Digital sound & music: concepts, applications, and science
"This book presents material that explains the science and mathematics of digital sound in a way that connects it to theatre, movies, and music production"...
Saved in:
| Main Authors: | , , |
|---|---|
| Format: | Book |
| Language: | English |
| Published: |
Portland, Oregon
Franklin, Beedle & Associates, Inc.
[2016]
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| Subjects: | |
| Online Access: | Inhaltsverzeichnis |
| Summary: | "This book presents material that explains the science and mathematics of digital sound in a way that connects it to theatre, movies, and music production"... |
| Physical Description: | xiii, 552 Seiten Illustrationen |
| ISBN: | 9781590282748 |
Staff View
MARC
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| 100 | 1 | |a Burg, Jennifer |4 aut | |
| 245 | 1 | 0 | |a Digital sound & music |b concepts, applications, and science |c Jennifer Burg, Jason Romney, Eric Schwartz |
| 246 | 1 | 3 | |a Digital sound and music |
| 264 | 1 | |a Portland, Oregon |b Franklin, Beedle & Associates, Inc. |c [2016] | |
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| 700 | 1 | |a Schwartz, Eric |4 aut | |
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Record in the Search Index
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| adam_text | Contents
PREFACE XI
CHAPTER ONE
GETTING READY -1
1.1 SOUNDS LIKE FUN! 1
1.2 HOWTHIS BOOK IS ORGANIZED 1
1.3 A BRIEF HISTORY OF DIGITAL SOUND 2
1.4 BASIC TERMINOLOGY 3
1.4.1 ANALOG VS. DIGITAL 3
1.4.2 DIGITAL AUDIO VS. MIDI 4
1.5 SETTING UP YOUR WORK ENVIRONMENT 5
1.5.1 OVERVIEW 5
1.5.2 HARDWARE FOR DIGITAL AUDIO AND MIDI PROCESSING 7
1.5.2.1 Computer System Requirements 7
1.5.2.2 Digital Audio Interface 10
1.5.2.3 Drivers 11
1.5.2.4 MIDI Keyboard 11
1.5.2.5 Recording Devices 12
1.5.2.6 Microphones 13
1.5.2.7 Direct Input Devices 22
1.5.2.8 Monitor Loudspeakers 23
1,5.2.9 Studio Headphones 24
1.5.2.10 Cables and Connectors 25
1.5.2.11 Dedicated Hardware Processors 35
1.5.2.12 Mixers 37
1.5.2.13 Loudspeakers 38
1.5.2.14 Analysis Hardware 39
1.5.3 SOFTWARE FOR DIGITAL AUDIO AND MIDI PROCESSING 40
1.5.3.1 The Basics 40
1.5.3.2 Logic 42
III
IV
Contents
1.5.3.3 Cakewalk Sonar and Music Creator 42
1.5.3.4 Adobe Audition 43
1.5.3.5 Audacity 43
1.5.3.6 Reason 44
1.5.3.7 Software Plug-ins 44
1.5.3.8 Music Composing and Notation Software 45
1.5.3.9 Working in the Linux Environment 46
1.5.3.10 Software for Live Performances 46
1.6 LEARNING SUPPLEMENTS 49
1.6.1 PRACTICAL EXERCISES 49
1.6.2 FLASH TUTORIALS 49
