A DSP primer : with applications to digital audio and computer music / Ken Steiglitz.

By: Steiglitz, Kenneth, 1939-.

Material type: materialTypeLabel

BookPublisher: Menlo Park, CA ; Harlow, UK : Addison-Wesley Pub., 1996Description: 314 p. : ill. ; 24 cm. + pbk.ISBN: 0805316841.Subject(s): Signal processing -- Digital techniques

| Computer sound processing

| Computer music

DDC classification: 621.3822

Contents:

Tuning forks, phasors -- Strings, pipes, the wave equation -- Sampling and quantizing -- Feedforward filters -- Feedback filters -- Comb and string filters -- Periodic sounds -- The discrete fourier transform and FFT -- The z-transform and convolution -- Using the FFT -- Aliasing and imaging -- Designing feedforward filters -- Designing feedback filters -- Audio and musical applications.

Holdings
Item type	Current library	Call number	Copy number	Status	Date due	Barcode	Item holds
General Lending	MTU Bishopstown Library Lending	621.3822 (Browse shelf(Opens below))	1	Available		00071095

Total holds: 0

Enhanced descriptions from Syndetics:

This text is directed at the market of DSP users brought about by the development of powerful and inexpensive software tools to analyze signals. These tools allow sophisticated manipulation of signals but do not provide an understanding of the theory or the foundation for the techniques. This work develops an approach to the development of the mathematics of DSP and uses examples from areas of the spectrum familiar to beginners, together with questions and suggested experiments

Includes bibliographical references and index.

Table of contents provided by Syndetics

Preface
1 Tuning Forks, Phasors
Where to Begin
Simplest Vibrations
Adding Sinusoids
Briefly Back to Newton's Second Law
Complex Numbers
Multiplying Complex Numbers
Euler's Formula
The Tine as Phasor
Beats
Notes
Problems
2 Strings And Pipes, The Wave Equation
A Distributed Vibrating System
The Wave Equation
Motion of a Vibrating String
Reflection from a Fixed End
Vibration of a String Fixed at Two Points
The Vibrating Column of Air
Standing Waves in a Half-Open Tube
Fourier Series
Notes
Problems
3 Sampling and Quantizing
Sampling a Phasor
Aliasing More Complicated Signals
Quantizing
Dynamic Range
Remedies: Companding and Prefiltering
The Shape of Things to Come
Notes
Problems
4 Feedforward Filters
Delaying a Phasor
A Simple Filter
Digital Filters
A Big Filter
Delay as an Operator
The z-plane
Phase Response
Inverse Comb Filters
Notes
Problems
5 Feedback Filters
Poles
Stability
Resonance and bandwidth
Resons
Designing a reson filter
Other incarnations of reson
Dropping in zeros: an improved reson
A powerful feedback filter
Notes
Problems
6 Comb and String Filters
Comb Filters
Analogy to Standing Waves
Plucked-String Filters
Resonances of the Plucked-String Filter
The First-Order Allpass Filter
Allpass Phase Response
Tuning Plucked-String Filters
Notes
Problems
7 Periodic Sounds
Coordinate Systems
Fourier Series
Fourier Series of a Square Wave
Spectral Decay
Pulses
Continuous-Time Buzz
Digital Buzz
Synthesis by Spectrum Shaping
Generating Variable Frequency Buzz
Notes
Problems
8 The Discrete Fourier Transform and FFT
Circular Domains
Discrete Fourier Transform(DFT) Representation
The Discrete Frequency Domain
Measuring Algorithm Speed
Divide and Conquer
Decimation-In-Time FFT
Programming Considerations
The Inverse DFT
A Serious Problem
Notes
Problems
9 Z-Transform and Convolution
Domains
The z-transform
Orthogonality
z-transform of the Impulse and Step
A Few More z-transforms
z-transforms and Transfer Functions
Convolution
Inverse z-transform
Stability Revisited
Notes
Problems
10 Using the FFT
Switching Signals On
Switching Signals On and Off
Resolution
The DFT of a Finite Stretch of Phasor
The Hamming Window
Windowing in General
Spectrograms
Notes
Problems
11 Aliasing and Imaging
Taking Stock
Time/Frequency Correspondences
Frequency Aliasing Revisited
Digital to Analog Conversion
Imaging
Nyquist's Theorem
The Uncertainty Principle
Oversampling
Notes
Problems
12 Designing Feedforward Filters
Taxonomy
The Form of Feedforward Filters
Specifications
A Design Algorithm: METEOR
Half-band Example
Tradeoffs
Example: Notch Filter With a Smoothness Constraint
Example: Window Design
A Programming Consideration
Notes
Problems
13 Designing Feedback Filters
Why the General Problem is Difficult
The Butterworth Frequency Response
The Butterworth Poles and Zeros
More General Specifications
A Lowpass/Highpass Flip
Connection with Analog Filters
Implementation
A Trap
Feedback vs. Feedforward
Notes
Problems
14 Audio and Musical Applications
The CD Player
Reverb
AM and Tunable Filters
FM Synthesis
The Phase Vocoder

