Audio processing Books

The Live Event Video Technician covers terms, format types, concepts, and technologies used in video production for corporate meetings, concerts, special events, and theatrical productions.The book begins by providing a history of the industry and an overview of important roles and functions therein. It then discusses various display technologies such as LED walls and video projection, as well as video systems for converting and switching of various types of sources. Presenting the cornerstone formats, connectors, and methodologies of visual technology, this book offers a strong foundation to help readers navigate this ever-changing field. Written in an accessible tone, the book clarifies jargon and is an overarching source of knowledge for the role of the video technician, for which there has previously been little formal training.The Live Event Video Technician provides a wealth of practical information for students of media and communications courses

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Book SynopsisAuditory Interfaces explores how human-computer interactions can be significantly enhanced through the improved use of the audio channel. Providing historical, theoretical and practical perspectives, the book begins with an introductory overview, before presenting cutting-edge research with chapters on embodied music recognition, nonspeech audio, and user interfaces. This book will be of interest to advanced students, researchers and professionals working in a range of fields, from audio sound systems, to human-computer interaction and computer science.Table of ContentsList of Figures List of Tables Preface0.1 Introduction0.2 Overview0.3 The Authors1 Nonspeech audio: an introduction1.1 Introduction1.2 What About Noise?1.3 Figure and Ground in Audio1.4 Sound and the Visually Impaired1.5 Auditory Display Techniques1.6 Some Examples1.7 Sound in Collaborative Work1.8 Function and Signal Type1.8.1 Alarms and Warning Systems1.9 Audio Cues and Learning1.10 Perception and Psychoacoustics1.11 The Logistics of Sound1.12 Summary2 Acoustics and psychoacoustics2.1 Introduction2.2 Acoustics2.2.1 Waveforms2.2.2 Fourier analysis and spectral plots 2.3 More Complex waves 2.3.1 Sound, Obstacles, Bending and Shadows2.3.2 Phase: its Implication on Sound and Representations2.3.3 The Inverse Square Law2.3.4 Helmholtz Revisited2.3.5 Spectrograms2.3.6 Formants vs Partials2.4 Some digital signal processing concepts2.5 Spatial Hearing2.5.1 Head-related transfer functions (HRTF)2.5.2 3D sound distance and reverberation2.6 Psychoacoustics2.6.1 Just Noticeable Difference (JND)2.6.2 Critical Bands2.6.3 Pitch2.6.4 Pitches, Intervals, Scales and Ratios2.6.5 Loudness2.6.6 Duration, Attack Time and Rhythm.2.6.7 Microvariation and Spectral Fusion2.6.8 Timbre2.6.9 Masking2.6.10 Auditory Streaming2.6.11 Sounds with Variations2.6.12 Psychoacoustic Illusions2.7 Perception of 3D sound2.7.1 Precedence / Hass effect2.7.2 Binaural Rendering2.8 Hearing versus listening2.9 Annoying sounds2.10 Pleasant sounds2.11 Embodied sound and music cognition2.12 Conclusions3 Sonification3.1 Introduction3.2 History3.3 Model based sonification3.4 Case Studies3.4.1 Case Study 1: Presenting Information in Sound3.4.2 Case Study 2: Dynamic Representation of Multivariate Time Series Data3.4.3 Case Study 3: Stereophonic and Surface Sound Generation3.4.4 Case Study 4: Auditory Presentation of Experimental Data3.4.5 Case Study 5: Sonification of EEG data3.5 Discussion3.6 Issues3.7 Issues of Data3.7.1 Issues of Sound Parameters3.7.2 Issues of Evaluation3.8 Conclusions4 Earcons4.1 Introduction4.2 Case Studies4.2.1 Case Study 1: Alarms and Warning Systems4.2.2 Alarms as Applied Psychoacoustics4.2.3 Problems With Traditional Alarms and Convergences with Audio Interfaces4.2.4 Case Study 2: Concurrent earcons4.2.5 Case Study 3: Earcons for visually impaired users4.3 Conclusions5 Everyday listening5.1 Introduction5.2 Musical and Everyday Listening5.2.1 Musical and Everyday Listening are Experiences5.3 The Psychology of Everyday Listening5.3.1 Knowledge About Everyday Listening5.4 The Ecological Approach To Perception5.4.1 Developing An Ecological Account Of Listening5.5 What Do We Hear?5.6 The Physics of Sound-Producing Events 5.7 Vibrating Objects 5.7.1 Aerodynamic Sounds 5.7.2 Liquid Sounds 5.7.3 Temporally Complex Events 5.8 Asking People What They Hear 5.9 Attributes of Everyday Listening 5.10 Patterned, Compound, and Hybrid Complex Sounds 5.10.1 Problems and Potentials of the Framework 5.11 How Do We Hear It? 5.12 Analysis and Synthesis of Sounds and Events 5.12.1 Breaking and Bouncing Bottles 5.12.2 Impact Sounds 5.12.3 Material and Length 5.12.4 Internal Friction and Material 5.13 Sound synthesis by physical modelling 5.14 Conclusions 6. Auditory icons 6.1 Introduction 6.2 Advantages of Auditory Icons 6.3 Systems Which Use Auditory Icons 6.3.1 Case Study 1: The SonicFinder: Creating an Auditory Desktop 6.3.2 Case study 2: SoundShark: Sounds in a Large Collaborative Environment 6.3.3 Case study 3: ARKola: Studying the Use of Sound in a Complex System 6.3.4 Case study 4: ShareMon: Background Sounds for Awareness 6.3.5 Case study 5: EAR: Environmental Audio Reminders 6.3.6 Case study 6: Shoogle: Excitatory Multimodal Interaction on Mobile Devices 6.3.7 Summary 6.4 Issues for Auditory Icons 6.4.1 Mapping Sounds to Events 6.4.2 What is Being Mapped to What? 6.4.3 Types of Mapping6.5 The Vocabulary of Auditory Icons6.5.1 Beyond Literal Mappings: Metaphors, Sound-effects, Cliche´s, and Genre Sounds6.6 Annoyance6.7 The Psychoacoustics of Annoying Sounds6.7.1 The Principle of Optimal Complexity6.7.2 Semantic Effects6.7.3 The Tension Between Clarity and Obtrusiveness6.8 Conclusions6.9 What’s Next?7 Sonic Interaction Design7.1 Introduction7.2 Psychology of sonic interactions7.3 Sonic interactions in products7.4 Examples of objects with interesting sounds7.5 Methods in sonic interaction design7.6 Case studies7.6.1 Case study 1: Naturalness influences perceived usability and pleasantness7.6.2 Case study 2: The Ballancer: continuous sonic feedback from a rolling ball7.7 Challenges of evaluation7.8 Conclusions8 Multimodal Interactions8.1 Introduction8.2 Audio-visual Interactions8.3 Embodied interactions8.4 Audio-haptic Interactions8.5 Case study 1: Haptic Wave8.6 Conclusions9 Spatial auditory displays9.1 Introduction9.2 Hearables9.3 Case studies9.3.1 Case study 1: the LISTEN system9.3.2 Case study 2: Soundscape by Microsoft9.3.3 Case study 3: SWAN: a system for wearable audio navigation9.3.4 Case study 4: Superhuman hearing9.4 Conclusions 10 Synthesis and control of auditory icons 10.1 Introduction10.2 Generating and Controlling Sounds10.3 Parameterized Icons10.3.1 Creating Parameterized Auditory Icons10.3.2 Acoustic Information For Events10.3.3 Analysis and Synthesis of Events10.3.4 Impact Sounds10.3.5 Mapping Synthesis Parameters to Source Attributes10.3.6 An Efficient Algorithm for Synthesis10.3.7 Breaking, Bouncing, and Spilling10.3.8 From Impacts To Scraping10.3.9 Machine Sounds10.4 Physics based simulations10.5 Communicating with sound models10.6 Evaluation of sound synthesis methods10.7 Conclusions11 Summary and future research Bibliography Index

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Book SynopsisWhere most introductory texts to the field of digital signal processing assume a degree of technical knowledge, this class-tested textbook provides a comprehensive introduction to the fundamentals of digital signal processing in a way that is accessible to all.Beginning from the first principles, readers will learn how signals are acquired, represented, analyzed and transformed by digital computers. Specific attention is given to digital sampling, discrete Fourier analysis and linear filtering in the time and frequency domains. All concepts are introduced practically and theoretically, combining intuitive illustrations, mathematical derivations and software implementations written in the Python programming language. Practical exercises are included at the end of each chapter to test reader knowledge.Written in a clear and accessible style, Digital Signals Theory is particularly aimed at students and general readers interested in audio and digital signal processiTable of ContentsSignals. Digital Sampling. Convolution. The Discrete Fourier Transform. Properties of the DFT. DFT Invertibility. Fast Fourier Transform. Time Frequency Representation. Frequency Domain Convolution. Infinite Impulse Response Filters. Analyzing IIR filters. Appendix.

