Audio processing Books
Taylor & Francis Ltd Recording Secrets for the Small Studio
Book SynopsisIn this new edition, discover how to achieve commercial-grade recordings, even in the smallest studios, by applying power-user techniques from the world's most successful producers.Recording Secrets for the Small Studio is based on the backroom strategies of more than 250 famous names. This thorough and down-to-earth guide leads you through a logical sequence of practical tasks to build your live-room skills progressively from the ground up, with user-friendly explanations that introduce technical concepts on a strictly need-to-know basis. On the way, you'll unravel the mysteries of many specialist studio tactics and gain the confidence to tackle a full range of real-world recording situations.Specifically designed for small-studio enthusiasts, this book provides an intensive training course for those who want a fast track to releasing quality results, while the chapter summaries, assignments, and extensive online resources are perfect for school aTrade Review'A perfectly targeted and very readable mine of technical information, practical advice and real-world home-studio experience [...] it’s a book that I’d be very happy to recommend unreservedly to enthusiasts, students and experienced practitioners alike.'Hugh Robjohns, Sound on SoundTable of ContentsPart 1: One Source, No Mics 1. Recording a Machine 2. The Human Element 3. Instruments with Pickups Part 2: One Source, One Mic 4. Basic Vocal Recording 5. Beyond Vanilla Vocals 6. Single-Mic Instrument Recording Part 3: One Source, Multiple Mics 7. Multimiking in Mono 8. Multimiking in Stereo Part 4: Multiple Sources, Multiple Mics 9. Ensemble Recording with a Dominant Array 10. Adding Spot Arrays 11. Ensemble Recording with Peer Arrays 12. Going Freestyle 13. Conclusion
£46.30
Taylor & Francis Sound System Engineering 4e
Book SynopsisLong considered one of the key books on the well-informed audio engineerâs shelf, Sound System Engineering provides an accurate, complete, and concise tool for all those involved in designing, implementing, and testing sound reinforcement systems. This new fourth edition includes eight new chapters leading the reader through both cutting-edge topicsâe.g., IBMâs proposed thought-controlled sound systemâand solid basics, such as loudspeaker specifications, wave equations, and digital audio.Topics covered include: Psychoacoustics and how the brain processes sound Digital theory Mathematics for audio systems Using the decibel Interfacing electrical and acoustical systems Audio and acoustic measurements Large room and small room acoustics Designing for acoustic gain Designing for speech intelligibility Table of Contents Chapter 1 Why Sound System Engineering? Chapter 2 Voices Out of the Past Chapter 3 Sound and Our Brain Chapter 4 Psychoacoustics Chapter 5 Digital Theory Chapter 6 Mathematics for Audio Systems Chapter 7 Using the Decibel Chapter 8 Interfacing Electrical and Acoustic Systems Chapter 9 Loudspeaker Directivity and Coverage Chapter 10 The Acoustic Enviroment Chapter 11 Audio and Acoustic Measurements Chapter 12 Large Room Acoustics Chapter 13 Small Room Acoustics Chapter 14 Designing for Acoustic Gain Chapter 15 Designing for Speech Intelligibility Chapter 16 What is Waving and Why Chapter 17 Microphones Chapter 18 Loudspeakers and Loudspeaker Arrays Chapter 19 Power Ratings for Amplifiers and Loudspeakers Chapter 20 Computer-Aided System Design Chapter 21 Signal Delay and Signal Synchronization Chapter 22 Signal Processing Chapter 23 Digital Audio Formats and Transports Chapter 24 Sound System Equalization Chapter 25 Putting It All Together Appendix
£123.50
Taylor & Francis Ltd Designing Audio Effect Plugins in C
Book SynopsisDesigning Audio Effect Plugins in C++ presents everything you need to know about digital signal processing in an accessible way. Not just another theory-heavy digital signal processing book, nor another dull build-a-generic-database programming book, this book includes fully worked, downloadable code for dozens of professional audio effect plugins and practically presented algorithms. Sections include the basics of audio signal processing, the anatomy of a plugin, AAX, AU and VST3 programming guides; implementation details; and actual projects and code. More than 50 fully coded C++ audio signal-processing objects are included. Start with an intuitive and practical introduction to the digital signal processing (DSP) theory behind audio plug-ins, and quickly move on to plugin implementation, gain knowledge of algorithms on classical, virtual analog, and wave digital filters, delay, reverb, modulated effects, dynamics processing, pitch shifting, nonlinear processing, sample rate conversion and more. You will then be ready to design and implement your own unique plugins on any platform and within almost any host program. This new edition is fully updated and improved and presents a plugin core that allows readers to move freely between application programming interfaces and platforms. Readers are expected to have some knowledge of C++ and high school math. Table of ContentsSection 1: The Basics Digital Audio Signal Processing Principles How DSP Filters Work Basic DSP Theory Section 2. Audio Plugins Anatomy of Audio Signal Processing Plugins Introducing the Plugin Kernel: Plugin Core Plugin GUI Basic GUI Design Using the Plugin GUI Object Section 3: The APIs Writing Pro-Tools AAX Plugins Writing Audio Units Plugins Writing VST3 Plugins Writing RAFX2+ Plugins Section 4: Audio Processing Algorithms and Plugin Design Projects Audio Filter Designs: IIR Filters Audio Filter Designs: Virtual Analog (VA) and Wave Digital Filters (WDF) Modulators: LFOs and Envelope Detectors Delay Effects and Circular Buffers Audio Filter Designs: FIR Filters Modulated Delay Effects Reverb Algorithms Dynamics Processing Miscellaneous Plugins Frequency Doman Plugins Advances GUI Design Basic MIDI for FX Processing
