/ul\u003e \u003cp\u003e \u003c\/p\u003e \u003c\/li\u003e\n\u003cli\u003eDistortion\u003c\/li\u003e\n\u003cli\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003cp\u003e \u003c\/p\u003e \u003c\/li\u003e\n\u003cli\u003eParallel Snare Distortion\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e \u003c\/p\u003e \u003c\/li\u003e\n\u003cli\u003eMegaphone and AM Radio Effect\u003c\/li\u003e\n\u003c\/ul\u003e \u003cp\u003e \u003c\/p\u003e \u003c\/li\u003e\n\u003cli\u003eSine Wave or White Noise Reinforcement\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e \u003c\/p\u003e \u003c\/li\u003e\n\u003cli\u003eAnalogue and Tape Emulation\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e \u003c\/p\u003e \u003c\/li\u003e\n\u003cli\u003eMix Referencing\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e \u003c\/p\u003e \u003c\/li\u003e\n\u003cli\u003eAutomation\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003eChapter 16: Master Buss Processing\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003cp\u003e \u003c\/p\u003e \u003c\/li\u003e\n\u003cli\u003eMaster Buss Compression\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e \u003c\/p\u003e \u003c\/li\u003e\n\u003cli\u003eMaster Buss EQ\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e \u003c\/p\u003e \u003c\/li\u003e\n\u003cli\u003eMaster Buss Limiting\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e \u003c\/p\u003e \u003c\/li\u003e\n\u003cli\u003eSumming\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003eMastering\u003c\/p\u003e\n\u003cp\u003eChapter 17: Mastering\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003cp\u003e \u003c\/p\u003e \u003c\/li\u003e\n\u003cli\u003eDIY and the ‘Four Es’ of Mastering \u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e \u003c\/p\u003e \u003c\/li\u003e\n\u003cli\u003eSignal Chain\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e \u003c\/p\u003e \u003c\/li\u003e\n\u003cli\u003eMastering EQ\u003c\/li\u003e\n\u003cli\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003cp\u003e \u003c\/p\u003e \u003c\/li\u003e\n\u003cli\u003eHigh Pass Filters and Low End Control \u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e \u003c\/p\u003e \u003c\/li\u003e\n\u003cli\u003eLow-Mids and Mids\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e \u003c\/p\u003e \u003c\/li\u003e\n\u003cli\u003eLow-End Foundation\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e \u003c\/p\u003e \u003c\/li\u003e\n\u003cli\u003eUpper Mids and High Frequencies\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e \u003c\/p\u003e \u003c\/li\u003e\n\u003cli\u003eStereo EQ vs. Mid\/Side EQ\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e \u003c\/p\u003e \u003c\/li\u003e\n\u003cli\u003eLow-end Localization \u003c\/li\u003e\n\u003c\/ul\u003e \u003cp\u003e \u003c\/p\u003e \u003c\/li\u003e\n\u003cli\u003eReverb\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e \u003c\/p\u003e \u003c\/li\u003e\n\u003cli\u003eUnified Mastering – Bridging the Divide\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e \u003c\/p\u003e \u003c\/li\u003e\n\u003cli\u003eCompression\u003c\/li\u003e\n\u003cli\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003cp\u003e \u003c\/p\u003e \u003c\/li\u003e\n\u003cli\u003eBroadband Compression vs. Multiband Compression \u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e \u003c\/p\u003e \u003c\/li\u003e\n\u003cli\u003eBroadband Compression\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e \u003c\/p\u003e \u003c\/li\u003e\n\u003cli\u003eMid\/Side Compression \u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e \u003c\/p\u003e \u003c\/li\u003e\n\u003cli\u003eSide Chain Filtering\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e \u003c\/p\u003e \u003c\/li\u003e\n\u003cli\u003eMultiband Compression\u003c\/li\u003e\n\u003cli\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003cp\u003e \u003c\/p\u003e \u003c\/li\u003e\n\u003cli\u003eTwo Band\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e \u003c\/p\u003e \u003c\/li\u003e\n\u003cli\u003eThree-Band\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e \u003c\/p\u003e \u003c\/li\u003e\n\u003cli\u003eFour-Band\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e \u003c\/p\u003e \u003c\/li\u003e\n\u003cli\u003eMultiband Parameters\u003c\/li\u003e\n\u003cli\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003cp\u003e \u003c\/p\u003e \u003c\/li\u003e\n\u003cli\u003eLow Band\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e \u003c\/p\u003e \u003c\/li\u003e\n\u003cli\u003eMid Band\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e \u003c\/p\u003e \u003c\/li\u003e\n\u003cli\u003eHigh Band\u003c\/li\u003e\n\u003c\/ul\u003e \u003c\/li\u003e\n\u003c\/ul\u003e \u003cp\u003e \u003c\/p\u003e \u003c\/li\u003e\n\u003cli\u003eMid\/Side Multiband Compression\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e \u003c\/p\u003e \u003c\/li\u003e\n\u003cli\u003eParallel\/Upward Compression\u003c\/li\u003e\n\u003c\/ul\u003e \u003cp\u003e \u003c\/p\u003e \u003c\/li\u003e\n\u003cli\u003eHarmonic Enhancement\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e \u003c\/p\u003e \u003c\/li\u003e\n\u003cli\u003eStereo Width Enhancement\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e \u003c\/p\u003e \u003c\/li\u003e\n\u003cli\u003eStem Mastering\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e \u003c\/p\u003e \u003c\/li\u003e\n\u003cli\u003eSoft Clipping\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e \u003c\/p\u003e \u003c\/li\u003e\n\u003cli\u003eLimiting\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e \u003c\/p\u003e \u003c\/li\u003e\n\u003cli\u003eAutomation\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e \u003c\/p\u003e \u003c\/li\u003e\n\u003cli\u003eFades\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e \u003c\/p\u003e \u003c\/li\u003e\n\u003cli\u003eMastered Output Peak Levels - CD\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003eChapter 18: Loudness Normalization\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003cp\u003e \u003c\/p\u003e \u003c\/li\u003e\n\u003cli\u003eLoudness Metering and Mastering Practice\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e \u003c\/p\u003e \u003c\/li\u003e\n\u003cli\u003eA Final Word\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003eIndex\u003c\/p\u003e\n\u003c\/li\u003e\u003c\/ul\u003e","brand":"Taylor \u0026 Francis Ltd","offers":[{"title":"Default Title","offer_id":48866453225815,"sku":"9781138809321","price":68.39,"currency_code":"GBP","in_stock":true}]},{"product_id":"pro-tools-le-and-mpowered-9780240519999","title":"Pro Tools LE and MPowered","description":"\u003cb\u003eBook Synopsis\u003c\/b\u003e\u003cbr\u003ePro 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. \u003cbr id=\"CRLF\"\u003e\u003cbr id=\"CRLF\"\u003eIncludes:\u003cbr id=\"CRLF\"\u003e\u003cbr id=\"CRLF\"\u003e* Full coverage of all new features in version 7\u003cbr id=\"CRLF\"\u003e* Information on tempos, clicks and grooves\u003cbr id=\"CRLF\"\u003e* Two chapters on MIDI\u003cbr id=\"CRLF\"\u003e* Useful tutorials on using Reason, Live and SampleTank\u003cbr id=\"CRLF\"\u003e* Recommendations on backups and transfers\u003cbr id=\"CRLF\"\u003e* Guidance on the DV Toolkit for post production\u003cbr id=\"CRLF\"\u003e\u003cbr id=\"CRLF\"\u003e\u003cbr id=\"CRLF\"\u003eFor troubleshooting technical problems, advice on purchasing decisions or inspiration for new ideas, keep this book by your side as a vital reference point.\u003cbr\u003e\u003cbr\u003e\u003cb\u003eTrade Review\u003c\/b\u003e\u003cbr\u003e\u003cp\u003e\"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\u003cbr\u003e\u003cbr\u003e\"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\u003cbr\u003e\u003cbr\u003e\"An excellent introduction and guide to PT LE software \u0026amp; hardware options.\" - Phil Harding, Record Producer\u003cbr\u003e\u003cbr\u003e\"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 \u0026amp; start creating any style of music.\" - Geoff Smith, Producer\u003c\/p\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003eTable of Contents\u003c\/b\u003e\u003cbr\u003eIntroduction; 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","brand":"Taylor \u0026 Francis Ltd","offers":[{"title":"Default Title","offer_id":49400386847063,"sku":"9780240519999","price":45.59,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0817\/1739\/5799\/files\/9780240519999.jpg?v=1730470567"},{"product_id":"designing-sound-9780262014410","title":"Designing Sound","description":"\u003cb\u003eBook Synopsis\u003c\/b\u003e\u003cbr\u003e","brand":"MIT Press Ltd","offers":[{"title":"Default Title","offer_id":49400685232471,"sku":"9780262014410","price":64.8,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0817\/1739\/5799\/files\/9780262014410.jpg?v=1730471290"},{"product_id":"spotify-teardown-inside-the-black-box-of-streaming-music-the-mit-press-9780262038904","title":"Spotify Teardown Inside the Black Box of","description":"\u003cb\u003eBook Synopsis\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eAn innovative investigation of the inner workings of Spotify that traces the transformation of audio files into streamed experience.\u003c\/b\u003e\u003cp\u003eSpotify provides a streaming service that has been welcomed as disrupting the world of music. Yet such disruption always comes at a price. \u003ci\u003eSpotify Teardown\u003c\/i\u003e 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.\u003c\/p\u003e\u003cp\u003eSpotify 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\u003c\/p\u003e","brand":"MIT Press Ltd","offers":[{"title":"Default Title","offer_id":49400685887831,"sku":"9780262038904","price":15.19,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0817\/1739\/5799\/files\/9780262038904.jpg?v=1730471293"},{"product_id":"spatial-audio-processing-9780470033500","title":"Spatial Audio Processing","description":"\u003cb\u003eBook Synopsis\u003c\/b\u003e\u003cbr\u003eThis 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.  \u003cp\u003eUntil 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.\u003c\/p\u003e \u003cp\u003eWritten by experts in spatial audio coding\u003ci\u003e, Spatial Audio Processing\u003c\/i\u003e:\u003c\/p\u003e \u003cul type=\"disc\"\u003e \u003cli\u003ereviews psychoacoustic\u003cbr\u003e\u003cbr\u003e\u003cb\u003eTable of Contents\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eAuthor Biographies.\u003c\/b\u003e  \u003cp\u003e\u003cb\u003eForeword.\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003e\u003cb\u003ePreface.\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003e\u003cb\u003e1 Introduction.\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003e1.1 The human auditory system.\u003c\/p\u003e \u003cp\u003e1.2 Spatial audio reproduction.\u003c\/p\u003e \u003cp\u003e1.3 Spatial audio coding.\u003c\/p\u003e \u003cp\u003e1.4 Book outline.\u003c\/p\u003e \u003cp\u003e\u003cb\u003e2 Background.\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003e2.1 Introduction.\u003c\/p\u003e \u003cp\u003e2.2 Spatial audio playback systems.\u003c\/p\u003e \u003cp\u003e2.2.1 Stereo audio loudspeaker playback.\u003c\/p\u003e \u003cp\u003e2.2.2 Headphone audio playback.\u003c\/p\u003e \u003cp\u003e2.2.3 Multi-channel audio playback.\u003c\/p\u003e \u003cp\u003e2.3 Audio coding.\u003c\/p\u003e \u003cp\u003e2.3.1 Audio signal representation.\u003c\/p\u003e \u003cp\u003e2.3.2 Lossless audio coding.\u003c\/p\u003e \u003cp\u003e2.3.3 Perceptual audio coding.\u003c\/p\u003e \u003cp\u003e2.3.4 Parametric audio coding.\u003c\/p\u003e \u003cp\u003e2.3.5 Combining perceptual and parametric audio coding.\u003c\/p\u003e \u003cp\u003e2.4 Matrix surround.\u003c\/p\u003e \u003cp\u003e2.5 Conclusions.\u003c\/p\u003e \u003cp\u003e\u003cb\u003e3 Spatial Hearing.\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003e3.1 Introduction.\u003c\/p\u003e \u003cp\u003e3.2 Physiology of the human hearing system.\u003c\/p\u003e \u003cp\u003e3.3 Spatial hearing basics.\u003c\/p\u003e \u003cp\u003e3.3.1 Spatial hearing with one sound source.\u003c\/p\u003e \u003cp\u003e3.3.2 Ear entrance signal properties and lateralization.\u003c\/p\u003e \u003cp\u003e3.3.3 Sound source localization.\u003c\/p\u003e \u003cp\u003e3.3.4 Two sound sources: summing localization.\u003c\/p\u003e \u003cp\u003e3.3.5 Superposition of signals each evoking one auditory object.\u003c\/p\u003e \u003cp\u003e3.4 Spatial hearing in rooms.\u003c\/p\u003e \u003cp\u003e3.4.1 Source localization in the presence of reflections: the precedence effect.\u003c\/p\u003e \u003cp\u003e3.4.2 Spatial impression.\u003c\/p\u003e \u003cp\u003e3.5 Limitations of the human auditory system.\u003c\/p\u003e \u003cp\u003e3.5.1 Just-noticeable differences in interaural cues.\u003c\/p\u003e \u003cp\u003e3.5.2 Spectro-temporal decomposition.\u003c\/p\u003e \u003cp\u003e3.5.3 Localization accuracy of single sources.\u003c\/p\u003e \u003cp\u003e3.5.4 Localization accuracy of concurrent sources.\u003c\/p\u003e \u003cp\u003e3.5.5 Localization accuracy when reflections are present.\u003c\/p\u003e \u003cp\u003e3.6 Source localization in complex listening situations.\u003c\/p\u003e \u003cp\u003e3.6.1 Cue selection model.\u003c\/p\u003e \u003cp\u003e3.6.2 Simulation examples.\u003c\/p\u003e \u003cp\u003e3.7 Conclusions.\u003c\/p\u003e \u003cp\u003e\u003cb\u003e4 Spatial Audio Coding.\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003e4.1 Introduction.\u003c\/p\u003e \u003cp\u003e4.2 Related techniques.\u003c\/p\u003e \u003cp\u003e4.2.1 Pseudostereophonic processes.\u003c\/p\u003e \u003cp\u003e4.2.2 Intensity stereo coding.\u003c\/p\u003e \u003cp\u003e4.3 Binaural Cue Coding (BCC).\u003c\/p\u003e \u003cp\u003e4.3.1 Time–frequency processing.\u003c\/p\u003e \u003cp\u003e4.3.2 Down-mixing to one channel.\u003c\/p\u003e \u003cp\u003e4.3.3 ‘Perceptually relevant differences’ between audio channels.\u003c\/p\u003e \u003cp\u003e4.3.4 Estimation of spatial cues.\u003c\/p\u003e \u003cp\u003e4.3.5 Synthesis of spatial cues.\u003c\/p\u003e \u003cp\u003e4.4 Coding of low-frequency effects (LFE) audio channels.\u003c\/p\u003e \u003cp\u003e4.5 Subjective performance.\u003c\/p\u003e \u003cp\u003e4.6 Generalization to spatial audio coding.\u003c\/p\u003e \u003cp\u003e\u003cb\u003e5 Parametric Stereo.\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003e5.1 Introduction.\u003c\/p\u003e \u003cp\u003e5.1.1 Development and standardization.\u003c\/p\u003e \u003cp\u003e5.1.2 AacPlus v2.\u003c\/p\u003e \u003cp\u003e5.2 Interaction between core coder and spatial audio coding.\u003c\/p\u003e \u003cp\u003e5.3 Relation to BCC.\u003c\/p\u003e \u003cp\u003e5.4 Parametric stereo encoder.\u003c\/p\u003e \u003cp\u003e5.4.1 Time\/frequency decomposition.\u003c\/p\u003e \u003cp\u003e5.4.2 Parameter extraction.\u003c\/p\u003e \u003cp\u003e5.4.3 Down-mix.\u003c\/p\u003e \u003cp\u003e5.4.4 Parameter quantization and coding.\u003c\/p\u003e \u003cp\u003e5.5 Parametric stereo decoder.\u003c\/p\u003e \u003cp\u003e5.5.1 Analysis filterbank.\u003c\/p\u003e \u003cp\u003e5.5.2 Decorrelation.\u003c\/p\u003e \u003cp\u003e5.5.3 Matrixing.\u003c\/p\u003e \u003cp\u003e5.5.4 Interpolation.\u003c\/p\u003e \u003cp\u003e5.5.5 Synthesis filterbanks.\u003c\/p\u003e \u003cp\u003e5.5.6 Parametric stereo in enhanced aacPlus.\u003c\/p\u003e \u003cp\u003e5.6 Conclusions.\u003c\/p\u003e \u003cp\u003e\u003cb\u003e6 MPEG Surround.\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003e6.1 Introduction.\u003c\/p\u003e \u003cp\u003e6.2 Spatial audio coding.\u003c\/p\u003e \u003cp\u003e6.2.1 Concept.\u003c\/p\u003e \u003cp\u003e6.2.2 Elementary building blocks.\u003c\/p\u003e \u003cp\u003e6.3 MPEG Surround encoder.\u003c\/p\u003e \u003cp\u003e6.3.1 Structure.\u003c\/p\u003e \u003cp\u003e6.3.2 Pre- and post-gains.\u003c\/p\u003e \u003cp\u003e6.3.3 Time–frequency decomposition.\u003c\/p\u003e \u003cp\u003e6.3.4 Spatial encoder.\u003c\/p\u003e \u003cp\u003e6.3.5 Parameter quantization and coding.\u003c\/p\u003e \u003cp\u003e6.3.6 Coding of residual signals.\u003c\/p\u003e \u003cp\u003e6.4 MPEG Surround decoder.\u003c\/p\u003e \u003cp\u003e6.4.1 Structure.\u003c\/p\u003e \u003cp\u003e6.4.2 Spatial decoder.\u003c\/p\u003e \u003cp\u003e6.4.3 Enhanced matrix mode.\u003c\/p\u003e \u003cp\u003e6.5 Subjective evaluation.\u003c\/p\u003e \u003cp\u003e6.5.1 Test 1: operation using spatial parameters.\u003c\/p\u003e \u003cp\u003e6.5.2 Test 2: operation using enhanced matrix mode.\u003c\/p\u003e \u003cp\u003e6.6 Conclusions.\u003c\/p\u003e \u003cp\u003e\u003cb\u003e7 Binaural Cues for a Single Sound Source.\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003e7.1 Introduction.\u003c\/p\u003e \u003cp\u003e7.2 HRTF parameterization.\u003c\/p\u003e \u003cp\u003e7.2.1 HRTF analysis.\u003c\/p\u003e \u003cp\u003e7.2.2 HRTF synthesis.\u003c\/p\u003e \u003cp\u003e7.3 Sound source position dependencies.\u003c\/p\u003e \u003cp\u003e7.3.1 Experimental procedure.\u003c\/p\u003e \u003cp\u003e7.3.2 Results and discussion.\u003c\/p\u003e \u003cp\u003e7.4 HRTF set dependencies.\u003c\/p\u003e \u003cp\u003e7.4.1 Experimental procedure.\u003c\/p\u003e \u003cp\u003e7.4.2 Results and discussion.\u003c\/p\u003e \u003cp\u003e7.5 Single ITD approximation.\u003c\/p\u003e \u003cp\u003e7.5.1 Procedure.\u003c\/p\u003e \u003cp\u003e7.5.2 Results and discussion.\u003c\/p\u003e \u003cp\u003e7.6 Conclusions.\u003c\/p\u003e \u003cp\u003e\u003cb\u003e8 Binaural Cues for Multiple Sound Sources.\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003e8.1 Introduction.\u003c\/p\u003e \u003cp\u003e8.2 Binaural parameters.\u003c\/p\u003e \u003cp\u003e8.3 Binaural parameter analysis.\u003c\/p\u003e \u003cp\u003e8.3.1 Binaural parameters for a single sound source.\u003c\/p\u003e \u003cp\u003e8.3.2 Binaural parameters for multiple independent sound sources.\u003c\/p\u003e \u003cp\u003e8.3.3 Binaural parameters for multiple sound sources with varying degrees of mutual correlation.\u003c\/p\u003e \u003cp\u003e8.4 Binaural parameter synthesis.\u003c\/p\u003e \u003cp\u003e8.4.1 Mono down-mix.\u003c\/p\u003e \u003cp\u003e8.4.2 Extension towards stereo down-mixes.\u003c\/p\u003e \u003cp\u003e8.5 Application to MPEG Surround.\u003c\/p\u003e \u003cp\u003e8.5.1 Binaural decoding mode.\u003c\/p\u003e \u003cp\u003e8.5.2 Binaural parameter synthesis.\u003c\/p\u003e \u003cp\u003e8.5.3 Binaural encoding mode.\u003c\/p\u003e \u003cp\u003e8.5.4 Evaluation.\u003c\/p\u003e \u003cp\u003e8.6 Conclusions.\u003c\/p\u003e \u003cp\u003e\u003cb\u003e9 Audio Coding with Mixing Flexibility at the Decoder Side.\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003e9.1 Introduction.\u003c\/p\u003e \u003cp\u003e9.2 Motivation and details.\u003c\/p\u003e \u003cp\u003e9.2.1 ICTD, ICLD and ICC of the mixer output.\u003c\/p\u003e \u003cp\u003e9.3 Side information.\u003c\/p\u003e \u003cp\u003e9.3.1 Reconstructing the sources.\u003c\/p\u003e \u003cp\u003e9.4 Using spatial audio decoders as mixers.\u003c\/p\u003e \u003cp\u003e9.5 Transcoding to MPEG Surround.\u003c\/p\u003e \u003cp\u003e9.6 Conclusions.\u003c\/p\u003e \u003cp\u003e\u003cb\u003e10 Multi-loudspeaker Playback of Stereo Signals.\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003e10.1 Introduction.\u003c\/p\u003e \u003cp\u003e10.2 Multi-channel stereo.\u003c\/p\u003e \u003cp\u003e10.3 Spatial decomposition of stereo signals.\u003c\/p\u003e \u003cp\u003e10.3.1 Estimating \u003ci\u003eps,b\u003c\/i\u003e, \u003ci\u003eAb\u003c\/i\u003e and \u003ci\u003epn,b.\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e10.3.2 Least-squares estimation of \u003ci\u003esm\u003c\/i\u003e, \u003ci\u003en\u003c\/i\u003e1\u003ci\u003e,m\u003c\/i\u003e and \u003ci\u003en\u003c\/i\u003e2\u003ci\u003e,m.\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e10.3.3 Post-scaling.\u003c\/p\u003e \u003cp\u003e10.3.4 Numerical examples.\u003c\/p\u003e \u003cp\u003e10.4 Reproduction using different rendering setups.\u003c\/p\u003e \u003cp\u003e10.4.1 Multiple loudspeakers in front of the listener.\u003c\/p\u003e \u003cp\u003e10.4.2 Multiple front loudspeakers plus side loudspeakers.\u003c\/p\u003e \u003cp\u003e10.4.3 Conventional 5.1 surround loudspeaker setup.\u003c\/p\u003e \u003cp\u003e10.4.4 Wavefield synthesis playback system.\u003c\/p\u003e \u003cp\u003e10.4.5 Modifying the decomposed audio signals.\u003c\/p\u003e \u003cp\u003e10.5 Subjective evaluation.\u003c\/p\u003e \u003cp\u003e10.5.1 Subjects and playback setup.\u003c\/p\u003e \u003cp\u003e10.5.2 Stimuli.\u003c\/p\u003e \u003cp\u003e10.5.3 Test method.\u003c\/p\u003e \u003cp\u003e10.5.4 Results.\u003c\/p\u003e \u003cp\u003e10.6 Conclusions.\u003c\/p\u003e \u003cp\u003e10.7 Acknowledgement.\u003c\/p\u003e \u003cp\u003e\u003cb\u003eFrequently Used Terms, Abbreviations and Notation.\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eTerms and abbreviations.\u003c\/p\u003e \u003cp\u003eNotation and variables.\u003c\/p\u003e \u003cp\u003e\u003cb\u003eBibliography.\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003e\u003cb\u003eIndex.\u003c\/b\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"John Wiley \u0026 Sons Inc","offers":[{"title":"Default Title","offer_id":49402267435351,"sku":"9780470033500","price":88.16,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0817\/1739\/5799\/files\/9780470033500.jpg?v=1730479891"},{"product_id":"speech-and-audio-signal-processing-9780470195369","title":"Speech and Audio Signal Processing","description":"\u003cb\u003eBook Synopsis\u003c\/b\u003e\u003cbr\u003eWhen \u003ci\u003eSpeech and Audio Signal Processing\u003c\/i\u003e 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.  \u003cp\u003eThis \u003ci\u003eSecond Edition\u003c\/i\u003e 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.\u003c\/p\u003e \u003cp\u003eNew chapter topics include:\u003c\/p\u003e \u003cul\u003e \u003cli\u003e \u003cdiv\u003e\n\u003cb\u003ePsychoac\u003cbr\u003e\u003cbr\u003e\u003cb\u003eTable of Contents\u003c\/b\u003e\u003cbr\u003ePREFACE TO THE 2011 EDITION xxi  \u003c\/b\u003e\u003cp\u003eCHAPTER 1 INTRODUCTION 1\u003c\/p\u003e \u003cp\u003e\u003cb\u003ePART I HISTORICAL BACKGROUND\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eCHAPTER 2 SYNTHETIC A UDIO: A BRIEF HISTORY 9\u003c\/p\u003e \u003cp\u003eCHAPTER 3 SPEECH ANALYSIS AND SYNTHESIS OVERVIEW 21\u003c\/p\u003e \u003cp\u003eCHAPTER 4 BRIEF HISTORY OF AUTOMATIC SPEECH RECOGNITION 40\u003c\/p\u003e \u003cp\u003eCHAPTER 5 SPEECH-RECOGNITION OVERVIEW 59\u003c\/p\u003e \u003cp\u003e\u003cb\u003ePART II MATHEMATICAL BACKGROUND\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eCHAPTER 6 DIGITAL SIGNAL PROCESSING 73\u003c\/p\u003e \u003cp\u003eCHAPTER 7 DIGITAL FILTERSAND DISCRETE FOURIER TRANSFORM 87\u003c\/p\u003e \u003cp\u003eCHAPTER 8 PATTERN CLASSIFICATION 105\u003c\/p\u003e \u003cp\u003eCHAPTER 9 STATISTICAL PATTERN CLASSIFICATION 124\u003c\/p\u003e \u003cp\u003e\u003cb\u003ePART III ACOUSTICS\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eCHAPTER 10 WAVE BASICS 141\u003c\/p\u003e \u003cp\u003eCHAPTER 11 ACOUSTIC TUBE MODELING OF SPEECH PRODUCTION 152\u003c\/p\u003e \u003cp\u003eCHAPTER 12 MUSICAL INSTRUMENT ACOUSTICS 158\u003c\/p\u003e \u003cp\u003eCHAPTER 13 ROOM ACOUSTICS 179\u003c\/p\u003e \u003cp\u003e\u003cb\u003ePART IV AUDITORY PERCEPTION\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eCHAPTER 14  EAR PHYSIOLOGY 193\u003c\/p\u003e \u003cp\u003eCHAPTER 15 PSYCHOACOUSTICS 209\u003c\/p\u003e \u003cp\u003eCHAPTER 16 MODELS OF PITCH PERCEPTION 218\u003c\/p\u003e \u003cp\u003eCHAPTER 17 SPEECH PERCEPTION 232\u003c\/p\u003e \u003cp\u003eCHAPTER 18 HUMAN SPEECH RECOGNITION 250\u003c\/p\u003e \u003cp\u003e\u003cb\u003ePART V SPEECH FEATURES\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eCHAPTER 19 THE AUDITORY SYSTEM AS A FILTER BANK 263\u003c\/p\u003e \u003cp\u003eCHAPTER 20 THE CEPSTRUM AS A SPECTRAL ANALYZER 277\u003c\/p\u003e \u003cp\u003eCHAPTER 21 LINEAR PREDICTION 286\u003c\/p\u003e \u003cp\u003e\u003cb\u003ePART VI A UTOMATIC SPEECH RECOGNITION\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eCHAPTER 22 FEATURE EXTRACTION FOR ASR 301\u003c\/p\u003e \u003cp\u003eCHAPTER 23 LINGUISTIC CATEGORIES FOR SPEECH RECOGNITION 319\u003c\/p\u003e \u003cp\u003eCHAPTER 24 DETERMINISTIC SEQUENCE RECOGNITION FOR ASR 337\u003c\/p\u003e \u003cp\u003eCHAPTER 25 STATISTICAL SEQUENCE RECOGNITION 350\u003c\/p\u003e \u003cp\u003eCHAPTER 26 STATISTICAL MODEL TRAINING 364\u003c\/p\u003e \u003cp\u003eCHAPTER 27 DISCRIMINANT ACOUSTIC PROBABILITY ESTIMATION 381\u003c\/p\u003e \u003cp\u003eCHAPTER 28 ACOUSTIC MODEL TRAINING: FURTHER TOPICS 394\u003c\/p\u003e \u003cp\u003eCHAPTER 29 SPEECH RECOGNITION AND UNDERSTANDING 416\u003c\/p\u003e \u003cp\u003e\u003cb\u003ePART VII SYNTHESIS AND CODING\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eCHAPTER 30 SPEECH SYNTHESIS 431\u003c\/p\u003e \u003cp\u003eCHAPTER 31 PITCH DETECTION 455\u003c\/p\u003e \u003cp\u003eCHAPTER 32 VOCODERS 473\u003c\/p\u003e \u003cp\u003eCHAPTER 33 LOW-RATE VOCODERS 493\u003c\/p\u003e \u003cp\u003eCHAPTER 34 MEDIUM-RATE AND HIGH-RATE VOCODERS 505\u003c\/p\u003e \u003cp\u003eCHAPTER 35 PERCEPTUAL A UDIO CODING 531\u003c\/p\u003e \u003cp\u003e\u003cb\u003ePART VIII OTHER APPLICATIONS\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eCHAPTER 36 SOME ASPECTS OF COMPUTER MUSIC SYNTHESIS 553\u003c\/p\u003e \u003cp\u003eCHAPTER 37 MUSIC SIGNAL ANALYSIS 567\u003c\/p\u003e \u003cp\u003eCHAPTER 38 MUSIC RETRIEVAL 581\u003c\/p\u003e \u003cp\u003eCHAPTER 39 SOURCE SEPARATION 59\u003c\/p\u003e \u003cp\u003eCHAPTER 40 SPEECH TRANSFORMATIONS 617\u003c\/p\u003e \u003cp\u003eCHAPTER 41 SPEAKER VERIFICATION 633\u003c\/p\u003e \u003cp\u003eCHAPTER 42 SPEAKER DIARIZATION 644\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"John Wiley \u0026 Sons Inc","offers":[{"title":"Default Title","offer_id":49402303971671,"sku":"9780470195369","price":96.26,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0817\/1739\/5799\/files\/9780470195369.jpg?v=1730480004"},{"product_id":"dafx-9780470665992","title":"DAFX","description":"\u003cb\u003eBook Synopsis\u003c\/b\u003e\u003cbr\u003eRapid 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.