Audio processing Books
Taylor & Francis Drum Sound and Drum Tuning
Book SynopsisDrum Sound and Drum Tuning assists drummers, sound engineers, and music students in learning critical skills related to drum sound and achieving an optimised and personalised drum kit set-up. The book covers the essential theories of percussion acoustics and develops this knowledge in order to facilitate creative approaches to drum tuning and professional-level recording and mixing of drums. All aspects of drumhead vibration, drumhead equalisation, and resonant drumhead coupling are de-mystified, alongside discussions relating to drumhead types, drum shell vibration, and tuning to musical intervals for different performance genres. The book develops drum sound theory and creative analysis into a detailed dissection of recording and production techniques specifically for drums, including discussions on studio technologies, room acoustics, microphone techniques, phase coherence, and mixing drums with advanced digital audio workstation (DAW) techniques and creative procTable of ContentsList of FiguresList of Tables1 Introduction1.1 Values of Great Drum Sound1.2 Why Bother with Drum Tuning?1.3 About this Book1.3.1 Educational Approach1.3.2 Online Resources1.3.3 Interviews with Esteemed Professionals1.3.4 Companion Software and Examples1.4 Don’t Forget to Listen!2 Drumhead Vibration and the Science of Sound2.1 Sound Sources, Acoustic Transmission and Sound Reception2.2 Evaluating Frequencies2.3 The Single Most Valuable Musical Acoustics Theory!2.4 Measuring and Analysing Drum Modes3 Tuning the Pitch of a Cylindrical Drum3.1 Exploring the Pitch Range of a Cylindrical Drum3.2 Musical Frequencies3.3 Coupled Drumheads4 Lug Tuning and Clearing the Drumhead4.1 Evaluating the First Overtone of a Drum4.2 Beat Frequencies4.3 The Sound of a Uniformly Tuned Drumhead4.4 Lug Tuning with Assistance5 Tuning the Resonant Drumhead – What, Why and How?5.1 Harmonics and In-Harmonic Overtones5.2 Musical Intervals5.3 Controlling Overtones and Intervals with the Resonant Drumhead6 A Holistic Approach to Drum Tuning6.1 Simplicity Wins6.2 Setting the Fundamental Pitch6.3 Implementing Lug Tuning and Resonant Head Tuning6.4 Damping and Decay Times7 The Wonderful World of Drumheads7.1 Guitar Strings on Steroids!7.2 The Drumhead Equation7.3 Drumhead Types and Features7.4 Resonant Drumhead Selection7.5 Experience Drumheads!8 Timbre: The Truth about Drum Shell Vibration8.1 Introducing Timbre8.2 Tuning Fork Example with Mass Loading8.3 Drum Shell Vibration8.4 Loading the Drum Shell8.5 Bearing Edges and Precision Manufacturing8.6 Considering the Drum Shell Vibration Frequency when Tuning9 Tuning for Different Musical Styles and Genres 9.1 Creative Objectives9.2 Drum Sizes for Different Music Genres9.3 Pitches and Intervals on the Kit9.4 Tuning Suggestions for Different Genres9.5 Drumheads for Different Music Genres10 Snare Drum Tuning 10.1 Key Aspects of Snare Tuning10.2 Holistic Approach to Snare Tuning10.3 Manipulating Snare Drum Timbre10.4 Comparing Snare Timbre Example11 Kick Drum Tuning 11.1 Kick Drum Tone and Dynamics11.2 Drumheads for the Kick Drum11.3 Kick Drum Tuning Range11.4 Controlling the Kick Drum Timbre12 Production and Preparation for Drum Recording12.1 Production and Pre-Production12.2 Setting Standards and Getting Results12.3 Choosing and Evaluating the Recording Space12.3.1 Room Size and Dimensions12.3.2 Room Materials and Reverberation Characteristics 12.3.3 Sound Isolation and Background Noise Levels 12.3.4 Suitability for a Room’s Use in a Recording Project12.3.5 Positioning Drums within a Room12.4 Tuning and Performance for Recording13 Fundamental Technologies for Drum Recording13.1 Microphones and Transducers13.1.1 Dynamic Microphones13.1.2 Condenser Microphones13.1.3 Ribbon Microphones13.1.4 Other Audio Transducers13.2 Microphone Characteristics13.2.1 Microphone Polar Patterns13.2.2 Other Microphone Characteristics13.3 The Complete Recording Signal Chain13.3.1 Audio Convertors13.3.2 Mixing Desk13.3.3 Microphone Preamplifiers13.3.4 Recording with FX13.4 Monitoring and Foldback13.4.1 Control Room Monitoring13.4.2 Headphone Foldback14 We Need to Talk About Phase! 