£59.99
Penguin Random House LLC Wired for Speech How Voice Activates and Advances the HumanComputer Relationship
£47.53
Independently Published Audacity Software User Guide For Beginners And Pro
£14.00
Independently Published The Human Signal
£7.42
Independently Published Ableton Live 12 User Guide for Beginners
£17.00
Independently Published FL Studio Mastery Guide
£13.89
Amazon Digital Services LLC - Kdp GarageBand Software User Guide
£13.49
Amazon Digital Services LLC - Kdp Amazon Echo Dot 5th Gen Made Easy User Guide
£13.49
Independently Published Creating Synthesizer Plug-Ins with C++ and JUCE
£42.08
Taylor & Francis Ltd Pro Tools LE and MPowered
Book SynopsisPro Tools LE and M-Powered is an authoritative guide to Digidesign''s entry-level hardware and software systems. Illustrated throughout with color screen grabs, the book starts by giving you useful overviews and advice about the hardware options available. Subsequent chapters are packed with easy-to-follow instructions, valuable hints and time-saving tips on how to use the software. Includes:* Full coverage of all new features in version 7* Information on tempos, clicks and grooves* Two chapters on MIDI* Useful tutorials on using Reason, Live and SampleTank* Recommendations on backups and transfers* Guidance on the DV Toolkit for post productionFor troubleshooting technical problems, advice on purchasing decisions or inspiration for new ideas, keep this book by your side as a vital reference point.Trade Review"Where else could you find out about Pro Tools version 7 and know you'll get the whole truth? As always, Mike astounds with his ability to go in depth into the detail, without losing the sense of the whole. And he does so with simple and direct language, easy to follow, and often humorous. I am impressed once again!" - Dario Marianelli, Film Composer"This book has all you need to know to take you from beginner's level, recording your first session, up to a professional level. It explains all the new MIDI features in Pro Tools 7 clearly and in detail. Even if you think you already know all about Pro Tools, this book will inspire and inform you about version 7." John Leckie, Record Producer"An excellent introduction and guide to PT LE software & hardware options." - Phil Harding, Record Producer"An essential companion for all LE users...Informs the reader in simple terms what the manuals either leave out or bury within the small print. This book is an absolute must for anyone who needs to plug in & start creating any style of music." - Geoff Smith, ProducerTable of ContentsIntroduction; Understanding the Hardware options for Pro Tools LE; The Digi 002 and the Command|8; Understanding Pro Tools LE Software; Getting Started; Recording MIDI and using Virtual Instruments; Recording Audio; Editing; Mixing; The Outro: Final Mixdown, Burning to CD, and Backup; Appendix 1 Transferring Projects; Appendix 2 DV Toolkit for LE; Jargon Buster
£45.59
MIT Press Ltd Spotify Teardown Inside the Black Box of
Book SynopsisAn innovative investigation of the inner workings of Spotify that traces the transformation of audio files into streamed experience.Spotify provides a streaming service that has been welcomed as disrupting the world of music. Yet such disruption always comes at a price. Spotify Teardown contests the tired claim that digital culture thrives on disruption. Borrowing the notion of “teardown” from reverse-engineering processes, in this book a team of five researchers have playfully disassembled Spotify's product and the way it is commonly understood.Spotify has been hailed as the solution to illicit downloading, but it began as a partly illicit enterprise that grew out of the Swedish file-sharing community. Spotify was originally praised as an innovative digital platform but increasingly resembles a media company in need of regulation, raising questions about the ways in which such cultural content as songs, books, and films are now typically made availa
£15.19
Profile Haunted Weather Music Silence and Memory Five
Book SynopsisDigital technology has changed the ways in which music is perceived, stored, distributed, mediated and created. The world of music is now a vast and complex jungle, teeming with CDs, MP3s, concerts, clubs, festivals, conferences, exhibitions, installations, websites, software programmes, scenes, ideas and competing theories. In the eye of the storm stands David Toop, shedding light on the most interesting music now being made ? on laptops, in downtown bars in Tokyo, wherever he finds it. Haunted Weather is part personal memoir and part travel journal, as well as an intensive survey of recent developments in digital technology, sonic theory and musical practice. Along the way Toop probes into the meaning of sound (and silence), offering fascinating insights into how computers can be used for improvisation. His wealth of musical knowledge provides inspiration for anyone interested in music.