\u003cbr\u003e\u003cbr\u003e\u003cb\u003eTable of Contents\u003c\/b\u003e\u003cbr\u003e\u003cb\u003ePreface.\u003c\/b\u003e  \u003cp\u003e\u003cb\u003eList of Contributors.\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003e\u003cb\u003e1 Introduction\u003c\/b\u003e (\u003ci\u003eV. Verfaille, M. Holters, U. Zölzer\u003c\/i\u003e).\u003c\/p\u003e \u003cp\u003e1.1 Digital Audio Effects DAFX with MATLAB.\u003c\/p\u003e \u003cp\u003e1.2 Classifications of DAFX.\u003c\/p\u003e \u003cp\u003e1.3 Fundamentals of Digital Signal Processing.\u003c\/p\u003e \u003cp\u003e1.4 Conclusion.\u003c\/p\u003e \u003cp\u003eBibliography.\u003c\/p\u003e \u003cp\u003e\u003cb\u003e2 Filters and Delays\u003c\/b\u003e (\u003ci\u003eP. Dutilleux, M. Holters, S. Disch, U. Zölzer\u003c\/i\u003e).\u003c\/p\u003e \u003cp\u003e2.1 Introduction.\u003c\/p\u003e \u003cp\u003e2.2 Basic Filters.\u003c\/p\u003e \u003cp\u003e2.3 Equalizers.\u003c\/p\u003e \u003cp\u003e2.4 Time-varying Filters.\u003c\/p\u003e \u003cp\u003e2.5 Basic Delay Structures.\u003c\/p\u003e \u003cp\u003e2.6 Delay-based Audio Effects.\u003c\/p\u003e \u003cp\u003e2.7 Conclusion.\u003c\/p\u003e \u003cp\u003eSound and Music.\u003c\/p\u003e \u003cp\u003eBibliography.\u003c\/p\u003e \u003cp\u003e\u003cb\u003e3 Modulators and Demodulators\u003c\/b\u003e (\u003ci\u003eP. Dutilleux, M. Holters, S. Disch, U. Zölzer\u003c\/i\u003e).\u003c\/p\u003e \u003cp\u003e3.1 Introduction.\u003c\/p\u003e \u003cp\u003e3.2 Modulators.\u003c\/p\u003e \u003cp\u003e3.3 Demodulators.\u003c\/p\u003e \u003cp\u003e3.4 Applications.\u003c\/p\u003e \u003cp\u003e3.5 Conclusion.\u003c\/p\u003e \u003cp\u003eSound and Music.\u003c\/p\u003e \u003cp\u003eBibliography.\u003c\/p\u003e \u003cp\u003e\u003cb\u003e4 Nonlinear Processing\u003c\/b\u003e (\u003ci\u003eP. Dutilleux, K. Dempwolf, M. Holters, U. Zölzer\u003c\/i\u003e).\u003c\/p\u003e \u003cp\u003e4.1 Introduction.\u003c\/p\u003e \u003cp\u003e4.2 Dynamic Range Control.\u003c\/p\u003e \u003cp\u003e4.3 Musical Distortion and Saturation Effects.\u003c\/p\u003e \u003cp\u003e4.4 Exciters and Enhancers.\u003c\/p\u003e \u003cp\u003e4.5 Conclusion.\u003c\/p\u003e \u003cp\u003eSound and Music.\u003c\/p\u003e \u003cp\u003eBibliography.\u003c\/p\u003e \u003cp\u003e\u003cb\u003e5 Spatial Effects\u003c\/b\u003e (\u003ci\u003eV. Pulkki, T. Lokki, D. Rocchesso\u003c\/i\u003e).\u003c\/p\u003e \u003cp\u003e5.1 Introduction.\u003c\/p\u003e \u003cp\u003e5.2 Concepts of spatial hearing.\u003c\/p\u003e \u003cp\u003e5.3 Basic spatial effects for stereophonic loudspeaker and headphone playback.\u003c\/p\u003e \u003cp\u003e5.4 Binaural techniques in spatial audio.\u003c\/p\u003e \u003cp\u003e5.5 Spatial audio effects for multichannel loudspeaker layouts.\u003c\/p\u003e \u003cp\u003e5.6 Reverberation.\u003c\/p\u003e \u003cp\u003e5.7 Modeling of room acoustics.\u003c\/p\u003e \u003cp\u003e5.8 Other spatial effects.\u003c\/p\u003e \u003cp\u003e5.9 Conclusion.\u003c\/p\u003e \u003cp\u003e5.10 Acknowledgements.\u003c\/p\u003e \u003cp\u003eReferences.\u003c\/p\u003e \u003cp\u003e\u003cb\u003e6 Time-Segment Processing\u003c\/b\u003e (\u003ci\u003eP. Dutilleux, G. De Poli, A. von dem Knesebeck, U. Zölzer\u003c\/i\u003e).\u003c\/p\u003e \u003cp\u003e6.1 Introduction.\u003c\/p\u003e \u003cp\u003e6.2 Variable Speed Replay.\u003c\/p\u003e \u003cp\u003e6.3 Time Stretching.\u003c\/p\u003e \u003cp\u003e6.4 Pitch Shifting.\u003c\/p\u003e \u003cp\u003e6.5 Time Shuffling and Granulation.\u003c\/p\u003e \u003cp\u003e6.6 Conclusion.\u003c\/p\u003e \u003cp\u003eSound and Music.\u003c\/p\u003e \u003cp\u003eReferences. \u003c\/p\u003e \u003cp\u003e\u003cb\u003e7 Time-Frequency Processing (\u003c\/b\u003e\u003ci\u003eD. Arfib, F. Keiler, U. Zölzer, V. Verfaille, J. Bonada\u003c\/i\u003e)\u003ci\u003e.\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e7.1 Introduction.\u003c\/p\u003e \u003cp\u003e7.2 Phase Vocoder Basics.\u003c\/p\u003e \u003cp\u003e7.3 Phase Vocoder Implementations.\u003c\/p\u003e \u003cp\u003e7.4 Phase Vocoder Effects.\u003c\/p\u003e \u003cp\u003e7.5 Conclusion.\u003c\/p\u003e \u003cp\u003eReferences.\u003c\/p\u003e \u003cp\u003e\u003cb\u003e8 Source-Filter Processing\u003c\/b\u003e (\u003ci\u003eD. Arfib, F. Keiler, U. Zölzer, V. Verfaille\u003c\/i\u003e).\u003c\/p\u003e \u003cp\u003e8.1 Introduction.\u003c\/p\u003e \u003cp\u003e8.2 Source-Filter Separation.\u003c\/p\u003e \u003cp\u003e8.3 Source-Filter Transformations.\u003c\/p\u003e \u003cp\u003e8.4 Conclusion.\u003c\/p\u003e \u003cp\u003eReferences.\u003c\/p\u003e \u003cp\u003e\u003cb\u003e9 Adaptive Digital Audio Effects\u003c\/b\u003e (\u003ci\u003eV. Verfaille, D. Arfib, F. Keiler, A. von dem Knesebeck, U. Zölzer\u003c\/i\u003e).\u003c\/p\u003e \u003cp\u003e9.1 Introduction.\u003c\/p\u003e \u003cp\u003e9.2 Sound-Feature Extraction.\u003c\/p\u003e \u003cp\u003e9.3 Mapping Sound Features to Control Parameters.\u003c\/p\u003e \u003cp\u003e9.4 Examples of Adaptive DAFX.\u003c\/p\u003e \u003cp\u003e9.5 Conclusions.\u003c\/p\u003e \u003cp\u003eReferences.\u003c\/p\u003e \u003cp\u003e\u003cb\u003e10 Spectral Processing\u003c\/b\u003e (\u003ci\u003eJ. Bonada, X. Serra, X. Amatriain, A. Loscos\u003c\/i\u003e).\u003c\/p\u003e \u003cp\u003e10.1 Introduction.\u003c\/p\u003e \u003cp\u003e10.2 Spectral Models.\u003c\/p\u003e \u003cp\u003e10.3 Techniques.\u003c\/p\u003e \u003cp\u003e10.4 Effects.\u003c\/p\u003e \u003cp\u003e10.5 Conclusions.\u003c\/p\u003e \u003cp\u003eReferences. \u003c\/p\u003e \u003cp\u003e\u003cb\u003e11 Time and Frequency Warping-Musical Signals\u003c\/b\u003e (\u003ci\u003eG. Evangelista\u003c\/i\u003e).\u003c\/p\u003e \u003cp\u003e11.1 Introduction.\u003c\/p\u003e \u003cp\u003e11.2 Warping.\u003c\/p\u003e \u003cp\u003e11.3 Musical Uses of Warping.\u003c\/p\u003e \u003cp\u003e11.4 Conclusion.\u003c\/p\u003e \u003cp\u003eReferences. \u003c\/p\u003e \u003cp\u003e\u003cb\u003e12 Virtual Analog Effects\u003c\/b\u003e (\u003ci\u003eV. Välimäki, S. Bilbao, J. O. Smith, J. S. Abel, J. Pakarinen, D. Berners\u003c\/i\u003e).\u003c\/p\u003e \u003cp\u003e12.1 Introduction.\u003c\/p\u003e \u003cp\u003e12.2 Virtual Analog Filters.\u003c\/p\u003e \u003cp\u003e12.3 Circuit-Based Valve Emulation.\u003c\/p\u003e \u003cp\u003e12.4 Electromechanical Effects.\u003c\/p\u003e \u003cp\u003e12.5 Tape-Based Echo Simulation.\u003c\/p\u003e \u003cp\u003e12.6 Antiquing of Audio Files.\u003c\/p\u003e \u003cp\u003e12.7 Conclusion.\u003c\/p\u003e \u003cp\u003eReferences. \u003c\/p\u003e \u003cp\u003e\u003cb\u003e13 Automatic Mixing\u003c\/b\u003e (\u003ci\u003eE. Perez-Gonzalez, J. D. Reiss\u003c\/i\u003e).\u003c\/p\u003e \u003cp\u003e13.1 Introduction.\u003c\/p\u003e \u003cp\u003e13.2 AM-DAFX.\u003c\/p\u003e \u003cp\u003e13.3 Cross-adaptive AM-DAFX.\u003c\/p\u003e \u003cp\u003e13.4 AM-DAFX Implementations.\u003c\/p\u003e \u003cp\u003e13.5 Conclusion.\u003c\/p\u003e \u003cp\u003eReferences.\u003c\/p\u003e \u003cp\u003e\u003cb\u003e14 Sound Source Separation\u003c\/b\u003e (\u003ci\u003eG. Evangelista, S. Marchand, M. D. Plumbley, E. Vincent\u003c\/i\u003e).\u003c\/p\u003e \u003cp\u003e14.1 Introduction.\u003c\/p\u003e \u003cp\u003e14.2 Binaural Source Separation.\u003c\/p\u003e \u003cp\u003e14.3 Source Separation from Single-Channel Signals.\u003c\/p\u003e \u003cp\u003e14.4 Applications.\u003c\/p\u003e \u003cp\u003e14.5 Conclusions.\u003c\/p\u003e \u003cp\u003eAcknowledgments.\u003c\/p\u003e \u003cp\u003eReferences. \u003c\/p\u003e \u003cp\u003e\u003cb\u003eGlossary.\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003e\u003cb\u003eIndex.\u003c\/b\u003e\u003c\/p\u003e","brand":"John Wiley \u0026 Sons Inc","offers":[{"title":"Default Title","offer_id":49402396606807,"sku":"9780470665992","price":79.16,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0817\/1739\/5799\/files\/9780470665992.jpg?v=1730480276"},{"product_id":"speech-processing-and-synthesis-toolboxes-with-speech-and-electroglottographic-data-powered-by-matlab-9780471349594","title":"Speech Processing and Synthesis Toolboxes With","description":"\u003cb\u003eBook Synopsis\u003c\/b\u003e\u003cbr\u003e\u003cp\u003eThe 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.\u003c\/p\u003e\u003cp\u003eThe 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.\u003c\/p\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003eTable of Contents\u003c\/b\u003e\u003cbr\u003eSpeech Analysis Toolbox.\u003cbr\u003e \u003cbr\u003e Speech Production, Labeling, and Characteristics.\u003cbr\u003e \u003cbr\u003e Data and Measurements.\u003cbr\u003e \u003cbr\u003e Linear Prediction.\u003cbr\u003e \u003cbr\u003e Speech Synthesis and a Formant Speech Synthesis Toolbox.\u003cbr\u003e \u003cbr\u003e Vocos -\u003cbr\u003e A Voice Conversion Toolbox.\u003cbr\u003e \u003cbr\u003e Time Modification of Speech Toolbox.\u003cbr\u003e \u003cbr\u003e Animated Vocal Fold Model Toolbox.\u003cbr\u003e \u003cbr\u003e Articulatory Speech Synthesis Toolbox.\u003cbr\u003e \u003cbr\u003e Appendices.\u003cbr\u003e \u003cbr\u003e Index.","brand":"John Wiley \u0026 Sons Inc","offers":[{"title":"Default Title","offer_id":49402570408279,"sku":"9780471349594","price":222.26,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0817\/1739\/5799\/files\/9780471349594.jpg?v=1730480790"},{"product_id":"recording-secrets-for-the-small-studio-9781032229553","title":"Recording Secrets for the Small Studio","description":"\u003cb\u003eBook Synopsis\u003c\/b\u003e\u003cbr\u003e\u003cp\u003eIn 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.\u003c\/p\u003e\u003cp\u003e\u003c\/p\u003e\u003ci\u003e\u003c\/i\u003e\u003cp\u003eRecording 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.\u003c\/p\u003e\u003cp\u003e\u003c\/p\u003e\u003cp\u003eSpecifically 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 a\u003cbr\u003e\u003cbr\u003e\u003cb\u003eTrade Review\u003c\/b\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e'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.'\u003c\/p\u003e\u003cp\u003e\u003cb\u003eHugh Robjohns\u003c\/b\u003e\u003cem\u003e, Sound on Sound\u003c\/em\u003e\u003c\/p\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003eTable of Contents\u003c\/b\u003e\u003cbr\u003e\u003cp\u003e\u003cstrong\u003ePart 1: One Source, No Mics\u003c\/strong\u003e 1.\u003cb\u003e \u003c\/b\u003eRecording a Machine 2. The Human Element 3. Instruments with Pickups \u003cb\u003ePart 2: One Source, One Mic \u003c\/b\u003e 4. Basic Vocal Recording 5. Beyond Vanilla Vocals 6. Single-Mic Instrument Recording \u003cstrong\u003ePart 3: One Source, Multiple Mics \u003c\/strong\u003e7. Multimiking in Mono 8. Multimiking in Stereo \u003cb\u003ePart 4: Multiple Sources, Multiple Mics\u003c\/b\u003e 9. Ensemble Recording with a Dominant Array 10. Adding Spot Arrays 11. Ensemble Recording with Peer Arrays 12. Going Freestyle 13. Conclusion\u003c\/p\u003e","brand":"Taylor \u0026 Francis Ltd","offers":[{"title":"Default Title","offer_id":49406662607191,"sku":"9781032229553","price":46.3,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0817\/1739\/5799\/files\/9781032229553.jpg?v=1730496687"},{"product_id":"an-introduction-to-audio-content-analysis-9781119890942","title":"An Introduction to Audio Content Analysis","description":"\u003cb\u003eBook Synopsis\u003c\/b\u003e\u003cbr\u003eAn Introduction to Audio Content Analysis Enables readers to understand the algorithmic analysis of musical audio signals with AI-driven approaches An Introduction to Audio Content Analysis serves as a comprehensive guide on audio content analysis explaining how signal processing and machine learning approaches can be utilized for the extraction of musical content from audio. It gives readers the algorithmic understanding to teach a computer to interpret music signals and thus allows for the design of tools for interacting with music. The work ties together topics from audio signal processing and machine learning, showing how to use audio content analysis to pick up musical characteristics automatically. A multitude of audio content analysis tasks related to the extraction of tonal, temporal, timbral, and intensity-related characteristics of the music signal are presented. Each task is introduced from both a musical and a technical perspective, detailing the algorithmic approach as well as providing practical guidance on implementation details and evaluation. To aid in reader comprehension, each task description begins with a short introduction to the most important musical and perceptual characteristics of the covered topic, followed by a detailed algorithmic model and its evaluation, and concluded with questions and exercises. For the interested reader, updated supplemental materials are provided via an accompanying website. Written by a well-known expert in the music industry, sample topics covered in Introduction to Audio Content Analysis include: Digital audio signals and their representation, common time-frequency transforms, audio featuresPitch and fundamental frequency detection, key and chordRepresentation of dynamics in music and intensity-related featuresBeat histograms, onset and tempo detection, beat histograms, and detection of structure in music, and sequence alignmentAudio fingerprinting, musical genre, mood, and instrument classification An invaluable guide for newcomers to audio signal processing and industry experts alike, An Introduction to Audio Content Analysis covers a wide range of introductory topics pertaining to music information retrieval and machine listening, allowing students and researchers to quickly gain core holistic knowledge in audio analysis and dig deeper into specific aspects of the field with the help of a large amount of references.\u003cbr\u003e\u003cbr\u003e\u003cb\u003eTable of Contents\u003c\/b\u003e\u003cbr\u003e\u003cp\u003eAuthor Biography xvii\u003c\/p\u003e \u003cp\u003ePreface xix\u003c\/p\u003e \u003cp\u003eAcronyms xxi\u003c\/p\u003e \u003cp\u003eList of Symbols xxv\u003c\/p\u003e \u003cp\u003eSource Code Repositories xxix\u003c\/p\u003e \u003cp\u003e1 Introduction 1\u003c\/p\u003e \u003cp\u003ePart I Fundamentals of Audio Content Analysis 9\u003c\/p\u003e \u003cp\u003e2 Analysis of Audio Signals 11\u003c\/p\u003e \u003cp\u003e3 Input Representation 17\u003c\/p\u003e \u003cp\u003e4 Inference 91\u003c\/p\u003e \u003cp\u003e5 Data 107\u003c\/p\u003e \u003cp\u003ePart II Music Transcription 127\u003c\/p\u003e \u003cp\u003e7 Tonal Analysis 129\u003c\/p\u003e \u003cp\u003e8 Intensity217\u003c\/p\u003e \u003cp\u003e9 Temporal Analysis 229\u003c\/p\u003e \u003cp\u003e10 Alignment 281\u003c\/p\u003e \u003cp\u003ePart III Music Identification, Classification, and Assessment 303\u003c\/p\u003e \u003cp\u003e11 Audio Fingerprinting 305\u003c\/p\u003e \u003cp\u003e12 Music Similarity Detection and Music Genre Classification 317\u003c\/p\u003e \u003cp\u003e13 Mood Recognition 337\u003c\/p\u003e \u003cp\u003e14 Musical Instrument Recognition 347\u003c\/p\u003e \u003cp\u003e15 Music Performance Assessment 355\u003c\/p\u003e \u003cp\u003ePart IV Appendices 365\u003c\/p\u003e \u003cp\u003eAppendix A Fundamentals 367\u003c\/p\u003e \u003cp\u003eAppendix B Fourier Transform 385\u003c\/p\u003e \u003cp\u003eAppendix C Principal Component Analysis 405\u003c\/p\u003e \u003cp\u003eAppendix D Linear Regression 409\u003c\/p\u003e \u003cp\u003eAppendix E Software for Audio Analysis 411\u003c\/p\u003e \u003cp\u003eAppendix F Datasets 417\u003c\/p\u003e \u003cp\u003eIndex 425\u003c\/p\u003e","brand":"John Wiley \u0026 Sons Inc","offers":[{"title":"Default Title","offer_id":49407183978839,"sku":"9781119890942","price":91.8,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0817\/1739\/5799\/files\/9781119890942.jpg?v=1730498469"},{"product_id":"stream-processing-with-apache-spark-9781491944240","title":"Stream Processing with Apache Spark","description":"\u003cb\u003eBook Synopsis\u003c\/b\u003e\u003cbr\u003eBefore you can build analytics tools to gain quick insights, you first need to know how to process data in real time. With this practical guide, developers familiar with Apache Spark will learn how to put this in-memory framework to use for streaming data.","brand":"O'Reilly Media","offers":[{"title":"Default Title","offer_id":49409190756695,"sku":"9781491944240","price":41.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0817\/1739\/5799\/files\/9781491944240.jpg?v=1730505856"},{"product_id":"build-talking-apps-for-alexa-creating-voice-first-hands-free-user-experiences-9781680507256","title":"Build Talking Apps for Alexa: Creating","description":"\u003cb\u003eBook Synopsis\u003c\/b\u003e\u003cbr\u003eVoice recognition is here at last. Alexa and other voice assistants have now become widespread and mainstream. Is your app ready for voice interaction? Learn how to develop your own voice applications for Amazon Alexa. Start with techniques for building conversational user interfaces and dialog management. Integrate with existing applications and visual interfaces to complement voice-first applications. The future of human-computer interaction is voice, and we'll help you get ready for it.  For decades, voice-enabled computers have only existed in the realm of science fiction. But now the Alexa Skills Kit (ASK) lets you develop your own voice-first applications. Leverage ASK to create engaging and natural user interfaces for your applications, enabling them to listen to users and talk back. You'll see how to use voice and sound as first-class components of user-interface design. We'll start with the essentials of building Alexa voice applications, called skills, including useful tools for creating, testing, and deploying your skills. From there, you can define parameters and dialogs that will prompt users for input in a natural, conversational style.  Integrate your Alexa skills with Amazon services and other backend services to create a custom user experience. Discover how to tailor Alexa's voice and language to create more engaging responses and speak in the user's own language. Complement the voice-first experience with visual interfaces for users on screen-based devices. Add options for users to buy upgrades or other products from your application. Once all the pieces are in place, learn how to publish your Alexa skill for everyone to use.  Create the future of user interfaces using the Alexa Skills Kit today.  What You Need:  You will need a computer capable of running the latest version of Node.js, a Git client, and internet access.","brand":"The Pragmatic Programmers","offers":[{"title":"Default Title","offer_id":49411291119959,"sku":"9781680507256","price":36.57,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0817\/1739\/5799\/files\/9781680507256.jpg?v=1730513095"},{"product_id":"digital-audio-processing-fundamentals-9783031142277","title":"Digital Audio Processing Fundamentals","description":"\u003cb\u003eBook Synopsis\u003c\/b\u003e\u003cbr\u003e\u003cp\u003eThe book provides an accessible overview of audio signal processing, and enables readers to design and write algorithms for the analysis, synthesis, and manipulation of musical and acoustic signals for any programming language. It provides an overview of highly interdisciplinary topics developed in a simple but rigorous way, and described in a unified and formal language which focuses on determining discrete-time audio signal models. Readers can find within a self-contained volume basic topics ranging over different disciplines: mechanical acoustics, physical systems and linear and nonlinear models, with lumped and distributed parameters; described and developed with the same level of mathematical formalism, easy to understand and oriented to the development of algorithms. Topics include the fundamental concepts of acoustic mechanics and vibration; the design of filters and equalizers for sound signals, the so-called audio effects, abstract methods of sound synthesis, and finally, methods of synthesis by physical modeling.\u003c\/p\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003eTable of Contents\u003c\/b\u003e\u003cbr\u003eFoundations of Acoustics.- Discrete-Time Signals, Circuits and System Fundamentals.- Digital Filters for Audio Applications.- Multi-Rate Audio Processing and Wavelet Transform.- Special Transfer Functions for DASP.- Circuits and Algorithms for Physical Modeling.- Digital Audio Effects.- Sound Synthesis.- Physical Modeling.","brand":"Springer International Publishing AG","offers":[{"title":"Default Title","offer_id":49415687668055,"sku":"9783031142277","price":98.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0817\/1739\/5799\/files\/9783031142277.jpg?v=1730527793"},{"product_id":"immersive-sound-9781138900004","title":"Immersive Sound","description":"\u003cb\u003eBook Synopsis\u003c\/b\u003e\u003cbr\u003e\u003cp\u003e\u003cem\u003eImmersive Sound: The Art and Science of Binaural and Multi-Channel Audio\u003c\/em\u003e provides a comprehensive guide to multi-channel sound. With contributions from leading recording engineers, researchers, and industry experts, \u003ci\u003eImmersive Sound\u003c\/i\u003e includes an in-depth description of the physics and psychoacoustics of spatial audio as well as practical applications. Chapters include the history of 3D sound, binaural reproduction over headphones and loudspeakers, stereo, surround sound, height channels, object-based audio, soundfield (ambisonics), wavefield synthesis, and multi-channel mixing techniques. Knowledge of the development, theory, and practice of spatial and multi-channel sound is essential to those advancing the research and applications in the rapidly evolving fields of 3D sound recording, augmented and virtual reality, gaming, film sound, music production, and post-production.\u003c\/p\u003e\u003cp\u003e \u003c\/p\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003eTrade Review\u003c\/b\u003e\u003cbr\u003e\u003cp\u003e\"This book is comprehensive and up-to-date, and I plan to keep my copy at the top of my reading list.