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Computer Sound Design: Synthesis Techniques and Programming [With CDROM]

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This comprehensive introduction to software synthesis techniques and programming is intended for students, researchers, musicians, sound artists and enthusiasts in the field of music technology. The art of sound synthesis is as important for the electronic musician as the art of orchestration is important for symphonic music composers. Those who wish to create their own v This comprehensive introduction to software synthesis techniques and programming is intended for students, researchers, musicians, sound artists and enthusiasts in the field of music technology. The art of sound synthesis is as important for the electronic musician as the art of orchestration is important for symphonic music composers. Those who wish to create their own virtual orchestra of electronic instruments and produce original sounds will find this book invaluable. It examines a variety of synthesis techniques and illustrates how to turn a personal computer into a powerful and flexible sound synthesiser. The book also discusses a number of ongoing developments that may play an important role in the future of electronic music making. Previously published as Computer Sound Synthesis for the Electronic Musician, this second edition features a foreword by Jean-Claude Risset and provides new information on: . the latest directions in digital sound representation . advances in physical modelling techniques . granular and pulsar synthesis . PSOLA technique . humanoid voice synthesis . artificial intelligence . evolutionary computing The accompanying CD-ROM contains examples, complementary tutorials and a number of synthesis systems for PC and Macintosh platforms, ranging from low level synthesis programming languages to graphic front-ends for instrument and sound design. These include fully working packages, demonstration versions of commercial software and experimental programs from top research centres in Europe, North and South America. * Increase your understanding of the major computer synthesis techniques with this accessibly written introduction * Discover the latest developments and future direction of the field * Try out a range of synthesis software for free - available on the accompanying CD-ROM


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This comprehensive introduction to software synthesis techniques and programming is intended for students, researchers, musicians, sound artists and enthusiasts in the field of music technology. The art of sound synthesis is as important for the electronic musician as the art of orchestration is important for symphonic music composers. Those who wish to create their own v This comprehensive introduction to software synthesis techniques and programming is intended for students, researchers, musicians, sound artists and enthusiasts in the field of music technology. The art of sound synthesis is as important for the electronic musician as the art of orchestration is important for symphonic music composers. Those who wish to create their own virtual orchestra of electronic instruments and produce original sounds will find this book invaluable. It examines a variety of synthesis techniques and illustrates how to turn a personal computer into a powerful and flexible sound synthesiser. The book also discusses a number of ongoing developments that may play an important role in the future of electronic music making. Previously published as Computer Sound Synthesis for the Electronic Musician, this second edition features a foreword by Jean-Claude Risset and provides new information on: . the latest directions in digital sound representation . advances in physical modelling techniques . granular and pulsar synthesis . PSOLA technique . humanoid voice synthesis . artificial intelligence . evolutionary computing The accompanying CD-ROM contains examples, complementary tutorials and a number of synthesis systems for PC and Macintosh platforms, ranging from low level synthesis programming languages to graphic front-ends for instrument and sound design. These include fully working packages, demonstration versions of commercial software and experimental programs from top research centres in Europe, North and South America. * Increase your understanding of the major computer synthesis techniques with this accessibly written introduction * Discover the latest developments and future direction of the field * Try out a range of synthesis software for free - available on the accompanying CD-ROM

32 review for Computer Sound Design: Synthesis Techniques and Programming [With CDROM]

  1. 5 out of 5

    Kelly

    Great introduction and explanation of different methods of sound synthesis (additive, subtractive, granular, etc) I mainly read this since I am new to the idea of granular synthesis and the author did a great job at explaining this method. He also gave some great "recipes" for different ideas of how to use this method of synthesis along with the others. Also of interest were the chapters on how to use synthesis to model real world sounds like percussion, flute and the human voice. I skipped the b Great introduction and explanation of different methods of sound synthesis (additive, subtractive, granular, etc) I mainly read this since I am new to the idea of granular synthesis and the author did a great job at explaining this method. He also gave some great "recipes" for different ideas of how to use this method of synthesis along with the others. Also of interest were the chapters on how to use synthesis to model real world sounds like percussion, flute and the human voice. I skipped the bits about the human voice since they're not applicable for what I want to learn but it's interesting stuff. Since I am fascinated with idea that any bit of sound is both rhythm and pitch at the same time, I have to pull out his explanation of a musician named Stockhausen that proved that the only thing that separates pitch and rhythm is the speed of playback or listening frequency : "He recorded individual pulses on tape, from an electronic generator. Then he cut the tape and spliced the parts together so that the pulses could form a particular rhythm. Next he made a tape loop of this rhythm and increased the speed until he could hear a tone. Various tones could be produced by varying the speed of the loop. Different rhythms on tape produced different timbres; the components of the rhythmic sequence determined the spectrum according to their individual cycle on the tape loop."

  2. 4 out of 5

    Kung-Cheng Wang

  3. 5 out of 5

    Hector Sanchez

  4. 5 out of 5

    Andrei

  5. 5 out of 5

    Ben

  6. 5 out of 5

    Debra Peri

  7. 4 out of 5

    Artur Waliszewski

  8. 4 out of 5

    Kurdice Neal

  9. 4 out of 5

    Ignacio

  10. 5 out of 5

    Panagiotis

  11. 5 out of 5

    Dylan Karas

  12. 4 out of 5

    Alex

  13. 4 out of 5

    John

  14. 5 out of 5

    Alex

  15. 5 out of 5

    Chris Lyman

  16. 5 out of 5

    Anton Lapov

  17. 4 out of 5

    Johan

  18. 4 out of 5

    Wikimedia Italia

  19. 5 out of 5

    Oksana Samusenko

  20. 5 out of 5

    Chris

  21. 5 out of 5

    Danny Gibas

  22. 5 out of 5

    Giovanni Caristi

  23. 4 out of 5

    Jg

  24. 5 out of 5

    Hope Montz

  25. 5 out of 5

    Muhammad Jamshaid

  26. 5 out of 5

    Sam

  27. 5 out of 5

    Doug Sparling

  28. 5 out of 5

    Алесандър Методиев

  29. 4 out of 5

    Marco

  30. 5 out of 5

    Ruslanas Balčiūnas

  31. 5 out of 5

    Elena

  32. 4 out of 5

    Android Sheep

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