£11.62
John Wiley & Sons Inc Spatial Audio Processing
Book SynopsisThis book collects a wealth of information about spatial audio coding into one comprehensible volume. It is a thorough reference to the 3GPP and MPEG Parametric Stereo standards and the MPEG Surround multi-channel audio coding standard. It describes key developments in coding techniques, which is an important factor in the optimization of advanced entertainment, communications and signal processing applications. Until recently, technologies for coding audio signals, such as redundancy reduction and sophisticated source and receiver models did not incorporate spatial characteristics of source and receiving ends. Spatial audio coding achieves much higher compression ratios than conventional coders. It does this by representing multi-channel audio signals as a downmix signal plus side information that describes the perceptually-relevant spatial information. Written by experts in spatial audio coding, Spatial Audio Processing: reviews psychoacousticTable of ContentsAuthor Biographies. Foreword. Preface. 1 Introduction. 1.1 The human auditory system. 1.2 Spatial audio reproduction. 1.3 Spatial audio coding. 1.4 Book outline. 2 Background. 2.1 Introduction. 2.2 Spatial audio playback systems. 2.2.1 Stereo audio loudspeaker playback. 2.2.2 Headphone audio playback. 2.2.3 Multi-channel audio playback. 2.3 Audio coding. 2.3.1 Audio signal representation. 2.3.2 Lossless audio coding. 2.3.3 Perceptual audio coding. 2.3.4 Parametric audio coding. 2.3.5 Combining perceptual and parametric audio coding. 2.4 Matrix surround. 2.5 Conclusions. 3 Spatial Hearing. 3.1 Introduction. 3.2 Physiology of the human hearing system. 3.3 Spatial hearing basics. 3.3.1 Spatial hearing with one sound source. 3.3.2 Ear entrance signal properties and lateralization. 3.3.3 Sound source localization. 3.3.4 Two sound sources: summing localization. 3.3.5 Superposition of signals each evoking one auditory object. 3.4 Spatial hearing in rooms. 3.4.1 Source localization in the presence of reflections: the precedence effect. 3.4.2 Spatial impression. 3.5 Limitations of the human auditory system. 3.5.1 Just-noticeable differences in interaural cues. 3.5.2 Spectro-temporal decomposition. 3.5.3 Localization accuracy of single sources. 3.5.4 Localization accuracy of concurrent sources. 3.5.5 Localization accuracy when reflections are present. 3.6 Source localization in complex listening situations. 3.6.1 Cue selection model. 3.6.2 Simulation examples. 3.7 Conclusions. 4 Spatial Audio Coding. 4.1 Introduction. 4.2 Related techniques. 4.2.1 Pseudostereophonic processes. 4.2.2 Intensity stereo coding. 4.3 Binaural Cue Coding (BCC). 4.3.1 Time–frequency processing. 4.3.2 Down-mixing to one channel. 4.3.3 ‘Perceptually relevant differences’ between audio channels. 4.3.4 Estimation of spatial cues. 4.3.5 Synthesis of spatial cues. 4.4 Coding of low-frequency effects (LFE) audio channels. 4.5 Subjective performance. 4.6 Generalization to spatial audio coding. 5 Parametric Stereo. 5.1 Introduction. 5.1.1 Development and standardization. 5.1.2 AacPlus v2. 5.2 Interaction between core coder and spatial audio coding. 5.3 Relation to BCC. 5.4 Parametric stereo encoder. 5.4.1 Time/frequency decomposition. 5.4.2 Parameter extraction. 5.4.3 Down-mix. 5.4.4 Parameter quantization and coding. 5.5 Parametric stereo decoder. 5.5.1 Analysis filterbank. 5.5.2 Decorrelation. 5.5.3 Matrixing. 5.5.4 Interpolation. 5.5.5 Synthesis filterbanks. 5.5.6 Parametric stereo in enhanced aacPlus. 5.6 Conclusions. 6 MPEG Surround. 6.1 Introduction. 6.2 Spatial audio coding. 6.2.1 Concept. 6.2.2 Elementary building blocks. 6.3 MPEG Surround encoder. 6.3.1 Structure. 6.3.2 Pre- and post-gains. 6.3.3 Time–frequency decomposition. 6.3.4 Spatial encoder. 6.3.5 Parameter quantization and coding. 6.3.6 Coding of residual signals. 6.4 MPEG Surround decoder. 6.4.1 Structure. 6.4.2 Spatial decoder. 6.4.3 Enhanced matrix mode. 6.5 Subjective evaluation. 6.5.1 Test 1: operation using spatial parameters. 6.5.2 Test 2: operation using enhanced matrix mode. 6.6 Conclusions. 7 Binaural Cues for a Single Sound Source. 7.1 Introduction. 7.2 HRTF parameterization. 7.2.1 HRTF analysis. 7.2.2 HRTF synthesis. 7.3 Sound source position dependencies. 7.3.1 Experimental procedure. 7.3.2 Results and discussion. 7.4 HRTF set dependencies. 7.4.1 Experimental procedure. 7.4.2 Results and discussion. 7.5 Single ITD approximation. 7.5.1 Procedure. 7.5.2 Results and discussion. 7.6 Conclusions. 8 Binaural Cues for Multiple Sound Sources. 8.1 Introduction. 8.2 Binaural parameters. 8.3 Binaural parameter analysis. 8.3.1 Binaural parameters for a single sound source. 8.3.2 Binaural parameters for multiple independent sound sources. 8.3.3 Binaural parameters for multiple sound sources with varying degrees of mutual correlation. 8.4 Binaural parameter synthesis. 8.4.1 Mono down-mix. 8.4.2 Extension towards stereo down-mixes. 8.5 Application to MPEG Surround. 8.5.1 Binaural decoding mode. 8.5.2 Binaural parameter synthesis. 8.5.3 Binaural encoding mode. 8.5.4 Evaluation. 8.6 Conclusions. 9 Audio Coding with Mixing Flexibility at the Decoder Side. 9.1 Introduction. 9.2 Motivation and details. 9.2.1 ICTD, ICLD and ICC of the mixer output. 9.3 Side information. 9.3.1 Reconstructing the sources. 9.4 Using spatial audio decoders as mixers. 9.5 Transcoding to MPEG Surround. 9.6 Conclusions. 10 Multi-loudspeaker Playback of Stereo Signals. 10.1 Introduction. 10.2 Multi-channel stereo. 10.3 Spatial decomposition of stereo signals. 10.3.1 Estimating ps,b, Ab and pn,b. 10.3.2 Least-squares estimation of sm, n1,m and n2,m. 10.3.3 Post-scaling. 10.3.4 Numerical examples. 10.4 Reproduction using different rendering setups. 10.4.1 Multiple loudspeakers in front of the listener. 10.4.2 Multiple front loudspeakers plus side loudspeakers. 10.4.3 Conventional 5.1 surround loudspeaker setup. 10.4.4 Wavefield synthesis playback system. 10.4.5 Modifying the decomposed audio signals. 10.5 Subjective evaluation. 10.5.1 Subjects and playback setup. 10.5.2 Stimuli. 10.5.3 Test method. 10.5.4 Results. 10.6 Conclusions. 10.7 Acknowledgement. Frequently Used Terms, Abbreviations and Notation. Terms and abbreviations. Notation and variables. Bibliography. Index.