\" - Todd Welti, \u003cem\u003eJournal of the Audio Engineering Society\u003c\/em\u003e\u003c\/p\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003eTable of Contents\u003c\/b\u003e\u003cbr\u003e\u003cp\u003e\u003cem\u003eContributors\u003c\/em\u003e\u003c\/p\u003e\u003cp\u003e\u003cem\u003eForeword\u003c\/em\u003e \u003c\/p\u003e\u003cp\u003eWIESLAW WOSZCZYK\u003c\/p\u003e\u003cp\u003eAcknowledgements \u003c\/p\u003e\u003cp\u003eIntroduction \u003c\/p\u003e\u003cp\u003eAGNIESZKA ROGINSKA AND PAUL GELUSO\u003c\/p\u003e\u003cp\u003e1 Perception of Spatial Sound \u003c\/p\u003e\u003cp\u003eELIZABETH M. WENZEL, DURAND R. BEGAULT, AND MARTINE GODFROY-COOPER\u003c\/p\u003e\u003cp\u003e\u003ci\u003e \u003cbr\u003e\u003c\/i\u003e\u003c\/p\u003e\u003cul\u003e\n\u003cli\u003e\u003ci\u003e\u003cbr\u003e\u003c\/i\u003e\u003c\/li\u003e\n\u003cli\u003e\u003ci\u003eAuditory Physiology\u003c\/i\u003e\u003c\/li\u003e\n\u003cli\u003e\u003ci\u003e\u003cbr\u003e\u003c\/i\u003e\u003c\/li\u003e\n\u003cli\u003e\u003ci\u003eHuman Sound Localization \u003c\/i\u003e\u003c\/li\u003e\n\u003cli\u003e\u003ci\u003e\u003cbr\u003e\u003c\/i\u003e\u003c\/li\u003e\n\u003cli\u003e\u003ci\u003eHead-Related Transfer Functions (HRTFs) and Virtual Acoustics \u003c\/i\u003e\u003c\/li\u003e\n\u003cli\u003e\u003ci\u003e\u003cbr\u003e\u003c\/i\u003e\u003c\/li\u003e\n\u003cli\u003e\u003ci\u003eNeural Plasticity in Sound Localization \u003c\/i\u003e\u003c\/li\u003e\n\u003cli\u003e\u003ci\u003e\u003cbr\u003e\u003c\/i\u003e\u003c\/li\u003e\n\u003cli\u003e\u003ci\u003eDistance and Environmental Context Perception \u003c\/i\u003e\u003c\/li\u003e\n\u003cli\u003e\u003ci\u003e\u003cbr\u003e\u003c\/i\u003e\u003c\/li\u003e\n\u003cli\u003e\u003ci\u003eConclusion \u003c\/i\u003e\u003c\/li\u003e\n\u003c\/ul\u003e \u003cp\u003e\u003ci\u003e2 History of 3D Sound \u003c\/i\u003e\u003c\/p\u003e\u003cp\u003e\u003ci\u003eBRAXTON BOREN\u003c\/i\u003e\u003c\/p\u003e\u003cp\u003e\u003ci\u003e\u003ci\u003e \u003cbr\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/p\u003e\u003cul\u003e\n\u003cli\u003e\u003ci\u003e\u003ci\u003e\u003cbr\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/li\u003e\n\u003cli\u003e\u003ci\u003e\u003ci\u003eIntroduction \u003c\/i\u003e\u003c\/i\u003e\u003c\/li\u003e\n\u003cli\u003e\u003ci\u003e\u003ci\u003e\u003cbr\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/li\u003e\n\u003cli\u003e\u003ci\u003e\u003ci\u003ePrehistory \u003c\/i\u003e\u003c\/i\u003e\u003c\/li\u003e\n\u003cli\u003e\u003ci\u003e\u003ci\u003e\u003cbr\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/li\u003e\n\u003cli\u003e\u003ci\u003e\u003ci\u003eAncient History \u003c\/i\u003e\u003c\/i\u003e\u003c\/li\u003e\n\u003cli\u003e\u003ci\u003e\u003ci\u003e\u003cbr\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/li\u003e\n\u003cli\u003e\u003ci\u003e\u003ci\u003eSpace and Polyphony \u003c\/i\u003e\u003c\/i\u003e\u003c\/li\u003e\n\u003cli\u003e\u003ci\u003e\u003ci\u003e\u003cbr\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/li\u003e\n\u003cli\u003e\u003ci\u003e\u003ci\u003eSpatial Separation in the Renaissance \u003c\/i\u003e\u003c\/i\u003e\u003c\/li\u003e\n\u003cli\u003e\u003ci\u003e\u003ci\u003e\u003cbr\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/li\u003e\n\u003cli\u003e\u003ci\u003e\u003ci\u003eSpatial Innovations in Acoustic Music \u003c\/i\u003e\u003c\/i\u003e\u003c\/li\u003e\n\u003cli\u003e\u003ci\u003e\u003ci\u003e\u003cbr\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/li\u003e\n\u003cli\u003e\u003ci\u003e\u003ci\u003e3D Sound Technology \u003c\/i\u003e\u003c\/i\u003e\u003c\/li\u003e\n\u003cli\u003e\u003ci\u003e\u003ci\u003e\u003cbr\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/li\u003e\n\u003cli\u003e\u003ci\u003e\u003ci\u003eTechnology and Spatial Music \u003c\/i\u003e\u003c\/i\u003e\u003c\/li\u003e\n\u003cli\u003e\u003ci\u003e\u003ci\u003e\u003cbr\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/li\u003e\n\u003cli\u003e\u003ci\u003e\u003ci\u003eConclusions and Thoughts for the Future \u003c\/i\u003e\u003c\/i\u003e\u003c\/li\u003e\n\u003c\/ul\u003e\u003cp\u003e\u003ci\u003e\u003ci\u003e3 Stereo \u003c\/i\u003e\u003c\/i\u003e\u003c\/p\u003e\u003cp\u003e\u003ci\u003e\u003ci\u003ePAUL GELUSO\u003c\/i\u003e\u003c\/i\u003e\u003c\/p\u003e\u003cp\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e \u003cbr\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/p\u003e\u003cul\u003e\n\u003cli\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003cbr\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/li\u003e\n\u003cli\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003eStereo Systems \u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/li\u003e\n\u003cli\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003cbr\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/li\u003e\n\u003cli\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003eCreating a Stereo Image \u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/li\u003e\n\u003cli\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003cbr\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/li\u003e\n\u003cli\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003eStereo Enhancement \u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/li\u003e\n\u003cli\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003cbr\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/li\u003e\n\u003cli\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003eSummary \u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/li\u003e\n\u003c\/ul\u003e \u003cp\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e4 Binaural Audio Through Headphones \u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/p\u003e\u003cp\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003eAGNIESZKA ROGINSKA\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/p\u003e\u003cp\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e \u003cbr\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/p\u003e\u003cul\u003e\n\u003cli\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003cbr\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/li\u003e\n\u003cli\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003eHeadphone Reproduction \u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/li\u003e\n\u003cli\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003cbr\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/li\u003e\n\u003cli\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003eBinaural Sound Capture \u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/li\u003e\n\u003cli\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003cbr\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/li\u003e\n\u003cli\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003eHRTF Measurement \u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/li\u003e\n\u003cli\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003cbr\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/li\u003e\n\u003cli\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003eBinaural Synthesis \u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/li\u003e\n\u003cli\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003cbr\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/li\u003e\n\u003cli\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003eInside-the-Head Locatedness \u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/li\u003e\n\u003cli\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003cbr\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/li\u003e\n\u003cli\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003eAdvanced HRTF Techniques \u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/li\u003e\n\u003cli\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003cbr\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/li\u003e\n\u003cli\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003eQuality Assessment \u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/li\u003e\n\u003cli\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003cbr\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/li\u003e\n\u003cli\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003eBinaural Reproduction Methods \u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/li\u003e\n\u003cli\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003cbr\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/li\u003e\n\u003cli\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003eHeadphone Equalization and Calibration \u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/li\u003e\n\u003cli\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003cbr\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/li\u003e\n\u003cli\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003eConclusions \u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/li\u003e\n\u003cli\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003cbr\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/li\u003e\n\u003cli\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003eAppendix: Near Field\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/li\u003e\n\u003c\/ul\u003e \u003cp\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e5 Binaural Audio Through Loudspeakers \u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/p\u003e\u003cp\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003eEDGAR CHOUEIRI\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/p\u003e\u003cp\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e \u003cbr\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/p\u003e\u003cul\u003e\n\u003cli\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003cbr\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/li\u003e\n\u003cli\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003eIntroduction \u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/li\u003e\n\u003cli\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003cbr\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/li\u003e\n\u003cli\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003eThe Fundamental XTC Problem \u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/li\u003e\n\u003cli\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003cbr\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/li\u003e\n\u003cli\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003eConstant-Parameter Regularization \u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/li\u003e\n\u003cli\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003cbr\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/li\u003e\n\u003cli\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003eFrequency-Dependent Regularization \u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/li\u003e\n\u003cli\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003cbr\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/li\u003e\n\u003cli\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003eThe Analytical BACCH Filter \u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/li\u003e\n\u003cli\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003cbr\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/li\u003e\n\u003cli\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003eIndividualized BACCH Filters \u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/li\u003e\n\u003cli\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003cbr\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/li\u003e\n\u003cli\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003eConclusions \u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/li\u003e\n\u003cli\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003cbr\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/li\u003e\n\u003cli\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003eAppendix A Derivation of the Optimal XTC Filter \u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/li\u003e\n\u003cli\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003cbr\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/li\u003e\n\u003cli\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003eAppendix B: Numerical Verification\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/li\u003e\n\u003c\/ul\u003e \u003cp\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e6 Surround Sound \u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/p\u003e\u003cp\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003eFRANCIS RUMSEY\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/p\u003e\u003cp\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e \u003cbr\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/p\u003e\u003cul\u003e\n\u003cli\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003cbr\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/li\u003e\n\u003cli\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003eThe Evolution of Surround Sound \u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/li\u003e\n\u003cli\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003cbr\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/li\u003e\n\u003cli\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003eSurround Sound Formats \u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/li\u003e\n\u003cli\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003cbr\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/li\u003e\n\u003cli\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003eSurround Sound Delivery and Coding \u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/li\u003e\n\u003cli\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003cbr\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/li\u003e\n\u003cli\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003eSurround Sound Monitoring \u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/li\u003e\n\u003cli\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003cbr\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/li\u003e\n\u003cli\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003eSurround Sound Recording Techniques \u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/li\u003e\n\u003cli\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003cbr\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/li\u003e\n\u003cli\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003ePerceptual Evaluation \u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/li\u003e\n\u003cli\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003cbr\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/li\u003e\n\u003cli\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003ePredictive Models of Surround Sound Quality \u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/li\u003e\n\u003c\/ul\u003e \u003cp\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e7 Height Channels \u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/p\u003e\u003cp\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003eSUNGYOUNG KIM\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/p\u003e\u003cp\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e \u003cbr\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/p\u003e\u003cul\u003e\n\u003cli\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003cbr\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/li\u003e\n\u003cli\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003eBackground \u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/li\u003e\n\u003cli\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003cbr\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/li\u003e\n\u003cli\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003eFundamental Psychoacoustics of Height-Channel Perception \u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/li\u003e\n\u003cli\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003cbr\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/li\u003e\n\u003cli\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003eMultichannel Reproduction Systems With Height Channels \u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/li\u003e\n\u003cli\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003cbr\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/li\u003e\n\u003cli\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003eRecording With Height Channels \u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/li\u003e\n\u003cli\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003cbr\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/li\u003e\n\u003cli\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003eConclusion \u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/li\u003e\n\u003c\/ul\u003e \u003cp\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e8 Object-Based Audio \u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/p\u003e\u003cp\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003eNICOLAS TSINGOS\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/p\u003e\u003cp\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e \u003cbr\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/p\u003e\u003cul\u003e\n\u003cli\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003cbr\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/li\u003e\n\u003cli\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003eIntroduction \u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/li\u003e\n\u003cli\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003cbr\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/li\u003e\n\u003cli\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003eSpatial Representation and Rendering of Audio Objects \u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/li\u003e\n\u003cli\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003cbr\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/li\u003e\n\u003cli\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003eAdvanced Metadata and Applications of Object-Based Representations \u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/li\u003e\n\u003cli\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003cbr\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/li\u003e\n\u003cli\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003eManaging Complexity of Object-Based Content \u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/li\u003e\n\u003cli\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003cbr\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/li\u003e\n\u003cli\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003eAudio Object Coding \u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/li\u003e\n\u003cli\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003cbr\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/li\u003e\n\u003cli\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003eCapturing Audio Objects \u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/li\u003e\n\u003cli\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003cbr\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/li\u003e\n\u003cli\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003eTradeoffs of Object-Based Representations \u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/li\u003e\n\u003cli\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003cbr\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/li\u003e\n\u003cli\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003eObject-Based Loudness Estimation and Control \u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/li\u003e\n\u003cli\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003cbr\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/li\u003e\n\u003cli\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003eObject-Based Program Interchange and Delivery \u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/li\u003e\n\u003cli\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003cbr\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/li\u003e\n\u003cli\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003eConclusion \u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/li\u003e\n\u003c\/ul\u003e \u003cp\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e9 Sound Field \u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/p\u003e\u003cp\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003eROZENN NICOL\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/p\u003e\u003cp\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e \u003cbr\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/p\u003e\u003cul\u003e\n\u003cli\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003cbr\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/li\u003e\n\u003cli\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003eIntroduction \u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/li\u003e\n\u003cli\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003cbr\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/li\u003e\n\u003cli\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003eDevelopment of the Sound Field \u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/li\u003e\n\u003cli\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003cbr\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/li\u003e\n\u003cli\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003eHigher Order Ambisonics (HOA) \u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/li\u003e\n\u003cli\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003cbr\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/li\u003e\n\u003cli\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003eSound Field Synthesis \u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/li\u003e\n\u003cli\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003cbr\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/li\u003e\n\u003cli\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003eSound Field Formats \u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/li\u003e\n\u003cli\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003cbr\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/li\u003e\n\u003cli\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003eConclusion \u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/li\u003e\n\u003cli\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003cbr\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/li\u003e\n\u003cli\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003eAppendix A: Mathematics and Physics of Sound Field \u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/li\u003e\n\u003cli\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003cbr\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/li\u003e\n\u003cli\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003eAppendix B: Mathematical Derivation of W, X, Y, Z \u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/li\u003e\n\u003cli\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003cbr\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/li\u003e\n\u003cli\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003eAppendix C: The Optimal Number of Loudspeakers\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/li\u003e\n\u003c\/ul\u003e\u003cp\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e10 Wave Field Synthesis \u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/p\u003e\u003cp\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003eTHOMAS SPORER, KARLHEINZ BRANDENBURG, SANDRA BRIX, AND CHRISTOPH\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/p\u003e\u003cp\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003eSLADECZEK\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/p\u003e\u003cp\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e \u003cbr\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/p\u003e\u003cul\u003e\n\u003cli\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003cbr\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/li\u003e\n\u003cli\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003eMotivation