1.6.3 MAX AND PURE DATA (Pd) 50
1.6.4 MATLAB AND OCTAVE 51
1.6.5 C++ AND JAVA PROGRAMMING EXERCISES 53
1.7 WHERETO GO FROM HERE 53
1.8 REFERENCES 54
CHAPTER TWO
SOUND WAVES* 55
2.1 CONCEPTS 55
2.1.1 SOUND WAVES, SINE WAVES, AND HARMONIC MOTION 55
2.1.2 PROPERTIES OF SINE WAVES 60
2.1.3 LONGITUDINAL ANDTRANSVERSE WAVES 63
2.1.4 RESONANCE 64
2.1.4.1 Resonance as Harmonic Frequencies 64
2.1.4.2 Resonance of a Transverse Wave 65
2.1.4.3 Resonance of a Longitudinal Wave 68
2.1.5 DIGITIZING SOUND WAVES 71
2.2 APPLICATIONS 71
2.2.1 ACOUSTICS 71
2.2.2 SOUND SYNTHESIS 71
2.2.3 SOUND ANALYSIS 73
2.2.4 FREQUENCY COMPONENTS OF NON-SINUSOIDAL WAVES 76
2.2.5 FREQUENCY, IMPULSE, AND PHASE RESPONSE GRAPHS 78
2.2.6 EAR TESTING ANDTRAINING 81
2.3 SCIENCE, MATHEMATICS, AND ALGORITHMS 81
2.3.1 MODELING SOUND IN MAX 81
2.3.2 MODELING SOUND WAVES IN PURE DATA (Pd) 84
2.3.3 MODELING SOUND IN MATLAB 84
2.3.4 READING AND WRITING WAV FILES IN MATLAB 94
2.3.5 MODELING SOUND IN OCTAVE 95
Contents
V
23.6 TRANSFORMING FROM ONE DOMAIN TO ANOTHER 97
23.7 THE DISCRETE FOURIERTRANSFORM (DFT) AND ITS INVERSE 97
23.8 THE FAST FOURIERTRANSFORM (FFT) 99
23.9 APPLYING THE FOURIER TRANSFORM IN MATLAB 100
23.10 WINDOWINGTHE FFT 105
23.11 WINDOWING FUNCTIONS TO ELIMINATE SPECTRAL LEAKAGE 107
2.3.12 MODELING SOUND IN C++ UNDER LINUX 111
2.3.13 MODELING SOUND IN JAVA 114
2.4 REFERENCES 119
CHAPTER THREE
MUSICAL SOUND »121
3.1 CONCEPTS 121
3.1.1 CONTEXT 121
3.1.2 TONES AND NOTES 121
3.13 MUSIC VS. NOISE 124
3.1.4 SCALES 127
3.1.5 MUSICAL NOTATION 130
3.1.5.1 Score 130
3.1.5.2 Notes and their Durations 132
3.1.5.3 Rhythm, Tempo, and Meter 132
3.1.5.4 Rests and their Durations 135
3.1.5.5 Key Signature 136
3.1.5.6 The Circle of Fifths 141
3.1.5.7 Key Transposition 142
3.1.6 MUSICAL COMPOSITION 143
3.1.6.1 Historical Context 143
3.1.6.2 Intervals 144
3.1.6.3 Chords 147
3.1.6.4 Chord Progressions 151
3.1.7 DYNAMICS AND ARTICULATION 153
3.2 APPLICATIONS 155
3.2.1 PIANO ROLL AND EVENT LIST VIEWS 155
3.2.2 TABLATURE 157
3.2.3 CHORD PROGRESSION 157
3.2.4 GU1TAR CHORD GRID 159
3.3 SCIENCE, MATHEMATICS, AND ALGORITHMS 159
33.1 EQUAL TEMPERED VS. JUST TEMPERED INTERVALS 159
33.2 EXPERIMENTING WITH MUSIC IN MAX 163
3.3.3 EXPERIMENTING WITH MUSIC IN MATLAB 168
33.4 EXPERIMENTING WITH MUSIC IN C++ 170
Vf
Contents
3.3.5 EXPERIMENTING WITH MUSIC IN JAVA
3.4 REFERENCES
173
178
CHAPTER FOUR
SOUND PERCEPTION AND ACOUSTICS • 179
4.1 CONCEPTS
4.1.1 ACOUSTICS
4.1.2 PSYCHOACOUSTICS
4.1.3 OBJECTIVE AND SUBJECTIVE MEASURES OF SOUND
4.1.4 UNITS FOR MEASURING ELECTRICITY AND SOUND
4.1.5 DECIBELS
4.1.5.1 Why Decibels for Sound?