£88.16
John Wiley & Sons Inc Speech and Audio Signal Processing
Book SynopsisWhen Speech and Audio Signal Processing published in 1999, it stood out from its competition in its breadth of coverage and its accessible, intutiont-based style. This book was aimed at individual students and engineers excited about the broad span of audio processing and curious to understand the available techniques. Since then, with the advent of the iPod in 2001, the field of digital audio and music has exploded, leading to a much greater interest in the technical aspects of audio processing. This Second Edition will update and revise the original book to augment it with new material describing both the enabling technologies of digital music distribution (most significantly the MP3) and a range of exciting new research areas in automatic music content processing (such as automatic transcription, music similarity, etc.) that have emerged in the past five years, driven by the digital music revolution. New chapter topics include: PsychoacTable of ContentsPREFACE TO THE 2011 EDITION xxi CHAPTER 1 INTRODUCTION 1 PART I HISTORICAL BACKGROUND CHAPTER 2 SYNTHETIC A UDIO: A BRIEF HISTORY 9 CHAPTER 3 SPEECH ANALYSIS AND SYNTHESIS OVERVIEW 21 CHAPTER 4 BRIEF HISTORY OF AUTOMATIC SPEECH RECOGNITION 40 CHAPTER 5 SPEECH-RECOGNITION OVERVIEW 59 PART II MATHEMATICAL BACKGROUND CHAPTER 6 DIGITAL SIGNAL PROCESSING 73 CHAPTER 7 DIGITAL FILTERSAND DISCRETE FOURIER TRANSFORM 87 CHAPTER 8 PATTERN CLASSIFICATION 105 CHAPTER 9 STATISTICAL PATTERN CLASSIFICATION 124 PART III ACOUSTICS CHAPTER 10 WAVE BASICS 141 CHAPTER 11 ACOUSTIC TUBE MODELING OF SPEECH PRODUCTION 152 CHAPTER 12 MUSICAL INSTRUMENT ACOUSTICS 158 CHAPTER 13 ROOM ACOUSTICS 179 PART IV AUDITORY PERCEPTION CHAPTER 14 EAR PHYSIOLOGY 193 CHAPTER 15 PSYCHOACOUSTICS 209 CHAPTER 16 MODELS OF PITCH PERCEPTION 218 CHAPTER 17 SPEECH PERCEPTION 232 CHAPTER 18 HUMAN SPEECH RECOGNITION 250 PART V SPEECH FEATURES CHAPTER 19 THE AUDITORY SYSTEM AS A FILTER BANK 263 CHAPTER 20 THE CEPSTRUM AS A SPECTRAL ANALYZER 277 CHAPTER 21 LINEAR PREDICTION 286 PART VI A UTOMATIC SPEECH RECOGNITION CHAPTER 22 FEATURE EXTRACTION FOR ASR 301 CHAPTER 23 LINGUISTIC CATEGORIES FOR SPEECH RECOGNITION 319 CHAPTER 24 DETERMINISTIC SEQUENCE RECOGNITION FOR ASR 337 CHAPTER 25 STATISTICAL SEQUENCE RECOGNITION 350 CHAPTER 26 STATISTICAL MODEL TRAINING 364 CHAPTER 27 DISCRIMINANT ACOUSTIC PROBABILITY ESTIMATION 381 CHAPTER 28 ACOUSTIC MODEL TRAINING: FURTHER TOPICS 394 CHAPTER 29 SPEECH RECOGNITION AND UNDERSTANDING 416 PART VII SYNTHESIS AND CODING CHAPTER 30 SPEECH SYNTHESIS 431 CHAPTER 31 PITCH DETECTION 455 CHAPTER 32 VOCODERS 473 CHAPTER 33 LOW-RATE VOCODERS 493 CHAPTER 34 MEDIUM-RATE AND HIGH-RATE VOCODERS 505 CHAPTER 35 PERCEPTUAL A UDIO CODING 531 PART VIII OTHER APPLICATIONS CHAPTER 36 SOME ASPECTS OF COMPUTER MUSIC SYNTHESIS 553 CHAPTER 37 MUSIC SIGNAL ANALYSIS 567 CHAPTER 38 MUSIC RETRIEVAL 581 CHAPTER 39 SOURCE SEPARATION 59 CHAPTER 40 SPEECH TRANSFORMATIONS 617 CHAPTER 41 SPEAKER VERIFICATION 633 CHAPTER 42 SPEAKER DIARIZATION 644
£96.26
John Wiley & Sons Inc Speech Processing and Synthesis Toolboxes With
Book SynopsisThe purpose of this text is to teach speech analysis and synthesis through user-computer interaction. This text provides a means to study the features and properties of speech as a signal without having to record data and write software to analyze the data. An extensive speech database is provided on the accompanying CD-ROMs along with various software programs to analyze the data including a run-time version of MATLAB which allows the data to be used without purchasing MATLAB separately.The text also provides the theoretical basis of underlying the software algorithms used for speech analysis and synthesis. The goal of this approach is to strike a balance between theory and practice, thereby aiding the student''s understanding of the basic concepts, assumptions, and limitations of the theory of speech analysis and synthesis.Table of ContentsSpeech Analysis Toolbox. Speech Production, Labeling, and Characteristics. Data and Measurements. Linear Prediction. Speech Synthesis and a Formant Speech Synthesis Toolbox. Vocos - A Voice Conversion Toolbox. Time Modification of Speech Toolbox. Animated Vocal Fold Model Toolbox. Articulatory Speech Synthesis Toolbox. Appendices. Index.