and History \u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/li\u003e\n\u003cli\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003cbr\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/li\u003e\n\u003cli\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003eSeparation of Sound Objects and Room \u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/li\u003e\n\u003cli\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003cbr\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/li\u003e\n\u003cli\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003eWFS Reproduction: Challenges and Solutions \u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/li\u003e\n\u003cli\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003cbr\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/li\u003e\n\u003cli\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003eWFS With Elevation \u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/li\u003e\n\u003cli\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003cbr\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/li\u003e\n\u003cli\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003eAudio Metadata and WFS \u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/li\u003e\n\u003cli\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003cbr\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/li\u003e\n\u003cli\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003eApplications Based on WFS and Hybrid Schemes \u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/li\u003e\n\u003cli\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003cbr\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/li\u003e\n\u003cli\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003eWFS and Object-Based Sound Production \u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/li\u003e\n\u003c\/ul\u003e \u003cp\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e11 Applications of Extended Multichannel Techniques \u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/p\u003e\u003cp\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003eBRETT LEONARD\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/p\u003e\u003cp\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e \u003cbr\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/p\u003e\u003cul\u003e\n\u003cli\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003cbr\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/li\u003e\n\u003cli\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003eSource Panning and Spreading \u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/li\u003e\n\u003cli\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003cbr\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/li\u003e\n\u003cli\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003eAn Immersive Overhaul for Preexisting Content \u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/li\u003e\n\u003cli\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003cbr\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/li\u003e\n\u003cli\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003eConsiderations in Mixing for Film and Games \u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/li\u003e\n\u003cli\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003cbr\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/li\u003e\n\u003cli\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003eEnvelopment \u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/li\u003e\n\u003cli\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003cbr\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/li\u003e\n\u003cli\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003eMusings on Immersive Mixing \u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/li\u003e\n\u003c\/ul\u003e \u003cp\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003e\u003ci\u003eIndex \u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/p\u003e","brand":"Taylor \u0026 Francis Ltd","offers":[{"title":"Default Title","offer_id":49528874795351,"sku":"9781138900004","price":80.74,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0817\/1739\/5799\/files\/9781138900004.jpg?v=1731873366"},{"product_id":"language-and-speech-processing-9781848210318","title":"Language and Speech Processing","description":"\u003cb\u003eBook Synopsis\u003c\/b\u003e\u003cbr\u003eSpeech processing addresses various scientific and technological areas. It includes speech analysis and variable rate coding, in order to store or transmit speech. It also covers speech synthesis, especially from text, speech recognition, including speaker and language identification, and spoken language understanding.\u003cbr\u003e This book covers the following topics: how to realize speech production and perception systems, how to synthesize and understand speech using state-of-the-art methods in signal processing, pattern recognition, stochastic modelling computational linguistics and human factor studies.\u003cbr\u003e\u003cbr\u003e\u003cb\u003eTable of Contents\u003c\/b\u003e\u003cbr\u003e\u003cp\u003e\u003ci\u003ePreface xiii\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e\u003cb\u003eChapter 1. Speech Analysis 1\u003c\/b\u003e\u003cbr\u003e \u003ci\u003eChristophe D’ALESSANDRO\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e1.1. Introduction 1\u003c\/p\u003e \u003cp\u003e1.1.1. Source-filter model 1\u003c\/p\u003e \u003cp\u003e1.1.2. Speech sounds 2\u003c\/p\u003e \u003cp\u003e1.1.3. Sources 6\u003c\/p\u003e \u003cp\u003e1.1.4. Vocal tract 12\u003c\/p\u003e \u003cp\u003e1.1.5. Lip-radiation 18\u003c\/p\u003e \u003cp\u003e1.2. Linear prediction 18\u003c\/p\u003e \u003cp\u003e1.2.1. Source-filter model and linear prediction 18\u003c\/p\u003e \u003cp\u003e1.2.2. Autocorrelation method: algorithm 21\u003c\/p\u003e \u003cp\u003e1.2.3. Lattice filter 28\u003c\/p\u003e \u003cp\u003e1.2.4. Models of the excitation 31\u003c\/p\u003e \u003cp\u003e1.3. Short-term Fourier transform 35\u003c\/p\u003e \u003cp\u003e1.3.1. Spectrogram 35\u003c\/p\u003e \u003cp\u003e1.3.2. Interpretation in terms of filter bank 36\u003c\/p\u003e \u003cp\u003e1.3.3. Block-wise interpretation 37\u003c\/p\u003e \u003cp\u003e1.3.4. Modification and reconstruction 38\u003c\/p\u003e \u003cp\u003e1.4. A few other representations 39\u003c\/p\u003e \u003cp\u003e1.4.1. Bilinear time-frequency representations 39\u003c\/p\u003e \u003cp\u003e1.4.2. Wavelets 41\u003c\/p\u003e \u003cp\u003e1.4.3. Cepstrum 43\u003c\/p\u003e \u003cp\u003e1.4.4. Sinusoidal and harmonic representations 46\u003c\/p\u003e \u003cp\u003e1.5. Conclusion 49\u003c\/p\u003e \u003cp\u003e1.6. References 50\u003c\/p\u003e \u003cp\u003e\u003cb\u003eChapter 2. Principles of Speech Coding 55\u003c\/b\u003e\u003cbr\u003e \u003ci\u003eGang FENG and Laurent GIRIN\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e2.1. Introduction 55\u003c\/p\u003e \u003cp\u003e2.1.1. Main characteristics of a speech coder 57\u003c\/p\u003e \u003cp\u003e2.1.2. Key components of a speech coder 59\u003c\/p\u003e \u003cp\u003e2.2. Telephone-bandwidth speech coders 63\u003c\/p\u003e \u003cp\u003e2.2.1. From predictive coding to CELP 65\u003c\/p\u003e \u003cp\u003e2.2.2. Improved CELP coders 69\u003c\/p\u003e \u003cp\u003e2.2.3. Other coders for telephone speech 77\u003c\/p\u003e \u003cp\u003e2.3. Wideband speech coding 79\u003c\/p\u003e \u003cp\u003e2.3.1. Transform coding 81\u003c\/p\u003e \u003cp\u003e2.3.2. Predictive transform coding 85\u003c\/p\u003e \u003cp\u003e2.4. Audiovisual speech coding 86\u003c\/p\u003e \u003cp\u003e2.4.1. A transmission channel for audiovisual speech 86\u003c\/p\u003e \u003cp\u003e2.4.2. Joint coding of audio and video parameters 88\u003c\/p\u003e \u003cp\u003e2.4.3. Prospects 93\u003c\/p\u003e \u003cp\u003e2.5. References 93\u003c\/p\u003e \u003cp\u003e\u003cb\u003eChapter 3. Speech Synthesis 99\u003c\/b\u003e\u003cbr\u003e \u003ci\u003eOlivier BOËFFARD and Christophe D’ALESSANDRO\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e3.1. Introduction 99\u003c\/p\u003e \u003cp\u003e3.2. Key goal: speaking for communicating 100\u003c\/p\u003e \u003cp\u003e3.2.1. What acoustic content? 101\u003c\/p\u003e \u003cp\u003e3.2.2. What melody? 102\u003c\/p\u003e \u003cp\u003e3.2.3. Beyond the strict minimum 103\u003c\/p\u003e \u003cp\u003e3.3 Synoptic presentation of the elementary modules in speech synthesis systems 104\u003c\/p\u003e \u003cp\u003e3.3.1. Linguistic processing 105\u003c\/p\u003e \u003cp\u003e3.3.2. Acoustic processing 105\u003c\/p\u003e \u003cp\u003e3.3.3. Training models automatically 106\u003c\/p\u003e \u003cp\u003e3.3.4. Operational constraints 107\u003c\/p\u003e \u003cp\u003e3.4. Description of linguistic processing 107\u003c\/p\u003e \u003cp\u003e3.4.1. Text pre-processing 107\u003c\/p\u003e \u003cp\u003e3.4.2. Grapheme-to-phoneme conversion 108\u003c\/p\u003e \u003cp\u003e3.4.3. Syntactic-prosodic analysis 110\u003c\/p\u003e \u003cp\u003e3.4.4. Prosodic analysis 112\u003c\/p\u003e \u003cp\u003e3.5. Acoustic processing methodology 114\u003c\/p\u003e \u003cp\u003e3.5.1. Rule-based synthesis 114\u003c\/p\u003e \u003cp\u003e3.5.2. Unit-based concatenative synthesis 115\u003c\/p\u003e \u003cp\u003e3.6. Speech signal modeling 117\u003c\/p\u003e \u003cp\u003e3.6.1. The source-filter assumption 118\u003c\/p\u003e \u003cp\u003e3.6.2. Articulatory model 119\u003c\/p\u003e \u003cp\u003e3.6.3. Formant-based modeling 119\u003c\/p\u003e \u003cp\u003e3.6.4. Auto-regressive modeling 120\u003c\/p\u003e \u003cp\u003e3.6.5. Harmonic plus noise model 120\u003c\/p\u003e \u003cp\u003e3.7. Control of prosodic parameters: the PSOLA technique 122\u003c\/p\u003e \u003cp\u003e3.7.1. Methodology background 124\u003c\/p\u003e \u003cp\u003e3.7.2. The ancestors of the method 125\u003c\/p\u003e \u003cp\u003e3.7.3. Descendants of the method 128\u003c\/p\u003e \u003cp\u003e3.7.4. Evaluation 131\u003c\/p\u003e \u003cp\u003e3.8. Towards variable-size acoustic units 131\u003c\/p\u003e \u003cp\u003e3.8.1. Constitution of the acoustic database 134\u003c\/p\u003e \u003cp\u003e3.8.2. Selection of sequences of units 138\u003c\/p\u003e \u003cp\u003e3.9. Applications and standardization 142\u003c\/p\u003e \u003cp\u003e3.10. Evaluation of speech synthesis 144\u003c\/p\u003e \u003cp\u003e3.10.1. Introduction 144\u003c\/p\u003e \u003cp\u003e3.10.2. Global evaluation 146\u003c\/p\u003e \u003cp\u003e3.10.3. Analytical evaluation 151\u003c\/p\u003e \u003cp\u003e3.10.4. Summary for speech synthesis evaluation 153\u003c\/p\u003e \u003cp\u003e3.11. Conclusions 154\u003c\/p\u003e \u003cp\u003e3.12. References 154\u003c\/p\u003e \u003cp\u003e\u003cb\u003eChapter 4. Facial Animation for Visual Speech 169\u003c\/b\u003e\u003cbr\u003e \u003ci\u003eThierry GUIARD-MARIGNY\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e4.1. Introduction 169\u003c\/p\u003e \u003cp\u003e4.2. Applications of facial animation for visual speech 170\u003c\/p\u003e \u003cp\u003e4.2.1. Animation movies 170\u003c\/p\u003e \u003cp\u003e4.2.2. Telecommunications 170\u003c\/p\u003e \u003cp\u003e4.2.3. Human-machine interfaces 170\u003c\/p\u003e \u003cp\u003e4.2.4. A tool for speech research 171\u003c\/p\u003e \u003cp\u003e4.3. Speech as a bimodal process 171\u003c\/p\u003e \u003cp\u003e4.3.1. The intelligibility of visible speech 172\u003c\/p\u003e \u003cp\u003e4.3.2. Visemes for facial animation 174\u003c\/p\u003e \u003cp\u003e4.3.3. Synchronization issues 175\u003c\/p\u003e \u003cp\u003e4.3.4. Source consistency 176\u003c\/p\u003e \u003cp\u003e4.3.5. Key constraints for the synthesis of visual speech 177\u003c\/p\u003e \u003cp\u003e4.4. Synthesis of visual speech 178\u003c\/p\u003e \u003cp\u003e4.4.1. The structure of an artificial talking head 178\u003c\/p\u003e \u003cp\u003e4.4.2. Generating expressions 178\u003c\/p\u003e \u003cp\u003e4.5. Animation 180\u003c\/p\u003e \u003cp\u003e4.5.1. Analysis of the image of a face 180\u003c\/p\u003e \u003cp\u003e4.5.2. The puppeteer 181\u003c\/p\u003e \u003cp\u003e4.5.3. Automatic analysis of the speech signal 181\u003c\/p\u003e \u003cp\u003e4.5.4. From the text to the phonetic string 181\u003c\/p\u003e \u003cp\u003e4.6. Conclusion 182\u003c\/p\u003e \u003cp\u003e4.7. References 182\u003c\/p\u003e \u003cp\u003e\u003cb\u003eChapter 5. Computational Auditory Scene Analysis 189\u003c\/b\u003e\u003cbr\u003e \u003ci\u003eAlain DE CHEVEIGNÉ\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e5.1. Introduction 189\u003c\/p\u003e \u003cp\u003e5.2. Principles of auditory scene analysis 191\u003c\/p\u003e \u003cp\u003e5.2.1. Fusion versus segregation: choosing a representation 191\u003c\/p\u003e \u003cp\u003e5.2.2. Features for simultaneous fusion 191\u003c\/p\u003e \u003cp\u003e5.2.3. Features for sequential fusion 192\u003c\/p\u003e \u003cp\u003e5.2.4. Schemes 193\u003c\/p\u003e \u003cp\u003e5.2.5. Illusion of continuity, phonemic restoration 193\u003c\/p\u003e \u003cp\u003e5.3. CASA principles 193\u003c\/p\u003e \u003cp\u003e5.3.1. Design of a representation 193\u003c\/p\u003e \u003cp\u003e5.4. Critique of the CASA approach 200\u003c\/p\u003e \u003cp\u003e5.4.1. Limitations of ASA 201\u003c\/p\u003e \u003cp\u003e5.4.2. The conceptual limits of “separable representation” 202\u003c\/p\u003e \u003cp\u003e5.4.3. Neither a model, nor a method? 203\u003c\/p\u003e \u003cp\u003e5.5. Perspectives 203\u003c\/p\u003e \u003cp\u003e5.5.1. Missing feature theory 203\u003c\/p\u003e \u003cp\u003e5.5.2. The cancellation principle 204\u003c\/p\u003e \u003cp\u003e5.5.3. Multimodal integration 205\u003c\/p\u003e \u003cp\u003e5.5.4. Auditory scene synthesis: transparency measure 205\u003c\/p\u003e \u003cp\u003e5.6. References 206\u003c\/p\u003e \u003cp\u003e\u003cb\u003eChapter 6. Principles of Speech Recognition 213\u003c\/b\u003e\u003cbr\u003e \u003ci\u003eRenato DE MORI and Brigitte BIGI\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e6.1. Problem definition and approaches to the solution 213\u003c\/p\u003e \u003cp\u003e6.2. Hidden Markov models for acoustic modeling 216\u003c\/p\u003e \u003cp\u003e6.2.1. Definition 216\u003c\/p\u003e \u003cp\u003e6.2.2. Observation probability and model parameters 217\u003c\/p\u003e \u003cp\u003e6.2.3. HMM as probabilistic automata 218\u003c\/p\u003e \u003cp\u003e6.2.4. Forward and backward coefficients 219\u003c\/p\u003e \u003cp\u003e6.3. Observation probabilities 222\u003c\/p\u003e \u003cp\u003e6.4. Composition of speech unit models 223\u003c\/p\u003e \u003cp\u003e6.5. The Viterbi algorithm 226\u003c\/p\u003e \u003cp\u003e6.6. Language models 228\u003c\/p\u003e \u003cp\u003e6.6.1. Perplexity as an evaluation measure for language models 230\u003c\/p\u003e \u003cp\u003e6.6.2. Probability estimation in the language model 232\u003c\/p\u003e \u003cp\u003e6.6.3. Maximum likelihood estimation 234\u003c\/p\u003e \u003cp\u003e6.6.4. Bayesian estimation 235\u003c\/p\u003e \u003cp\u003e6.7. Conclusion 236\u003c\/p\u003e \u003cp\u003e6.8. References 237\u003c\/p\u003e \u003cp\u003e\u003cb\u003eChapter 7. Speech Recognition Systems 239\u003c\/b\u003e\u003cbr\u003e \u003ci\u003eJean-Luc GAUVAIN and Lori LAMEL\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e7.1. Introduction 239\u003c\/p\u003e \u003cp\u003e7.2. Linguistic model 241\u003c\/p\u003e \u003cp\u003e7.3. Lexical representation 244\u003c\/p\u003e \u003cp\u003e7.4. Acoustic modeling 247\u003c\/p\u003e \u003cp\u003e7.4.1. Feature extraction 247\u003c\/p\u003e \u003cp\u003e7.4.2. Acoustic-phonetic models 249\u003c\/p\u003e \u003cp\u003e7.4.3. Adaptation techniques 253\u003c\/p\u003e \u003cp\u003e7.5. Decoder 256\u003c\/p\u003e \u003cp\u003e7.6. Applicative aspects 257\u003c\/p\u003e \u003cp\u003e7.6.1. Efficiency: speed and memory 257\u003c\/p\u003e \u003cp\u003e7.6.2. Portability: languages and applications 259\u003c\/p\u003e \u003cp\u003e7.6.3. Confidence measures 260\u003c\/p\u003e \u003cp\u003e7.6.4. Beyond words 261\u003c\/p\u003e \u003cp\u003e7.7. Systems 261\u003c\/p\u003e \u003cp\u003e7.7.1. Text dictation 262\u003c\/p\u003e \u003cp\u003e7.7.2. Audio document indexing 263\u003c\/p\u003e \u003cp\u003e7.7.3. Dialog systems 265\u003c\/p\u003e \u003cp\u003e7.8. Perspectives 268\u003c\/p\u003e \u003cp\u003e7.9. References 270\u003c\/p\u003e \u003cp\u003e\u003cb\u003eChapter 8. Language Identification 279\u003c\/b\u003e\u003cbr\u003e \u003ci\u003eMartine ADDA-DECKER\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e8.1. Introduction 279\u003c\/p\u003e \u003cp\u003e8.2. Language characteristics 281\u003c\/p\u003e \u003cp\u003e8.3. Language identification by humans 286\u003c\/p\u003e \u003cp\u003e8.4. Language identification by machines 287\u003c\/p\u003e \u003cp\u003e8.4.1. LId tasks 288\u003c\/p\u003e \u003cp\u003e8.4.2. Performance measures 288\u003c\/p\u003e \u003cp\u003e8.4.3. Evaluation 289\u003c\/p\u003e \u003cp\u003e8.5. LId resources 290\u003c\/p\u003e \u003cp\u003e8.6. LId formulation 295\u003c\/p\u003e \u003cp\u003e8.7. Lid modeling 298\u003c\/p\u003e \u003cp\u003e8.7.1. Acoustic front-end 299\u003c\/p\u003e \u003cp\u003e8.7.2. Acoustic language-specific modeling 300\u003c\/p\u003e \u003cp\u003e8.7.3. Parallel phone recognition 302\u003c\/p\u003e \u003cp\u003e8.7.4. Phonotactic modeling 304\u003c\/p\u003e \u003cp\u003e8.7.5. Back-end optimization 309\u003c\/p\u003e \u003cp\u003e8.8. Discussion 309\u003c\/p\u003e \u003cp\u003e8.9. References 311\u003c\/p\u003e \u003cp\u003e\u003cb\u003eChapter 9. Automatic Speaker Recognition 321\u003c\/b\u003e\u003cbr\u003e \u003ci\u003eFrédéric BIMBOT.\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e9.1. Introduction 321\u003c\/p\u003e \u003cp\u003e9.1.1. Voice variability and characterization 321\u003c\/p\u003e \u003cp\u003e9.1.2. Speaker recognition 323\u003c\/p\u003e \u003cp\u003e9.2. Typology and operation of speaker recognition systems 324\u003c\/p\u003e \u003cp\u003e9.2.1. Speaker recognition tasks 324\u003c\/p\u003e \u003cp\u003e9.2.2. Operation 325\u003c\/p\u003e \u003cp\u003e9.2.3. Text-dependence 326\u003c\/p\u003e \u003cp\u003e9.2.4. Types of errors 327\u003c\/p\u003e \u003cp\u003e9.2.5. Influencing factors 328\u003c\/p\u003e \u003cp\u003e9.3. Fundamentals 329\u003c\/p\u003e \u003cp\u003e9.3.1. General structure of speaker recognition systems 329\u003c\/p\u003e \u003cp\u003e9.3.2. Acoustic analysis 330\u003c\/p\u003e \u003cp\u003e9.3.3. Probabilistic modeling 331\u003c\/p\u003e \u003cp\u003e9.3.4. Identification and verification scores 335\u003c\/p\u003e \u003cp\u003e9.3.5. Score compensation and decision 337\u003c\/p\u003e \u003cp\u003e9.3.6. From theory to practice 342\u003c\/p\u003e \u003cp\u003e9.4. Performance evaluation 343\u003c\/p\u003e \u003cp\u003e9.4.1. Error rate 343\u003c\/p\u003e \u003cp\u003e9.4.2. DET curve and EER 344\u003c\/p\u003e \u003cp\u003e9.4.3. Cost function, weighted error rate and HTER 346\u003c\/p\u003e \u003cp\u003e9.4.4. Distribution of errors 346\u003c\/p\u003e \u003cp\u003e9.4.5. Orders of magnitude 347\u003c\/p\u003e \u003cp\u003e9.5. Applications 348\u003c\/p\u003e \u003cp\u003e9.5.1. Physical access control 348\u003c\/p\u003e \u003cp\u003e9.5.2. Securing remote transactions 349\u003c\/p\u003e \u003cp\u003e9.5.3. Audio information indexing 350\u003c\/p\u003e \u003cp\u003e9.5.4. Education and entertainment 350\u003c\/p\u003e \u003cp\u003e9.5.5. Forensic applications 351\u003c\/p\u003e \u003cp\u003e9.5.6. Perspectives 352\u003c\/p\u003e \u003cp\u003e9.6. Conclusions 352\u003c\/p\u003e \u003cp\u003e9.7. Further reading 353\u003c\/p\u003e \u003cp\u003e\u003cb\u003eChapter 10. Robust Recognition Methods 355\u003c\/b\u003e\u003cbr\u003e \u003ci\u003eJean-Paul HATON\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e10.1. Introduction 355\u003c\/p\u003e \u003cp\u003e10.2. Signal pre-processing methods 357\u003c\/p\u003e \u003cp\u003e10.2.1. Spectral subtraction 357\u003c\/p\u003e \u003cp\u003e10.2.2. Adaptive noise cancellation 358\u003c\/p\u003e \u003cp\u003e10.2.3. Space transformation 359\u003c\/p\u003e \u003cp\u003e10.2.4. Channel equalization 359\u003c\/p\u003e \u003cp\u003e10.2.5. Stochastic models 360\u003c\/p\u003e \u003cp\u003e10.3. Robust parameters and distance measures 360\u003c\/p\u003e \u003cp\u003e10.3.1. Spectral representations 361\u003c\/p\u003e \u003cp\u003e10.3.2. Auditory models 364\u003c\/p\u003e \u003cp\u003e10.3.3 Distance measure 365\u003c\/p\u003e \u003cp\u003e10.4. Adaptation methods 366\u003c\/p\u003e \u003cp\u003e10.4.1 Model composition 366\u003c\/p\u003e \u003cp\u003e10.4.2. Statistical adaptation 367\u003c\/p\u003e \u003cp\u003e10.5. Compensation of the Lombard effect 368\u003c\/p\u003e \u003cp\u003e10.6. Missing data scheme 369\u003c\/p\u003e \u003cp\u003e10.7. Conclusion 369\u003c\/p\u003e \u003cp\u003e10.8. References 370\u003c\/p\u003e \u003cp\u003e\u003cb\u003eChapter 11. Multimodal Speech: Two or Three senses are Better than One 377\u003c\/b\u003e\u003cbr\u003e \u003ci\u003eJean-Luc SCHWARTZ, Pierre ESCUDIER and Pascal TEISSIER\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e11.1. Introduction 377\u003c\/p\u003e \u003cp\u003e11.2. Speech is a multimodal process 379\u003c\/p\u003e \u003cp\u003e11.2.1. Seeing without hearing 379\u003c\/p\u003e \u003cp\u003e11.2.2. Seeing for hearing better in noise 380\u003c\/p\u003e \u003cp\u003e11.2.3. Seeing for better hearing… even in the absence of noise 382\u003c\/p\u003e \u003cp\u003e11.2.4. Bimodal integration imposes itself to perception 383\u003c\/p\u003e \u003cp\u003e11.2.5. Lip reading as taking part to the ontogenesis of speech 385\u003c\/p\u003e \u003cp\u003e11.2.6. ...and to its phylogenesis ? 