4.1.5.2 Various Usages of Decibels
4.1.5.3 Peak Amplitude vs. RMS Amplitude
4.1.6 SOUND PERCEPTION
4.1.6.1 Frequency Perception
4.1.6.2 Critical Bands
4.1.6.3 Amplitude Perception
4.1.7 THE INTERACTION OF SOUND WITH ITS ENVIRONMENT
4.1.7.1 Absorption, Reflection, Refraction, and Diffraction
4.1.7.2 Reverberation, Echo, Diffusion, and Resonance
4.2 APPLICATIONS
4.2.1 WORKING WITH DECIBELS
4.2.1.1 Real-world Considerations
4.2.1.2 Rules of Thumb
4.2.1.3 Determining Power and Voltage Differences
and Desired Changes in Power Levels
4.2.1.4 Converting from One Type of Decibel to Another
4.2.1.5 Combining Sound Levels from Multiple Sources
4.2.1.6 Inverse Square Law
4.2.2 ACOUSTIC CONSIDERATIONS FOR LIVE PERFORMANCES
4.2.2.1 Potential Acoustic Gain (PAG)
4.2.2.2 Checking and Setting Sound Levels
4.2.2.3 Impulse Responses and Reverberation Time
4.2.2.4 Frequency Levels and Comb Filtering
4.2.2.5 Resonance and Room Modes
4.2.2.6 The Precedence Effect
4.2.2.7 Effects of Temperature
4.2.2.8 Modifying and Adapting to the Acoustical Space
4.2.3 ACOUSTICAL CONSIDERATIONS FORTHE RECORDING STUDIO
179
179
179
180
181
183
183
187
192
194
194
197
200
203
203
206
208
208
208
209
210
212
213
213
215
215
217
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228
231
233
235
237
Contents y
4.3 SCIENCE, MATHEMATICS, AND ALGORITHMS 240
43.1 DERIVING POWER AND VOLTAGE CHANGES IN DECIBELS 240
43.2 WORKING WITH CRITICAL BANDS 241
433 A MATLAB PROGRAM FOR EQUAL-LOUDNESS CONTOURS 243
43.4 THE MATHEMATICS OF THE INVERSE SQUARE LAW AND PAG EQUATIONS 244
43.5 THE MATHEMATICS OF DELAYS, COMB FILTERING, AND ROOM MODES 247
4.4 REFERENCES 250
CHAPTER FIVE
DIGITIZATION • 251
5.1 CONCEPTS
5.1.1 ANALOG VS. DIGITAL
5.1.2 DIGITIZATION
5.1.2.1 Two Steps: Sampling and Quantization
5.1.2.2 Sampling and Aliasing
5.1.23 Bit Depth and Quantization Error
5.1.2.4 Dynamic Range
5.1.2.5 Audio Dithering and Noise Shaping
5.1.3 AUDIO DATA STREAMS AND TRANSMISSION PROTOCOLS
5.1 .4 SIGNAL PATH IN AN AUDIO RECORDING SYSTEM
5.1.5 CPU AND HARD DRIVE CONSIDERATIONS
5.1.6 DIGITAL AUDIO FILE TYPES
5.2 APPLICATIONS
5.2.1 CHOOSING AN APPROPRIATE SAMPLING RATE
5.2.2 INPUT LEVELS, OUTPUT LEVELS, AND DYNAMIC RANGE
5.2.3 LATENCY AND BUFFERS
5.2.4 WORD CLOCK
5.3 SCIENCE, MATHEMATICS, AND ALGORITHMS
5.3.1 READING AND WRITING AUDIO FILES IN MATLAB
53.2 RAW AUDIO DATA IN C++
5.33 READING AND WRITING FORMATTED AUDIO FILES IN C++
5.3.4 MATHEMATICS AND ALGORITHMS FOR ALIASING
5.3.5 SIMULATING SAMPLING AND QUANTIZATION IN MATLAB
5.3.6 SIMULATING SAMPLING AND QUANTIZATION IN C++