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Book SynopsisThis book provides a unique identity-centered approach to radio, audio, and podcast production which encourages readers to build their confidence and create audio content that matters to them.Written for those just starting out in audio production and focusing on the process of their self-development, readers will learn how to use sound to express themselves in a variety of ways and to create powerful stories in the process all with the tools already available to them. At the centre of this approach is the author's R.E.A.L. method, referring to the creation of audio that is relatable, engaging, authentic, and liberating. Students will learn to apply this concept to each step of the production process, from planning and writing through to interviewing, broadcasting, and responding to feedback. By the end of this book readers will have developed a working knowledge of podcast, audio, and radio production alongside their own means of self-expression.Supported by exerciseTable of ContentsAcknowledgementsIntroductionPART I: DISCOVERERChapter 1: Welcome Discoverer: Creating Audio Within ReachChapter 2: The Discoverer’s Toolkit: What You’ll Need to Get GoingChapter 3: Discovering Effective Writing for Ears & AudiencesChapter 4: Discovering Advantages and PossibilitiesPART II: DeveloperChapter 5: Welcome Developer: Interviews - The Key Ingredient for Making the Meal Chapter 6: Preparing the Meal in the Kitchen: Developing Tasty ProgramsChapter 7: In the Oven: Developing Audio Cooked to PerfectionPART III: DELIVERERChapter 8: Faster, Sooner, More: The Insatiable Audience for PodcastsChapter 9: Going Live! The Thrill of Live RadioPART IV: DecoderChapter 10: Feedback: The Best Way to Keep ImprovingOutro: R.E.A.L. Audio: A Manifesto for Creating Compelling ContentIndex

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Book SynopsisThe Synergy of Music and Image in Audiovisual Culture: Half-Heard Sounds and Peripheral Visions asks what it means to understand music as part of an audiovisual whole, rather than separate components of music and film. Bringing together revised and updated essays on music in a variety of media â including film, television, and video games â this book explores the importance of partially perceived and registered auditory and visual elements and cultural context in creating unique audiovisual experiences. Critiquing traditional models of the film score, The Synergy of Music and Image in Audiovisual Culture enables readers across music, film, and cultural studies to approach and think about audiovisual culture in new ways.Table of Contents1. Introduction: Conceiving Music’s Relationship to Image2. "The ‘Ghostly Effect’ Revisited": Film Music as Naked Effect3. Musical Sound Design4. The Classical Film Score: Persistence and Revival5. Working with and Against Genre Tradition: De-Westernizing the Western6. Cult: (Long Live) the New Silents7. Resurfacing Film Heritage through Music8. The Primal Psychology of Film Music9. Music and Atmosphere: Music as ‘Set’10. Musicals, Commerce and Race: White Labels and Black Imports11. Film’s Relations with the Music Industry12. Music as an Extra Imaginative Dimension13. Game Mechanisms/Mechanics: The Indifference of Musical Destiny

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Book SynopsisSonic Pasts explores the fields of acoustical heritage and historical soundscapes through an interdisciplinary perspective. Reflecting on different methods of research and dissemination, it critiques biases related to race, ethnicity, gender, socioeconomics, and disability that are intrinsic to these fields.Academically rigorous while also deeply personal, Sonic Pasts introduces readers to how various disciplines have studied the sounds of the past, the connection those studies have to heritage more widely, including the concept of Intangible Cultural Heritage (ICH), and how sound is represented within UNESCO heritage listings. It offers a novel theoretical and practical framework on different approaches to the design of sound installations and online experiences on the topic, including the ethical challenges presented by different techniques.This book is essential reading for students and researchers considering sounds of the past, as well as sound and h

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Book SynopsisThe Road Crew: Live Music and Touring is an in-depth study of the road crew â the group of workers who handle the logistical and technical requirements of popular music concert tours â that provides an extensive look at the activities and personnel involved in the daily operation of these events.Using interviews with road crew members, participant observation at concert venues and archival research, this book covers a range of topics, including how they learn their roles and maintain work through networks and informal practices, the experience of being on tour and the workplace culture of road crews, the daily tasks and necessary documents that contribute to the realisation of concert events, and the integral role that tour managers play in the working lives of musicians. The book also provides important insights into the experience of women working in a male-dominated field, the ways in which hierarchy shapes the working lives of âœsupportâ workers and the effects oTrade Review'This short, highly engaging book lets us into the backstage world of the workers essential to the live music industries. Through ethnography, interviews, and archival research, Kielich provides an intimate account of the labor which sustains the tours of major rock artists. With an eye towards the details of crew members’ working days, their camaraderie and culture, gender norms, and the “care work” of tour managers, The Road Crew places rock stars as bosses, crew members as part of the vast numbers of freelance gig workers animating popular culture. Kielich documents road crew work’s informality and rules, its social costs and joys, its brutal schedules and surprising power relations. An essential book for anyone seeking to grasp the full scope of the labor of live music.'Shannon Garland, University of California, Merced, USATable of Contents1. What is a Road Crew? 2. Getting In, Getting Hired, Working, Leaving 3. Show Days 4. Being on Tour 5. Looking After Musicians

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Book SynopsisElectronic Visual Music is a comprehensive guide to the composition and performance of visual music, and an essential text for those wanting to explore the history, current practice, performance strategies, compositional methodologies and practical techniques for conceiving and creating electronic visual music.Beginning with historical perspectives to inspire the reader to work creatively and develop their own individual style, visual music theory is then discussed in an accessible form, providing a series of strategies for implementing ideas. Including interviews with current practitioners, Electronic Visual Music provides insight into contemporary working methods and gives a snapshot of the state of the art in this ever-evolving creative discipline. This book is a valuable resource for artists and practitioners, as well as students, educators and researchers working in disciplines such as music composition, music production, video arts, animation and related media arts, who are interested in informing their own work and learning new strategies and techniques for exploration and creative expression of electronic visual music.Trade Review'This offers an original take on visual music, rooted in the author's extensive experience working as a creator in the field. It has a distinctive focus on electronic music and visuals, and offers a useful mix of historical antecedents, interviews with current practitioners and pointers for practical and creative work.'Joseph Hyde, Emeritus Professor, Creative Music Technology, Bath Spa University'Dave Payling, due to his large experience as a professor, researcher and artist, successfully accomplished the task of producing a comprehensive book on the fascinating theme of electronic visual music. He addresses didactically the relevant theoretical topics and provides fertile insights related to the creative process for those interested in diving into this art.'Antenor Ferreira, University of Brasília, BrazilTable of Contents1. Discover: Electronic Visual Music in Context 2. Communicate: Electronic Visual Music Conversations 3. Perform: Live Electronic Visual Music 4. Compose: Electronic Visual Music 5. Create: Electronic Visual Music

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Book SynopsisClass-D Audio Power Amplifier Design is a comprehensive and detailed guide to Class-D amplifiers. Including historical perspectives covering the evolution of Class-D to the present day, this book provides a detailed discussion of each Class-D functional block.With design guidance to optimize performance, the reader will learn from a series of real-life examples and design challenges to equip them in designing reliable, high-performance Class-D audio amplifiers. Featuring numerous diagrams and schematics to aid learning, chapters also cover a wide range of topics, such as: Power supply considerations EMI mitigation Multi-channel designs Gate driver circuits L-C demodulation filters. Class-D Audio Power Amplifier Design is the essential reference guide for students, researchers, and professionals engaged with audio electronics.

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Book SynopsisAudio Mastering: Separating the Science from Fiction is an ideal guide to tangible development as a mastering engineer. This book offers a comprehensive overview of mastering processes, teaching the reader to link critical listening skills with analysis to comprehend the processing required to improve the quality of their audio.Whether involved in game audio, composing for film and television, producing rock or programming EDM, the aesthetics required to manipulate and assess audio for mastering are a highly valuable addition to any artist or engineer's skill set. Audio Mastering encourages readers to engage in personal analysis and, in doing so, contextualise their evaluations by linking to appropriate and available processing tools. Discussion of processing conventions and theory are included to help readers create an effective audio chain utilising the best properties from each process, as well as practical examples and additional online resources to support

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Welcome to the fourth volume of Game Audio Programming: Principles and Practices the first series of its kind dedicated to the art, science, and craft of game audio programming. This volume contains 17 chapters from some of the top game audio programmers in the industry and dives into subjects that apply to diverse game genres and from low-level topics such as thread-safe command buffers and pitch detection to high-level topics such as object management, music systems, and audio tools.With such a wide variety of topics, game audio programmers of all levels will find something for them in this book. The techniques presented in this book have all been used to ship games, including some large AAA titles, so they are all practical and many will find their way into your audio engines. There are chapters about timed ADSRs, data-driven music systems, background sounds, and more.This book collects a wealth of advanced knowledge and wisdom about gam

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Book SynopsisMusic Technology Essentials provides an overview of the vocabulary, techniques, concepts, and devices used in contemporary music production and guides readers through the essential fundamentals of music technology so that they can create their own music productions at home.This highly accessible book covers sound fundamentals and theory, as well as practical topics like hardware, software, MIDI, digital audio, synthesis, computer notation, and audio-visual applications, to equip the reader with the principles they need to achieve professional-sounding results. Each chapter is accompanied by real-life examples and exercises that can be applied to any digital audio workstation software, to put the lessons into practice. This book will also help readers evaluate their requirements for home music production while working within a sensible budget. Music Technology Essentials is the ideal textbook for beginners inside and outside of the classroom, including tTrade Review'Music Technology Essentials methodically covers everything needed for developing music creators to build a home studio and get the best results out of their gear. Maz’s book provides historical context, clear but detailed explanations, and hands-on activities for each chapter.' Dr. Linda Antas, Associate Professor of Music, Montana State UniversityTable of Contents1. The Home Studio 2. What Is Sound 3. Digital Audio 4. Computers 5. Digital Audio Workstations 6. Audio Effects 7. Audio Hardware 8. MIDI 9. Synthesis and Sampling 10. Computer Music Notation 11. Growth and Development

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Book SynopsisThis book is a theoretical and practical deep dive into the craft of worldbuilding for video games, with an explicit focus on how different job disciplines contribute to worldbuilding. In addition to providing lenses for recognizing the various components in creating fictional and digital worlds, the author positions worldbuilding as a reciprocal and dynamic process, a process which acknowledges that worldbuilding is both created by and instrumental in the design of narrative, gameplay, art, audio, and more. Collaborative Worldbuilding for Video Games encourages mutual respect and collaboration among teams and provides game writers and narrative designers tools for effectively incorporating other job roles into their own worldbuilding practice and vice versa.Features: Provides in-depth exploration of worldbuilding via respective job disciplines Deep dives and case studies into a variety of games, both AAA and indie <Table of Contents Author. Acknowledgments. Introduction: Being in Awe. Chapter 1 Overview of Worldbuilding. Chapter 2 A Cross-Discipline Breakdown of Worldbuilding. Chapter 3 How to Get Started Creating a World. Chapter 4 Collaboration in Worldbuilding: A Series of Deeper Dives. Chapter 5 Identity, World Systems, and Responsibility. Chapter 6 Conclusion: It’s in the Details. INDEX.