386\u003c\/p\u003e \u003cp\u003e11.3. Architectures for audio-visual fusion in speech perception 388\u003c\/p\u003e \u003cp\u003e11.3.1.Three paths for sensory interactions in cognitive psychology 389\u003c\/p\u003e \u003cp\u003e11.3.2. Three paths for sensor fusion in information processing 390\u003c\/p\u003e \u003cp\u003e11.3.3. The four basic architectures for audiovisual fusion 391\u003c\/p\u003e \u003cp\u003e11.3.4. Three questions for a taxonomy 392\u003c\/p\u003e \u003cp\u003e11.3.5. Control of the fusion process 394\u003c\/p\u003e \u003cp\u003e11.4. Audio-visual speech recognition systems 396\u003c\/p\u003e \u003cp\u003e11.4.1. Architectural alternatives 397\u003c\/p\u003e \u003cp\u003e11.4.2. Taking into account contextual information 401\u003c\/p\u003e \u003cp\u003e11.4.3. Pre-processing 403\u003c\/p\u003e \u003cp\u003e11.5. Conclusions 405\u003c\/p\u003e \u003cp\u003e11.6. References 406\u003c\/p\u003e \u003cp\u003e\u003cb\u003eChapter 12. Speech and Human-Computer Communication 417\u003c\/b\u003e\u003cbr\u003e \u003ci\u003eWolfgang MINKER \u0026amp; Françoise NÉEL\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e12.1. Introduction 417\u003c\/p\u003e \u003cp\u003e12.2. Context 418\u003c\/p\u003e \u003cp\u003e12.2.1. The development of micro-electronics 419\u003c\/p\u003e \u003cp\u003e12.2.2. The expansion of information and communication technologies and increasing interconnection of computer systems 420\u003c\/p\u003e \u003cp\u003e12.2.3. The coordination of research efforts and the improvement of automatic speech processing systems 421\u003c\/p\u003e \u003cp\u003e12.3. Specificities of speech 424\u003c\/p\u003e \u003cp\u003e12.3.1. Advantages of speech as a communication mode 424\u003c\/p\u003e \u003cp\u003e12.3.2. Limitations of speech as a communication mode 425\u003c\/p\u003e \u003cp\u003e12.3.3. Multidimensional analysis of commercial speech recognition products 427\u003c\/p\u003e \u003cp\u003e12.4. Application domains with voice-only interaction 430\u003c\/p\u003e \u003cp\u003e12.4.1. Inspection, control and data acquisition 431\u003c\/p\u003e \u003cp\u003e12.4.2. Home automation: electronic home assistant 432\u003c\/p\u003e \u003cp\u003e12.4.3. Office automation: dictation and speech-to-text systems 432\u003c\/p\u003e \u003cp\u003e12.4.4. Training 435\u003c\/p\u003e \u003cp\u003e12.4.5. Automatic translation 438\u003c\/p\u003e \u003cp\u003e12.5. Application domains with multimodal interaction 439\u003c\/p\u003e \u003cp\u003e12.5.1. Interactive terminals 440\u003c\/p\u003e \u003cp\u003e12.5.2. Computer-aided graphic design 441\u003c\/p\u003e \u003cp\u003e12.5.3. On-board applications 442\u003c\/p\u003e \u003cp\u003e12.5.4. Human-human communication facilitation 444\u003c\/p\u003e \u003cp\u003e12.5.5. Automatic indexing of audio-visual documents 446\u003c\/p\u003e \u003cp\u003e12.6. Conclusions 446\u003c\/p\u003e \u003cp\u003e12.7. References 447\u003c\/p\u003e \u003cp\u003e\u003cb\u003eChapter 13. Voice Services in the Telecom Sector 455\u003c\/b\u003e\u003cbr\u003e \u003ci\u003eLaurent COURTOIS, Patrick BRISARD and Christian GAGNOULET\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e13.1. Introduction 455\u003c\/p\u003e \u003cp\u003e13.2. Automatic speech processing and telecommunications 456\u003c\/p\u003e \u003cp\u003e13.3. Speech coding in the telecommunication sector 456\u003c\/p\u003e \u003cp\u003e13.4. Voice command in telecom services 457\u003c\/p\u003e \u003cp\u003e13.4.1. Advantages and limitations of voice command 457\u003c\/p\u003e \u003cp\u003e13.4.2. Major trends 459\u003c\/p\u003e \u003cp\u003e13.4.3. Major voice command services 460\u003c\/p\u003e \u003cp\u003e13.4.4. Call center automation (operator assistance) 460\u003c\/p\u003e \u003cp\u003e13.4.5. Personal voice phonebook 462\u003c\/p\u003e \u003cp\u003e13.4.6. Voice personal telephone assistants 463\u003c\/p\u003e \u003cp\u003e13.4.7. Other services based on voice command 463\u003c\/p\u003e \u003cp\u003e13.5. Speaker verification in telecom services 464\u003c\/p\u003e \u003cp\u003e13.6. Text-to-speech synthesis in telecommunication systems 464\u003c\/p\u003e \u003cp\u003e13.7. Conclusions 465\u003c\/p\u003e \u003cp\u003e13.8. References 466\u003c\/p\u003e \u003cp\u003e\u003ci\u003eList of Authors 467\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e\u003ci\u003eIndex 471\u003c\/i\u003e\u003c\/p\u003e","brand":"ISTE Ltd and John Wiley \u0026 Sons Inc","offers":[{"title":"Default Title","offer_id":49535802704215,"sku":"9781848210318","price":201.35,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0817\/1739\/5799\/files\/9781848210318.jpg?v=1731899618"},{"product_id":"introduction-to-supercollider-9783832540173","title":"Introduction to Supercollider","description":"\u003cb\u003eBook Synopsis\u003c\/b\u003e\u003cbr\u003e","brand":"Logos Verlag Berlin GmbH","offers":[{"title":"Default Title","offer_id":49539395846487,"sku":"9783832540173","price":999.99,"currency_code":"GBP","in_stock":false}]},{"product_id":"spatial-audio-music-technology-s-9780240516233","title":"Spatial Audio Music Technology S","description":"\u003cb\u003eBook Synopsis\u003c\/b\u003e\u003cbr\u003e\u003cp\u003eExplores 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.\u003cbr\u003e\u003cbr\u003e 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. \u003cbr\u003e\u003cbr\u003eThe 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.\u003c\/p\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003eTrade Review\u003c\/b\u003e\u003cbr\u003e\u003cp\u003e\"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.\"\u003cbr\u003eMalcolm Nelson, Line-Up magazine\u003c\/p\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003eTable of Contents\u003c\/b\u003e\u003cbr\u003eIntroduction 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","brand":"Taylor \u0026 Francis","offers":[{"title":"Default Title","offer_id":51017663185239,"sku":"9780240516233","price":52.24,"currency_code":"GBP","in_stock":true}]},{"product_id":"sound-fx-9780240520322","title":"Sound FX","description":"\u003cb\u003eBook Synopsis\u003c\/b\u003e\u003cbr\u003e\u003cp\u003eEvery 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.\u003cbr\u003e\u003cbr\u003eThe accompanying website \u003cstrong\u003ewww.soundfx-\u003cbr\u003e\u003cbr\u003e\u003cb\u003eTrade Review\u003c\/b\u003e\u003cbr\u003e\"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 07\u003cbr\u003e\u003cbr\u003e\u003cb\u003eTable of Contents\u003c\/b\u003e\u003cbr\u003eSECTION 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.\u003c\/strong\u003e\u003c\/p\u003e","brand":"Taylor \u0026 Francis","offers":[{"title":"Default Title","offer_id":51017663643991,"sku":"9780240520322","price":44.64,"currency_code":"GBP","in_stock":true}]},{"product_id":"voiceover-for-animation-9780240810157","title":"VoiceOver for Animation","description":"\u003cb\u003eBook Synopsis\u003c\/b\u003e\u003cbr\u003eVoice 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.\u003cbr\u003e\u003cbr\u003e\u003cb\u003eTrade Review\u003c\/b\u003e\u003cbr\u003e\u003cp\u003eMJ Lallo quotes:\u003cbr\u003eNancy 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.\"\u003cbr\u003e\u003cbr\u003eNew quotes likely from:\u003cbr\u003eJune Foray (voice-over artist, Natasha, from Rocky and Bullwinkle. Still working regularly today.)\u003cbr\u003eLucille Bliss (Smurfette and many more)\u003cbr\u003eBoth 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.\u003c\/p\u003e\u003cbr\u003e\u003cp\u003eNancy Cartwright: \"MJ Productions is the coolest VO studio in LA.\"\u003c\/p\u003e\u003cp\u003eNed Loft (Disney): \"MJ is a fun and talented artist and teacher.\"\u003c\/p\u003e\u003cp\u003eBrian Nefsky (Disney Imagineering): \"MJ runs great classes and is a great VO talent.\"\u003c\/p\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003eTable of Contents\u003c\/b\u003e\u003cbr\u003e\u003cp\u003eChapter Outline\u003cbr\u003e\u003cbr\u003eChapter 1: Introduction to Animation Voice-Overs\u003cbr\u003e\u003cbr\u003eChapter 2: Voice Techniques and Exercises\u003cbr\u003e\u003cbr\u003eChapter 3: Animation Voice-Over Techniques\u003cbr\u003e\u003cbr\u003eChapter 4: Dialects\u003cbr\u003e\u003cbr\u003eChapter 5: Developing Characters\u003cbr\u003e\u003cbr\u003eChapter 6: Your Demo CD \u003cbr\u003e\u003cbr\u003eChapter 7: Finding an Agent\u003cbr\u003e\u003cbr\u003eChapter 8: Voice Casting\u003cbr\u003e\u003cbr\u003eChapter 9: Recording for Cartoons\u003cbr\u003e\u003cbr\u003eChapter 10: Recording for Animated Features, Games, Theme Parks, Toys, and Narration\u003cbr\u003e\u003cbr\u003eChapter 11: ADR (Automated Dialogue Replacement)\u003cbr\u003e\u003cbr\u003eChapter 12: Dubbing\u003c\/p\u003e","brand":"CRC Press","offers":[{"title":"Default Title","offer_id":51017663709527,"sku":"9780240810157","price":29.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0817\/1739\/5799\/files\/9780240810157.jpg?v=1750774276"},{"product_id":"sound-for-film-and-television-9780240813301","title":"Sound for Film and Television","description":"\u003cb\u003eBook Synopsis\u003c\/b\u003e\u003cbr\u003e\u003cp\u003e\u003cstrong\u003e\u003cem\u003eSound for Film and Television,\u003c\/em\u003e\u003c\/strong\u003e 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. \u003c\/p\u003e\u003cp\u003eWritten by one of Hollywood's leading sound experts, \u003cstrong\u003e\u003cem\u003eSound for Film and Television\u003c\/em\u003e\u003c\/strong\u003e provides a solid grounding in all aspects of the sound process. Basic principles are presented with illustrations demonstrating\u003cbr\u003e\u003cbr\u003e\u003cb\u003eTrade Review\u003c\/b\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\"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.\u003cbr\u003e-\u003cem\u003eThe Journal of the Audio Engineering Society\u003c\/em\u003e\u003c\/p\u003e\u003cp\u003e\"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.\"\u003cbr\u003e- Larry Blake, Mix Magazine\u003cbr\u003e\u003cbr\u003e\"The book provides a fascinating and incredibly informative introduction to the world of film and television sound and is well recommended.\"\u003cbr\u003e- James Eade, Lighting and Sound International\u003c\/p\u003e\u003cbr\u003e\u003cp\u003e\"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\u003cbr\u003e\u003cbr\u003e\"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\u003c\/p\u003e\u003cp\u003e\"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\u003c\/p\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003eTable of Contents\u003c\/b\u003e\u003cbr\u003ePreface 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","brand":"Taylor \u0026 Francis","offers":[{"title":"Default Title","offer_id":51017664397655,"sku":"9780240813301","price":46.54,"currency_code":"GBP","in_stock":true}]},{"product_id":"sound-system-engineering-4e-9780240818467","title":"Sound System Engineering 4e","description":"\u003cb\u003eBook Synopsis\u003c\/b\u003e\u003cbr\u003e\u003cp\u003eLong considered one of the key books on the well-informed audio engineerâs shelf, \u003ci\u003eSound System Engineering\u003c\/i\u003e 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.\u003c\/p\u003e\u003cp\u003eTopics covered include:\u003c\/p\u003e\u003cul\u003e \u003cp\u003e \u003c\/p\u003e \u003cli\u003ePsychoacoustics and how the brain processes sound\u003c\/li\u003e \u003cp\u003e \u003c\/p\u003e \u003cli\u003eDigital theory\u003c\/li\u003e \u003cp\u003e \u003c\/p\u003e \u003cli\u003eMathematics for audio systems\u003c\/li\u003e \u003cp\u003e \u003c\/p\u003e \u003cli\u003eUsing the decibel\u003c\/li\u003e \u003cp\u003e \u003c\/p\u003e \u003cli\u003eInterfacing electrical and acoustical systems\u003c\/li\u003e \u003cp\u003e \u003c\/p\u003e \u003cli\u003eAudio and acoustic measurements\u003c\/li\u003e \u003cp\u003e \u003c\/p\u003e \u003cli\u003eLarge room and small room acoustics\u003c\/li\u003e \u003cp\u003e \u003c\/p\u003e \u003cli\u003eDesigning for acoustic gain\u003c\/li\u003e \u003cp\u003e \u003c\/p\u003e \u003cli\u003eDesigning for speech intelligibility\u003c\/li\u003e \u003cp\u003e \u003cbr\u003e\u003cbr\u003e\u003cb\u003eTable of Contents\u003c\/b\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eChapter 1 Why Sound System Engineering?\u003c\/p\u003e\n\u003cp\u003eChapter 2 Voices Out of the Past\u003c\/p\u003e\n\u003cp\u003eChapter 3 Sound and Our Brain\u003c\/p\u003e\n\u003cp\u003eChapter 4 Psychoacoustics\u003c\/p\u003e\n\u003cp\u003eChapter 5 Digital Theory\u003c\/p\u003e\n\u003cp\u003eChapter 6 Mathematics for Audio Systems\u003c\/p\u003e\n\u003cp\u003eChapter 7 Using the Decibel\u003c\/p\u003e\n\u003cp\u003eChapter 8 Interfacing Electrical and Acoustic Systems\u003c\/p\u003e\n\u003cp\u003eChapter 9 Loudspeaker Directivity and Coverage\u003c\/p\u003e\n\u003cp\u003eChapter 10 The Acoustic Enviroment\u003c\/p\u003e\n\u003cp\u003eChapter 11 Audio and Acoustic Measurements\u003c\/p\u003e\n\u003cp\u003eChapter 12 Large Room Acoustics\u003c\/p\u003e\n\u003cp\u003eChapter 13 Small Room Acoustics\u003c\/p\u003e\n\u003cp\u003eChapter 14 Designing for Acoustic Gain\u003c\/p\u003e\n\u003cp\u003eChapter 15 Designing for Speech Intelligibility\u003c\/p\u003e\n\u003cp\u003eChapter 16 What is Waving and Why\u003c\/p\u003e\n\u003cp\u003eChapter 17 Microphones\u003c\/p\u003e\n\u003cp\u003eChapter 18 Loudspeakers and Loudspeaker Arrays\u003c\/p\u003e\n\u003cp\u003eChapter 19 Power Ratings for Amplifiers and Loudspeakers\u003c\/p\u003e\n\u003cp\u003eChapter 20 Computer-Aided System Design\u003c\/p\u003e\n\u003cp\u003eChapter 21 Signal Delay and Signal Synchronization\u003c\/p\u003e\n\u003cp\u003eChapter 22 Signal Processing\u003c\/p\u003e\n\u003cp\u003eChapter 23 Digital Audio Formats and Transports\u003c\/p\u003e\n\u003cp\u003eChapter 24 Sound System Equalization\u003c\/p\u003e\n\u003cp\u003eChapter 25 Putting It All Together\u003c\/p\u003e\n\u003cp\u003eAppendix\u003c\/p\u003e\n\u003c\/ul\u003e","brand":"Taylor \u0026 Francis","offers":[{"title":"Default Title","offer_id":51017664954711,"sku":"9780240818467","price":123.5,"currency_code":"GBP","in_stock":true}]},{"product_id":"handmade-electronic-music-9780367210090","title":"Handmade Electronic Music","description":"\u003cb\u003eBook Synopsis\u003c\/b\u003e\u003cbr\u003e\u003cp\u003e\u003cem\u003eHandmade Electronic Music: The Art of Hardware Hacking\u003c\/em\u003e 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.\u003c\/p\u003e\u003cp\u003eThis 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 practitio\u003cbr\u003e\u003cbr\u003e\u003cb\u003eTrade Review\u003c\/b\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003ePraise for the Second Edition\u003c\/strong\u003e\u003c\/p\u003e\u003cp\u003e\"Nicolas Collins wants to tear apart your CD player.\" \u003c\/p\u003e\u003cp\u003e\u003cem\u003eWIRED\u003c\/em\u003e magazine\u003c\/p\u003e\u003cp\u003e\"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.\" \u003c\/p\u003e\u003cp\u003eChris Brown, Mills College Center for Contemporary Music\u003c\/p\u003e\u003cp\u003e\"This is a terrific, unique, and much needed book; I wish I had it fifteen years ago.\" \u003c\/p\u003e\u003cp\u003eDan Trueman, Princeton Laptop Orchestra, Princeton University\u003c\/p\u003e\u003cp\u003e\"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.\" \u003c\/p\u003e\u003cp\u003eChristopher Delaurenti, \u003cem\u003eThe Stranger\u003c\/em\u003e, Seattle\u003c\/p\u003e\u003cp\u003e\"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.\"\u003c\/p\u003e\u003cp\u003eDavid Toop\u003c\/p\u003e\u003cp\u003e\"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.\"\u003c\/p\u003e\u003cp\u003eDavid Rosenboom, Composer-Performer, Richard Seaver Distinguished Chair in Music and Dean, The Herb Alpert School of Music, California Institute of the Arts\u003c\/p\u003e\u003cp\u003e\"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.\"\u003c\/p\u003e\u003cp\u003eMark Trayle\u003c\/p\u003e\u003cp\u003ePraise for the First Edition\u003c\/p\u003e\u003cp\u003e\"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.\"\u003c\/p\u003e\u003cp\u003eMeara O’Reilly, \u003cem\u003eMAKE\u003c\/em\u003e magazine and makezine.com\u003c\/p\u003e\u003cp\u003e\"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 \u003cem\u003eHandmade Electronic Music\u003c\/em\u003e, an essential manifesto of know-how, trade secrets, andaesthetic accomplishment leaping off from Cage and Tudor and landing in today’sclassroom.\"\u003c\/p\u003e\u003cp\u003eThom Holmes, author of \u003cem\u003eElectronic and Experimental Music\u003c\/em\u003e\u003c\/p\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003eTable of Contents\u003c\/b\u003e\u003cbr\u003e\u003cp\u003eForeword to First Edition (David Behrman)\u003c\/p\u003e\u003cp\u003eIntroduction \u003c\/p\u003e\u003cp\u003ePART I: STARTING\u003c\/p\u003e\u003cp\u003e1. Getting Started: Tools and Material Needed \u003c\/p\u003e\u003cp\u003e2. The Seven Basic Rules of Hacking: General Advice \u003c\/p\u003e\u003cp\u003ePART II: LISTENING\u003c\/p\u003e\u003cp\u003e3. The Victorian Synthesizer: Twitching Loudspeakers \u003c\/p\u003e\u003cp\u003e4. In\/Out: Speaker as Microphone, Microphone as Speaker, the Symmetry of it All \u003c\/p\u003e\u003cp\u003e5. How to Solder: an Essential Skill \u003c\/p\u003e\u003cp\u003e6. Circuit Sniffing: Eavesdropping on Hidden Magnetic Music \u003c\/p\u003e\u003cp\u003e7. How to Make a Contact Mike: Using Piezo Disks to Pick up Tiny Sounds\u003cb\u003e \u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e8. Turn Your Wall into a Speaker: Resonating Objects with Transducers, Motors and More \u003c\/p\u003e\u003cp\u003e9. Paper Speakers (Jess Rowland)\u003c\/p\u003e\u003cp\u003e10. Tape Heads: Play Your Credit\u003c\/p\u003e\u003cp\u003e11. Electret Microphones: Binaural on a Budget\u003c\/p\u003e\u003cp\u003e12. Laying of Hands: transforming a Radio into a Synthesizer by Making Your Skin Part of the Circuit \u003c\/p\u003e\u003cp\u003ePART III: BUILDING\u003c\/p\u003e\u003cp\u003e13. My First Oscillator™: Six Oscillators on a Chip, Guaranteed to Work\u003c\/p\u003e\u003cp\u003e14. Solder Up! From Breadboard to Circuit Board\u003c\/p\u003e\u003cp\u003e15. Getting Messy: Modulation, Feedback, Instability and Crickets\u003cb\u003e \u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e16. Soft Circuitry: An Introduction to E-Textile Interfaces\u003cb\u003e \u003c\/b\u003e(Lara and Sarah Grant) \u003c\/p\u003e\u003cp\u003e17. On\/Off (More Fun With Photo Resistors): Gating, Tremolo, Panning and More\u003c\/p\u003e\u003cp\u003e18. Mixers and Matrices: Very Simple, Very Cheap, Very Clean Ways of Configuring Lots of Circuits\u003c\/p\u003e\u003cp\u003e19. Boost and Distort: A Simple Circuit that Goes from Clean Preamp to Total Distortion\u003c\/p\u003e\u003cp\u003e20. Analog to Digital Conversion, Sort of: Modulating Other Audio with Your Circuits, Pitch Tracking, and a Sequencer\u003c\/p\u003e\u003cp\u003e21. Beyond Bending: Triggering, Sequencing and Modulating Circuit Bent Toys (Alex Inglizian) \u003c\/p\u003e\u003cp\u003e22. Video Hacking (LoVid (Tali Hinkis, Kyle Lapidus) and Jon Satrom)\u003c\/p\u003e\u003cp\u003e23. An Introduction to Op Amps\u003c\/p\u003e\u003cp\u003e24. A Little Hacker’s Amp \u003c\/p\u003e\u003cp\u003e25. The Mumma-Tudor Ring Modulator (Michael Johnsen and You Nakai)\u003c\/p\u003e\u003cp\u003e26. Paper Circuits (Peter Blasser)\u003c\/p\u003e\u003cp\u003e27. Rule the Airwaves: Build a Radio Transmitter (Brett Balogh) \u003c\/p\u003e\u003cp\u003e28. A Grab Bag of Samples: A Voltage Controlled Radio Receiver (Holger Heckeroth)\u003c\/p\u003e\u003cp\u003e29. A Lo-Fi Sampler and Looper (Holger Heckeroth) \u003c\/p\u003e\u003cp\u003e30. The Bissell Function Block: A Lag Processor (Peter Speer)\u003c\/p\u003e\u003cp\u003e31. Sounds from Neural Networks (Wolfgang Spahn)\u003c\/p\u003e\u003cp\u003ePART IV: COMPUTING \u003c\/p\u003e\u003cp\u003e32. Sharing Traces: Designing and Fabricating Your Own Printed Circuit Boards with Fritzing (Eduardo Rosario)\u003c\/p\u003e\u003cp\u003e33. Microcontroller Sound (Joseph Kramer)\u003c\/p\u003e\u003cp\u003e34. Small Sound: Pure Data on the Raspberry Pi (Robb Drinkwater) \u003c\/p\u003e\u003cp\u003e35. Data Hacking: The Foundations of Glitch Art (Nick Briz)\u003c\/p\u003e\u003cp\u003ePART V: CONNECTING\u003c\/p\u003e\u003cp\u003e36. Handmade Sound Communities (Lisa Kori and David Novak)\u003c\/p\u003e\u003cp\u003e37. Hello World!\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eCOMPANION WEBSITE CONTENTS\u003c\/strong\u003e\u003c\/p\u003e\u003cp\u003e1. Project Support\u003c\/p\u003e\u003cp\u003eSharing Traces -- Designing and Fabricating Your Own Printed Circuit Boards (Eduardo Rosario)\u003c\/p\u003e\u003cp\u003eMicrocontroller Sound (Joseph Kramer): Data files and additional projects for chapter 33\u003c\/p\u003e\u003cp\u003ePaper Circuits (Peter Blasser): Circuit board artwork for Rungling circuit in chapter 26\u003c\/p\u003e\u003cp\u003eSounds from Neural Networks (Wolfgang Spahn): Circuit board artwork for Confetti Neuron circuit in chapter 31\u003c\/p\u003e\u003cp\u003e2. Technical Bootcamp\u003c\/p\u003e\u003cp\u003eOhm’s Law for Dummies: How to Understand Resistors \u003c\/p\u003e\u003cp\u003eSwitches: How to Understand Different Switches, and Make Your Own \u003c\/p\u003e\u003cp\u003eJack, Batt and Pack: Powering and Packaging Your Circuits \u003c\/p\u003e\u003cp\u003ePower Supplies: Carbon Footprints from AA to EEE \u003c\/p\u003e\u003cp\u003e3. Circuit Bending\u003c\/p\u003e\u003cp\u003eTickle the Clock: Finding the Clock Circuit in Toys \u003c\/p\u003e\u003cp\u003eHack the Clock: Changing the Clock Speed for Cool New Noises \u003c\/p\u003e\u003cp\u003eVideo Music\/Music Video: Translating Video Signals into Sound, Hacking Cameras, and Extracting Sounds from Remote Controls \u003c\/p\u003e\u003cp\u003eBeyond the Pot: Photoresistors, Pressure Pads and Other Ways to Play Your Toy \u003c\/p\u003e\u003cp\u003eLCD Art: Making Animated Modern Daguerreotypes and Alternate Video Projectors \u003c\/p\u003e\u003cp\u003e4. Culture and History\u003c\/p\u003e\u003cp\u003eDo It With Others: Hardware Hacking in South America (Florencia Curci, Alma Laprida and Sebastián Rey) \u003c\/p\u003e\u003cp\u003eHacer con Otrxs: Hardware Hacking en Sudamérica (Florencia Curci, Alma Laprida and Sebastián Rey) (Original Spanish version of Do It With Others) \u003c\/p\u003e\u003cp\u003eBleep Listening (Ezra Teboul) \u003c\/p\u003e\u003cp\u003eA History of Japanese Hacking and DIY Music (ADACHI Tomomi) \u003c\/p\u003e\u003cp\u003e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) \u003c\/p\u003e\u003cp\u003eLivening Things Up: Australian Hand-Built Electronic Instruments (Caleb Kelly and Pia van Gelder) \u003c\/p\u003e\u003cp\u003eGambioluthiery: Hacking and DIY in Brazil (Giuliano Obici) \u003c\/p\u003e\u003cp\u003eA Brief Personal History of dorkbot-nyc (Douglas Repetto) \u003c\/p\u003e\u003cp\u003eThe Contact Microphone: A Cultural Object (Daniela Fantechi) \u003c\/p\u003e\u003cp\u003eDavid Tudor (You Nakai and Michael Johnsen) \u003c\/p\u003e\u003cp\u003ePixel Artists (LoVid and Jon Satrom) \u003c\/p\u003e\u003cp\u003eCircuit Board as Design (Eduardo Rosario) \u003c\/p\u003e\u003cp\u003eCircuit Bending (Nicolas Collins) \u003c\/p\u003e\u003cp\u003eVisual Music (Nicolas Collins) \u003c\/p\u003e\u003cp\u003eThe Future Was Then (Nicolas Collins) \u003c\/p\u003e\u003cp\u003e5. Tutorials\u003c\/p\u003e\u003cp\u003e6. Gallery of Artist's Work\u003c\/p\u003e","brand":"Taylor \u0026 Francis","offers":[{"title":"Default Title","offer_id":51017850028375,"sku":"9780367210090","price":128.25,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0817\/1739\/5799\/files\/9780367210090.jpg?v=1750774885"},{"product_id":"character-development-and-storytelling-for-games-9780367248987","title":"Character Development and Storytelling for Games","description":"\u003cb\u003eBook Synopsis\u003c\/b\u003e\u003cbr\u003e\u003cp\u003eThis is the third edition of \u003ci\u003eCharacter Development and Storytelling for Games\u003c\/i\u003e, 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.\u003c\/p\u003e\u003cp\u003eBut 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.\u003c\/p\u003e\u003cp\u003eSheldon 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 \u003cbr\u003e\u003cbr\u003e\u003cb\u003eTable of Contents\u003c\/b\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003ePreface to the Third Edition. Acknowledgments. About the Author. Introduction. \u003cb\u003ePart I Background. \u003c\/b\u003eChapter 1 Equations. Chapter 2 The Story Remains the Same. \u003cb\u003ePart II Creating Characters. \u003c\/b\u003eChapter 3 Respecting Characters. Chapter 4 Character Roles. Chapter 5 Character Traits. Chapter 6 Character Encounters. \u003cb\u003ePart III Telling the Story. \u003c\/b\u003eChapter 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. \u003cb\u003ePart IV Games People Play Today. \u003c\/b\u003eChapter 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. \u003cb\u003ePart V Reflections. \u003c\/b\u003eChapter 20 Postlude: Endgame. INDEX.\u003c\/p\u003e","brand":"Taylor \u0026 Francis Ltd","offers":[{"title":"Default Title","offer_id":51017858023767,"sku":"9780367248987","price":44.