£222.26
John Wiley & Sons Inc Computational Auditory Analysis Principles Algorithms and Applications
Book SynopsisHow can we engineer systems capable of cocktail party listening? Human listeners are able to perceptually segregate one sound source from an acoustic mixture, such as a single voice from a mixture of other voices and music at a busy cocktail party. How can we engineer machine listening systems that achieve this perceptual feat? Albert Bregman''s book Auditory Scene Analysis, published in 1990, drew an analogy between the perception of auditory scenes and visual scenes, and described a coherent framework for understanding the perceptual organization of sound. His account has stimulated much interest in computational studies of hearing. Such studies are motivated in part by the demand for practical sound separation systems, which have many applications including noise-robust automatic speech recognition, hearing prostheses, and automatic music transcription. This emerging field has become known as computational auditory scene analysis (CASA). Computational Auditory ScenTable of ContentsForeword. Preface. Contributors. Acronyms. 1. Fundamentals of Computational Auditory Scene Analysis (DeLiang Wang and Guy J. Brown). 1.1 Human Auditory Scene Analysis. 1.1.1 Structure and Function of the Auditory System. 1.1.2 Perceptual Organization of Simple Stimuli. 1.1.3 Perceptual Segregation of Speech from Other Sounds. 1.1.4 Perceptual Mechanisms. 1.2 Computational Auditory Scene Analysis (CASA). 1.2.1 What Is CASA? 1.2.2 What Is the Goal of CASA? 1.2.3 Why CASA? 1.3 Basics of CASA Systems. 1.3.1 System Architecture. 1.3.2 Cochleagram. 1.3.3 Correlogram. 1.3.4 Cross-Correlogram. 1.3.5 Time-Frequency Masks. 1.3.6 Resynthesis. 1.4 CASA Evaluation. 1.4.1 Evaluation Criteria. 1.4.2 Corpora. 1.5 Other Sound Separation Approaches. 1.6 A Brief History of CASA (Prior to 2000). 1.6.1 Monaural CASA Systems. 1.6.2 Binaural CASA Systems. 1.6.3 Neural CASA Models. 1.7 Conclusions 36 Acknowledgments. References. 2. Multiple F0 Estimation (Alain de Cheveigné). 2.1 Introduction. 2.2 Signal Models. 2.3 Single-Voice F0 Estimation. 2.3.1 Spectral Approach. 2.3.2 Temporal Approach. 2.3.3 Spectrotemporal Approach. 2.4 Multiple-Voice F0 Estimation. 2.4.1 Spectral Approach. 2.4.2 Temporal Approach. 2.4.3 Spectrotemporal Approach. 2.5 Issues. 2.5.1 Spectral Resolution. 2.5.2 Temporal Resolution. 2.5.3 Spectrotemporal Resolution. 2.6 Other Sources of Information. 2.6.1 Temporal and Spectral Continuity. 2.6.2 Instrument Models. 2.6.3 Learning-Based Techniques. 2.7 Estimating the Number of Sources. 2.8 Evaluation. 2.9 Application Scenarios. 2.10 Conclusion. Acknowledgments. References. 3. Feature-Based Speech Segregation (DeLiang Wang). 3.1 Introduction. 3.2 Feature Extraction. 3.2.1 Pitch Detection. 3.2.2 Onset and Offset Detection. 3.2.3 Amplitude Modulation Extraction. 3.2.4 Frequency Modulation Detection. 3.3 Auditory Segmentation. 3.3.1 What Is the Goal of Auditory Segmentation? 3.3.2 Segmentation Based on Cross-Channel Correlation and Temporal Continuity. 3.3.3 Segmentation Based on Onset and Offset Analysis. 3.4 Simultaneous Grouping. 3.4.1 Voiced Speech Segregation. 3.4.2 Unvoiced Speech Segregation. 3.5 Sequential Grouping. 3.5.1 Spectrum-Based Sequential Grouping. 3.5.2 Pitch-Based Sequential Grouping. 3.5.3 Model-Based Sequential Grouping. 3.6 Discussion. Acknowledgments. References. 4. Model-Based Scene Analysis (Daniel P. W. Ellis). 4.1 Introduction. 4.2 Source Separation as Inference. 4.3 Hidden Markov Models. 4.4 Aspects of Model-Based Systems. 4.4.1 Constraints: Types and Representations. 4.4.2 Fitting Models. 4.4.3 Generating Output. 4.5 Discussion. 4.5.1 Unknown Interference. 4.5.2 Ambiguity and Adaptation. 4.5.3 Relations to Other Separation Approaches. 4.6 Conclusions. References. 5. Binaural Sound Localization (Richard M. Stern, Guy J. Brown, and DeLiang Wang). 5.1 Introduction. 5.2 Physical and Physiological Mechanisms Underlying Auditory Localization. 5.2.1 Physical Cues. 5.2.2 Physiological Estimation of ITD and IID. 5.3 Spatial Perception of Single Sources. 5.3.1 Sensitivity to Differences in Interaural Time and Intensity. 5.3.2 Lateralization of Single Sources. 5.3.3 Localization of Single Sources. 5.3.4 The Precedence Effect. 5.4 Spatial Perception of Multiple Sources. 5.4.1 Localization of Multiple Sources. 5.4.2 Binaural Signal Detection. 5.5 Models of Binaural Perception. 5.5.1 Classical Models of Binaural Hearing. 5.5.2 Cross-Correlation-Based Models of Binaural Interaction. 5.5.3 Some Extensions to Cross-Correlation-Based Binaural Models. 5.6 Multisource Sound Localization. 