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Book SynopsisBuild AI-Enhanced Audio Plugins with C++ explains how to embed artificial intelligence technology inside tools that can be used by audio and music professionals, through worked examples using Python, C++ and audio APIs which demonstrate how to combine technologies to produce professional, AI-enhanced creative tools.Alongside a freely accessible source code repository created by the author that accompanies the book for readers to reference, each chapter is supported by complete example applications and projects, including an autonomous music improviser, a neural network-based synthesizer meta-programmer and a neural audio effects processor. Detailed instructions on how to build each example are also provided, including source code extracts, diagrams and background theory.This is an essential guide for software developers and programmers of all levels looking to integrate AI into their systems, as well as educators and students of audio programming, machine lear

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Book SynopsisLearn how to create compelling game storylines.Four experienced narrative designers from different genres of game development have banded together to create this all-inclusive guide on what it''s like to work as a writer and narrative designer in the video game industry. From concept to final testing, The Game Narrative Toolbox walks readers through what role a narrative designer plays on a development team and what the requirements are at every stage of development. Drawing on real experiences, authors Tobias Heussner, Toiya Kristen Finley, PhD, Ann Lemay, and Jennifer Brandes Hepler provide invaluable advice for writing compelling player-centered stories and effective dialogue trees to help readers make the switch from writing prose or screenplay to interactive.Thoroughly revised, the Second Edition includes updated content reflecting the industry's latest developments. In addition to revised and updated chapters, this new edition features tTable of ContentsChapter 01 What Is Narrative Design?Chapter 02 The ConceptChapter 03 WorldbuildingChapter 04 CharactersChapter 05 StoryChapter 06 Implementation and ProductionChapter 07 DialogueChapter 08 Cutscenes and CinematicsChapter 09 TroubleshootingChapter 10 Visual NovelsChapter 11 Storytelling in Open-World Games and Games-as-a-Service Conclusion References

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Book SynopsisAnalog Audio Amplifier Design introduces all the fundamental principles of analog audio amplifiers, alongside practical circuit design techniques and advanced topics. Covering all the basics of amplifier operation and configuration, as well as high-end audio amplifiers, this is a comprehensive guide with design examples and exercises throughout. With chapters on single-device, operational, multi-stage, voltage buffer, power, line-stage and phono-stage amplifiers, Analog Audio Amplifier Design is a comprehensive and practical introduction that empowers readers to master a range of design techniques. This book also provides a variety of graphs and tables of key amplifying devices and properties of amplifier configurations for easy reference. This is an essential resource for audio professionals and hobbyists interested in audio electronics and audio engineering, as well as students on electrical and audio engineering courses. Table of Contents1. Introduction 2. DC analysis for amplifying devices 3. AC analysis for amplifying devices 4. Operational amplifiers 5. Feedback and frequency response 6. Voltage buffer amplifiers 7. Line-stage amplifiers - solid-state 8. Line-stage amplifiers - vacuum tubes 9. Noise in audio amplifiers 10. Phono-stage amplifiers 11. Power amplifiers - vacuum tube 12. Power amplifiers - solid-state 13. Power amplifiers - hybrid 14. DC regulated power supplies

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Book SynopsisMusic Technology in Live Performance explores techniques to augment live musical performance and represents a comprehensive guide to best practices in music technology for live performance. This book presents a practical and accessible introduction to the theories of liveness and an array of live performance technologies and techniques. Areas covered include analogue and digital audio, live sound, the recording studio, and electronic music, revealing best professional practices and expert tips, alongside an exploration of approaches to increasing the exchange of energy in live performance. Music Technology in Live Performance is an ideal introduction for students of music performance, music production, and music technology, and a vital resource for professional musicians, producers, and technology developers. Trade Review“What Canfer has achieved is to condense a complex and sprawling field of knowledge and practice, usually expressed as an intuitive process akin to the mystic arts, into a clear, practical and digestible framework. By examining all of the human and technological processes in music performance through the lens of energy exchange, he has given us a precise and useful tool with which to demystify and explain music tech – both extant and emergent.”Andrew Dubber, Director, MTF Labs“A holistic and well-structured introduction to all technology in and around the stage. A must-read for producers and live sound engineers alike.”Kirsten Hermes, Electronic Music Producer and Senior Lecturer, University of Westminster“A timely and authoritative exposition of the state of the art. Bridging the theoretical and the practical, it is sure to inspire as much as to inform.”Bill Evans, Producer (Flying Colors, Deep Purple, Steve Vai, Alice Cooper)Table of Contents1. Audio and live sound 2. Sound manipulation techniques of the recording studio 3. Electronic sound creation techniques: synthesis and sampling 4. Tools of music technology 5. Music technology in live performance

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Book SynopsisBecome a Competent Music Producer in 365 Days is a comprehensive, step-by-step guide to the fundamentals of music-production. Over the course of a year, this book takes the reader through ten chapters covering mixing, equalization, compression, reverb, delay and modulation, automation, vocals, synthesis, and mastering. To combat the patchy nature of fast' online content, this book provides an accessible and easily digestible course. Each chapter is broken down into daily readings and tasks, so that each topic can be fully explored, understood, and implemented before moving onto the next, with a range of online video tutorials that offer useful companion material to the book.Become a Competent Music Producer in 365 Days is an ideal introduction for beginners of all backgrounds, and students in further and higher education music-production classes, as well as aspiring professionals, hobbyists, and self-taught producers, who wish to have a thorough grasp oTrade Review"Sam George has broken down the fundamental elements of music production and presented them in an easily digestible format. A must read for any producer at any level." Dom Brown, musician, songwriter, producer, and lead guitarist (Duran Duran)"I love how this book brings effortless simplicity to the art of music production. I fully recommend it." Damian Keyes, Educator, Founder of BIMM and DK-MBA"A bite-sized, action-based, and investigative approach which allows readers to apply industry-standard knowledge and techniques to their creative products and projects. This book is high on my recommended reading list, and it should be on yours too!"Nathan Lilley, Music Educator, Innovator, and ELAM Vice PrincipalTable of Contents1. Unit One: Balancing a Mix 2. Unit Two: Panning a Mix 3. Unit Three: EQ 4. Unit Four: Compression 5. Unit Five: Reverb 6. Unit Six: Delay and Modulation Effects 7. Unit Seven: Automation 8. Unit Eight: Vocals 9. Unit Nine: Synthesis 10. Unit Ten: Mastering

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Book SynopsisThe nature of game music charges the modern-day composer with understanding a whole host of aesthetic and technical principles unique to the medium. Based on years of working in the field, as well as teaching the subject at colleges and universities, The Theory and Practice of Writing Music for Games is an invaluable resource for those looking for a classroom tested, directed course of study.As players and composers, themselves, authors Steve Horowitz and Scott R. Looney share the inspiration and joy of game music with an emphasis on critical thinking and the creative process, exploring the parallels and distinctions to concert music, film, TV, cartoons, and other popular forms.Each chapter builds on the next and guides the reader step by step through the essentials. Along with all the theory, a multitude of clearly defined hands-on projects and exercises are included, designed to prepare the reader to go out into the field with a complete undTable of ContentsChp. 01 The Adaptive Composer Chp. 02 Building Blocks Chp. 03 The Composer's Toolbox Chp. 04 Music As Information Chp. 05 Cinematic Transitions Chp. 06 Living in Limbo Chp. 07 Get In The Game, Applied Musical Concepts Chp. 08 Middleware Music concepts & The Technical Composer Chp. 09 Advanced Approaches Chp. 10 Lessons Earned Section II Assignment 01 Composer Report Assignment 02 Create the Music Section of a GDD (Game Design Document) Assignment 03 (A) Setting Up YourWork Space Assignment 03 (B) Welcome To The Screen Shot Challenge Assignment 04 Notation Exploration Assignment 05 Classic To Modernity, The Art of Translation Assignment 06 Composing For Cinematics Assignment 07 Defining Form Assignment 08 Welcome to the Limbo Challenge Assignment 09 Gameplay Music Analysis Assignment 10 Breakout! Assignment 11 THE MUSIC MAZE Assignment 12 Mood Board Assignment 13 DAY & NIGHT Assignment 14 Create A Technical Design Document (TDD) Assignment 15 Create a Website and Artists statement

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Practical, concise, and approachable, the third edition of Audio Engineering 101: A Beginner's Guide to Music Production offers readers an extensive introduction to audio engineering and music production. Featuring step-by-step breakdowns and interviews with active professionals, the book covers waveform characteristics, EQ, signal flow, acoustics, and signal processors, as well as often overlooked topics such as internships, people skills, and job opportunities in the industry. This updated edition includes answers to common questions from audio engineering students by a diverse range of professionals, as well as a more extensive chapter discussing microphones. QR codes are included throughout the book, providing readers instant access to video and audio clips to aid in the comprehension of the material.Filled with practical advice for navigating a mysterious and confusing industry, and supported by extensive audio and video resources, Audio Engineering 101<