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0817\/1739\/5799\/files\/9780367248987.jpg?v=1750774907"},{"product_id":"performing-electronic-music-live-9780367340735","title":"Performing Electronic Music Live","description":"\u003cb\u003eBook Synopsis\u003c\/b\u003e\u003cbr\u003e\u003cp\u003e\u003cem\u003ePerforming Electronic Music\u003c\/em\u003e \u003cem\u003eLive\u003c\/em\u003e 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. \u003c\/p\u003e\u003cp\u003e\u003cem\u003ePerforming Electronic Music Live\u003c\/em\u003e is an essential, all-encompassing resource for professionals, students of music production courses, and researchers in the field of creative-focused performance technology. \u003c\/p\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003eTable of Contents\u003c\/b\u003e\u003cbr\u003e\u003cp\u003e\u003cb\u003eChapter 1 – General Advice\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e1. The concept\u003c\/p\u003e\u003cp\u003e2. Confidence and preparation\u003c\/p\u003e\u003cp\u003e2.1 Effective rehearsal\u003c\/p\u003e\u003cp\u003e2.2 Dealing with stage fright\u003c\/p\u003e\u003cp\u003e2.3 Stepping into the performance persona\u003c\/p\u003e\u003cp\u003e2.4 Using feedback and being prepared for rejection\u003c\/p\u003e\u003cp\u003e3. Quality of the production\u003c\/p\u003e\u003cp\u003e4. Factors that determine the setup choice\u003c\/p\u003e\u003cp\u003e4.1 The music – genre and composition\u003c\/p\u003e\u003cp\u003e4.2 The act – personality, motivation and skills\u003c\/p\u003e\u003cp\u003e4.3 Band members and skills\u003c\/p\u003e\u003cp\u003e4.4 The performance situation\u003c\/p\u003e\u003cp\u003e4.4.1 The audience\u003c\/p\u003e\u003cp\u003e4.4.2 The venue and playback system\u003c\/p\u003e\u003cp\u003e4.4.3 Risk\u003c\/p\u003e\u003cp\u003e4.4.4 Budget\u003c\/p\u003e\u003cp\u003e4.4.5 Need for portability\u003c\/p\u003e\u003cp\u003eTutorial and takeaway points\u003c\/p\u003e\u003cp\u003e5. References\u003c\/p\u003e\u003cp\u003eChapter 2 – DAWs and Controllers\u003c\/p\u003e\u003cp\u003e1. Non-linearity of time\u003c\/p\u003e\u003cp\u003e2. Overview of performance DAWs\u003c\/p\u003e\u003cp\u003e2.1 Ableton Live\u003c\/p\u003e\u003cp\u003e2.2 Bitwig\u003c\/p\u003e\u003cp\u003e2.3 Maschine\u003c\/p\u003e\u003cp\u003e2.4 Logic Pro X\u003c\/p\u003e\u003cp\u003e2.5 Motu Digital Performer\u003c\/p\u003e\u003cp\u003e2.6 FL studio\u003c\/p\u003e\u003cp\u003e2.7 Standalone hardware DAW equivalents\u003c\/p\u003e\u003cp\u003e3. Plugging in hardware\u003c\/p\u003e\u003cp\u003e3.1 Live arrangement\u003c\/p\u003e\u003cp\u003e3.2 One-shots and finger drumming\u003c\/p\u003e\u003cp\u003e3.3 Performing on software instruments\u003c\/p\u003e\u003cp\u003e3.4 Controlling audio effects\u003c\/p\u003e\u003cp\u003e3.5 Other external hardware\u003c\/p\u003e\u003cp\u003e4. Prepared musical material and live recording\u003c\/p\u003e\u003cp\u003e5. Collaboration\u003c\/p\u003e\u003cp\u003e6. Randomness and generative approaches\u003c\/p\u003e\u003cp\u003e7. Customising the performance interface\u003c\/p\u003e\u003cp\u003e8. Performing live in more studio-oriented DAWs\u003c\/p\u003e\u003cp\u003e9. Working with visuals\u003c\/p\u003e\u003cp\u003e10. Recording the show\u003c\/p\u003e\u003cp\u003eTutorial\u003c\/p\u003e\u003cp\u003eFrom a complex studio production to an intuitive live set\u003c\/p\u003e\u003cp\u003eLooping clips\u003c\/p\u003e\u003cp\u003eOne-shots\u003c\/p\u003e\u003cp\u003eFollow actions\u003c\/p\u003e\u003cp\u003eLive effects\u003c\/p\u003e\u003cp\u003eLive keys and vocals\u003c\/p\u003e\u003cp\u003eVisuals\u003c\/p\u003e\u003cp\u003e11. Takeaway points\u003c\/p\u003e\u003cp\u003eReferences\u003c\/p\u003e\u003cp\u003eInterview with Robert Henke\u003c\/p\u003e\u003cp\u003eChapter 3 – MIDI and CV Performance Controllers\u003c\/p\u003e\u003cp\u003e1. CV\/GATE\u003c\/p\u003e\u003cp\u003e2. The MIDI protocol\u003c\/p\u003e\u003cp\u003e2.1 MIDI messages in the MIDI 1 protocol\u003c\/p\u003e\u003cp\u003e2.2 MIDI 2.0\u003c\/p\u003e\u003cp\u003e3. Types of performance controllers\u003c\/p\u003e\u003cp\u003e3.1 Buttons\u003c\/p\u003e\u003cp\u003e3.2 Continuous signals: knobs, faders, sliders\u003c\/p\u003e\u003cp\u003e3.3 Controllers that resemble traditional musical instruments.\u003c\/p\u003e\u003cp\u003e3.4 Modular controllers\u003c\/p\u003e\u003cp\u003e3.5 Motion-controlled performance hardware\u003c\/p\u003e\u003cp\u003e3.6 Turning non-musical hardware into MIDI controllers\u003c\/p\u003e\u003cp\u003e3.7 MIDI Polyphonic Expression\u003c\/p\u003e\u003cp\u003e3.8 Sequencers\u003c\/p\u003e\u003cp\u003e3.9 Clock signals and MIDI routing\u003c\/p\u003e\u003cp\u003eTutorial\u003c\/p\u003e\u003cp\u003e4. Takeaway points\u003c\/p\u003e\u003cp\u003eReferences\u003c\/p\u003e\u003cp\u003eChapter 4 – DJing and Turntablism\u003c\/p\u003e\u003cp\u003e1. A short history of DJing\u003c\/p\u003e\u003cp\u003e2. Types of DJ in the present day\u003c\/p\u003e\u003cp\u003e2.1 Touring artist-DJs\u003c\/p\u003e\u003cp\u003e2.2 Resident DJs\u003c\/p\u003e\u003cp\u003e2.3 Mobile event DJs\u003c\/p\u003e\u003cp\u003e2.4 Radio DJs\u003c\/p\u003e\u003cp\u003e2.5 Online DJ-producers\u003c\/p\u003e\u003cp\u003e3. DJ techniques\u003c\/p\u003e\u003cp\u003e3.1 Mixing techniques and turntablism\u003c\/p\u003e\u003cp\u003e3.2 Virtuoso turntablism\u003c\/p\u003e\u003cp\u003e3.3 Effects and audio processing\u003c\/p\u003e\u003cp\u003e3.4 Programming\u003c\/p\u003e\u003cp\u003e4. DJ tools available today\u003c\/p\u003e\u003cp\u003e4.1 DJ software and hardware controllers\u003c\/p\u003e\u003cp\u003e4.2 CDJs\u003c\/p\u003e\u003cp\u003e4.3 Going retro: using Vinyl for DJing\u003c\/p\u003e\u003cp\u003e4.4 Headphones, monitors and microphones\u003c\/p\u003e\u003cp\u003e4.5 Streaming tracks from online platforms\u003c\/p\u003e\u003cp\u003eTutorial: three DJ setups presented by Dan Murray\u003c\/p\u003e\u003cp\u003ePreparation\u003c\/p\u003e\u003cp\u003eDJ skills and techniques\u003c\/p\u003e\u003cp\u003eBeatmatching on vinyl\u003c\/p\u003e\u003cp\u003eGetting creative on CDJs\u003c\/p\u003e\u003cp\u003eWorking with a hybrid setup\u003c\/p\u003e\u003cp\u003ePerformance styles\u003c\/p\u003e\u003cp\u003e5. Takeaway points\u003c\/p\u003e\u003cp\u003eReferences\u003c\/p\u003e\u003cp\u003eInterview with Alex M.O.R.P.H\u003c\/p\u003e\u003cp\u003eChapter 5 - Incorporating Acoustic Instruments and Vocals \u003c\/p\u003e\u003cp\u003e1. Traditional instruments in electronic music\u003c\/p\u003e\u003cp\u003e2. Fusion genres\u003c\/p\u003e\u003cp\u003e3. Live instruments and vocals that are not on the record\u003c\/p\u003e\u003cp\u003e4. Instruments that are on the record but not on stage\u003c\/p\u003e\u003cp\u003e5. Microphones and DI boxes\u003c\/p\u003e\u003cp\u003e6. Effects and sound manipulation\u003c\/p\u003e\u003cp\u003e6.1 Vocal effects processing\u003c\/p\u003e\u003cp\u003e6.2 Vocoders and talk boxes\u003c\/p\u003e\u003cp\u003e6.3 Effects for other instruments\u003c\/p\u003e\u003cp\u003eTutorial – generated live vocal harmonies, violin and synth\u003c\/p\u003e\u003cp\u003e7. Takeaway points\u003c\/p\u003e\u003cp\u003eReferences\u003c\/p\u003e\u003cp\u003eInterview with Matt Robertson\u003c\/p\u003e\u003cp\u003eChapter 6 – Live Synthesis and Sound Design\u003c\/p\u003e\u003cp\u003e1. Synthesis technology\u003c\/p\u003e\u003cp\u003e1.1 Synthesis techniques\u003c\/p\u003e\u003cp\u003e1.1.1 Additive synthesis\u003c\/p\u003e\u003cp\u003e1.1.2 Subtractive synthesis\u003c\/p\u003e\u003cp\u003e1.1.3 FM synthesis\u003c\/p\u003e\u003cp\u003e1.1.4 Waveshaping synthesis\u003c\/p\u003e\u003cp\u003e1.1.5 Sampling\u003c\/p\u003e\u003cp\u003e1.1.6 Granular synthesis\u003c\/p\u003e\u003cp\u003e1.1.7 Wavetable synthesis\u003c\/p\u003e\u003cp\u003e1.1.8 Physical modelling synthesis\u003c\/p\u003e\u003cp\u003e1.2 Controls typically found on commercial synthesizers\u003c\/p\u003e\u003cp\u003e1.2.1 Oscillators\u003c\/p\u003e\u003cp\u003e1.2.2 Amplifier\u003c\/p\u003e\u003cp\u003e1.2.3 Amplitude envelope\u003c\/p\u003e\u003cp\u003e1.2.4 Filters\u003c\/p\u003e\u003cp\u003e1.2.5 Modulation\u003c\/p\u003e\u003cp\u003e1.2.6 Clock\u003c\/p\u003e\u003cp\u003e1.2.7 Effects, sequencing and arpeggiators\u003c\/p\u003e\u003cp\u003e1.2.8 Playback controls\u003c\/p\u003e\u003cp\u003e2. A rich history of artists shaping their sound through synthesis\u003c\/p\u003e\u003cp\u003e2.1 Retro-leaning synths used by current artists\u003c\/p\u003e\u003cp\u003e3. A brief history of sampling\u003c\/p\u003e\u003cp\u003e4. Using synths and samplers on stage\u003c\/p\u003e\u003cp\u003e4.1 Playing live on hardware synthesizers and samplers\u003c\/p\u003e\u003cp\u003e4.1.1 Choosing hardware synths\u003c\/p\u003e\u003cp\u003e4.1.2 Working with pre-programmed sequences\u003c\/p\u003e\u003cp\u003e4.1.3 Modular synthesizers on stage\u003c\/p\u003e\u003cp\u003e4.2 Performing live with software synthesizers\u003c\/p\u003e\u003cp\u003eTutorial\u003c\/p\u003e\u003cp\u003e5. Takeaway points\u003c\/p\u003e\u003cp\u003eReferences\u003c\/p\u003e\u003cp\u003eChapter 7 – Performing without a Laptop\u003c\/p\u003e\u003cp\u003e1. Building blocks of a laptop-free setup\u003c\/p\u003e\u003cp\u003e1.1 Sound sources\u003c\/p\u003e\u003cp\u003e1.2 Control signal generators\u003c\/p\u003e\u003cp\u003e1.2.1 Clock signal generators\u003c\/p\u003e\u003cp\u003e1.3 Control signal routing tools\u003c\/p\u003e\u003cp\u003e1.4 Sound processors and effects\u003c\/p\u003e\u003cp\u003e1.5 Mixers\u003c\/p\u003e\u003cp\u003e2. All-in-one hardware tools\u003c\/p\u003e\u003cp\u003e3. Cabling and connections\u003c\/p\u003e\u003cp\u003eTutorial: a modular synthesizer setup (Matt Gooderson)\u003c\/p\u003e\u003cp\u003eModular Systems\u003c\/p\u003e\u003cp\u003eComponents of the Hardware Setup\u003c\/p\u003e\u003cp\u003eMelody\u003c\/p\u003e\u003cp\u003eRhythm\u003c\/p\u003e\u003cp\u003eSound Sources\u003c\/p\u003e\u003cp\u003eUtility Modules\u003c\/p\u003e\u003cp\u003eMultiple\u003c\/p\u003e\u003cp\u003eQuantiser\u003c\/p\u003e\u003cp\u003eSample and Hold\u003c\/p\u003e\u003cp\u003eMixer\u003c\/p\u003e\u003cp\u003eAudio Modifiers\u003c\/p\u003e\u003cp\u003eComposition and Performance\u003c\/p\u003e\u003cp\u003e4. Takeaway points\u003c\/p\u003e\u003cp\u003eReferences\u003c\/p\u003e\u003cp\u003eChapter 8 – Programming Custom Performance Tools\u003c\/p\u003e\u003cp\u003e1. Getting started with programming\u003c\/p\u003e\u003cp\u003e1.1 What is a program?\u003c\/p\u003e\u003cp\u003e1.2 What programming language should you learn?\u003c\/p\u003e\u003cp\u003e2. Inspiring artist examples\u003c\/p\u003e\u003cp\u003e2.1 Complete playback solutions\u003c\/p\u003e\u003cp\u003e2.2 Effects plug-ins and software instruments\u003c\/p\u003e\u003cp\u003e2.3 Expanding the functionality of hardware\u003c\/p\u003e\u003cp\u003e2.4 Automatic performance tools\u003c\/p\u003e\u003cp\u003e2.5 Letting the outside environment control the sound\u003c\/p\u003e\u003cp\u003eTutorial: introducing BBC R\u0026amp;D’s Audio Orchestrator, featuring Jon Francombe and Stephen Davismoon\u003c\/p\u003e\u003cp\u003eHow does Audio Orchestrator work?\u003c\/p\u003e\u003cp\u003eThe Sequences page\u003c\/p\u003e\u003cp\u003eThe Controls page\u003c\/p\u003e\u003cp\u003eThe Audio page\u003c\/p\u003e\u003cp\u003eThe Appearance page\u003c\/p\u003e\u003cp\u003eThe Export page\u003c\/p\u003e\u003cp\u003e3. Patch It: modular music programming environments\u003c\/p\u003e\u003cp\u003e3.1 Max\/MSP\u003c\/p\u003e\u003cp\u003e3.2 Pure Data\u003c\/p\u003e\u003cp\u003e3.3 Other node-based programming environments\u003c\/p\u003e\u003cp\u003e3.4 Node-based programming in action\u003c\/p\u003e\u003cp\u003e3.4.1 Effects processing\u003c\/p\u003e\u003cp\u003e3.4.2 Generative music\u003c\/p\u003e\u003cp\u003e3.4.3 Sampling and sequencing\u003c\/p\u003e\u003cp\u003e3.4.4 Working with external hardware\u003c\/p\u003e\u003cp\u003e3.4.5 Theatre shows\u003c\/p\u003e\u003cp\u003eTutorial: generative music in Max \/ MSP, featuring Francesc Moya Serra\u003c\/p\u003e\u003cp\u003eFirst steps and audio output\u003c\/p\u003e\u003cp\u003eMetronome and timing\u003c\/p\u003e\u003cp\u003eSound triggering with the select object\u003c\/p\u003e\u003cp\u003eUsing MIDI notes to perform on a VST synth\u003c\/p\u003e\u003cp\u003eRandom pitches in a subpatch\u003c\/p\u003e\u003cp\u003eAdding further complexity\u003c\/p\u003e\u003cp\u003eRandom note velocities and durations\u003c\/p\u003e\u003cp\u003eModulating synthesis parameters\u003c\/p\u003e\u003cp\u003eFitting the random note pitches to a musical scale\u003c\/p\u003e\u003cp\u003ePercussion\u003c\/p\u003e\u003cp\u003eThe performance GUI\u003c\/p\u003e\u003cp\u003e4. Live coding: making EDM with algorithms\u003c\/p\u003e\u003cp\u003eTutorial: an introduction to SuperCollider, featuring Eli Fieldsteel\u003c\/p\u003e\u003cp\u003eThe interface\u003c\/p\u003e\u003cp\u003eGetting started\u003c\/p\u003e\u003cp\u003eOscillator UGens\u003c\/p\u003e\u003cp\u003eCross-fading between sounds\u003c\/p\u003e\u003cp\u003eWorking with pre-recorded audio samples\u003c\/p\u003e\u003cp\u003eWhat else is possible in SuperCollider?\u003c\/p\u003e\u003cp\u003e5. Takeaway Points\u003c\/p\u003e\u003cp\u003eReferences\u003c\/p\u003e\u003cp\u003eInterview with Holly Herndon\u003c\/p\u003e\u003cp\u003eChapter 9 – Building Custom Hardware Tools\u003c\/p\u003e\u003cp\u003e1. New instruments built from scratch\u003c\/p\u003e\u003cp\u003e2. The human body as musical instrument\u003c\/p\u003e\u003cp\u003e3. Adding functionality to existing instruments\u003c\/p\u003e\u003cp\u003e4. Performing music on toys and household items\u003c\/p\u003e\u003cp\u003e5. How can you get started?\u003c\/p\u003e\u003cp\u003eTutorial: Optical Theremin inside a Game Boy Shell with Rainbow Trash (Dominique Pelletier)\u003c\/p\u003e\u003cp\u003eWhat you will need\u003c\/p\u003e\u003cp\u003eCasing\u003c\/p\u003e\u003cp\u003eElectronics\u003c\/p\u003e\u003cp\u003eTesting connections\u003c\/p\u003e\u003cp\u003eSoldering connections\u003c\/p\u003e\u003cp\u003eClosing up the case\u003c\/p\u003e\u003cp\u003eOther things you can do...\u003c\/p\u003e\u003cp\u003e6. Takeaway points\u003c\/p\u003e\u003cp\u003eReferences\u003c\/p\u003e\u003cp\u003eChapter 10 – The Performance Setting\u003c\/p\u003e\u003cp\u003e1. Common live sound technology\u003c\/p\u003e\u003cp\u003e2. The soundcheck\u003c\/p\u003e\u003cp\u003e3. Live sound mixing\u003c\/p\u003e\u003cp\u003e4. Spaces\u003c\/p\u003e\u003cp\u003e4.1 Arenas and stadiums\u003c\/p\u003e\u003cp\u003e4.2 Large Festivals\u003c\/p\u003e\u003cp\u003e4.3 Nightclubs\u003c\/p\u003e\u003cp\u003e4.4 Warehouse raves\u003c\/p\u003e\u003cp\u003e4.5 Concert halls\u003c\/p\u003e\u003cp\u003e4.6 Outdoor theatres\u003c\/p\u003e\u003cp\u003e4.7 Small and intimate shows\u003c\/p\u003e\u003cp\u003e4.8 Controlled acoustic spaces\u003c\/p\u003e\u003cp\u003e4.9 Installations\u003c\/p\u003e\u003cp\u003e4.10 Remote settings and streaming\u003c\/p\u003e\u003cp\u003eTutorial: a large redundancy playback rig, featuring Steven Massey\u003c\/p\u003e\u003cp\u003eStems for playback\u003c\/p\u003e\u003cp\u003eUninterruptible power supply\u003c\/p\u003e\u003cp\u003eRedundancy playback rig\u003c\/p\u003e\u003cp\u003eOutput routing via a split rack\u003c\/p\u003e\u003cp\u003eThe monitor mix\u003c\/p\u003e\u003cp\u003eThe live mix\u003c\/p\u003e\u003cp\u003e5. Takeaway points\u003c\/p\u003e\u003cp\u003eReferences\u003c\/p\u003e\u003cp\u003eInterview with Laura Escudé\u003c\/p\u003e\u003cp\u003eChapter 11 – Stage Design and Visual Parameters\u003c\/p\u003e\u003cp\u003e1. Tools for creating visual interest\u003c\/p\u003e\u003cp\u003e1.1 Moving visuals\u003c\/p\u003e\u003cp\u003e1.2 Lighting\u003c\/p\u003e\u003cp\u003e1.3 Dancing and acting\u003c\/p\u003e\u003cp\u003e1.4 Fashion\u003c\/p\u003e\u003cp\u003e1.5 Stage design\u003c\/p\u003e\u003cp\u003e2. What determines the choice of visual stage parameters?\u003c\/p\u003e\u003cp\u003e2.1 Artist identity\u003c\/p\u003e\u003cp\u003e2.2 Visual parameters that convey a narrative\u003c\/p\u003e\u003cp\u003e2.3 Creating an abstract connection between what is seen and heard\u003c\/p\u003e\u003cp\u003e2.4 Amplifying performance parameters\u003c\/p\u003e\u003cp\u003eTutorial \u003c\/p\u003e\u003cp\u003e3. Takeaway points\u003c\/p\u003e\u003cp\u003eReferences\u003c\/p\u003e\u003cp\u003eChapter 12 – Planning and Promotion\u003c\/p\u003e\u003cp\u003e1. Music branding principles\u003c\/p\u003e\u003cp\u003e1.1 Artist identity\u003c\/p\u003e\u003cp\u003e1.2 Target audience\u003c\/p\u003e\u003cp\u003e2. Creating marketing materials\u003c\/p\u003e\u003cp\u003e2.1 Visual materials\u003c\/p\u003e\u003cp\u003e2.2 Biography\u003c\/p\u003e\u003cp\u003e2.3 Press release\u003c\/p\u003e\u003cp\u003e2.4 Website\u003c\/p\u003e\u003cp\u003e2.4.1 A clear representation of the artist image\u003c\/p\u003e\u003cp\u003e2.4.2 Layout and content\u003c\/p\u003e\u003cp\u003e2.4.3 Search engine optimization\u003c\/p\u003e\u003cp\u003e2.5 Social media\u003c\/p\u003e\u003cp\u003e2.6 Hardcopy marketing materials\u003c\/p\u003e\u003cp\u003e3. Networking and gig opportunities\u003c\/p\u003e\u003cp\u003eTutorial: music industry Dos and Don’ts presented by Woody van Eyden\u003c\/p\u003e\u003cp\u003eWhere am I now?\u003c\/p\u003e\u003cp\u003eWhere do I want to be?\u003c\/p\u003e\u003cp\u003eWhat do I need to do to get there?\u003c\/p\u003e\u003cp\u003eWho can help me?\u003c\/p\u003e\u003cp\u003eWhat should I do in terms of networking?\u003c\/p\u003e\u003cp\u003e4. Takeaway points\u003c\/p\u003e\u003cp\u003eReferences\u003c\/p\u003e\u003cp\u003eChapter 13 – Conclusion\u003c\/p\u003e\u003cp\u003e1 What do electronic musicians do on stage?\u003c\/p\u003e\u003cp\u003e2 What constitutes a great electronic music performance?\u003c\/p\u003e\u003cp\u003e3 How do I choose the concept for my show?\u003c\/p\u003e\u003cp\u003e3.1 A compelling Performance persona\u003c\/p\u003e\u003cp\u003e3.2 Virtuosic skills\u003c\/p\u003e\u003cp\u003e3.3 Technical know-how\u003c\/p\u003e\u003cp\u003e3.4 A compelling performance setting\u003c\/p\u003e\u003cp\u003e3.5 Liveness\u003c\/p\u003e\u003cp\u003e3.6 Core values\u003c\/p\u003e\u003cp\u003e3.7 Visual interest\u003c\/p\u003e\u003cp\u003e4 What does my audience expect?\u003c\/p\u003e\u003cp\u003e5 I am quite shy but I would like to perform live. What can I do?\u003c\/p\u003e\u003cp\u003e6 I cannot play any instruments or sing. Can I still perform live?\u003c\/p\u003e\u003cp\u003e7 Should I be a solo artist or form a band?\u003c\/p\u003e\u003cp\u003e8 What kind of tools do I need to perform electronic music live?\u003c\/p\u003e\u003cp\u003e9 There are so many different options. What is the right setup for me?\u003c\/p\u003e\u003cp\u003e10 Who creates electronic performance equipment?\u003c\/p\u003e\u003cp\u003e11 Where can I try out and buy performance equipment?\u003c\/p\u003e\u003cp\u003e12 I produce music in a DAW. How can I turn this into a live show?\u003c\/p\u003e\u003cp\u003e13 Should my live show sound like my record?\u003c\/p\u003e\u003cp\u003e14 What does \"live\" mean? Should every sound be created in the moment, or are backing tracks acceptable?\u003c\/p\u003e\u003cp\u003e15 Is it bad to mime and pretend that I am doing something on stage when I am not?\u003c\/p\u003e\u003cp\u003e16 I have never produced any music. Where do I begin?\u003c\/p\u003e\u003cp\u003e17 How should I prepare for my show?\u003c\/p\u003e\u003cp\u003e17.1 Practice\u003c\/p\u003e\u003cp\u003e17.2 Sound check\u003c\/p\u003e\u003cp\u003e17.3 Feedback\u003c\/p\u003e\u003cp\u003e18 How can I find gig opportunities?\u003c\/p\u003e\u003cp\u003eThank you!\u003c\/p\u003e","brand":"Taylor \u0026 Francis Ltd","offers":[{"title":"Default Title","offer_id":51017873359191,"sku":"9780367340735","price":36.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0817\/1739\/5799\/files\/9780367340735.jpg?v=1750774949"},{"product_id":"composing-audiovisually-9780367346911","title":"Composing Audiovisually","description":"\u003cb\u003eBook Synopsis\u003c\/b\u003e\u003cbr\u003e\u003cp\u003eWhat does the Coen Brothersâ \u003ci\u003eBarton Fink\u003c\/i\u003e have in common with Norman McLarenâs \u003ci\u003eSynchromy\u003c\/i\u003e? Or with audiovisual sculpture? Or contemporary music video? \u003ci\u003eComposing Audiovisually\u003c\/i\u003e 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.\u003c\/p\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003eTrade Review\u003c\/b\u003e\u003cbr\u003e\u003cp\u003eSituating 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.\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eAndrew Knight-Hill\u003c\/strong\u003e, University of Greenwich, London.\u003c\/p\u003e\u003cp\u003eHarris 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.\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eBret Battey\u003c\/strong\u003e, De Montfort University, Leicester\u003c\/p\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003eTable of Contents\u003c\/b\u003e\u003cbr\u003e\u003cp\u003eIntroduction\u003c\/p\u003e\u003cp\u003eSection 1 - Thinking Audiovisually\u003c\/p\u003e\u003cp\u003eThinking Audiovisually\u003c\/p\u003e\u003cp\u003eChapter One - Discourse on Audiovisual Experience\u003c\/p\u003e\u003cp\u003eChapter Two - Analysis of questionnaire results\u003c\/p\u003e\u003cp\u003eChapter Three - Defining Transperceptual Attention\u003c\/p\u003e\u003cp\u003eCoda - some terminology for Transperceptual Attention\u003c\/p\u003e\u003cp\u003eSection 2 - Composing Audiovisually\u003c\/p\u003e\u003cp\u003eComposing Audiovisually\u003c\/p\u003e\u003cp\u003eChapter Four - the elements of audiovisual composition\u003c\/p\u003e\u003cp\u003eChapter Five - Teaching Audiovisually\u003c\/p\u003e\u003cp\u003eSection 3 - Analysing Audiovisually\u003c\/p\u003e\u003cp\u003eAnalysing Audiovisually\u003c\/p\u003e\u003cp\u003eCase Study 1 - For Tashi\u003c\/p\u003e\u003cp\u003eCase Study 2 - Cinechine\u003c\/p\u003e\u003cp\u003eCase Study 3 - pebbles\u003c\/p\u003e\u003cp\u003eCase Study 4 - Hitchcock Etudes\u003c\/p\u003e\u003cp\u003eCase Study 5 - Close to be close to me\u003c\/p\u003e\u003cp\u003eCase Study 6 - A Love Story\u003c\/p\u003e\u003cp\u003eCase Study 7 - Open Air\u003c\/p\u003e\u003cp\u003eReflections\u003c\/p\u003e\u003cp\u003eEpilogue - Final Reflections\u003c\/p\u003e","brand":"Taylor \u0026 Francis","offers":[{"title":"Default Title","offer_id":51017875521879,"sku":"9780367346911","price":37.99,"currency_code":"GBP","in_stock":true}]},{"product_id":"location-and-postproduction-sound-for-lowbudget-filmmakers-9780367354244","title":"Location and Postproduction Sound for LowBudget","description":"\u003cb\u003eBook Synopsis\u003c\/b\u003e\u003cbr\u003e\u003cp\u003eThis book covers everything you need to know to master the fundamentals of location sound recording and postproduction sound in a comprehensive one-stop guide.\u003c\/p\u003e\u003cp\u003eThis 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 al\u003cbr\u003e\u003cbr\u003e\u003cb\u003eTrade Review\u003c\/b\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\"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.\"\u003c\/p\u003e\u003cp\u003e-Ruth Hernandez\u003c\/p\u003e\u003cp\u003eADR editor \u003c\/p\u003e\u003cp\u003eThe Marvelous Mrs. Maisel\u003c\/p\u003e\u003cp\u003eHBO's High maintenance Season 4\u003c\/p\u003e\u003cp\u003e\"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.\"\u003c\/p\u003e\u003cp\u003e- Kira Summers\u003c\/p\u003e\u003cp\u003eBirmingham City University\u003c\/p\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003eTable of Contents\u003c\/b\u003e\u003cbr\u003e\u003cp\u003e1 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 – \u003ci\u003eTurn Back Night\u003c\/i\u003e. 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\u003c\/p\u003e","brand":"Taylor \u0026 Francis","offers":[{"title":"Default Title","offer_id":51017878470999,"sku":"9780367354244","price":35.99,"currency_code":"GBP","in_stock":true}]},{"product_id":"distortion-in-music-production-9780367405854","title":"Distortion in Music Production","description":"\u003cb\u003eBook Synopsis\u003c\/b\u003e\u003cbr\u003e\u003cp\u003e\u003cem\u003eDistortion in Music Production\u003c\/em\u003e 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.\u003c\/p\u003e\u003cp\u003eIncluding comprehensive coverage of the process, as well as historical perspectives and future innovations, this book features interviews and contributions from academics and industry practitioners. \u003ci\u003eDistortion in Music Production\u003c\/i\u003e 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. \u003c\/p\u003e\u003cp\u003eThis 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 produ\u003cbr\u003e\u003cbr\u003e\u003cb\u003eTable of Contents\u003c\/b\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003ePart I Technology of Distortion \u003c\/b\u003e1. 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; \u003cb\u003ePart II Perception and Semantics of Distortion \u003c\/b\u003e6. 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; \u003cb\u003ePart III Retrospective Perspectives of Distortion \u003c\/b\u003e9. 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; \u003cb\u003ePart IV Musicology of Distortion \u003c\/b\u003e13. 