14.1 What Exactly is Phase?14.2 Time Delay and Comb Filtering14.3 Mono Compatibility14.4 Signal Polarity 15 Microphone Techniques for Recording Drums15.1 Microphone Placement Approaches15.2 Stereo Recording for Drums15.2.1 Defining The Stereo Field15.2.2 Spaced Pair Technique15.2.3 X-Y Technique15.2.4 Blumlein Pair Technique15.2.5 ORTF Technique15.2.6 Mid-Side Technique15.2.7 Baffled Omnidirectional Pair Technique15.2.8 Decca Tree Technique15.2.9 Left-Right-Center Technique15.3 Using Spot Microphone Techniques15.3.1 Kick Drum Microphone Technique15.3.2 Snare Drum Microphone Technique15.3.3 Tom Drum Microphone Technique15.3.4 Close Cymbal Microphone Technique15.4 Room Microphones 15.5 Microphone Choices for Recording Drums15.6 Developing a Personal Approach16 Mixing Drums: Balance and Dynamics16.1 Balance, Panning and Bussing16.2 Dynamics Processing16.2.1 Compression and Limiting16.2.2 Gates and Expanders16.2.3 Envelope Shaping16.3 Hybrid mixing17 Mixing Drums: Creative Processing17.1 Equalisation and Spectral Processing17.1.1 Cutting Low Frequencies17.1.2 Treating the Fundamental and Overtones of Each Drum17.1.3 Adding Attack and Presence17.1.4 Controlling High Frequencies17.2 Using Reverb to Regain Authenticity17.3 Delay for Drums17.4 Distortion and Enhancers17.5 Sequential and Sidechain and Processing17.6 Drum Replacement17.7 The Final MixdownIndex
£33.99
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
Cambridge University Press Speech and Audio Processing
Book SynopsisWith this comprehensive and accessible introduction to the field, you will gain all the skills and knowledge needed to work with current and future audio, speech, and hearing processing technologies. Topics covered include mobile telephony, human-computer interfacing through speech, medical applications of speech and hearing technology, electronic music, audio compression and reproduction, big data audio systems and the analysis of sounds in the environment. All of this is supported by numerous practical illustrations, exercises, and hands-on MATLAB examples on topics as diverse as psychoacoustics (including some auditory illusions), voice changers, speech compression, signal analysis and visualisation, stereo processing, low-frequency ultrasonic scanning, and machine learning techniques for big data. With its pragmatic and application driven focus, and concise explanations, this is an essential resource for anyone who wants to rapidly gain a practical understanding of speech and audioTrade Review'Professor Ian Vince McLoughlin, a researcher and an educator, has produced a comprehensive and a complete book on speech and audio signal processing that includes many examples and exercises. This is an authoritative book that covers both basic principles and a wealth of advanced and emerging topics … The concepts are clearly explained and the chapters are organized well with introductions that lead to deeper analysis of topics covered in those chapters.' Benjamin Premkumar, University of Malaya, Malaysia'Professor McLoughlin has condensed the very broad research and subject area of speech and audio processing into a highly readable book - it provides new students to the field with a very quick and practical overview of the subject.' Chng Eng Siong, Nanyang Technological University, SingaporeTable of Contents1. Introduction; 2. Basic audio processing; 3. Speech; 4. The human auditory system; 5. Psychoacoustics; 6. Speech communications; 7. Audio analysis; 8. Big data; 9. Speech recognition; 10. Advanced topics; 11. Conclusion.
£999.99
Penguin Random House LLC Wired for Speech How Voice Activates and Advances the HumanComputer Relationship
£47.53
Packt Publishing Limited Model Context Protocol for LLMs
£44.07
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.
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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
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O'Reilly Media Stream Processing with Apache Spark
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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.
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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
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Taylor & Francis Spatial Audio Music Technology S
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