MTU Cork Library Catalogue

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Sound synthesis and sampling / Martin Russ.

By: Russ, Martin.
Material type: materialTypeLabelBookSeries: Music technology series.Publisher: Oxford : Focal Press, 1996Description: xi, 400 p. : ill ; 25 cm. + pbk.ISBN: 0240514297.Subject(s): Frequency synthesizers | Synthesizer music | Music -- Acoustics and physics | Sound -- Recording and reproducing -- Digital techniquesDDC classification: 786.74
Contents:
Analogue synthesis -- Hybrid synthesis -- Samplers -- Digital synthesis -- Using synthesis -- Controllers -- The future of synthesis.
Holdings
Item type Current library Call number Copy number Status Date due Barcode Item holds
General Lending MTU Bishopstown Library Lending 786.74 (Browse shelf(Opens below)) 1 Available 00070999
Total holds: 0

Enhanced descriptions from Syndetics:

Sound Synthesis and Sampling is all about the principles of electronic musical instruments. It provides a comprehensive introduction to all the most common forms of analog and digital sound synthesis, as well as covering many of the less commonly encountered techniques used in research and academia. Written in an almost entirely non-mathematical fashion, and extensively illustrated with clear diagrams, this book will make an ideal reference for students of music technology, audio engineering and acoustics, as well as for enthusiasts, musicians, engineers and multimedia specialists. Questions are provided at the ends of chapters for revision purposes, and a substantial glossary explains a wide range of related terms. Time-lines show key events in the history of synthesis and examples are given of commercial products that employ the technology described.

Includes bibliographical references (pages 348-349) and index.

Analogue synthesis -- Hybrid synthesis -- Samplers -- Digital synthesis -- Using synthesis -- Controllers -- The future of synthesis.

Table of contents provided by Syndetics

  • Series introduction (p. ix)
  • Preface to first edition (p. x)
  • Preface to second edition (p. xi)
  • Visual map (p. xii)
  • About this book (p. xiii)
  • Background (p. 1)
  • 1 Background (p. 3)
  • 1.1 What is synthesis? (p. 3)
  • 1.2 Beginnings (p. 11)
  • 1.3 Telecoms research (p. 13)
  • 1.4 Tape techniques (p. 16)
  • 1.5 Experimental versus popular musical uses of synthesis (p. 21)
  • 1.6 Electro-acoustic music (p. 22)
  • 1.7 From academic research to commercial production ... (p. 23)
  • 1.8 Synthesised classics (p. 27)
  • 1.9 Synthesis in context (p. 29)
  • 1.10 Electronics and acoustics: fundamental principles (p. 32)
  • 1.11 Digital and sampling (p. 46)
  • 1.12 MIDI (Musical instrument digital interface) (p. 55)
  • 1.13 After MIDI (p. 58)
  • 1.14 Questions (p. 59)
  • Time line (p. 60)
  • Techniques (p. 69)
  • 2 Analogue synthesis (p. 71)
  • 2.1 Analogue and digital (p. 71)
  • 2.2 Subtractive synthesis (p. 75)
  • 2.3 Additive synthesis (p. 109)
  • 2.4 Other methods of analogue synthesis (p. 120)
  • 2.5 Topology (p. 129)
  • 2.6 Early versus modern implementations (p. 137)
  • 2.7 Example instruments (p. 145)
  • 2.8 Questions (p. 149)
  • Time line (p. 150)
  • 3 Hybrid synthesis (p. 155)
  • 3.1 Wavecycle (p. 156)
  • 3.2 Wavetable (p. 165)
  • 3.3 DCOs (Digital controlled oscillators) (p. 172)
  • 3.4 S&S (Sample and synthesis) (p. 181)
  • 3.5 Early versus modern implementations (p. 191)
  • 3.6 Example instruments (p. 193)
  • 3.7 Questions (p. 196)
  • Time line (p. 196)
  • 4 Sampling (p. 197)
  • 4.1 Tape-based (p. 198)
  • 4.2 Analogue sampling (p. 201)
  • 4.3 Digital (p. 203)
  • 4.4 Convergence of sampling with S&S synthesis (p. 215)
  • 4.5 Example equipment (p. 216)
  • 4.6 Questions (p. 218)
  • Time line (p. 219)
  • 5 Digital synthesis (p. 223)
  • 5.1 FM (p. 224)
  • 5.2 Waveshaping (p. 241)
  • 5.3 Modelling (p. 246)
  • 5.4 Granular synthesis (p. 257)
  • 5.5 FOF and other techniques (p. 259)
  • 5.6 Analysis-synthesis (p. 267)
  • 5.7 Hybrid techniques (p. 274)
  • 5.8 Example instruments (p. 275)
  • 5.9 Questions (p. 280)
  • Time line (p. 281)
  • Applications (p. 285)
  • 6 Using synthesis (p. 287)
  • 6.1 Arranging (p. 287)
  • 6.2 Stacking (p. 289)
  • 6.3 Layering (p. 292)
  • 6.4 Hocketing (p. 294)
  • 6.5 Multi-timbrality and polyphony (p. 296)
  • 6.6 GM (p. 304)
  • 6.7 On-board effects (p. 307)
  • 6.8 Editing (p. 317)
  • 6.9 Questions (p. 327)
  • Time line (p. 328)
  • 7 Controllers (p. 330)
  • 7.1 Controller and expander (p. 331)
  • 7.2 MIDI control (p. 333)
  • 7.3 Keyboards (p. 339)
  • 7.4 Keyboard control (p. 342)
  • 7.5 Wheels and other hand-operated controls (p. 342)
  • 7.6 Foot controls (p. 344)
  • 7.7 Ribbon controllers (p. 346)
  • 7.8 Wind controllers (p. 347)
  • 7.9 Guitar controllers (p. 348)
  • 7.10 Advantages and disadvantages (p. 349)
  • 7.11 Front panel controls (p. 350)
  • 7.12 Questions (p. 353)
  • Time line (p. 353)
  • 8 Performance (p. 355)
  • 8.1 Synthesis live (p. 355)
  • 8.2 The role of electronics (p. 362)
  • 8.3 Drum machines (p. 363)
  • 8.4 Sequencers (p. 371)
  • 8.5 Workstations (p. 375)
  • 8.6 Accompaniment (p. 379)
  • 8.7 Groove boxes (p. 381)
  • 8.8 Dance, clubs and DJs (p. 383)
  • 8.9 Studios on computers (p. 383)
  • 8.10 Performance unravelled (p. 386)
  • 8.11 Questions (p. 387)
  • Time line (p. 387)
  • Analysis (p. 391)
  • 9 The future of synthesis (p. 393)
  • 9.1 Closing the circle (p. 393)
  • 9.2 Control (p. 394)
  • 9.3 Commercial imperatives (p. 396)
  • References (p. 399)
  • Glossary (p. 403)
  • Jargon (p. 436)
  • Index (p. 444)

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