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\u003c\/p\u003e","brand":"Taylor \u0026 Francis","offers":[{"title":"Default Title","offer_id":51017888661847,"sku":"9780367405854","price":41.79,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0817\/1739\/5799\/files\/9780367405854.jpg?v=1750774998"},{"product_id":"finding-your-career-in-the-modern-audio-industry-9780367505554","title":"Finding Your Career in the Modern Audio Industry","description":"\u003cb\u003eBook Synopsis\u003c\/b\u003e\u003cbr\u003e\u003cp\u003e\u003cem\u003eFinding Your Career in the Modern Audio Industry\u003c\/em\u003e equips the reader with the skills they need to turn an interest in audio, sound, or music technology into a career.\u003c\/p\u003e\u003cp\u003eThis 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, \u003cem\u003eFinding Your Career in the Modern Audio Industry\u003c\/em\u003e offers insight into how others (across the industry and the world) have applied entrepreneurial thinking, problem-solving, and creative solutions to build their careers.\u003c\/p\u003e\u003cp\u003eIncluding international case studies and interviews with diverse professionals\u003ci\u003e, Finding Your Career i\u003cbr\u003e\u003cbr\u003e\u003cb\u003eTrade Review\u003c\/b\u003e\u003cbr\u003e\u003c\/i\u003e\u003c\/p\u003e\u003cp\u003e\"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.\" \u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eDavid Miles Huber, \u003c\/strong\u003e\u003cem\u003e4X Grammy-nominated musician and producer\u003c\/em\u003e\u003c\/p\u003e\u003cp\u003e\"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.\"\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eCaroline Haigh, \u003c\/strong\u003e\u003cem\u003eInstitute of Sound Recording, University of Surrey\u003c\/em\u003e\u003c\/p\u003e\u003cp\u003e\"You need non-audio skills to succeed in the audio industry. April Tucker’s \u003ci\u003eFinding Your Career in the Modern Audio Industry\u003c\/i\u003e 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.\"\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eAlex U. Case\u003c\/strong\u003e, \u003cem\u003eSound Recording Technology, University of Massachusetts Lowell\u003c\/em\u003e\u003c\/p\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003eTable of Contents\u003c\/b\u003e\u003cbr\u003e\u003cp\u003eAcknowledgements\u003c\/p\u003e\u003cp\u003ePreface\u003c\/p\u003e\u003cp\u003ePart 1 – Planning\u003c\/p\u003e\u003cp\u003ePart 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.\u003c\/p\u003e\u003col\u003e\n\u003cli\u003e\n\u003cp\u003e \u003c\/p\u003e \u003c\/li\u003e\n\u003cli\u003eIndustry Introduction\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e \u003c\/p\u003e \u003c\/li\u003e\n\u003cli\u003eDefining Your Dream \u0026amp; Goals\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e \u003c\/p\u003e \u003c\/li\u003e\n\u003cli\u003eDefining Your Barriers\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e \u003c\/p\u003e \u003c\/li\u003e\n\u003cli\u003eNetworking\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e \u003c\/p\u003e \u003c\/li\u003e\n\u003cli\u003eBusiness Relationships\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e \u003c\/p\u003e \u003c\/li\u003e\n\u003cli\u003ePreparing to Seek Out Opportunities \u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e \u003c\/p\u003e \u003c\/li\u003e\n\u003cli\u003eThe Search for Work\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e \u003c\/p\u003e \u003c\/li\u003e\n\u003cli\u003eMarketing \u0026amp; Sales (How to Land the Gig)\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e \u003c\/p\u003e \u003c\/li\u003e\n\u003cli\u003eWhat Makes You Stand Out?\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003ePart 2 – Operations\u003c\/p\u003e \u003ci\u003e \u003c\/i\u003e\u003cp\u003ePart 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.\u003c\/p\u003e \u003cp\u003e \u003c\/p\u003e \u003c\/li\u003e\n\u003cli\u003eRates and Knowing Your Worth\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e \u003c\/p\u003e \u003c\/li\u003e\n\u003cli\u003eOffers, Bids \u0026amp; Contracts\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e \u003c\/p\u003e \u003c\/li\u003e\n\u003cli\u003eAccounting \u0026amp; Financial Planning for Your Business\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003ePart 3 - Career Paths\u003c\/p\u003e \u003ci\u003e \u003c\/i\u003e\u003cp\u003ePart 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? \u003c\/p\u003e \u003cp\u003e \u003c\/p\u003e \u003c\/li\u003e\n\u003cli\u003eLive Sound \u0026amp; Theater\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e \u003c\/p\u003e \u003c\/li\u003e\n\u003cli\u003eMusic Production\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e \u003c\/p\u003e \u003c\/li\u003e\n\u003cli\u003eInteractive Media (Game Audio)\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e \u003c\/p\u003e \u003c\/li\u003e\n\u003cli\u003eSound for Picture (Broadcast, Production \u0026amp; Post-Production)\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e \u003c\/p\u003e \u003c\/li\u003e\n\u003cli\u003eSpoken Word Audio\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e \u003c\/p\u003e \u003c\/li\u003e\n\u003cli\u003eBeyond Entertainment\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e \u003c\/p\u003e \u003cp\u003ePart 4\u003c\/p\u003e \u003c\/li\u003e\n\u003cli\u003eThe Audio Industry Around the World\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e \u003c\/p\u003e \u003c\/li\u003e\n\u003cli\u003eQ\u0026amp;A\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e \u003c\/p\u003e \u003c\/li\u003e\n\u003cli\u003eMoving Forward\u003c\/li\u003e\n\u003c\/ol\u003e\u003cp\u003eAppendix: Bios of interviewees\u003c\/p\u003e\u003cp\u003eSupplemental material available online\u003c\/p\u003e\u003cul\u003e\n\u003cli\u003e\n\u003cp\u003e \u003c\/p\u003e \u003c\/li\u003e\n\u003cli\u003eRecommendations, sample contracts, other resources\u003c\/li\u003e\n\u003c\/ul\u003e\u003cp\u003eIndex\u003c\/p\u003e","brand":"Taylor \u0026 Francis","offers":[{"title":"Default Title","offer_id":51017932996951,"sku":"9780367505554","price":36.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0817\/1739\/5799\/files\/9780367505554.jpg?v=1750775121"},{"product_id":"designing-software-synthesizer-plugins-in-c-9780367510466","title":"Designing Software Synthesizer Plugins in C","description":"\u003cb\u003eBook Synopsis\u003c\/b\u003e\u003cbr\u003e\u003cp\u003e\u003cem\u003eDesigning Software Synthesizer Plugins in C++\u003c\/em\u003e 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.\u003c\/p\u003e\u003cp\u003eThe 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 exper\u003cbr\u003e\u003cbr\u003e\u003cb\u003eTable of Contents\u003c\/b\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cem\u003eList of Figures\u003c\/em\u003e\u003c\/p\u003e\u003cp\u003e\u003cem\u003eList of Tables\u003c\/em\u003e\u003c\/p\u003e\u003cp\u003e\u003cem\u003ePreface\u003c\/em\u003e\u003c\/p\u003e\u003cp\u003e1 SynthLab Introduction\u003c\/p\u003e\u003cp\u003e2 The Synth Engine\u003c\/p\u003e\u003cp\u003e3 Synth Voices, Synth Modules, and Module Cores\u003c\/p\u003e\u003cp\u003e4 Synth Operational Modes: Polyphony and Voice-Stealing\u003c\/p\u003e\u003cp\u003e5 Learning and Using the SynthLab Objects \u0026amp; Projects\u003c\/p\u003e\u003cp\u003e6 Modulation: Theory and Calculations\u003c\/p\u003e\u003cp\u003e7 Envelope Generators and DCA\u003c\/p\u003e\u003cp\u003e8 Low Frequency Oscillators \u003c\/p\u003e\u003cp\u003e9 Wavetable Oscillators \u003c\/p\u003e\u003cp\u003e10 Virtual Analog Oscillators \u003c\/p\u003e\u003cp\u003e11 PCM Sample Playback Oscillators \u003c\/p\u003e\u003cp\u003e12 Synthesizer Filters \u003c\/p\u003e\u003cp\u003e13 Karplus-Strong Plucked String Model \u003c\/p\u003e\u003cp\u003e14 The Modulation Matrix\u003c\/p\u003e\u003cp\u003e15 Wave Morphing and Wave Sequencing \u003c\/p\u003e\u003cp\u003e16 The SynthLab Synth Projects \u003c\/p\u003e","brand":"Taylor \u0026 Francis","offers":[{"title":"Default Title","offer_id":51017934340439,"sku":"9780367510466","price":45.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0817\/1739\/5799\/files\/9780367510466.jpg?v=1750775124"},{"product_id":"leading-with-sound-9780367535872","title":"Leading with Sound","description":"\u003cb\u003eBook Synopsis\u003c\/b\u003e\u003cbr\u003e\u003cp\u003e\u003cem\u003eLeading with Sound\u003c\/em\u003e 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. \u003c\/p\u003e\u003cp\u003eLeading with Sound is essential reading for aspiring sound designers, inside and outside of the classroom, as well as experienced professionals in the game industry.\u003c\/p\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003eTable of Contents\u003c\/b\u003e\u003cbr\u003e\u003cp\u003ePart One: Ports of Entry\u003c\/p\u003e\u003cp\u003e01 What is this Book About?\u003c\/p\u003e\u003cp\u003e02 The Big Four: Understanding the Four Food-groups of Audio (and how they inter-relate)\u003c\/p\u003e\u003cp\u003e03 What Drives the Mix of Your Game.\u003c\/p\u003e\u003cp\u003e04 Taking a Psychological Approach to Sound Categorization\u003c\/p\u003e\u003cp\u003e05 What is a Game Developer?\u003c\/p\u003e\u003cp\u003e06 What is Game Audio?\u003c\/p\u003e\u003cp\u003e07 What You May be Missing: Vision to Drive Your Tools and Pipelines \u003c\/p\u003e\u003cp\u003e08 Communication Essentials: Managing Expectations of Quality (The ‘L’ Scale)\u003c\/p\u003e\u003cp\u003e09 Developing Early Audio Visions\u003c\/p\u003e\u003cp\u003ePart Two: Sound Design\u003c\/p\u003e\u003cp\u003e10 Why do we Need Sounds?\u003c\/p\u003e\u003cp\u003e11 Working with Sound.\u003c\/p\u003e\u003cp\u003e12 Higher Level is Better.\u003c\/p\u003e\u003cp\u003e13 What is Causing these Sounds and Where are they Located? \u003c\/p\u003e\u003cp\u003e14 Ambiguity and Clarity.\u003c\/p\u003e\u003cp\u003e15 Designing for Three Audiences. (Player, Spectator, Creator) \u003c\/p\u003e\u003cp\u003e16 Thinking Horizontally, Vertically, and Diagonally about Asset Design.\u003c\/p\u003e\u003cp\u003e17 Designing a Moment: Temporality in Interactive Sound Design.\u003c\/p\u003e\u003cp\u003e18 Leading with Sound: Spectacle and Immersion.\u003c\/p\u003e\u003cp\u003ePart Three: Music\u003c\/p\u003e\u003cp\u003e19 Why do we Need Music?\u003c\/p\u003e\u003cp\u003e20 Music as Creative Crutches: Reaching for Music Too Soon \u0026amp; Too Late.\u003c\/p\u003e\u003cp\u003e21 Defining the Sound: Towards an Iconic Music Design \u003c\/p\u003e\u003cp\u003e22 The Shape of Emotion: We Can’t Feel Emotion All the Time.\u003c\/p\u003e\u003cp\u003e23 Diegetic, Non-Diegetic and Trans-Diegetic Musical Spaces.\u003cbr\u003e24 Non-Diegetic Space in Recorded Music\u003c\/p\u003e\u003cp\u003e25 Leading with Music: Music as Spectacle Throughout Production and Post-Release \u003c\/p\u003e\u003cp\u003ePart Four: Voice\u003c\/p\u003e\u003cp\u003e26 Why do we Need Voice?\u003c\/p\u003e\u003cp\u003e27 Early Dialogue Development\u003c\/p\u003e\u003cp\u003e28 The Sound of Voice: Dialects, Culture and Meaning\u003c\/p\u003e\u003cp\u003e29 Casting Philosophies (Auditions, Recording, Iteration) \u003c\/p\u003e\u003cp\u003e30 Let’s do it Again\u003c\/p\u003e\u003cp\u003e31 Rethinking Dialogue Production: Infinite Alternatives\u003c\/p\u003e\u003cp\u003e32 Leading with Voice: Leveraging the Spectacle of Performance \u003c\/p\u003e\u003cp\u003ePart Five: Mix\u003c\/p\u003e\u003cp\u003e33 Why do we Need to Mix?\u003c\/p\u003e\u003cp\u003e34 Mix Essentials\u003c\/p\u003e\u003cp\u003e35 Philosophy of the Mix: Narrative Dynamics (Pushing, Pulling, Shaping) \u003c\/p\u003e\u003cp\u003e36 Some Defining Terminology and Features of Non-Linear Mixing \u003c\/p\u003e\u003cp\u003e37 Mix Consistency\u003c\/p\u003e\u003cp\u003e38 Building the Mix\u003c\/p\u003e\u003cp\u003e39 Planning and Surviving the Major Milestone and Final Mixes. \u003c\/p\u003e\u003cp\u003e40 Leading with the Mix: The First and Last Thing You Think About. \u003c\/p\u003e\u003cp\u003ePart Six: Fade Out\u003c\/p\u003e\u003cp\u003e41 The Importance of a Holistic (Four-Food-group) Vision \u003c\/p\u003e\u003cp\u003e42 Studio Culture: A Theory of Everything \u003c\/p\u003e\u003cp\u003e43 Game Audio Studio Spaces: Architectural Problems in Video Game Sound. \u003c\/p\u003e\u003cp\u003e44 Games are for Everyone: Accessibility, Options and Customization in Audio for Gamers.\u003c\/p\u003e\u003cp\u003e45 Finding Our Place, Between Vision and Service. \u003c\/p\u003e","brand":"Taylor \u0026 Francis Ltd","offers":[{"title":"Default Title","offer_id":51017945121111,"sku":"9780367535872","price":33.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0817\/1739\/5799\/files\/9780367535872.jpg?v=1750775161"},{"product_id":"sound-and-recording-9780367553029","title":"Sound and Recording","description":"\u003cb\u003eBook Synopsis\u003c\/b\u003e\u003cbr\u003e\u003cp\u003eProviding vital reading for audio students and trainee engineers, \u003ci\u003eSound and Recording\u003c\/i\u003e 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.\u003c\/p\u003e\u003cp\u003eThis bestselling book introduces you to the principles of sound, perception, audio technology, and systems. \u003ci\u003eSound and Recording\u003c\/i\u003e is the ideal audio engineering text for students, an accessible reference for professionals, and a comprehensive introduction for hobbyists.\u003c\/p\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003eTable of Contents\u003c\/b\u003e\u003cbr\u003e\u003cp\u003ePreface to the second edition\u003c\/p\u003e\u003cp\u003ePreface to the third edition\u003c\/p\u003e\u003cp\u003ePreface to the fourth edition\u003c\/p\u003e\u003cp\u003ePreface to the fifth edition\u003c\/p\u003e\u003cp\u003ePreface to the sixth edition\u003c\/p\u003e\u003cp\u003ePreface to the seventh edition \u003c\/p\u003e\u003cp\u003ePreface to the eighth edition\u003c\/p\u003e\u003cp\u003eChapter 1: Audio and Acoustics Fundamentals\u003c\/p\u003e\u003cp\u003eChapter 2: Auditory Perception and Sound Quality\u003c\/p\u003e\u003cp\u003eChapter 3: Microphones\u003c\/p\u003e\u003cp\u003eChapter 4: Loudspeakers\u003c\/p\u003e\u003cp\u003eChapter 5: Digital Audio Principles\u003c\/p\u003e\u003cp\u003eChapter 6: Digital Recording and Editing Systems\u003c\/p\u003e\u003cp\u003eChapter 7: Mixing, metering and signal levels\u003c\/p\u003e\u003cp\u003eChapter 8: Signal Processing and Effects\u003c\/p\u003e\u003cp\u003eChapter 9: Audio data reduction\u003c\/p\u003e\u003cp\u003eChapter 10: Digital Audio Interfaces and Networking\u003c\/p\u003e\u003cp\u003eChapter 11: Analog Lines and Interconnection\u003c\/p\u003e\u003cp\u003eChapter 12: Power Amplifiers\u003c\/p\u003e\u003cp\u003eChapter 13: MIDI and Musical Instrument Control\u003c\/p\u003e\u003cp\u003eChapter 14: Synchronization\u003c\/p\u003e\u003cp\u003eChapter 15: Two-Channel Stereo\u003c\/p\u003e\u003cp\u003eChapter 16: Surround Sound and Immersive Audio \u003c\/p\u003e\u003cp\u003eGlossary\u003c\/p\u003e\u003cp\u003eIndex\u003c\/p\u003e","brand":"Taylor \u0026 Francis Ltd","offers":[{"title":"Default Title","offer_id":51017953870167,"sku":"9780367553029","price":49.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0817\/1739\/5799\/files\/9780367553029.jpg?v=1750775187"},{"product_id":"auraloral-dramaturgies-9780367560744","title":"AuralOral Dramaturgies","description":"\u003cb\u003eBook Synopsis\u003c\/b\u003e\u003cbr\u003e\u003cp\u003e\u003cstrong\u003eAural\/Oral Dramaturgies: Theatre in the Digital Age\u003c\/strong\u003e  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. \u003c\/p\u003e\u003cp\u003eIts 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 accompanied\u003cbr\u003e\u003cbr\u003e\u003cb\u003eTrade Review\u003c\/b\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\"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!\" — \u003ci\u003eCaridad Svich, Rutgers University-New Brunswick, USA\u003c\/i\u003e\u003c\/p\u003e\u003cp\u003e\"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.\" — \u003cem\u003eDr Kasia Lech, Canterbury Christ Church University, UK\u003c\/em\u003e\u003c\/p\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003eTable of Contents\u003c\/b\u003e\u003cbr\u003e\u003cp\u003e1. 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\u003c\/p\u003e","brand":"Taylor \u0026 Francis Ltd","offers":[{"title":"Default Title","offer_id":51017961931095,"sku":"9780367560744","price":34.99,"currency_code":"GBP","in_stock":true}]},{"product_id":"drum-sound-and-drum-tuning-9780367611187","title":"Drum Sound and Drum Tuning","description":"\u003cb\u003eBook Synopsis\u003c\/b\u003e\u003cbr\u003e\u003cp\u003e\u003cem\u003eDrum Sound and Drum Tuning\u003c\/em\u003e 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. \u003c\/p\u003e\u003cp\u003eAll 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 proc\u003cbr\u003e\u003cbr\u003e\u003cb\u003eTable of Contents\u003c\/b\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003eList of Figures\u003c\/p\u003e\u003cp\u003eList of Tables\u003c\/p\u003e\u003cp\u003e1 Introduction\u003c\/p\u003e\u003cp\u003e1.1 Values of Great Drum Sound\u003c\/p\u003e\u003cp\u003e1.2 Why Bother with Drum Tuning?\u003c\/p\u003e\u003cp\u003e1.3 About this Book\u003c\/p\u003e\u003cp\u003e1.3.1 Educational Approach\u003c\/p\u003e\u003cp\u003e1.3.2 Online Resources\u003c\/p\u003e\u003cp\u003e1.3.3 Interviews with Esteemed Professionals\u003c\/p\u003e\u003cp\u003e1.3.4 Companion Software and Examples\u003c\/p\u003e\u003cp\u003e1.4 Don’t Forget to Listen!\u003c\/p\u003e\u003cp\u003e2 Drumhead Vibration and the Science of Sound\u003c\/p\u003e\u003cp\u003e2.1 Sound Sources, Acoustic Transmission and Sound Reception\u003c\/p\u003e\u003cp\u003e2.2 Evaluating Frequencies\u003c\/p\u003e\u003cp\u003e2.3 The Single Most Valuable Musical Acoustics Theory!\u003c\/p\u003e\u003cp\u003e2.4 Measuring and Analysing Drum Modes\u003c\/p\u003e\u003cp\u003e3 Tuning the Pitch of a Cylindrical Drum\u003c\/p\u003e\u003cp\u003e3.1 Exploring the Pitch Range of a Cylindrical Drum\u003c\/p\u003e\u003cp\u003e3.2 Musical Frequencies\u003c\/p\u003e\u003cp\u003e3.3 Coupled Drumheads\u003c\/p\u003e\u003cp\u003e4 Lug Tuning and Clearing the Drumhead\u003c\/p\u003e\u003cp\u003e4.1 Evaluating the First Overtone of a Drum\u003c\/p\u003e\u003cp\u003e4.2 Beat Frequencies\u003c\/p\u003e\u003cp\u003e4.3 The Sound of a Uniformly Tuned Drumhead\u003c\/p\u003e\u003cp\u003e4.4 Lug Tuning with Assistance\u003c\/p\u003e\u003cp\u003e5 Tuning the Resonant Drumhead – What, Why and How?\u003c\/p\u003e\u003cp\u003e5.1 Harmonics and In-Harmonic Overtones\u003c\/p\u003e\u003cp\u003e5.2 Musical Intervals\u003c\/p\u003e\u003cp\u003e5.3 Controlling Overtones and Intervals with the Resonant Drumhead\u003c\/p\u003e\u003cp\u003e6 A Holistic Approach to Drum Tuning\u003c\/p\u003e\u003cp\u003e6.1 Simplicity Wins\u003c\/p\u003e\u003cp\u003e6.2 Setting the Fundamental Pitch\u003c\/p\u003e\u003cp\u003e6.3 Implementing Lug Tuning and Resonant Head Tuning\u003c\/p\u003e\u003cp\u003e6.4 Damping and Decay Times\u003c\/p\u003e\u003cp\u003e7 The Wonderful World of Drumheads\u003c\/p\u003e\u003cp\u003e7.1 Guitar Strings on Steroids!\u003c\/p\u003e\u003cp\u003e7.2 The Drumhead Equation\u003c\/p\u003e\u003cp\u003e7.3 Drumhead Types and Features\u003c\/p\u003e\u003cp\u003e7.4 Resonant Drumhead Selection\u003c\/p\u003e\u003cp\u003e7.5 Experience Drumheads!\u003c\/p\u003e\u003cp\u003e8 Timbre: The Truth about Drum Shell Vibration\u003c\/p\u003e\u003cp\u003e8.1 Introducing Timbre\u003c\/p\u003e\u003cp\u003e8.2 Tuning Fork Example with Mass Loading\u003c\/p\u003e\u003cp\u003e8.3 Drum Shell Vibration\u003c\/p\u003e\u003cp\u003e8.4 Loading the Drum Shell\u003c\/p\u003e\u003cp\u003e8.5 Bearing Edges and Precision Manufacturing\u003c\/p\u003e\u003cp\u003e8.6 Considering the Drum Shell Vibration Frequency when Tuning\u003c\/p\u003e\u003cp\u003e9 Tuning for Different Musical Styles and Genres \u003c\/p\u003e\u003cp\u003e9.1 Creative Objectives\u003c\/p\u003e\u003cp\u003e9.2 Drum Sizes for Different Music Genres\u003c\/p\u003e\u003cp\u003e9.3 Pitches and Intervals on the Kit\u003c\/p\u003e\u003cp\u003e9.4 Tuning Suggestions for Different Genres\u003c\/p\u003e\u003cp\u003e9.5 Drumheads for Different Music Genres\u003c\/p\u003e\u003cp\u003e10 Snare Drum Tuning \u003c\/p\u003e\u003cp\u003e10.1 Key Aspects of Snare Tuning\u003c\/p\u003e\u003cp\u003e10.2 Holistic Approach to Snare Tuning\u003c\/p\u003e\u003cp\u003e10.3 Manipulating Snare Drum Timbre\u003c\/p\u003e\u003cp\u003e10.4 Comparing Snare Timbre Example\u003c\/p\u003e\u003cp\u003e11 Kick Drum Tuning \u003c\/p\u003e\u003cp\u003e11.1 Kick Drum Tone and Dynamics\u003c\/p\u003e\u003cp\u003e11.2 Drumheads for the Kick Drum\u003c\/p\u003e\u003cp\u003e11.3 Kick Drum Tuning Range\u003c\/p\u003e\u003cp\u003e11.4 Controlling the Kick Drum Timbre\u003c\/p\u003e\u003cp\u003e12 Production and Preparation for Drum Recording\u003c\/p\u003e\u003cp\u003e12.1 Production and Pre-Production\u003c\/p\u003e\u003cp\u003e12.2 Setting Standards and Getting Results\u003c\/p\u003e\u003cp\u003e12.3 Choosing and Evaluating the Recording Space\u003c\/p\u003e\u003cp\u003e12.3.1 Room Size and Dimensions\u003c\/p\u003e\u003cp\u003e12.3.2 Room Materials and Reverberation Characteristics \u003c\/p\u003e\u003cp\u003e12.3.3 Sound Isolation and Background Noise Levels \u003c\/p\u003e\u003cp\u003e12.3.4 Suitability for a Room’s Use in a Recording Project\u003c\/p\u003e\u003cp\u003e12.3.5 Positioning Drums within a Room\u003c\/p\u003e\u003cp\u003e12.4 Tuning and Performance for Recording\u003c\/p\u003e\u003cp\u003e13 Fundamental Technologies for Drum Recording\u003c\/p\u003e\u003cp\u003e13.1 Microphones and Transducers\u003c\/p\u003e\u003cp\u003e13.1.1 Dynamic Microphones\u003c\/p\u003e\u003cp\u003e13.1.2 Condenser Microphones\u003c\/p\u003e\u003cp\u003e13.1.3 Ribbon Microphones\u003c\/p\u003e\u003cp\u003e13.1.4 Other Audio Transducers\u003c\/p\u003e\u003cp\u003e13.2 Microphone Characteristics\u003c\/p\u003e\u003cp\u003e13.2.1 Microphone Polar Patterns\u003c\/p\u003e\u003cp\u003e13.2.2 Other Microphone Characteristics\u003c\/p\u003e\u003cp\u003e13.3 The Complete Recording Signal Chain\u003c\/p\u003e\u003cp\u003e13.3.1 Audio Convertors\u003c\/p\u003e\u003cp\u003e13.3.2 Mixing Desk\u003c\/p\u003e\u003cp\u003e13.3.3 Microphone Preamplifiers\u003c\/p\u003e\u003cp\u003e13.3.4 Recording with FX\u003c\/p\u003e\u003cp\u003e13.4 Monitoring and Foldback\u003c\/p\u003e\u003cp\u003e13.4.1 Control Room Monitoring\u003c\/p\u003e\u003cp\u003e13.4.2 Headphone Foldback\u003c\/p\u003e\u003cp\u003e14 We Need to Talk About Phase! \u003c\/p\u003e\u003cp\u003e14.1 What Exactly is Phase?\u003c\/p\u003e\u003cp\u003e14.2 Time Delay and Comb Filtering\u003c\/p\u003e\u003cp\u003e14.3 Mono Compatibility\u003c\/p\u003e\u003cp\u003e14.4 Signal Polarity \u003c\/p\u003e\u003cp\u003e15 Microphone Techniques for Recording Drums\u003c\/p\u003e\u003cp\u003e15.1 Microphone Placement Approaches\u003c\/p\u003e\u003cp\u003e15.2 Stereo Recording for Drums\u003c\/p\u003e\u003cp\u003e15.2.1 Defining The Stereo Field\u003c\/p\u003e\u003cp\u003e15.2.2 Spaced Pair Technique\u003c\/p\u003e\u003cp\u003e15.2.3 X-Y Technique\u003c\/p\u003e\u003cp\u003e15.2.4 Blumlein Pair Technique\u003c\/p\u003e\u003cp\u003e15.2.5 ORTF Technique\u003c\/p\u003e\u003cp\u003e15.2.6 Mid-Side Technique\u003c\/p\u003e\u003cp\u003e15.2.7 Baffled Omnidirectional Pair Technique\u003c\/p\u003e\u003cp\u003e15.2.8 Decca Tree 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mixing\u003c\/p\u003e\u003cp\u003e17 Mixing Drums: Creative Processing\u003c\/p\u003e\u003cp\u003e17.1 Equalisation and Spectral Processing\u003c\/p\u003e\u003cp\u003e17.1.1 Cutting Low Frequencies\u003c\/p\u003e\u003cp\u003e17.1.2 Treating the Fundamental and Overtones of Each Drum\u003c\/p\u003e\u003cp\u003e17.1.3 Adding Attack and Presence\u003c\/p\u003e\u003cp\u003e17.1.4 Controlling High Frequencies\u003c\/p\u003e\u003cp\u003e17.2 Using Reverb to Regain Authenticity\u003c\/p\u003e\u003cp\u003e17.3 Delay for Drums\u003c\/p\u003e\u003cp\u003e17.4 Distortion and Enhancers\u003c\/p\u003e\u003cp\u003e17.5 Sequential and Sidechain and Processing\u003c\/p\u003e\u003cp\u003e17.6 Drum Replacement\u003c\/p\u003e\u003cp\u003e17.7 The Final Mixdown\u003c\/p\u003e\u003cp\u003eIndex\u003c\/p\u003e","brand":"Taylor \u0026 Francis","offers":[{"title":"Default Title","offer_id":51017975857495,"sku":"9780367611187","price":33.