5.6.1 Estimating Source Azimuth from Interaural Cross-Correlation. 5.6.2 Methods for Resolving Azimuth Ambiguity. 5.6.3 Localization of Moving Sources. 5.7 General Discussion. Acknowledgments. References. 6. Localization-Based Grouping (Albert S. Feng and Douglas L. Jones). 6.1 Introduction. 6.2 Classical Beamforming Techniques. 6.2.1 Fixed Beamforming Techniques. 6.2.2 Adaptive Beamforming Techniques. 6.2.3 Independent Component Analysis Techniques. 6.2.4 Other Localization-Based Techniques. 6.3 Location-Based Grouping Using Interaural Time Difference Cue. 6.4 Location-Based Grouping Using Interaural Intensity Difference Cue. 6.5 Location-Based Grouping Using Multiple Binaural Cues. 6.6 Discussion and Conclusions. Acknowledgments. References. 7. Reverberation (Guy J. Brown and Kalle J. Palomäki). 7.1 Introduction. 7.2 Effects of Reverberation on Listeners. 7.2.1 Speech Perception. 7.2.2 Sound Localization. 7.2.3 Source Separation and Signal Detection. 7.2.4 Distance Perception. 7.2.5 Auditory Spatial Impression. 7.3 Effects of Reverberation on Machines. 7.4 Mechanisms Underlying Robustness to Reverberation in Human Listeners. 7.4.1 The Role of Slow Temporal Modulations in Speech Perception. 7.4.2 The Binaural Advantage. 7.4.3 The Precedence Effect. 7.4.4 Perceptual Compensation for Spectral Envelope Distortion. 7.5 Reverberation-Robust Acoustic Processing. 7.5.1 Dereverberation. 7.5.2 Reverberation-Robust Acoustic Features. 7.5.3 Reverberation Masking. 7.6 CASA and Reverberation. 7.6.1 Systems Based on Directional Filtering. 7.6.2 CASA for Robust ASR in Reverberant Conditions. 7.6.3 Systems that Use Multiple Cues. 7.7 Discussion and Conclusions. Acknowledgments. References. 8. Analysis of Musical Audio Signals (Masataka Goto). 8.1 Introduction. 8.2 Music Scene Description. 8.2.1 Music Scene Descriptions. 8.2.2 Difficulties Associated with Musical Audio Signals. 8.3 Estimating Melody and Bass Lines. 8.3.1 PreFEst-front-end: Forming the Observed Probability Density Functions. 8.3.2 PreFEst-core: Estimating the F0’s Probability Density Function. 8.3.3 PreFEst-back-end: Sequential F0 Tracking by Multiple-Agent Architecture. 8.3.4 Other Methods. 8.4 Estimating Beat Structure. 8.4.1 Estimating Period and Phase. 8.4.2 Dealing with Ambiguity. 8.4.3 Using Musical Knowledge. 8.5 Estimating Chorus Sections and Repeated Sections. 8.5.1 Extracting Acoustic Features and Calculating Their Similarity. 8.5.2 Finding Repeated Sections. 8.5.3 Grouping Repeated Sections. 8.5.4 Detecting Modulated Repetition. 8.5.5 Selecting Chorus Sections. 8.5.6 Other Methods. 8.6 Discussion and Conclusions. 8.6.1 Importance. 8.6.2 Evaluation Issues. 8.6.3 Future Directions. References. 9. Robust Automatic Speech Recognition (Jon Barker). 9.1 Introduction. 9.2 ASA and Speech Perception in Humans. 9.2.1 Speech Perception and Simultaneous Grouping. 9.2.2 Speech Perception and Sequential Grouping. 9.2.3 Speech Schemes. 9.2.4 Challenges to the ASA Account of Speech Perception. 9.2.5 Interim Summary. 9.3 Speech Recognition by Machine. 9.3.1 The Statistical Basis of ASR. 9.3.2 Traditional Approaches to Robust ASR. 9.3.3 CASA-Driven Approaches to ASR. 9.4 Primitive CASA and ASR. 9.4.1 Speech and Time-Frequency Masking. 9.4.2 The Missing-Data Approach to ASR. 9.4.3 Marginalization-Based Missing-Data ASR Systems. 9.4.4 Imputation-Based Missing-Data Solutions. 9.4.5 Estimating the Missing-Data Mask. 9.4.6 Difficulties with the Missing-Data Approach. 9.5 Model-Based CASA and ASR. 9.5.1 The Speech Fragment Decoding Framework. 9.5.2 Coupling Source Segregation and Recognition. 9.6 Discussion and Conclusions. 9.7 Concluding Remarks. References. 10. Neural and Perceptual Modeling (Guy J. Brown and DeLiang Wang). 10.1 Introduction. 10.2 The Neural Basis of Auditory Grouping. 10.2.1 Theoretical Solutions to the Binding Problem. 10.2.2 Empirical Results on Binding and ASA. 10.3 Models of Individual Neurons. 10.3.1 Relaxation Oscillators. 10.3.2 Spike Oscillators. 10.3.3 A Model of a Specific Auditory Neuron. 10.4 Models of Specific Perceptual Phenomena. 10.4.1 Perceptual Streaming of Tone Sequences. 10.4.2 Perceptual Segregation of Concurrent Vowels with Different F0s. 10.5 The Oscillatory Correlation Framework for CASA. 10.5.1 Speech Segregation Based on Oscillatory Correlation. 10.6 Schema-Driven Grouping. 10.7 Discussion. 10.7.1 Temporal or Spatial Coding of Auditory Grouping. 10.7.2 Physiological Support for Neural Time Delays. 10.7.3 Convergence of Psychological, Physiological, and Computational Approaches. 10.7.4 Neural Models as a Framework for CASA. 10.7.5 The Role of Attention. 10.7.6 Schema-Based Organization. Acknowledgments. References. Index.