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Book SynopsisThe Music Business for Music Creators is a roadmap to understanding the traditional and emerging income streams that define the modern music industry. It presents the key concepts and principles that underpin the business, with an emphasis on educating and empowering the next generation of music creators to build a career from their creative pursuits.The book provides a comprehensive overview of the mechanics of the music business, from music publishing, marketing and contract negotiation to licensing, streaming and performing. This accessible guide is written with music creators in mind and features case studies, profiles and interviews with established professionals, as well as a glossary of key terms to empower the reader in their understanding of the industry, alongside a number of useful accompanying digital resources.This book is core reading for students of music business and music creation in contemporary music education, and an essential resource for th

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Book SynopsisAesthetic Noise: The Philosophy of Intentional Listening considers the complex nature of noise within the framework of philosophical filtering, examining how, if noise is engaged with aesthetically, it can produce profound experiences and understandings.Applying the philosophies of Edmund Burke, Martin Heidegger, Jacque Derrida, and Julia Kristeva to works by Luigi Russolo, John Cage, Steve Reich, Alison Knowles, Annea Lockwood, Alyce Santoro, and Sunn O))), this book explores noise as an art material, and ultimately how it can become a tool for activism and expanded creative possibilities. It demonstrates that, by engaging multiple philosophies in concert, the value of aesthetic noise is amplified, thus allowing the listener to better appreciate noise and its possibilities.Providing greater insights into noise as an aesthetic material, Aesthetic Noise will be of interest to researchers and students of sound studies, philosophy, and sound art, as well as

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Book SynopsisInnovation in Music: Cultures and Contexts is a groundbreaking collection bringing together contributions from instructors, researchers, and professionals. Split into two sections, covering creative production practices and national/international perspectives, this volume offers truly global outlooks on ever-evolving practices.Including chapters on Dolby Atmos, the history of distortion, creativity in the pandemic, and remote music collaboration, this is recommended reading for professionals, students, and researchers looking for global insights into the fields of music production, music business, and music technology.

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Book SynopsisProfessor Craig Caldwellâs Story Structure and Development provides a clear and practical approach to understanding the essentials of storytelling. This book distills fundamental elements, principles, and structures, explicitly tailored for animators, game designers, VFX artists, and XR creators, so they can seamlessly integrate these concepts into their work. It is a comprehensive guide, enriched with extensive insights and advice from industry professionals.The thoroughly revised and updated Second Edition introduces new film and animation examples alongside over 200 vibrant images designed with todayâs digital content creators in mind. Organized to enhance accessibility, this edition offers a structured approach to the story fundamentals critical to todayâs movies, animation, games, and XR. Readers will gain valuable insights into the universal patterns of narrative, gaining a deeper understanding of the core story concepts that directors and producers often emphasize with the phrase, Itâs all about story.Key Features: Comprehensive Story Structure: This approach consolidates universal story frameworks across the digital media industry into a single, accessible text Visual Learning: Features a wealth of illustrations and visuals that reinforce and clarify key concepts for visual learners Flexible Organization: It is structured to allow readers to access sections in a non-linear manner, either for individual reference or adaptation to various teaching methodologies

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Book SynopsisDigital Storytelling: A Creatorâs Guide to Interactive Entertainment, Volume I, fifth edition delves into the fascinating and groundbreaking stories enabled by interactive digital media, examining both fictional and nonâfiction narratives. This fifth edition explores monumental developments, particularly the emergence of generative AI, and highlights exciting projects utilizing this technology. Additionally, it covers social media; interactive documentaries; immersive environments; and innovative uses of video games, chatbots, and virtual reality.Carolyn Handler Miller provides insights into storytelling essentials like character development, plot, structure, dialogue, and emotion, while examining how digital media and interactivity influence these elements. This book also dives into advanced topics, such as narratives using AR, VR, and XR, alongside new forms of immersive media, including large screens, escape rooms, and theme park experiences.With numerous case studies, this edition illustrates the creative possibilities of digital storytelling and its applications beyond entertainment, such as education, training, information, and promotion. Interviews with industry leaders further enhance the understanding of this evolving universe, making it a valuable resource for both professionals and enthusiasts.Key Features:â This book includes up-to-the-minute developments in digital storytelling.â It offers case studies of noteworthy examples of digital storytelling.â It includes a glossary clearly defining new or difficult terms.â Each chapter opens with several thought-provoking questions about the chapterâs topic.â Each chapter concludes with several creative and engaging exercises to promote the readerâs understanding of the chapterâs topic.

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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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Book SynopsisComposing Music for Games  is a guidebook for launching and maintaining a successful career as a video game composer. It offers a pragmatic approach to learning, intensified through challenging project assignments and simulations. Author Chance Thomas begins with the foundation of scoring principles applicable to all media, and then progresses serially through core methodologies specific to video game music. This book offers a powerful blend of aesthetic, technique, technology and business, which are all necessary components for a successful career as a video game composer.Table of ContentsDedicationIntroductionPERSPECTIVEThe Language of Music ScoringPRINCIPLESChapter 1 - Timeless Principles of Music ScoringChapter 2 - Distinguishing Principles of Video Game Scoring Chapter 3 - Applied Principles in Music Design TECHNIQUESChapter 4 - Basic Music Scoring Techniques for GamesChapter 5 - Advanced Music Scoring Techniques for GamesPROCESSESChapter 6 - Music CompositionChapter 7 - Music ProductionChapter 8 - Music Implementation BUSINESSChapter 9 - Tuning Up for SuccessChapter 10 - Hunting and GatheringChapter 11 - Money MattersChapter 12 - Lifestyle ManagementEVOLUTIONChapter 13 - Disruptive InnovationChapter 14 - Contemporary VanguardsChapter 15 - Career PhilanthropyAPPENDAGESAcknowledgementsIndexAbout the Author

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Book SynopsisIn Mixing with Impact: Learning to Make Musical Choices, Wessel Oltheten discusses the creative and technical concepts behind making a mix. Whether you're a dance producer in your home studio, a live mixer in a club, or an engineer in a big studio, the mindset is largely the same.The same goes for the questions you run into: where do you start? How do you deal with a context in which all the different parts affect each other? How do you avoid getting lost in technique? How do you direct your audience's attention? Why doesn't your mix sound as good as someone else's? How do you maintain your objectivity when you hear the same song a hundred times? How do your speakers affect your perception? What's the difference between one compressor and another?Following a clear structure, this book covers these and many other questions, bringing you closer and closer to answering the most important question of all: how do you tell a story with sound?Trade Review"Every now and then an indispensable book comes along that can profoundly influence you in the development of your audio skills – this might be one of them." David Baer, Sound Bytes"The usual topics of effects, compression, and EQ are covered but in more realistic, hands-on detail than most vague mixing guides usually are fluffed up with. Special attention is given early on to the importance of phase, space, and time and how all these interrelate. One of the best features of this book is that Wessel doesn’t generally hand out specific names of hardware or plug-ins to use but instead educates the user about actual techniques, what type of gear will achieve the desired goals, and why it works. These are the fundamental building blocks of quality mixing; not some whiz-bang plug-in template that claims to always deliver "perfect vocals" or some such lie. Other topics include the practical realities of maintaining objectivity, working with others, and even serving the clients’ needs as opposed to your own ego. Mixing with Impact is a perfect handbook for the mix engineer, and I find myself thumbing through it and nodding my head at all the truth within its pages." Larry Crane, Tape Op Magazine/Jackpot! Recording Studio"All in all, then, Mixing With Impact's 350 pages are packed with useful ideas, up-to-date, well-marshalled information, and great conceptual explanations backed up with lots of useful diagrams. It should help anyone with an open mind, be they seasoned pros or aspiring engineers taking their first tentative steps into the world of mixing, to reflect on and improve their own way of working." Matt Houghton, Sound on Sound Table of ContentsColophonPreface Travel guide for this bookChapter 1: The world of mixing1.1 Who is the mixer?1.2 Why is mixing necessary?1.3 What is the challenge?1.4 On rulesChapter 2: Listening2.1 Perception2.2 Your ear is a compressor2.3 Your ear is an equalizer2.4 Tuning in2.5 A fixed reference2.6 Taking professional care of your earsChapter 3: Laying the foundation 3.1 Before you start3.2 Foundation3.3 Balance3.4 Panning3.5 Mute is your friendChapter 4: The frequency spectrum4.1 Association is key4.2 Masking4.3 The goal of EQ4.4 EQ compassChapter 5: Dynamics5.1 Dynamics versus time5.2 Technical and musical dynamics5.3 Using compressors5.4 Reducing masking with compression5.5 Dynamics and loudnessChapter 6: Space6.1 Hearing space and distance6.2 Simulating space and distance6.3 How reverb works6.4 Using reverb6.5 How delay works6.6. Using delayChapter 7: Time and phase7.1 Interaction7.2 Combining microphones hierarchically7.3 Combining microphones non-hierarchically7.4 Phase manipulationChapter 8: Identity8.1 Innovation, imitation and inspiration8.2 Shaping identityChapter 9: Effects9.1 Distortion - simulating intensity9.1.1 How it works9.1.2 Distortion in a mix9.2 Re-amping - providing context9.2.1 How it works9.2.2 Re-amping in a mix9.3 Modulation - putting things in motion9.3.1 How it works9.3.2 Modulation in a mix9.4 Pitch manipulation - creating what wasn't there9.4.1 How it works9.4.2 Pitch shifting in a mix9.5 Triggering - cause and effect9.5.1 How it works9.5.2 Triggering in a mix9.6 Spectral editing - unreal reality9.6.1 How it works9.6.2 Spectral processing in a mixChapter 10: Automation10.1 Faders for each function10.2 Parallel constructions10.3 Change and conquer10.4 ExpressivityChapter 11: Advanced techniques11.1 The floor: keeping low frequencies in check11.2 The ceiling: creating clear mixes11.3 Securing the house: dynamic interventions11.4 The exterior walls: stereo processing11.5 Beyond the exterior walls: 3D panningChapter 12: Bus Compression12.1 Influence12.2 Choices and settings12.3 Multibus setups: painting on a colored canvasChapter 13: Templates13.1 Time is money13.2 Building templates13.3 Integrating equipment in the 21st centuryChapter 14: Preparing for mastering14.1 Communication14.2 What is a good mix?14.3 Mixbus processing14.4 Stems14.5 Consequences of loudness normalizationChapter 15: Mindset15.1 Doubt is fatal for a mix15.2 Imposed limitations - working in a context15.3 A guide for your mix15.4 Ways to stay freshChapter 16: The outside world16.1 Speaking the same language16.2 Reference tracks16.3 Feedback on the source material16.4 Feedback on the mix: revisions16.5 Working at a distance16.6 ConclusionChapter 17: Tools17.1 Basic acoustics17.1.1 Space17.1.2 Optimization17.2 Monitoring17.3 Subwoofers17.3.1 Why use a subwoofer?17.3.2 Choosing a subwoofer17.3.3 Installing and adjusting17.4 Headphones17.5 How EQ works and its side-effects17.6 How compressors work and their side-effectsIndex