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0817\/1739\/5799\/files\/9780367611187.jpg?v=1750775249"},{"product_id":"coproduction-in-the-recording-studio-9780367705510","title":"Coproduction in the Recording Studio","description":"\u003cb\u003eBook Synopsis\u003c\/b\u003e\u003cbr\u003e\u003ci\u003e\u003c\/i\u003e\u003cp\u003eCoproduction in the Recording Studio: Perspectives from the Vocal Booth details how recording studio environments affect performance in the vocal booth.\u003c\/p\u003e\u003cp\u003eDrawing 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.\u003c\/p\u003e\u003cp\u003eThis 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.\u003c\/p\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003eTable of Contents\u003c\/b\u003e\u003cbr\u003e\u003cp\u003e1 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?\u003c\/p\u003e","brand":"Taylor \u0026 Francis Ltd","offers":[{"title":"Default Title","offer_id":51018032841047,"sku":"9780367705510","price":24.32,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0817\/1739\/5799\/files\/9780367705510.jpg?v=1750775422"},{"product_id":"the-game-music-toolbox-9780367705497","title":"The Game Music Toolbox","description":"\u003cb\u003eBook Synopsis\u003c\/b\u003e\u003cbr\u003e\u003cp\u003e\u003cem\u003eThe Game Music Toolbox\u003c\/em\u003e 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 \u003ci\u003eCyberpunk 2077\u003c\/i\u003e, \u003ci\u003eMario Kart 8\u003c\/i\u003e, \u003ci\u003eThe Legend of Zelda\u003c\/i\u003e, \u003ci\u003eStreet Fighter II\u003c\/i\u003e, \u003ci\u003eDiablo\u003c\/i\u003e, \u003ci\u003eShadow of the Tomb Raider\u003c\/i\u003e, \u003ci\u003eThe Last of Us\u003c\/i\u003e, and many others. \u003c\/p\u003e\u003cp\u003e\u003ci\u003eThe Game Music Toolbox \u003c\/i\u003efeatures:\u003c\/p\u003e\u003cul\u003e\n\u003cp\u003e\u003c\/p\u003e\n\u003cli\u003eExclusive interviews from industry experts\u003c\/li\u003e\n\u003cp\u003e\u003c\/p\u003e\n\u003cp\u003e\u003c\/p\u003e\n\u003cli\u003eTranscriptions and harmonic analyses\u003c\/li\u003e\n\u003cp\u003e\u003c\/p\u003e\n\u003cp\u003e\u003c\/p\u003e\n\u003cli\u003e101 music theory introductions for beginners\u003c\/li\u003e\n\u003cp\u003e\u003c\/p\u003e\n\u003cp\u003e\u003c\/p\u003e\n\u003cli\u003eCareer development ideas and strategies\u003c\/li\u003e\n\u003cp\u003e\u003c\/p\u003e\n\u003cp\u003e\u003c\/p\u003e\n\u003cli\u003eCopyright and business fundamentals\u003c\/li\u003e\n\u003cp\u003e\u003c\/p\u003e\n\u003cp\u003e\u003c\/p\u003e\n\u003cli\u003eAn introduction to audio implementation for composers \u003c\/li\u003e\n\u003cp\u003e\u003c\/p\u003e\n\u003cp\u003e\u003c\/p\u003e\n\u003cli\u003ePractical takeaway tasks to equip readers with techniques\u003cbr\u003e\u003cbr\u003e\u003cb\u003eTable of Contents\u003c\/b\u003e\u003cbr\u003e\u003cp\u003e1. 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\u003ci\u003e \u003c\/i\u003e(2013) – WHEN LESS IS MORE – SPACE \u0026amp; 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)\u003ci\u003e - \u003c\/i\u003eA Conversation with Composer Petri Alanko 20. CYBERPUNK 2077 (2021) – Diegetic Music in Night City, Riff-based Composition, and the Sound of Sci-Fi\u003c\/p\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"Taylor \u0026 Francis Ltd","offers":[{"title":"Default Title","offer_id":51018032906583,"sku":"9780367705497","price":33.99,"currency_code":"GBP","in_stock":true}]},{"product_id":"the-live-music-business-9780367859725","title":"The Live Music Business","description":"\u003cb\u003eBook Synopsis\u003c\/b\u003e\u003cbr\u003e\u003cp\u003e\u003cem\u003eThe Live Music Business: Management and Production of Concerts and Festivals\u003c\/em\u003e, 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.\u003c\/p\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003eTrade Review\u003c\/b\u003e\u003cbr\u003e\u003cp\u003e\"Part business book, part career development plan, \u003cem\u003eThe Live Music Business\u003c\/em\u003e is full of practical advice and information.\"\u003c\/p\u003e\u003cp\u003e—\u003cem\u003e\u003cstrong\u003eAdam Moujahid\u003c\/strong\u003e, Artist Manager, 285 Group (Maribou State, George FitzGerald)\u003c\/em\u003e\u003c\/p\u003e\u003cp\u003e\"I encourage anyone interested in getting into the live music business to read this book.\"\u003c\/p\u003e\u003cp\u003e—\u003cem\u003e\u003cstrong\u003eGeoff Meall\u003c\/strong\u003e, Booking Agent, Paradigm Agency (Muse, My Chemical Romance, Sum 41, Super Furry Animals)\u003c\/em\u003e \u003c\/p\u003e\u003cp\u003e\"\u003cem\u003eThe Live Music Business \u003c\/em\u003eis 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.\"\u003c\/p\u003e\u003cp\u003e—\u003cem\u003e\u003cstrong\u003eBen Bushell\u003c\/strong\u003e, Course Leader, London College of Music\u003c\/em\u003e \u003c\/p\u003e\u003cp\u003e\"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.\"\u003c\/p\u003e\u003cp\u003e—\u003cem\u003e\u003cstrong\u003eSteve Melhuish\u003c\/strong\u003e, CEO, Music Business School\u003c\/em\u003e\u003c\/p\u003e\u003cp\u003e\"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.\"\u003c\/p\u003e\u003cp\u003e\u003cem\u003e—\u003cstrong\u003eJamie Johnston\u003c\/strong\u003e, Label Owner, Physical Education Recordings\u003c\/em\u003e\u003c\/p\u003e\u003cp\u003e\"\u003cem\u003eThe Live Music Business\u003c\/em\u003e is an insightful new guide that simplifies and demystifies the business of concerts and music festivals. Read this book!\"\u003c\/p\u003e\u003cp\u003e\u003cem\u003e—\u003cstrong\u003eDanny Hagan\u003c\/strong\u003e, Senior Lecturer and Head of Subject: Music Technology, Music Management and Popular Music Performance, University of West London \u003c\/em\u003e\u003c\/p\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003eTable of Contents\u003c\/b\u003e\u003cbr\u003e\u003cp\u003eIntroduction \/ \u003cstrong\u003ePart One: Live Music Management\u003c\/strong\u003e \/ 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 \/ \u003cstrong\u003ePart Two: Live Music Production\u003c\/strong\u003e \/ 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\u003c\/p\u003e","brand":"Taylor \u0026 Francis","offers":[{"title":"Default Title","offer_id":51018080747863,"sku":"9780367859725","price":32.99,"currency_code":"GBP","in_stock":true}]},{"product_id":"understanding-and-crafting-the-mix-9780415842815","title":"Understanding and Crafting the Mix","description":"\u003cb\u003eBook Synopsis\u003c\/b\u003e\u003cbr\u003e\u003cp\u003e\u003cem\u003eUnderstanding and Crafting the Mix, 3\u003csup\u003erd\u003c\/sup\u003e edition\u003c\/em\u003e 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. \u003c\/p\u003e\u003cp\u003eDr. 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.\u003c\/p\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003eTable of Contents\u003c\/b\u003e\u003cbr\u003e\u003cp\u003eIntroduction- 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\u003c\/p\u003e","brand":"Taylor \u0026 Francis Ltd","offers":[{"title":"Default Title","offer_id":51018205233495,"sku":"9780415842815","price":43.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0817\/1739\/5799\/files\/9780415842815.jpg?v=1750776012"},{"product_id":"loudspeaker-modelling-and-design-a-practical-introduction-9780815361336","title":"Loudspeaker Modelling and Design A Practical","description":"\u003cb\u003eBook Synopsis\u003c\/b\u003e\u003cbr\u003e\u003cp\u003eIn this book, Geoff Hill demonstrates modern software and hardware being applied to the processes behind loudspeaker design and modelling. 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This practice-based book shows the techniques used in designing modern loudspeakers and transducers.\u003c\/p\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003eTrade Review\u003c\/b\u003e\u003cbr\u003e\u003cp\u003e\"[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.\" - \u003cstrong\u003eTim French\u003c\/strong\u003e, audio specialist\u003c\/p\u003e\u003cp\u003e\"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.\" - \u003cstrong\u003ePeter Mapp\u003c\/strong\u003e, \u003cem\u003eSound and Communications\u003c\/em\u003e\u003c\/p\u003e\u003cp\u003e\"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!\" - \u003cstrong\u003eRichard Honeycutt\u003c\/strong\u003e, \u003cem\u003eaudioXpress\u003c\/em\u003e\u003c\/p\u003e\u003cp\u003e\"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.’’ - \u003cstrong\u003ePeter Mapp, \u003c\/strong\u003e\u003cem\u003ePeter Mapp Associates\u003c\/em\u003e\u003c\/p\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003eTable of Contents\u003c\/b\u003e\u003cbr\u003e\u003cp\u003eI INTRODUCTION\u003c\/p\u003e\u003cp\u003eWhat tools do I need to design loudspeakers?\u003c\/p\u003e\u003cp\u003eII BASIC THEORY\u003c\/p\u003e\u003cp\u003e1 How Does a Loudspeaker Work? \u003c\/p\u003e\u003cp\u003e2 Frequency Response \u003c\/p\u003e\u003cp\u003e3 Frequency versus Time \u003c\/p\u003e\u003cp\u003e4 Resonance \u0026amp; Damping \u003c\/p\u003e\u003cp\u003e5 Finite Element Analysis \u003c\/p\u003e\u003cp\u003e6 Young’s Modulus \u003c\/p\u003e\u003cp\u003eIII LOUDSPEAKER MODELS\u003c\/p\u003e\u003cp\u003e7 Small Signal Model \u003c\/p\u003e\u003cp\u003e8 Polynomial Models \u003c\/p\u003e\u003cp\u003e9 Thiele-Small Parameters \u003c\/p\u003e\u003cp\u003e10 Large Signal Domain and Model \u003c\/p\u003e\u003cp\u003eIV THE DESIGN PROCESS \u003c\/p\u003e\u003cp\u003e11 There is a Job To Do - But exactly what? \u003c\/p\u003e\u003cp\u003e12 Common Questions for Most Loudspeakers \u003c\/p\u003e\u003cp\u003e13 Specifying a loudspeaker driver \u003c\/p\u003e\u003cp\u003e14 Project Planning and a Bill of Materials \u003c\/p\u003e\u003cp\u003e15 Designing a Subwoofer \u003c\/p\u003e\u003cp\u003eV WHAT’S REALLY GOING ON INSIDE A LOUDSPEAKER? \u003c\/p\u003e\u003cp\u003e16 Driver Design \u003c\/p\u003e\u003cp\u003e17 Magnet \u003c\/p\u003e\u003cp\u003e18 Voice Coil \u003c\/p\u003e\u003cp\u003e19 Bl(x) \u003c\/p\u003e\u003cp\u003e20 Le(x) \u003c\/p\u003e\u003cp\u003e21 Motor Unit \u003c\/p\u003e\u003cp\u003eVI FEA, BEM AND INTEGRATION \u003c\/p\u003e\u003cp\u003e22 Material Specifications \u003c\/p\u003e\u003cp\u003e23 Mechanical Finite Element Analysis or FEA \u003c\/p\u003e\u003cp\u003e24 Cms(x) \u003c\/p\u003e\u003cp\u003e25 Suspension \u003c\/p\u003e\u003cp\u003e26 Mechanical Simulations \u003c\/p\u003e\u003cp\u003e27 PafLS \u003c\/p\u003e\u003cp\u003e28 Linkwitz Transform \u003c\/p\u003e\u003cp\u003eVII MECHANICAL DESIGN \u003c\/p\u003e\u003cp\u003e29 Visual and Mechanical Design \u003c\/p\u003e\u003cp\u003e30 Chassis \u003c\/p\u003e\u003cp\u003e31 Cabinet \u003c\/p\u003e\u003cp\u003eVIII MEASURING A LOUDSPEAKER \u003c\/p\u003e\u003cp\u003e32 Acoustical Measurements \u003c\/p\u003e\u003cp\u003e33 A Universal Loudspeaker Driver Test System \u003c\/p\u003e\u003cp\u003e34 Tetrahedral Test Chamber - White Paper \u003c\/p\u003e\u003cp\u003eIX APPENDICES \u003c\/p\u003e\u003cp\u003eA Glossary \u003c\/p\u003e\u003cp\u003eB References \u003c\/p\u003e\u003cp\u003eC ABEC and VACS Tutorial \u003c\/p\u003e\u003cp\u003eD FEMM Tutorial \u003c\/p\u003e\u003cp\u003eE Fusion 360 Tutorial \u003c\/p\u003e\u003cp\u003eF HOLMImpulse Tutorial \u003c\/p\u003e\u003cp\u003eG Klippel LPM Tutorial \u003c\/p\u003e\u003cp\u003eH Mecway Tutorial\u003c\/p\u003e\u003cp\u003eI Microcap Tutorial \u003c\/p\u003e\u003cp\u003eJ Appendix PafLS \u003c\/p\u003e\u003cp\u003eK Appendix Theoretical Bl(x) \u003c\/p\u003e\u003cp\u003eL Statistical Analysis of Loudspeakers \u003c\/p\u003e\u003cp\u003eM WinISD \u003c\/p\u003e","brand":"Taylor \u0026 Francis","offers":[{"title":"Default Title","offer_id":51018468884823,"sku":"9780815361336","price":58.99,"currency_code":"GBP","in_stock":true}]},{"product_id":"recording-classical-music-9780815380252","title":"Recording Classical Music","description":"\u003cb\u003eBook Synopsis\u003c\/b\u003e\u003cbr\u003e\u003cp\u003e\u003cem\u003eRecording Classical Music\u003c\/em\u003e 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.\u003c\/p\u003e\u003cp\u003eThe 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. 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Perfect for anyone interested in classical music.\" - Paul Baily - classical recording and post production, Re:Sound\u003cbr\u003e\u003cbr\u003e\u003cb\u003eTable of Contents\u003c\/b\u003e\u003cbr\u003e\u003cp\u003e\u003cstrong\u003ePart 1, Fundamental Principles\u003c\/strong\u003e\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003e1\u003c\/strong\u003e Soundwaves\u003c\/p\u003e\u003cp\u003eEnclosed Spaces\u003c\/p\u003e\u003cp\u003ePerformance Venues \u003c\/p\u003e\u003cp\u003e\u003cstrong\u003e2\u003c\/strong\u003e Audio Chain from Sound Source to Listener\u003c\/p\u003e\u003cp\u003eIntegrity within an Audio Chain\u003c\/p\u003e\u003cp\u003eBasic Concepts and Terminology\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003ePart 2, Production\u003c\/strong\u003e\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003e3\u003c\/strong\u003e Microphone Types\u003c\/p\u003e\u003cp\u003eThe Behavior of a Pure Diaphragm\u003c\/p\u003e\u003cp\u003eCondenser Microphones\u003c\/p\u003e\u003cp\u003eDynamic and Ribbon Microphones\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003e4\u003c\/strong\u003e Microphone Characteristics\u003c\/p\u003e\u003cp\u003eFrequency Response\u003c\/p\u003e\u003cp\u003eDirectional (Polar) Patterns\u003c\/p\u003e\u003cp\u003eRandom Energy Efficiency\u003c\/p\u003e\u003cp\u003eDistance Factor\u003c\/p\u003e\u003cp\u003eProximity Effect\u003c\/p\u003e\u003cp\u003ePhase\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003e5\u003c\/strong\u003e Stereo Microphone Techniques \u003c\/p\u003e\u003cp\u003eCoincident Pairs\u003c\/p\u003e\u003cp\u003eNear-Coincident Arrays\u003c\/p\u003e\u003cp\u003eSpaced Microphones \u003c\/p\u003e\u003cp\u003e\u003cstrong\u003e6\u003c\/strong\u003e Tracking\u003c\/p\u003e\u003cp\u003eCritical Listening\u003c\/p\u003e\u003cp\u003eSetting Levels\u003c\/p\u003e\u003cp\u003eRoom Ambience\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003ePart 3, Post-Production\u003c\/strong\u003e\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003e7\u003c\/strong\u003e EQ – Frequency Balance\u003c\/p\u003e\u003cp\u003eDigital Filters\u003c\/p\u003e\u003cp\u003eCommon Practices\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003e8\u003c\/strong\u003e Control of Dynamic Range\u003c\/p\u003e\u003cp\u003eCompressors\u003c\/p\u003e\u003cp\u003eLimiters\u003c\/p\u003e\u003cp\u003eDynamic EQ\u003c\/p\u003e\u003cp\u003eDe-essers\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003e9\u003c\/strong\u003e Reverberation\u003c\/p\u003e\u003cp\u003eDigital Reflection Simulation\u003c\/p\u003e\u003cp\u003eConvolution\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003e10\u003c\/strong\u003e Delivery\u003c\/p\u003e\u003cp\u003eFile Types \u003c\/p\u003e\u003cp\u003eLoudness and Meters\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003ePart 4, Common Recording Strategies\u003c\/strong\u003e\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003e11\u003c\/strong\u003e Solo Piano\u003c\/p\u003e\u003cp\u003eRecording in Stereo\u003c\/p\u003e\u003cp\u003eUnfavorable Room Acoustics\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003e12\u003c\/strong\u003e Soloists with Piano Accompaniment\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003e13\u003c\/strong\u003e Small Ensembles\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003e14\u003c\/strong\u003e Sessions\u003c\/p\u003e\u003cp\u003eSolo Piano\u003c\/p\u003e\u003cp\u003eSolo Cello \u003c\/p\u003e\u003cp\u003eDouble Bass and Piano\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003e15\u003c\/strong\u003e Studio Techniques: Re-Creating the Aural Sense of Historic Spaces\u003c\/p\u003e\u003cp\u003ePre-Production\u003c\/p\u003e\u003cp\u003eProduction\u003c\/p\u003e\u003cp\u003ePost-Production\u003c\/p\u003e","brand":"Taylor \u0026 Francis","offers":[{"title":"Default Title","offer_id":51018472292695,"sku":"9780815380252","price":128.25,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0817\/1739\/5799\/files\/9780815380252.jpg?v=1750777022"},{"product_id":"remastering-music-and-cultural-heritage-9781032012292","title":"Remastering Music and Cultural Heritage","description":"\u003cb\u003eBook Synopsis\u003c\/b\u003e\u003cbr\u003e\u003cp\u003e\u003cem\u003eRemastering Music and Cultural Heritage\u003c\/em\u003e 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.\u003c\/p\u003e\u003cp\u003eThrough 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.\u003c\/p\u003e\u003cp\u003eRemastering Music and Cultural Heritage is essential reading for students\u003cbr\u003e\u003cbr\u003e\u003cb\u003eTable of Contents\u003c\/b\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e1. Remastering from vintage formats 2. Remastering The Beatles' \u003ci\u003eAbbey Road \u003c\/i\u003e3. Remastering Elton John's \u003ci\u003eGoodbye Yellow Brick Road \u003c\/i\u003e4. Remastering Oasis' \u003ci\u003e(What’s the Story) Morning Glory? \u003c\/i\u003e5. Remastering Mozart's \u003ci\u003eThe Magic Flute\u003c\/i\u003e\u003c\/p\u003e","brand":"Taylor \u0026 Francis","offers":[{"title":"Default Title","offer_id":51018788602199,"sku":"9781032012292","price":36.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0817\/1739\/5799\/files\/9781032012292.jpg?v=1750778161"},{"product_id":"making-it-huge-in-video-games-9781032022604","title":"Making it HUGE in Video Games","description":"\u003cb\u003eBook Synopsis\u003c\/b\u003e\u003cbr\u003e\u003cp\u003e\u003cb\u003e\u003ci\u003eMaking it HUGE in Video Games\u003c\/i\u003e\u003c\/b\u003e 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.\u003c\/p\u003e\u003cp\u003eThis 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  \u003cem\u003eThe Lord of the Rings\u003c\/em\u003e, \u003cem\u003eMarvel\u003c\/em\u003e, \u003cem\u003eAvatar\u003c\/em\u003e, \u003cem\u003eDungeons \u0026amp; Dragons\u003c\/em\u003e, \u003cem\u003eWarhammer\u003c\/em\u003e, \u003cem\u003eDOTA 2\u003c\/em\u003e, \u003cem\u003eKing Kong\u003c\/em\u003e, \u003cem\u003eThe Settlers\u003c\/em\u003e, and many more.\u003c\/p\u003e\u003cp\u003eReaders will discover unvarnished true stories about starting out, pitching and pursuing gigs, negotiating contracts, composing an\u003cbr\u003e\u003cbr\u003e\u003cb\u003eTable of Contents\u003c\/b\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003eIntroduction\u003c\/p\u003e\u003cp\u003eAcknowledgements\u003c\/p\u003e\u003cp\u003eChapter 01. Music Degree... What Now?\u003c\/p\u003e\u003cp\u003eChapter 02. Quest for Glory and Grammy Awards\u003c\/p\u003e\u003cp\u003eChapter 03. The Lord of the Rings, Part One\u003c\/p\u003e\u003cp\u003eChapter 04. King Kong\u003c\/p\u003e\u003cp\u003eChapter 05. Left Behind\u003c\/p\u003e\u003cp\u003eChapter 06. Academy Award\u003c\/p\u003e\u003cp\u003eChapter 07. The Lord of the Rings, Part Two\u003c\/p\u003e\u003cp\u003eChapter 08. EA Games\u003c\/p\u003e\u003cp\u003eChapter 09. Avatar\u003c\/p\u003e\u003cp\u003eChapter 10. GDC, GANG, and GSC\u003c\/p\u003e\u003cp\u003eChapter 11. Warcraft and Other Peripheral Life Savers\u003c\/p\u003e\u003cp\u003eChapter 12. DOTA 2\u003c\/p\u003e\u003cp\u003eChapter 13. Faeria and Roguebook\u003c\/p\u003e\u003cp\u003eChapter 14. Might \u0026amp; Magic and Combat of Giants\u003c\/p\u003e\u003cp\u003eChapter 15. Rise and Fall of HUGEsound\u003c\/p\u003e\u003cp\u003eChapter 16. Warhammer\u003c\/p\u003e\u003cp\u003eChapter 17. Swinging For The Fences\u003c\/p\u003e\u003cp\u003eChapter 18. Avatar 2\u003c\/p\u003e\u003cp\u003eChapter 19. The Settlers\u003c\/p\u003e\u003cp\u003eChapter 20. Church Music\u003c\/p\u003e\u003cp\u003eChapter 21. Securing the Future\u003c\/p\u003e","brand":"Taylor \u0026 Francis Ltd","offers":[{"title":"Default Title","offer_id":51018798137687,"sku":"9781032022604","price":29.99,"currency_code":"GBP","in_stock":true}]},{"product_id":"soundwalking-9781032044224","title":"Soundwalking","description":"\u003cp\u003e\u003cem\u003eSoundwalking\u003c\/em\u003e 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.\u003c\/p\u003e\u003cp\u003eBesides 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. \u003ci\u003eSoundwalking\u003c\/i\u003e 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\u003c\/p\u003e","brand":"Taylor \u0026 Francis Ltd","offers":[{"title":"Default Title","offer_id":51018809573719,"sku":"9781032044224","price":35.99,"currency_code":"GBP","in_stock":true}]},{"product_id":"sounds-of-the-pandemic-9781032060231","title":"Sounds of the Pandemic","description":"\u003cb\u003eBook Synopsis\u003c\/b\u003e\u003cbr\u003e\u003cp\u003e\u003cem\u003eSounds of the Pandemic\u003c\/em\u003e offers one of the first critical analyses of the changes in sonic environments, artistic practice, and listening behaviour caused by the Coronavirus outbreak. \u003c\/p\u003e\u003cp\u003eThis 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. 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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.\u003c\/p\u003e\u003cp\u003eSurveying s\u003cbr\u003e\u003cbr\u003e\u003cb\u003eTrade Review\u003c\/b\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\"\u003cem\u003eDeep and Shallow\u003c\/em\u003e 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.\"\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eGil Weinberg,\u003c\/strong\u003e \u003cem\u003eProfessor and Founding Director, Georgia Tech Center for Music Technology\u003c\/em\u003e\u003c\/p\u003e\u003cp\u003e\"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.\"\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eRoger B. Dannenberg,\u003c\/strong\u003e \u003cem\u003eEmeritus Professor of Computer Science, Art \u0026amp; Music, Carnegie Mellon University\u003c\/em\u003e\u003c\/p\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003eTable of Contents\u003c\/b\u003e\u003cbr\u003e\u003cp\u003ePreface\u003c\/p\u003e\u003cp\u003eChapter 1 Introduction to Sounds of Music\u003c\/p\u003e\u003cp\u003eChapter 2 Noise: the Hidden Dynamics of Music\u003c\/p\u003e\u003cp\u003eChapter 3 Communicating Musical Information\u003c\/p\u003e\u003cp\u003eChapter 4 Understanding and (Re)Creating Sound \u003c\/p\u003e\u003cp\u003eChapter 5 Generating and Listening to Audio Information\u003c\/p\u003e\u003cp\u003eChapter 6 Artificial Musical Brains\u003c\/p\u003e\u003cp\u003eChapter 7 Representing Voices in Pitch and Time\u003c\/p\u003e\u003cp\u003eChapter 8 Noise Revisited: Brains that Imagine\u003c\/p\u003e\u003cp\u003eChapter 9 Paying (Musical) Attention\u003c\/p\u003e\u003cp\u003eChapter 10 Last Noisy Thoughts, Summary and Conclusion\u003c\/p\u003e\u003cp\u003eAppendix A Introduction to Neural Network Frameworks: Keras, Tensorflow, Pytorch\u003c\/p\u003e\u003cp\u003eAppendix B Summary of Programming Examples and Exercises\u003c\/p\u003e\u003cp\u003eAppendix C Software Packages for Music and Audio Representation and Analysis\u003c\/p\u003e\u003cp\u003eAppendix D Free Music and Audio Editting Software\u003c\/p\u003e\u003cp\u003eAppendix E Datasets\u003c\/p\u003e\u003cp\u003eAppendix F Figure Attributions\u003c\/p\u003e\u003cp\u003eReferences \u003c\/p\u003e\u003cp\u003eIndex\u003c\/p\u003e","brand":"Taylor \u0026 Francis Ltd","offers":[{"title":"Default Title","offer_id":51018858758487,"sku":"9781032133911","price":42.74,"currency_code":"GBP","in_stock":true}]}],"url":"https:\/\/bookcurl.com\/collections\/audio-processing.oembed?page=5","provider":"Book Curl","version":"1.0","type":"link"}