£105.26
John Wiley & Sons Inc An Introduction to Audio Content Analysis
Book SynopsisAn 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.Table of ContentsAuthor Biography xvii Preface xix Acronyms xxi List of Symbols xxv Source Code Repositories xxix 1 Introduction 1 Part I Fundamentals of Audio Content Analysis 9 2 Analysis of Audio Signals 11 3 Input Representation 17 4 Inference 91 5 Data 107 Part II Music Transcription 127 7 Tonal Analysis 129 8 Intensity217 9 Temporal Analysis 229 10 Alignment 281 Part III Music Identification, Classification, and Assessment 303 11 Audio Fingerprinting 305 12 Music Similarity Detection and Music Genre Classification 317 13 Mood Recognition 337 14 Musical Instrument Recognition 347 15 Music Performance Assessment 355 Part IV Appendices 365 Appendix A Fundamentals 367 Appendix B Fourier Transform 385 Appendix C Principal Component Analysis 405 Appendix D Linear Regression 409 Appendix E Software for Audio Analysis 411 Appendix F Datasets 417 Index 425
£91.80
O'Reilly Media Stream Processing with Apache Spark
Book SynopsisBefore 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.
£41.99
Springer International Publishing AG Digital Audio Processing Fundamentals
Book SynopsisThe 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.Table of ContentsFoundations 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.
£98.99
Springer Verlag, Singapore Neural Text-to-Speech Synthesis
Book SynopsisText-to-speech (TTS) aims to synthesize intelligible and natural speech based on the given text. It is a hot topic in language, speech, and machine learning research and has broad applications in industry. This book introduces neural network-based TTS in the era of deep learning, aiming to provide a good understanding of neural TTS, current research and applications, and the future research trend. This book first introduces the history of TTS technologies and overviews neural TTS, and provides preliminary knowledge on language and speech processing, neural networks and deep learning, and deep generative models. It then introduces neural TTS from the perspective of key components (text analyses, acoustic models, vocoders, and end-to-end models) and advanced topics (expressive and controllable, robust, model-efficient, and data-efficient TTS). It also points some future research directions and collects some resources related to TTS. This book is the first to introduce neural TTS in a comprehensive and easy-to-understand way and can serve both academic researchers and industry practitioners working on TTS.Table of Contents
£113.99
Taylor & Francis Ltd Convergence in Broadcast and Communications Media
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£142.50
Taylor & Francis Ltd Nonlinear Editing
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Taylor & Francis Ltd Network Technology for Digital Audio
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Taylor & Francis Ltd Sound Persons Guide to Video
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£47.49
Taylor & Francis Spatial Audio Music Technology S
Book SynopsisExplores the principles and practical considerations of spatial sound recording and reproduction. Particular emphasis is given to the increasing importance of multichannel surround sound and 3D audio, including binaural approaches, without ignoring conventional stereo. The enhancement of spatial quality is arguably the only remaining hurdle to be overcome in pursuit of high quality sound reproduction. The rise of increasingly sophisticated spatial sound systems presents an enormous challenge to audio engineers, many of whom are confused by the possibilities and unfamiliar with standards, formats, track allocations, monitoring configurations and recording techniques. The author provides a comprehensive study of the current state of the art in spatial audio, concentrating on the most widely used approaches and configurations. Anyone wishing to expand their understanding of these cutting-edge technologies will want to own this book.Trade Review"This comprehensive and highly readable book collects together all that vital underpinning knowledge that you ought to have at your fingertips... with very little in the way of maths or circuit diagrams to challenge those of us who aren't academic by nature... Technical explanations are lucid and informative and there's some good practical advice too. Would I recommend it to readers of Line-Up? Certainly. Not only will it help you deal with earnest enquirers about Dolby 5.1, but it will also consolidate your understanding of some of the fundamental aspects of our trade. If you're recording or mixing stereo or multichannel sound it could even help you do your job better."Malcolm Nelson, Line-Up magazineTable of ContentsIntroduction to spatial audio; Spatial audio psychoacoustics; Two channel stereo and binaural audio; Multichannel stereo and surround sound systems; Spatial sound monitoring; Two- and three-channel recording techniques; Surround sound recording techniques
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Taylor & Francis Sound Engineering Explained
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Taylor & Francis Digital Interface Handbook
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Taylor & Francis Desktop Audio Technology
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Taylor & Francis Pro Tools for Music Production
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Taylor & Francis Sound FX
Book SynopsisEvery session, every gig, every day, recording engineers strive to make the most of their audio signal processing devices. EQ, Compression, Delay, Distortion, Reverb and all those other FX are the well-worn tools of the audio trade. Recording and mixing, live and in the studio, engineers must thoroughly master these devices to stay competitive sonically. Its not enough to just know what each effect is supposed to do. Sound FX explains the basic and advanced signal processing techniques used in professional music production, describing real world techniques used by experienced engineers, and referencing popular music examples released internationally. The reader learns not just how to, but also what if, so they can better achieve what they already hear in the productions they admire and chase what they only hear in their imaginative minds ear. Sound FX will immediately help you make more thorough, more musical use of your sound FX.The accompanying website www.soundfx-Trade Review"Sound FX is a entertaining, informative, and useful book that will find more time on the mixing console and effects rack than on a shelf in the library of practicing engineers, musicians and producers who want a better understanding of what the boxes in the rack or the plugins in their computer can do and why do it." - Neil A. Shaw - AES Journal Dec 07Table of ContentsSECTION 1: Ch1-The Audio Waveform, Ch2-Signal Flow, Ch3-Perception. SECTION 2: Ch4-Distortion, Ch5-Equalization, Ch6-Compression and Limiting, Ch7-Expansion and Gating, Ch8-Volume. SECTION 3: Ch9-Delay, Ch10-Pitch Shift, Ch11-Reverb. SECTION 4 Ch12-A Basic Mix, Ch13-The Snare Drum, Ch14-The Piano, Ch15-The Automated Mix.