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Book SynopsisWith an example-driven, hands-on approach, New Channels of Music Distribution offers a practical, comprehensive study of the music industry's evolving distribution system. While paying careful attention to the variables that impact success, C. Michael Brae examines the functionality and components of music distribution, as well as the music industry as a whole.This book is a one-stop guide and resource for all musicians, performers, songwriters, and label owners in understanding all the elements and efficiency of music distribution. Through its hands-on exploration of the music business, this book provides insightful strategies for executing marketing, radio, retail campaigns, and much more.Here you will find:* Specific DIY methods and strategies for distributing music throughout every platform possible* Case studies and discussions highlighting wholesale and retail markups, pricing strategies, major chains, rack jobbers, one-stops, mom and pop stores, and other retail outlets* Tips on how to incorporate retail distribution networks supporting Soundscan and employ marketing techniques using cutting-edge web technology* Distribution methods and promotion tactics to help you increase an effective sell-through on your musicAn accompanying website (www.routledge.com/cw/brae) features examples of distribution, licensing, and co-publishing agreements, sample Midem charts, sample proposals, quiz questions, web links and key terms.Table of ContentsChapter 1: Music Industry Study and FactsChapter 2: Music Copyright, Publishing & LicensingChapter 3: Manufacturing Processes, Systems, Product Platforms & Music ProductionChapter 4: Types of Distributors & Indie Distribution AssociationsChapter 5: Distribution ProcessesChapter 6: Distribution ResourcesChapter 7: Alternative Selling and Total ExposureChapter 8: Internet MarketingChapter 9: RadioChapter 10: Promotional Campaigns & PlanningChapter 11: Company StructureChapter 12: Record Label OrganizationChapter 13: International MarketsAppendix 1Appendix 2Appendix 3Appendix 4Appendix 5Appendix 6Appendix 7Appendix 8Glossary

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Book SynopsisMixing a Musical: Broadway Theatrical Sound Techniques, Second Edition pulls the curtain back on one of the least understood careers in live theatre: the role and responsibilities of the sound technician. This comprehensive book encompasses every position from shop crew labor to assistant designer to sound board operator and everything in between. Written in a clear and easy to read style, and illustrated with real-world examples of personal experience and professional interviews, Slaton shows you how to mix live theatre shows from the basics of equipment and set ups, using sound levels to creating atmosphere, emotion and tension to ensure a first rate performance every time.This new edition gives special attention to mixing techniques and practices. And, special features of the book include interviews with some of today's most successful mixers and designers. Trade Review"A comprehensive overview of how a skilled team of audio geeks turns a Broadway show into a sonic success." - Brandon Cudequest, Journal of the Audio Engineering SocietyTable of ContentsDedication Introduction PART I – THE CAREER PATH Chapter 1: What Does It Mean to be a Theatrical Mixer Chapter 2: History of Theatrical Sound Chapter 3: Different Positions in Theatrical Sound Chapter 4: Different Levels of Theatrical Sound PART II – THE PREP Chapter 5: Design Team’s Job Chapter 6: Mixer’s Job Chapter 7: The Shop Chapter 8: Build Schedule Chapter 9: Build Techniques PART III – THE TAKE-IN OR LOAD-IN Chapter 10: Design Team’s Job Chapter 11: Mixer’s Job Chapter 12: Unions Chapter 13: The Schedule PART IV - TECH Chapter 14: Tony Meola on Mixing Chapter 15: Design Team’s Job Chapter 16: Mixer’s Job Chapter 17: A2’s Job (Mic’ing Techniques) Chapter 18: Troubleshooting Chapter 19: Mixing the Musical Chapter 20: My Advice to Mixers Chapter 21: Tips from the Pros Chapter 22: Suggested Projects for Mixers Epilogue Index

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Book SynopsisTranslation, accessibility and the viewing experience of foreign, deaf and blind audiences has long been a neglected area of research within film studies. The same applies to the film industry, where current distribution strategies and exhibition platforms severely underestimate the audience that exists for foreign and accessible cinema. Translated and accessible versions are usually produced with limited time, for little remuneration, and traditionally involving zero contact with the creative team. Against this background, this book presents accessible filmmaking as an alternative approach, integrating translation and accessibility into the filmmaking process through collaboration between translators and filmmakers. The book introduces a wide notion of media accessibility and the concepts of the global version, the dubbing effect and subtitling blindness. It presents scientific evidence showing how translation and accessibility can impact the nature and reception of a film bTrade Review"Making films accessible across the world, and to those who have difficulty seeing or hearing, is something we should take seriously. Accessible filmmaking is clearly a very important subject that will give us a lot to think about. This book will make a valuable contribution to this and I wish it well." - Ken Loach, Film Director"Up to date, methodical, insightful, innovative and masterly interdisciplinary, this book extends the frontiers of our discipline and is destined to become a seminal contribution to both Film Studies and Translation Studies. Pablo’s arresting way of communicating ideas confirms his reputation as one of the finest scholars in translation today. A must-read, must-have book!"- Jorge Díaz Cintas, University College London, UK"This wonderfully wide-ranging and thoroughly researched book demonstrates in fascinating detail the extent to which the use (and too frequent abuse) of subtitles, voice overs and different national dubbing practices continue to significantly mediate our experience of watching films on television and in the cinema. Accessible Filmmaking should be read by every kind of practising filmmaker and critic, as well as by media studies lecturers, students, international film distributors and all TV executives."- Mike Dibb, Bafta- and Emmy-winning director of Ways of Seeing (1972) and The Miles Davis Story (2001)"In a ground-breaking book, Pablo Romero-Fresco considers why accessibility has been overlooked in film production. He also convincingly proposes strategies for its integration both in the film-making process and in the discipline of Film Studies. Written in a clear style and covering a wide range of interrelated issues concerning production and reception, this timely, clear and thought-provoking book will be essential reading for practitioners, teachers and students interested in the accessibility of films."- Peter William Evans, Queen Mary University of London, UK"Accessible Filmmaking: Integrating translation and accessibility into the filmmaking process has arrived just in time. Written by a scholar with a practical and scientific background in Film (Studies), (Audiovisual)Translation and Media Accessibility, it combines innovative research with practice-oriented and original conceptual out-of-the-box thinking. It offers a credible alternative to current Audiovisual Translation and Media Accessibility practice and promotes an affordable, feasible, profitable, artistically sound approach, and, most importantly, one which benefits the viewing experience of all."- Aline Remael, University of Antwerp, BelgiumTable of Contents1. Introduction: the end of a long divorce2. Setting the scene: in support of a wider notion of accessibility, translation and film3. AVT and MA for Filmmakers4. Integrating translation and accessibility into the filmmaking process5. Integrating AFM into the filmmaking industry6. ConclusionsBibliographyIndex