Excerpt provided by Syndetics

Using computer technology to store, change, and manufacture sounds and pictures -- digital signal processing -- is one of the most significant achievements of the late twentieth century. This book is an informal, and I hope friendly, introduction to the field, emphasizing digital audio and applications to computer music. It will tell you how DSP works, how to use it, and what the intuition is behind its basic ideas. By keeping the mathematics simple and selecting topics carefully, I hope to reach a broad audience, including: beginning students of signal processing in engineering and computer science courses; composers of computer music and others who work with digital sound; World Wide Web and internet practitioners, who will be needing DSP more and more for multimedia applications; general readers with a background in science who want an introduction to the key ideas of modern digital signal processing. We'll start with sine waves. They are found everywhere in our world and for a good reason: they arise in the very simplest vibrating physical systems. We'll see, in Chapter 1, that a sine wave can be viewed as a phasor, a point moving in a circle. This representation is used throughout the book, and makes it much easier to understand the frequency response of digital filters, aliasing, and other important frequency-domain concepts. In the second chapter we'll see how sine waves also arise very naturally in more complicated systems -- vibrating strings and organ pipes, for example -- governed by the fundamental wave equation. This leads to the cornerstone of signal processing: the idea that all signals can be expressed as sums of sine waves. From there we take up sampling and the simplest digital filters, then continue to Fourier series, the FFT algorithm, practical spectrum measurement, the z -transform, and the basics of the most useful digital filter design algorithms. The final chapter is a tour of some important applications, including the CD player, FM synthesis, and the phase vocoder. At several points I return to ideas to develop them more fully. For example, the important problem of aliasing is treated first in Chapter 3, then in greater depth in Chapter 11. Similarly, digital filtering is reexamined several times with increasing sophistication. This is why you should read this book from the beginning to the end. Not all books are meant to be read that way, but this one definitely is. Some comments about mechanics: All references to figures and equations refer to the current chapter unless stated otherwise. Absolutely fundamental results are enclosed in boxes. Each chapter ends with a Notes section, which includes historical comments and references to more advanced books and papers, and a set of problems. Read the problems over, even if you don't work them the first time around. They aren't drill exercises, but instead mention generalizations, improvements, and wrinkles you will encounter in practice or in more advanced work. A few problems suggest computer experiments. If you have access to a practical signal-processing laboratory, use it. Hearing is believing. Many people helped me with this book. First I thank my wife Sandy, who supports me in all that I do, and who helped me immeasurably by just being. For his generous help, both tangible and intangible, I am indebted to Paul Lansky, professor of music and composer at Princeton. The course on computer music that we teach together was the original stimulus for this book. I am indebted to many others in many ways. Perry Cook, Julius Smith, Tim Snyder, and Richard Squier read drafts with critical acumen, and their comments significantly improved the result. And I also thank, for assistance of various flavors, Steve Beck, Jack Gelfand, Jim Kaiser, Brian Kernighan, Jim McClellan, Gakushi Nakamura, Matt Norcross, Chris Pirazzi, John Puterbaugh, Jim Roberts, and Dan Wallach. Ken Steiglitz Princeton, N.J. Excerpted from Digital Signal Processing Primer: With Applications to Digital Audio and Computer Music by Ken Steiglitz All rights reserved by the original copyright owners. Excerpts are provided for display purposes only and may not be reproduced, reprinted or distributed without the written permission of the publisher.

Author notes provided by Syndetics

Ken Steiglitz is a Professor in the Computer Science Department at Princeton University where he is also Associate Chair. He received his M.E.E. and Eng.Sc.D. degrees from New York University. His current research interests inlude parallel computer architectures, economic simulations, and tools for computer music.