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Taylor & Francis Sound Synthesis and Sampling
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Taylor & Francis Logic Pro 9
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Taylor & Francis Music Production Recording
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Taylor & Francis Ltd Convergence in Broadcast and Communications Media
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Taylor & Francis Art of Digital Audio
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Taylor & Francis Practical Mastering
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Taylor & Francis Audio Recording for Profit
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Taylor & Francis Surround Sound
Book SynopsisFully updated throughout this best selling title on surround sound offers you a wealth of practical information, now considered the ''go to'' book for those requiring a working knowledge. Concentrating specifically on surround audio, Holman provides clear comprehensive explanations of complex concepts, making this a must have book for all those in the field.Trade ReviewPraise for previous edition:"After revolutionizing theatrical film surround sound and promoting among other things the use of single common subwoofers in home theatre surround systems, he went on to design and set up some of the top multi-channel studios of today. His book lays out all the types of multichannel sounds, from its roots in film to its new uses in DVD video and audio and DTV broadcast." - Audiophile Audition "His book lays out all the types of multichannel sound, from its roots in film to its new uses in DVD video and audio and DTV broadcast. It would be a valuable reference for anyone involved in surround sound production in any form and for home theatre dealers and installers as well." - Audiophile Audition "Apart from the nuts and bolts, enough theory and debate is provided to keep any practitioner or sound student happy...Holman has a rare gift for simple explanation of complex concepts. I have read many sound textbooks but this volume has clarified things I never fully grasped before. 5.1 Surround Sound should be the first port of call if you are new to the subject and will provide a good source of reference for anyone already involved." - Studio SoundTable of ContentsIntroduction, Monitoring, Multichannel Microphone Technique, Multichannel Mixing, Delivery Formats, Psychoacoustics, Appendix 1- Sample Rate, Appendix 2- Word length, Appendix 3- surround Resources, Index
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Taylor & Francis Ltd The IBOC Handbook
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£128.25
Taylor & Francis What is Music Production
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Taylor & Francis Secrets of Recording
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Taylor & Francis From Demo to Delivery
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Taylor & Francis Home Studio Setup
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Taylor & Francis Audio Over IP Building Pro AoIP Systems with Livewire
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Taylor & Francis Sound for Film and Television
Book SynopsisSound for Film and Television, Third Edition provides a thorough introduction to the fascinating field of recording, editing, mixing, and exhibiting film and television sound. It strikes a fine balance between aesthetic and technical content, combining theory and practice to approach sound as both an art and a science. This new edition has been completely updated to reflect the latest advances in HD technology, new hardware and software systems, new distribution methods, wireless sound capture, and more. Also, analog-related content has been reduced and transferred to the chapters covering historical techniques. Sections on troubleshooting and FAQs have been added to help you avoid common pitfalls in sound production. Written by one of Hollywood's leading sound experts, Sound for Film and Television provides a solid grounding in all aspects of the sound process. Basic principles are presented with illustrations demonstratingTrade Review"Holman covers a lot of ground in just over 250 pages. His knowledge of the subject and many of the major industry players is evident. Sound for Film and Television is a concise, informative, entertaining, and intimate review that can serve as an introduction to the subject for the student and a snapshot of current techniques and processes for the practitioner.-The Journal of the Audio Engineering Society"The best overall technical introduction to film sound...As one would expect from the developer of the THX Sound System, among many other achievements, this book has a comprehensive approach and features one of the best introductions to psychoacoustics that you'll read anywhere."- Larry Blake, Mix Magazine"The book provides a fascinating and incredibly informative introduction to the world of film and television sound and is well recommended."- James Eade, Lighting and Sound International"The best overall technical introduction to film sound...As one would expect from the developer of the THX Sound System, among many other achievements, this book has a comprehensive approach and features one of the best introductions to psychoacoustics that you'll read anywhere."--Larry Blake, Mix Magazine"The book provides a fascinating and incredibly informative introduction to the world of film and television sound and is well recommended."--James Eade, Lighting and Sound International"Holman covers a lot of ground in just over 250 pages. His knowledge of the subject and many of the major industry players is evident. Sound for Film and Television is a concise, informative, entertaining, and intimate review that can serve as an introduction to the subject for the student and a snapshot of current techniques and processes for the practitioner."--The Journal of the Audio Engineering SocietyTable of ContentsPreface to the Third Edition, Introduction, Chapter 1. Objective Sound, Chapter 2. Psychoacoustics, Chapter 3. Audio Fundamentals, Chapter 4. Capturing Sound, Chapter 5. Microphone Technicalities, Chapter 6. Handling the Output of Microphones, Chapter 7. Production Sound, Chapter 8. Sync, Sank, Sunk, Chapter 9. Transfers, Chapter 10. Sound Design, Chapter 11. Editing, Chapter 12. Mixing, Chapter 13. From Print Masters to Exploitation, Appendix I. Working with Decibels, Appendix II. Filmography, Appendix III. The Eleven Commandments of filmsound, Appendix IV. Bibliography, Glossary, Index, About the Author, Companion Website Page, Instructions for accompanying DVD
£46.54
Taylor & Francis The Remix Manual The Art and Science of Dance Music Remixing with Logic
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