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Book SynopsisComputers are at the center of almost everything related to audio. Whether for synthesis in music production, recording in the studio, or mixing in live sound, the computer plays an essential part. Audio effects plug-ins and virtual instruments are implemented as software computer code. Music apps are computer programs run on a mobile device. All these tools are created by programming a computer.Hack Audio: An Introduction to Computer Programming and Digital Signal Processing in MATLAB provides an introduction for musicians and audio engineers interested in computer programming. It is intended for a range of readers including those with years of programming experience and those ready to write their first line of code. In the book, computer programming is used to create audio effects using digital signal processing. By the end of the book, readers implement the following effects: signal gain change, digital summing, tremolo, auto-pan, mid/side processing, stereo Trade Review"Part of Hack Audio’s success is its ability to convey information in a variety of ways. Tarr’s written explanations are always concise but never lacking in information. The page count never feels daunting since large portions of each chapter are dedicated to graphics and sample MATLAB code. The sample code is kept succinct, which should help students understand the purpose of each script. [...] Hack Audio is able to capture readers’ attention through compelling illustrations (i.e., block diagrams, Cartesian graphs) and "visualizations" (i.e., waveforms, characteristic curves, impulse responses, frequency responses, and spectrograms). The block diagrams were a personal favorite and helped to illustrate the interconnectedness of certain audio effects (i.e., inverting the delay used for a notch filter results in a band-pass filter). Students will become comfortable discussing audio effects in a number of different ways: graphically, verbally, and sonically. […] Hack Audio is an unpretentious and pleasant read, buoyed by Tarr’s love and passion for the subject. All students and instructors in an audio-related field should check out the Hack Audio website. Both the blog and textbook will quickly become your favorite go-to resources for digital signal processing concepts." Brandon Cudequest, Threshold Acoustics, LLC. Chicago, IllinoisTable of ContentsDedication List of Tables List of Figures Acknowledgements 1 Introduction 2 Basics of Programming in MATLAB 3 Basics of Audio in MATLAB 4 LAB Programming Environment 5 Logicals and Control Structures in Programming 6 Signal Gain and DC Offset 7 Introduction to Signal Synthesis 8 Summing, Fades, and Amplitude Modulation 9 Stereo Panning and Mid-Side Processing 10 Distortion, Saturation, and Clipping 11 Echo Effects 12 FIR Filters 13 IIR Filters 14 Delay Buffers and Fractional Delay 15 Modulated Delay Effects 16 Algorithmic Reverb Effects 17 Amplitude Envelope Effects 18 Dynamic Range Processors Index

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Book SynopsisOnce Upon a Pixel examines the increasing sophistication of storytelling and worldbuilding in modern video games. Drawing on some of gaming's most popular titles, including Red Dead Redemption 2, The Last of Us, Horizon Zero Dawn, and the long-running Metal Gear Solid series, it is a pioneering exploration into narrative in games from the perspective of the creative writer. With interviews and insights from across the industry, it provides a complete account of how Triple-A, independent, and even virtual reality games are changing the way we tell stories. Key Features A fresh perspective on video games as a whole new form of creative writing. Interviews with a range of leading industry figures, from critics to creators. Professional analysis of modern video game script excerpts. Insights into emerging technologies and the future of interactive storytelling.Table of Contents1 Interview with Walt Williams 1 2 Interview with Brooke Maggs 17 3 Something to Fight for: The Last of Us and the Language of Linear Games 29 4 Interview with Brendan Keogh 57 5 This is Snake: The Storytelling Legacy of the Metal Gear Series 71 6 Interview with Anna Anthropy 93 7 New Horizons: Open Worlds and Storyfeel 105 8 Interview with Damon Reece 123 9 Dear Reader: Virtual Reality and the Narrative Frontier 133 10 Interview with Lincoln Davis, Tam Armstrong, and Shauna Sperry 145 11 Interview with Tomasz Bednarz 157 12 Conclusion 167

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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

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Book SynopsisWe're all able to record music; a smartphone will get you quick results. But for a good sound, a lot more is involved. Acoustics, microphone placement, and effects have a huge influence on the resulting sound.Music Production: Learn How to Record, Mix, and Master Music will teach you how to record, mix, and master music. With accessible language for both beginner and advanced readers, the book contains countless illustrations, includes tips and tricks for all the popular digital audio workstations and provides coverage of common plugins and processors. Also included is a section dedicated to mastering in a home studio. With hundreds of tips and techniques for both the starting and advanced music producer, this is your must-have guide.Table of Contents PREFACE INTRODUCTION PART I RECORDING• 1/ PRODUCTION: THE STUDIO AS AN INSTRUMENT• 2/ IN THE STUDIO• 3/ ANALOG RECORDING• 4/ SPEAKERS AND ACOUSTICS• 5/ MICROPHONES• 6/ RECORDING TECHNIQUES• 7/ RECORDING | DRUMS AND PERCUSSION• 8/ RECORDING | OTHER INSTRUMENTS• 9/ DIGITAL AUDIO WORKSTATION AND MIDI• 10/ RECORDING ON THE COMPUTER• 11/ THE RECORDING SESSIONPART II MIXING• 12/ EFFECTS | EQUALIZERS • 13/ EFFECTS | ECHO/DELAY• 14/ EFFECTS | REVERB• 15/ EFFECTS | COMPRESSION AND LIMITING• 16/ ORGANIZING A PROJECT• 17/ SETTING GOALS FOR THE MIX• 18/ WORKFLOW OF THE MIX• 19/ MIXING | DRUMS• 20/ MIXING | BASS• 21/ MIXING | GUITAR• 22/ MIXING | KEYBOARDS• 23/ MIXING | VOCALS• 24/ GETTING MORE FROM THE MIX, COMMON MISTAKES• 25/ BOUNCING THE MIXPART III ADVANCED MIXING TECHNIQUES• 26/ VINTAGE EQ AND COMPRESSION• ADVANCED MIXING TECHNIQUES | INTRODUCTION• 27/ ADVANCED MIXING TECHNIQUES | DRUMS• 28/ ADVANCED MIXING TECHNIQUES | BASS• 29/ ADVANCED MIXING TECHNIQUES | GUITAR• 30/ ADVANCED MIXING TECHNIQUES | VOCALSPART IV MASTERING• 31/ MASTERING• 32/ DIY MASTERING• 33/ JUST ONE LOUDER PART V APPENDICIES• APPENDIX 1 | CHARACTERISTICS OF SOUND• APPENDIX 2 | OUR HEARING• INDEX

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Book SynopsisPrinciples of Game Audio and Sound Design is a comprehensive introduction to the art of sound for games and interactive media using Unity. This accessible guide encompasses both the conceptual challenges of the artform as well as the technical and creative aspects, such as sound design, spatial audio, scripting, implementation and mixing.Beginning with basic techniques, including linear and interactive sound design, before moving on to advanced techniques, such as procedural audio, Principles of Game Audio and Sound Design is supplemented by a host of digital resources, including a library of ready-to-use, adaptable scripts. This thorough introduction provides the reader with the skills and tools to combat the potential challenges of game audio independently.Principles of Game Audio and Sound Design is the perfect primer for beginner- to intermediate-level readers with a basic understanding of audio production and Unity who want to learn how to gTable of ContentsChapter 1: Introduction The Genesis of Audio In Games From Sample Playback to Procedural Audio How to Use this book Chapter 2: The Role of Audio in Interactive and Immersive Environments Inform, Entertain, Immerse Challenges of Game Audio Chapter 3: The Game Engine Paradigm What is a Game Engine SubSystems Chapter 4: The Audio Engine and Spatial Audio Listener, Audio Clips and Audio Sources Audio Localization and Distance Cues Chapter 5: Sound Design, The Art of Effectively Communicating with Sound The Art of Sound Design: Basic Techniques Chapter 6: Practical Sound Design Setting Up a Sound Design Session and Signal Flow Practical Sound Design and Prototyping Chapter 7: Coding For Game Audio Why Learn to Code? An intro to C#: Syntax and Basics Playing Audio In Unity Chapter 8: Implementing Audio: Common Scenarios Before You Start: Preparing Your Assets Ambiences and Loops Chapter 9: Environmental Modeling What is Environmental Modeling Distance Modeling Additional Factors Chapter 10: Procedural Audio: Beyond Samples Introduction, benefits and drawbacks. Practical Procedural Audio: A Wind Machine and a Sword Collision Model Chapter 11: Adaptive Mixing What’s in a Mix? Inform and Entertain (again). The Unity Audio Mixer Snapshots, Automation and Game States Good Practices Chapter 12: Audio Data Reduction Digital Audio: A Quick Review Data Reduction Strategies Data Reduction Good Practices Data Reduction In Unity

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Book SynopsisAcoustic and MIDI Orchestration for the Contemporary Composer, Second Edition provides effective explanations and illustrations to teach you how to integrate traditional approaches to orchestration with the use of the modern sequencing techniques and tools available to today's composer. By covering both approaches, Pejrolo and DeRosa offer a comprehensive and multifaceted learning experience that will develop your orchestration and sequencing skills and enhance your final productions.A leading manual on its subject, the second edition allows experienced composers and producers to be exposed to sequencing techniques applied to traditional writing and arranging styles. The book continues to provide a comprehensive and solid learning experience and has been fully revised to include the latest tools and techniques. The new edition has been updated to include: A new chapter on cover writing and sequencing for vocal ensembles Coverage oTable of ContentsTable of Contents Foreword Chapter 1 - Basic Concepts for the MIDI Composer, Arranger and Orchestrator Chapter 2 – Writing and Sequencing for Rhythm Section Chapter 3 – Writing and Sequencing for the String Orchestra Chapter 4 – Writing and Sequencing for the Woodwind Section Chapter 5 – Writing and sequencing for the Brass Section Chapter 6 – Writing and sequencing for Vocal Ensembles Chapter 7 – Writing and sequencing for Vocal Ensembles and Other Final Considerations Appendix A – Music Scores and examples