5.3.7 THE MATHEMATICS OF DITHERING AND NOISE SHAPING
5.3.8 ALGORITHMS FOR AUDIO COMPANDING AND COMPRESSION
53.8.1 Mu-law Encoding
53.8.2 Psychoacoustics and Perceptual Encoding
5.3.83 MP3 and AAC Compression
53.8.4 Lossless Audio Compression
5.4 REFERENCES
251
251
252
252
254
257
260
267
268
270
272
273
278
278
279
284
288
291
291
294
297
299
302
303
304
309
309
313
315
326
328
Contents
CHAPTER SIX
MIDI AND SOUND SYNTHESIS • 329
6.1 CONCEPTS 329
6.1.1 THE BEGINNINGS OF SOUND SYNTHESIS 329
6.1.2 MIDI COMPONENTS 332
6.1.3 MIDI DATA COMPARED TO DIGITAL AUDIO 336
6.1.4 CHANNELS,TRACKS, AND PATCHES IN MIDI SEQUENCERS 339
6.1.5 A CLOSER LOOK AT MIDI MESSAGES 342
6.1.5.1 Binary, Decimal, and Hexadecimal Numbers 342
6.1.5.2 MIDI Messages,Types, and Formats 343
6.1.6 SYNTHESIZERS VS. SAMPLERS 345
6.1.7 SYNTHESIS METHODS 348
6.1.8 SYNTHESIZER COMPONENTS 350
6.1.8.1 Presets 350
6.1.8.2 Sound Generator 350
6.1.8.3 Filters 351
6.1.8.4 Signal Amplifier 353
6.1.8.5 Modulation 353
6.1.8.6 LFO 354
6.1.8.7 Envelopes 355
6.1.8.8 MIDI Modulation 356
6.2 APPLICATIONS 357
6.2.1 LINKING CONTROLLERS, SEQUENCERS, AND SYNTHESIZERS 357
6.2.2 CREATING YOUR OWN SYNTHESIZER SOUNDS 363
6.2.3 MAKING AND LOADING YOUR OWN SAMPLES 364
6.2.4 DATA FLOW AND PERFORMANCE ISSUES IN AUDIO/MIDI RECORDING 368
6.2.5 NON-MUSICAL APPLICATIONS FOR MIDI 369
6.2.5.1 MIDI Show Control 369
6.2.5.2 MIDI Relays and Footswitches 371
6.2.5.3 MIDI Time Code 372
6.2.5.4 MIDI Machine Control 375
6.3 SCIENCE, MATHEMATICS, AND ALGORITHMS 376
6.3.1 MIDI SMF FILES 376
6.3.2 SHAPING SYNTHESIZER PARAMETERS WITH ENVELOPES AND LFOS 378
6.3.3 TYPES OF SYNTHESIS 379
6.3.3.1 Table-lookup Oscillators and Wavetable Synthesis 379
6.33.2 Additive Synthesis 381
6.3.33 Subtractive Synthesis 382
63.3.4 Amplitude Modulation (AM) 383
63.3.5 Ring Modulation 387
63.3.6 Phase Modulation (PM) 388
6.33.7 Frequency Modulation (FM) 390
Contents
IX
6.3.4 CREATING A BLOCK SYNTHESIZER IN MAX
6.4 REFERENCES
392
403
CHAPTER SEVEN
AUDIO PROCESSING • 405
7.1 CONCEPTS 405
7.1.1 ITS ALL AUDIO PROCESSING 405
7.1.2 FILTERS 405
7.1.3 EQUALIZATION 408
7.1.4 GRAPHIC EQ 408
7.1.5 PARAMETRIC EQ 409
7.1.6 REVERB 411
7.1.7 FLANGE 415
7.1.8 VOCODERS 416
7.1.9 AUTOTUNERS 417
7.1.10 DYNAMICS PROCESSING 417
7.1.10.1 Amplitude Adjustment and Normalization 417
7.1.10.2 Dynamics Compression and Expansion 418
7.1.10.3 Limiting and Gating 422
7.2 APPLICATIONS 424
7.2.1 MIXING 424
7.2.1.1 Mixing Contexts and Devices 424
7.2.1.2 Inputs and Outputs 426
7.2.1.3 Channel Strips 427
7.2.1.4 Input Connectors 428
7.2.1.5 Gain Section 428
7.2.1.6 Insert 432
7.2.1.7 Equalizer Section 433
