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E-grāmata: Refining Sound: A Practical Guide to Synthesis and Synthesizers

4.44/5 (69 ratings by Goodreads)
(, School of Music, Texas Christian University, USA)
  • Formāts: 352 pages
  • Izdošanas datums: 04-Oct-2013
  • Izdevniecība: Oxford University Press Inc
  • Valoda: eng
  • ISBN-13: 9780199922956
  • Formāts - PDF+DRM
  • Cena: 41,62 €*
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  • Formāts: 352 pages
  • Izdošanas datums: 04-Oct-2013
  • Izdevniecība: Oxford University Press Inc
  • Valoda: eng
  • ISBN-13: 9780199922956

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Refining Sound is a practical roadmap to the complexities of creating sounds on modern synthesizers. As author, veteran synthesizer instructor Brian K. Shepard draws on his years of experience in synthesizer pedagogy in order to peel back the often-mysterious layers of sound synthesis one-by-one. The result is a book which allows readers to familiarize themselves with each individual step in the synthesis process, in turn empowering them in their own creative or experimental work. The book follows the stages of synthesis in chronological progression, starting readers at the raw materials of sound creation and ultimately bringing them to the final "polishing" stage. Each chapter focuses on a particular aspect of the synthesis process, culminating in a last chapter that brings everything together as the reader creates his/her own complex sounds. Throughout the text, the material is supported by copious examples and illustrations as well as by audio files and synthesis demonstrations on a related companion website. Each chapter contains easily digestible guided projects (entitled "Your Turn" sections) that focus on the topics of the corresponding chapter. In addition to this, one complete project will be carried through each chapter of the book cumulatively, allowing the reader to follow - and build - a sound from start to finish. The final chapter includes several sound creation projects in which readers are given types of sound to create as well as some suggestions and tips, with final outcomes is left to readers' own creativity.

Perhaps the most difficult aspect of learning to create sounds on a synthesizer is to understand exactly what each synthesizer component does independent of the synthesizer's numerous other components. Not only does this book thoroughly illustrate and explain these individual components, but it also offers numerous practical demonstrations and exercises that allow the reader to experiment with and understand these elements without the distraction of the other controls and modifiers. Refining Sound is essential for all electronic musicians from amateur to professional levels of accomplishment, students, teachers, libraries, and anyone interested in creating sounds on a synthesizer.

Recenzijas

Shepard employs an inviting and accessible writing style to explain advanced topics in a way that is easy to understand. This book demystifies many of the topics of synthesis that can be confusing to people. * VJ Manzo, Assistant Professor of Music Technology, Worcester Polytechnic Institute, and author of Max/MSP/Jitter for Music * Refining Sound is an approachable introduction to the secrets of synthesis. The companion website is chock full of tutorials, making this well organized book a handy reference for either self-study or in a course. * Mary Simoni, Ph.D., Professor Emerita, University of Michigan, Dean, Rensselaer Polytechnic Institute * In Refining Sound, Brian Shepard provides a deeply valuable and sorely needed resource for the musician seeking to understand sound design. In clear language, he thoroughly explains and illustrates concepts that could be tedious and overwhelming for most readers, and does so from the perspective of the musician rather than the mathematician or physicist. I'm sure we will use this book as the primary text in our synthesis classes for years to come. * Scott L. Phillips, PhD, Co-director of Music Technology, The University of Alabama at Birmingham * Brian K. Shepard's book on synthesizers and synthesis is one of those rare volumes which is comprehensive in its explanations of the history of synthesizers and electronic music in general that makes for a jolly good read. For enthusiasts and professionals alike, this book is the best I've read in years. Thoroughly recommended. * J. Peter Robinson, Composer *

Foreword vii
Preface ix
Acknowledgments xv
About the Companion Website xvii
Introduction Getting the Most out of This Book xix
Using the Interactive Demonstrations xix
Using the Crystal Software Synthesizer xxi
Practicing Safe Synthesis (Can You Hear Me Now?) xxiv
1 Synthesis and Synthesizers: Digging Beneath the Surface of Your Synthesizer
1(32)
Sound and Audio
5(5)
A Brief (and Highly Subjective) History of Synthesizers
10(14)
Digital Audio and Synthesis
24(5)
Your Turn
29(4)
2 Oscillators: Mining the Raw Materials of Your Synthesizer
33(25)
Meet the Oscillators
37(1)
Wave Type Oscillators
37(4)
Noise Oscillators
41(1)
The Color of Noise
42(2)
Table-Lookup Oscillators
44(2)
Wavetable Oscillators
46(1)
Waveshaping Oscillators
47(1)
Hybrid Oscillators
48(1)
Sample-Playback Sources
49(3)
Grain Sources
52(2)
Your Turn
54(4)
3 Oscillator Combinations: Creating Exotic Compounds from Your Raw Materials
58(23)
Combining Sound Waves
58(2)
Beat and Combination Frequencies
60(2)
Mixing Oscillator Sounds
62(6)
Controlling One Oscillator with Another Oscillator
68(8)
Your Turn
76(5)
4 Amplitude Envelope Generators: Shaping Your Sounds
81(18)
Amplitude Envelopes
81(1)
May I Have the Envelope (Generator), Please?
82(2)
Envelope Stages
84(1)
Envelope Times and Rates
85(1)
Shaping Sounds
85(1)
Adding Extra Stages
86(1)
Where Did I Put That Envelope?
87(1)
Segment Curves
87(1)
Inverted Envelopes
88(1)
Envelope Generator Behavior Modes
89(1)
Dynamic Envelope Shapes
90(3)
Your Turn
93(6)
5 Audio Filters: Refining the Color of Your Sounds
99(21)
Audio Filters
100(1)
Audio Filter Types
101(4)
Cascading Filters
105(1)
Parallel Filters
105(1)
Cutoff or Center Frequency
106(1)
Slope, Bandwidth, and Q
107(4)
Resonance
111(1)
Gain
112(1)
Dynamic Filters
113(1)
Subtractive Synthesis
114(2)
Your Turn
116(4)
6 Internal Modulation Sources: Dynamic Shaping of Your Sounds
120(25)
Modulation Matrix
121(1)
Low Frequency Oscillators (LFOs)
122(6)
Audio-Rate Oscillators
128(1)
Modulation Envelope Generators
129(3)
Function Modulators
132(1)
Step Sequencers
133(2)
Arpeggiators
135(1)
Modulating the Modulators
136(1)
Your Turn
137(8)
7 External Control Sources: Shaping Your Sounds with Playing Techniques
145(26)
Electrical Voltage Control (CV/Gate)
146(3)
MIDI
149(15)
Using Physical MIDI Controllers to Shape Sounds
164(2)
Alternative Controllers
166(1)
Your Turn
167(4)
8 Effects Processors: Polishing Your Sounds
171(34)
Time-Based Effects
171(12)
Frequency-Based Effects
183(5)
Amplitude-Based Effects
188(8)
Compound Effects
196(1)
Internal vs. External Effects
197(1)
Your Turn
197(8)
9 Putting It All Together: Creating and Refining Your Own Synthesized Sounds
205(24)
Lead Patch
205(4)
Harmony Patch
209(5)
Percussive Patch
214(3)
Ostinato Patch
217(3)
Pad Patch
220(6)
Thinking Like Your Synthesizer
226(1)
Your Turn
227(2)
Appendix I Further Reading and Information 229(2)
Appendix II Suggestions for the Instructor 231(2)
Index 233
Brian K. Shepard teaches Electro-Acoustic Music, Composition, Synthesis, and Music Technology in the School of Music at Texas Christian University.