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Book SynopsisMetal Music Manual shows you the creative and technical processes involved in producing contemporary heavy music for maximum sonic impact. From pre-production to final mastered product, and fundamental concepts to advanced production techniques, this book contains a world of invaluable practical information. Assisted by clear discussion of critical audio principles and theory, and a comprehensive array of illustrations, photos, and screen grabs, Metal Music Manual is the essential guide to achieving professional production standards. The extensive companion website features multi-track recordings, final mixes, processing examples, audio stems, etc., so you can download the relevant content and experiment with the techniques you read about. The website also features video interviews the author conducted with the following acclaimed producers, who share their expertise, experience, and insight into the processes involved:Fredrik Nordström (DimTable of ContentsAcknowledgments Foreword Chapter 1: Introduction Audio Video Interviews Forum Chapter 2: Contemporary Metal Music Chapter 3: The Parameters of Heaviness Distortion Proximity Perceived Loudness The Distortion Paradox Sonic Weight Transients Spectral Dynamics and Transient Brightness Clarity Definition Intelligibility Performance Precision Pre-Production Chapter 4: Pre-Production Vision and Leadership Rehearsals The Budget Click Tracks In Practice Tempo Mapping Click Tones Guide Tracks Click-Free Tracking Live Guide Tracks without a Click Overdubs without a Click The Click Track Acid Test Chapter 5: Sound at Source Drums Drum Shells Shell Thickness, Diameter, Depth and Hardware Symmetry and Flatness Drumheads and Re-Heading Batter Heads Resonant Heads Re-Heading/Bedding-In Drum Tuning Kick Tuning Snare Tuning Toms Tuning Dampening Kick Dampening Snare and Toms Dampening Hats, Ride and Cymbals Bass and Guitar Down-Tuning Baritones/Longer Scale Lengths Guitar Overdrive Pedals Amp/Cab/Mic Simulation and Modelling Amplifiers Bass Amps Guitar Amps Loudspeakers and Loudspeaker Cabinets Engineering Chapter 6: Engineering Overview Isolation=Separation=Control Headroom Printed Compression Printed EQ Chapter 7: Drums Set Up Kick Drums Attack Mic Porthole Placement Low Frequency Capture Isolation Tunnels Double Kick Performance Solutions Kick Building Snare Top Snare Bottom Toms Batter Mic Double Miked Toms Concert Toms Metalwork Hats Ride Cymbals Spaced Pair Close Miked Cymbals Paired Cymbal Miking Room Mics and Controlled Cohesion Triggers Recording Drum Hits from the Kit used for Tracking Sample Creation Drum Edits and Quantization Gridding Phase Retention of Human Feel Micro-Editing Quantization-Based Tools Chapter 8: Guitars D.I.’s and Re-amping Speaker Selection Isolation Tactics Amp Volume Mic Selection Loudspeaker Frequency Radiation Mic Placement Proximity Effect Off-Axis Placement Double Miking Double Tracking (vs. Quad Tracking) Quad Tracking Tonal Variation Multi Amp/Cab Recording for Double-Tracked Guitars Mix Center Rhythm Thickener Chapter 9: Bass D.I. Dirty D.I. (Series) Amp/Cab Distortion Amp/Cab/Mic Isolation, Speaker Selection & Master Volume Mic Selection Mic Placement Double Miking Phase Alignment Emulation Layers (Parallel) Reinforcement Distortion Chapter 10: Vocals Scheduling Coaching, Communication and Comping Engineering Polar Patterns and Gang Vocals Handheld Vocal Recording Vocal Compression Monitoring Headphone-less Vocal Recording Recording Further Instruments Mixing Chapter 11: Edits, Polarity and Phase Alignment, Samples and Gates Edits Mix Groups Polarity and Phase Alignment Drums Phase Alignment Bass Guitars Waveform Edits Multing Drum Samples – Overview Drum Sample Selection Drum Samples Libraries vs. Samples Created from the Kit used for Tracking Kick Sample Selection Snare Sample Selection Tom Sample Selection Sample Implementation Kick Snare Toms Isolation vs. Cohesion Gating Kick and Snare Gating Keyed Gating Toms: Gating vs. Automation vs. Waveform Edits Chapter 12. Balance and Stereo Width Mix Group Component Balance Mix Balance Panning and Stereo Width Mix Center Sides Monitoring and Room Acoustics Monitoring Level Headphone Monitoring Chapter 13: Compression Signal Chain Order Compression Parameters Timbral Coloration and Transient Design Drum Compression Signal Stability Punch Transient Design Attack Settings Release, Threshold, Ratio Make-Up Gain Hats, Ride, and Cymbal Compression Room Mic Compression Parallel Compression Drum Bus Compression Bass Compression Reinforcement Distortion Series Bass Compression Signal Bracketing Parallel Bass Compression Bass Automation Keyed Compression Rhythm Guitar Compression Palm Muted ‘Chug-Thump’ Lead Guitar Compression Vocal Compression Parallel Vocal Compression Sibilance and De-Essing Limiting Chapter 14: EQ Parametric EQ High Pass Filters Sweep EQ Corrective and Surgical EQ Instrument EQ Drums Kick Drum Optimized Kick HPF Cut Settings Kick Weight Low-Mids – Broad Corrective EQ Attack/Click Frequency Bracketing Snare Top/Snare Samples The Baxandall Curve Intelligent EQ Snare Bottom Toms Context and Interdependence Metalwork Room Mics Low Pass Filters Spectral Masking Distributed Creative and Corrective EQ Anti-Masking in Mono Bass The Missing Fundamental Low-End Low-Mids High-Mids Additional Layers Bass Reinforcement Distortion Frequency Bracketing Channel EQ / Group EQ Rhythm Guitar EQ HPF and Low Frequency Emphasis (Cabinet Thump/Sonic Weight) Mids Big Mono vs. Panoramic Width Low highs – Mid Highs Mirrored EQ Dynamic EQ Vocals HPF and Lows to Low Mids Mids Highs Chapter 15: Effects Processing and Automation Reverb Reverb Decay and Pre-Delay Times Drums Decay vs. Level Snare Reverb – Aux Sends Guitars and Bass Vocals Processing the Reverb Return Paths EQ (Reverb Return) Transient Design, Compression, Tape Emulation and Pitch Shifting Reverse Reverb, Special Effects and Automation Delay Processing the Delay Return Paths Pitch Thickening Width Enhancement Distortion Parallel Snare Distortion Megaphone and AM Radio Effect Sine Wave or White Noise Reinforcement Analogue and Tape Emulation Mix Referencing Automation Chapter 16: Master Buss Processing Master Buss Compression Master Buss EQ Master Buss Limiting Summing Mastering Chapter 17: Mastering DIY and the ‘Four Es’ of Mastering Signal Chain Mastering EQ High Pass Filters and Low End Control Low-Mids and Mids Low-End Foundation Upper Mids and High Frequencies Stereo EQ vs. Mid/Side EQ Low-end Localization Reverb Unified Mastering – Bridging the Divide Compression Broadband Compression vs. Multiband Compression Broadband Compression Mid/Side Compression Side Chain Filtering Multiband Compression Two Band Three-Band Four-Band Multiband Parameters Low Band Mid Band High Band Mid/Side Multiband Compression Parallel/Upward Compression Harmonic Enhancement Stereo Width Enhancement Stem Mastering Soft Clipping Limiting Automation Fades Mastered Output Peak Levels - CD Chapter 18: Loudness Normalization Loudness Metering and Mastering Practice A Final Word Index

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Book SynopsisImmersive Sound: The Art and Science of Binaural and Multi-Channel Audio provides a comprehensive guide to multi-channel sound. With contributions from leading recording engineers, researchers, and industry experts, Immersive Sound includes an in-depth description of the physics and psychoacoustics of spatial audio as well as practical applications. Chapters include the history of 3D sound, binaural reproduction over headphones and loudspeakers, stereo, surround sound, height channels, object-based audio, soundfield (ambisonics), wavefield synthesis, and multi-channel mixing techniques. Knowledge of the development, theory, and practice of spatial and multi-channel sound is essential to those advancing the research and applications in the rapidly evolving fields of 3D sound recording, augmented and virtual reality, gaming, film sound, music production, and post-production. Trade Review"This book is comprehensive and up-to-date, and I plan to keep my copy at the top of my reading list." - Todd Welti, Journal of the Audio Engineering SocietyTable of ContentsContributorsForeword WIESLAW WOSZCZYKAcknowledgements Introduction AGNIESZKA ROGINSKA AND PAUL GELUSO1 Perception of Spatial Sound ELIZABETH M. WENZEL, DURAND R. BEGAULT, AND MARTINE GODFROY-COOPER Auditory Physiology Human Sound Localization Head-Related Transfer Functions (HRTFs) and Virtual Acoustics Neural Plasticity in Sound Localization Distance and Environmental Context Perception Conclusion 2 History of 3D Sound BRAXTON BOREN Introduction Prehistory Ancient History Space and Polyphony Spatial Separation in the Renaissance Spatial Innovations in Acoustic Music 3D Sound Technology Technology and Spatial Music Conclusions and Thoughts for the Future 3 Stereo PAUL GELUSO Stereo Systems Creating a Stereo Image Stereo Enhancement Summary 4 Binaural Audio Through Headphones AGNIESZKA ROGINSKA Headphone Reproduction Binaural Sound Capture HRTF Measurement Binaural Synthesis Inside-the-Head Locatedness Advanced HRTF Techniques Quality Assessment Binaural Reproduction Methods Headphone Equalization and Calibration Conclusions Appendix: Near Field 5 Binaural Audio Through Loudspeakers EDGAR CHOUEIRI Introduction The Fundamental XTC Problem Constant-Parameter Regularization Frequency-Dependent Regularization The Analytical BACCH Filter Individualized BACCH Filters Conclusions Appendix A Derivation of the Optimal XTC Filter Appendix B: Numerical Verification 6 Surround Sound FRANCIS RUMSEY The Evolution of Surround Sound Surround Sound Formats Surround Sound Delivery and Coding Surround Sound Monitoring Surround Sound Recording Techniques Perceptual Evaluation Predictive Models of Surround Sound Quality 7 Height Channels SUNGYOUNG KIM Background Fundamental Psychoacoustics of Height-Channel Perception Multichannel Reproduction Systems With Height Channels Recording With Height Channels Conclusion 8 Object-Based Audio NICOLAS TSINGOS Introduction Spatial Representation and Rendering of Audio Objects Advanced Metadata and Applications of Object-Based Representations Managing Complexity of Object-Based Content Audio Object Coding Capturing Audio Objects Tradeoffs of Object-Based Representations Object-Based Loudness Estimation and Control Object-Based Program Interchange and Delivery Conclusion 9 Sound Field ROZENN NICOL Introduction Development of the Sound Field Higher Order Ambisonics (HOA) Sound Field Synthesis Sound Field Formats Conclusion Appendix A: Mathematics and Physics of Sound Field Appendix B: Mathematical Derivation of W, X, Y, Z Appendix C: The Optimal Number of Loudspeakers 10 Wave Field Synthesis THOMAS SPORER, KARLHEINZ BRANDENBURG, SANDRA BRIX, AND CHRISTOPHSLADECZEK Motivation and History Separation of Sound Objects and Room WFS Reproduction: Challenges and Solutions WFS With Elevation Audio Metadata and WFS Applications Based on WFS and Hybrid Schemes WFS and Object-Based Sound Production 11 Applications of Extended Multichannel Techniques BRETT LEONARD Source Panning and Spreading An Immersive Overhaul for Preexisting Content Considerations in Mixing for Film and Games Envelopment Musings on Immersive Mixing Index

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Book SynopsisPractical Recording Techniques covers all aspects of recording, perfect for beginning and intermediate recording engineers, producers, musicians, and audio enthusiasts. Filled with tips and shortcuts, this hands-on, practical guide gives advice on equipping a home studio (whether low-budget or advanced) and suggestions for set-up, acoustics, effects, choosing mics and monitor speakers, and preventing hum. This best-selling guide also instructs how to mike instruments and vocals, judge recordings and improve them, work with MIDI and loops, do mastering, and put your music on the web. Two chapters cover live recording of classical and popular music.  New in the seventh edition: Complete update of all types of recording equipment, plug-ins, and recording software Increased focus on current industry and classroom trends like DAW signal flow and operation (during recording and mixdown), while still covering analog fundamentals UTrade Review"[This] is a comprehensive text, written clearly so concepts are easy to understand and apply. It is a good resource for my students both for the class and afterward, as they pursue their careers. Although I hadn't used the companion website before, now that I've looked at it more closely, I already plan to incorporate it into my classes.” -- Tom Wolfe, University of Alabama School of Music "Bartlett's book covers all the major areas for my Recording 1 students with simplicity and just enough depth, taking a logical approach to everyday recording applications. It's a solid stepping-stone and excellent guide to start your recording career." -- Jeremiah Slovarp, Faculty & Technical Director, School of Music at Montana State University and Emmy Award Winning Sound & Recording Engineer "Bartlett’s 7th edition carries on its reputation of handling the fundamentals of sound recording with reader-friendly writing, helpful illustrations, and the expertise that’s made it a classic in audio education for so many years." – Stanley R. Alten, Syracuse University "I have used this text (and previous editions of this text) as I find it well written, easy to understand/accessible to new learners and is available at a moderate cost to the learner.Great Job!" -- David Haggadone, Lansing Community College "I like that the language is accessible to beginners, and I think the breadth of topics is great for an intro course. The companion website also makes my job as an instructor easier" -- Colleen M. Clark, Salisbury University "I’ve been teaching with Bartlett’s Practical Recording Techniques since the 4th edition because it is accessible to all of my students, who really run the gamut when it comes to prior knowledge and/or experience. It also covers both studio and concert hall approaches -- both of which I deal with in various classes throughout the year. The 7th edition not only taught me some new things but also gave me fresh ideas and perspectives for further utilizing it in my classes.” -- Kevin Harbison, recording engineer, Technical Director of Grusin Music Hall, University of Colorado Boulder "Whether you are recording others or capturing your own muse, this book can help you find your way. Bartlett combines an expert's knowledge and an aficionado’s love of music, and he's produced a book and accompanying online materials that both seasoned professionals and absolute newbies can learn a lot from." -- Flawn Williams, Georgetown University Department of Performing Arts Table of ContentsACKNOWLEDGMENTS PREFACE CHAPTER 1: A Basic Overview of the Recording Process CHAPTER 2: Sound and Psychoacoustics CHAPTER 3: Studio Acoustics CHAPTER 4: Signal Characteristics of Audio Devices CHAPTER 5: Equipping Your Studio CHAPTER 6: Monitoring CHAPTER 7: MicrophonesCHAPTER 8: Microphone Technique Basics CHAPTER 9: Microphone Techniques for Instruments and Vocals CHAPTER 10: Equalization (EQ) CHAPTER 11: Effects and Signal Processors CHAPTER 12: Mixers and Mixing Consoles CHAPTER 13: Digital Audio CHAPTER 14: Computer Recording CHAPTER 15: DAW Signal Flow CHAPTER 16: DAW Operation CHAPTER 17: Judging Sound Quality with Critical Listening CHAPTER 18: MIDI and Loops CHAPTER 19: Session Procedures CHAPTER 20: Mastering and CD BurningCHAPTER 21: On-Location Recording of Popular Music CHAPTER 22: On-Location Recording of Classical Music CHAPTER 23: Web Audio, Streaming, and Online Collaboration APPENDIX A: dB or Not dB APPENDIX B: Optimizing Your Computer for Multitrack Recording APPENDIX C: Impedance APPENDIX D: Phantom Power Explained APPENDIX E: Legacy Recording Devices AUDIO GLOSSARY INDEX

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Book SynopsisIn this comprehensive guide, Brixen takes the reader through the complex and confusing aspects of audio metering, imparting the knowledge and skills needed to utilize optional signal levels and produce high-quality audio.Covering all aspects of this fundamental subject, Audio Metering: Measurements, Standards and Practice begins with the basics, such as audio definitions and digital techniques, and works up to more complex topics like hearing and psychoacoustics. This revised and expanded third edition includes: Updated information on loudness metering, covering both existing and new standards. Definitions of terms such as LKFS, LUFS, gating, LRA. Explanations of signal types and musical sounds and structures. Further details on immersive audio. Skills needed for both small-room acoustics and large auditorium sound design without loss of sound quality. DescrTable of ContentsPreface 1 Acoustic Sound 2 From Acoustic Sound to Electrical Signals 3 Digital Representation 4 Signal Types 5 How Large is an Audio Signal 6 The dB Concept 7 The ear, hearing, and level perception 8 Time Weighting 9 Frequency Weighting and Filters 10 Determination of Loudness 11 Characteristics of Level Meters 12 The Standard Volume Indicator (VU Meter) 13 Peak Program Meter (PPM) 14 Loudness Metering 15 Calibration of Level and Loudness Meters 16 Relationships Between Scales 17 Dynamic scales 18 Polarity and phase reading 19 Display of Level Distribution 20 Multi-Channel / Immersive Audio 21 Standards and Practices 22 Summation of Audio Signals 23 Digital interface 24 Audio over IP 25 Where to Connect a Meter 26 FFT, Fast Fourier Transformation 27 Spectrum Analyzer 28 Other Measurement Systems 29 Measurement signals 30 Sound Level Meters 31 NR, NC, PNC, RNC, and RC Curves 32 Room acoustic measures 33 Listening Tests Glossary Index

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Book SynopsisRecording Studio Design, Fourth Edition explains the key principles of successful studio design and construction using straightforward language and the use of practical examples appreciated by readers of previous editions. Updated to reflect new industry standards, this fourth edition addresses improvements in cinema sound, with specific attention paid to B-chain electroacoustic response and calibration.Using over 50 years' experience, author Philip Newell provides detail on the practical aspects of recording in various environments, not only exploring the complex issues relating to the acoustics but also providing real-world solutions. While the book contains detailed discussions about performing rooms, control rooms, and mobile studios, concepts of the infrastructures are also discussed, because no studio can perform optimally unless the technical and human requirements are adequately provided for. In this new edition, sound for cinema provides a pTable of ContentsAbout the AuthorAcknowledgementsPrefaceIntroductionChapter 1: General Requirements and Common ErrorsChapter 2: Sound, Decibels, and HearingChapter 3: Sound IsolationChapter 4: Room Acoustics and Means of ControlChapter 5: Designing Neutral RoomsChapter 6: Rooms with Characteristic AcousticsChapter 7: Variable AcousticsChapter 8: Room Combinations and Operational ConsiderationsChapter 9: The Studio EnvironmentChapter 10: Limitations to Design PredictionsChapter 11: Loudspeakers in RoomsChapter 12: Flattening the Room ResponseChapter 13: Control RoomsChapter 14: The Behaviour of Multiple Loudspeakers in RoomsChapter 15: Studio Monitoring: The Principal ObjectivesChapter 16: The Non-Environment Control RoomChapter 17: The Live-End, Dead-End ApproachChapter 18: Response Disturbances Due to Mixing Consoles and Studio FurnitureChapter 19: Objective Measurement and Subjective EvaluationsChapter 20: Studio Monitoring SystemsChapter 21: Surround Sound and Multi-Channel Control RoomsChapter 22: Dubbing Theatres and Cinema SoundChapter 23: A Mobile Control RoomChapter 24: FoldbackChapter 25: Main Supplies and Earthing SystemsChapter 26: Analogue Audio InterfacingChapter 27: A Pictorial Representation of a Studio ConstructionChapter 28 Human FactorsAppendix 1Appendix 2Glossary of TermsConversion TablesIndex

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