7.2.1.8 Auxiliaries 434
7.2.1.9 Fader and Routing Section 436
7.2.2 APPLYING EQ 439
7.2.3 APPLYING REVERB 442
7.2.4 APPLYING DYNAMICS PROCESSING 444
7.2.5 APPLYING SPECIAL EFFECTS 446
7.3 SCIENCE, MATHEMATICS, AND ALGORITHMS 447
7.3.1 CONVOLUTION AND TIME-DOMAIN FILTERING 447
7.3.2 LOW-PASS, HIGH-PASS, BANDPASS, AND BANDSTOP FILTERS 450
7.3.3 THEZ-TRANSFORM 452
7.3.4 FILTERING IN THE TIME AND THE FREQUENCY DOMAINS 454
7.3.5 DEFINING FIR AND HR FILTERS WITH Z-TRANSFORMS,
FILTER DIAGRAMS, AND TRANSFER FUNCTIONS 456
7.3.6 GRAPHING FILTERS AND PLOTTING ZERO-POLE DIAGRAMS 458
X
Contents
7.3.7 COMB FILTERS AND DELAYS 463
7.3.8 FLANGING 466
7.3.9 THE DIGITAL SIGNAL PROCESSING TOOLKIT IN MATLAB 466
7.3.10 EXPERIMENTS WITH FILTERING: VOCODERS AND PITCH GLIDES 471
7.3.11 REAL-TIME VS. OFF-LINE PROCESSING 472
7.4 REFERENCES 474
CHAPTER EIGHT
GETTING TO WORK • 475
8.1 SOUND FOR ALL OCCASIONS 475
8.2 WORKFLOW IN SOUND AND MUSIC PRODUCTION 475
8.2.1 PRE-PRODUCTION 476
8.2.1.1 Making a Schedule 476
8.2.1.2 Setting Up for Recording 477
8.2.2 PRODUCTION 480
8.2.2.1 Capturing the Four-dimensional Sound Field 480
8.2.2.2 Setting Levels for Recording 489
8.2.2.3 Multitrack Recording 489
8.2.2.4 Recording Sound for Film or Video 492
8.2.2.5 Sound Effects 494
8.2.2.6 MIDI and Other Digital Tools for Sound and Music Composition 495
8.2.3 POST-PRODUCTION 500
8.2.3.1 Overdubbing 500
8.2.3.2 Mixing 501
8.2.33 Mastering 503
8.2.4 LIVE SOUND 504
8.2.4.1 Designing a Sound Delivery System 504
8.2.4.2 System Documentation 512
8.2.43 Sound Analysis Systems 518
8.2.4.4 System Optimization 524
8.2.4.5 Multi-channel Playback 530
8.2.4.6 Playback and Control 531
8.3 CREATIVE PROJECTS 533
8.4 REFERENCES 533
APPENDIX A: INSTRUCTIONS FOR USING THE LEARNING SUPPLEMENTS 534
APPENDIX B: LIST OF FIGURES TABLES 535
INDEX 543
ABOUTTHE AUTHORS 551
|
| any_adam_object | 1 |
| author | Burg, Jennifer Romney, Jason Schwartz, Eric |
| author_facet | Burg, Jennifer Romney, Jason Schwartz, Eric |
| author_role | aut aut aut |
| author_sort | Burg, Jennifer |
| author_variant | j b jb j r jr e s es |
| building | Verbundindex |
| bvnumber | BV044210963 |
| callnumber-first | T - Technology |
| callnumber-label | TK7881 |
| callnumber-raw | TK7881.4 |
| callnumber-search | TK7881.4 |
| callnumber-sort | TK 47881.4 |
| callnumber-subject | TK - Electrical and Nuclear Engineering |
| classification_rvk | LR 57608 LR 57790 |
| ctrlnum | (OCoLC)976437024 (DE-599)BVBBV044210963 |
| dewey-full | 621.389/3 |
| dewey-hundreds | 600 - Technology (Applied sciences) |
| dewey-ones | 621 - Applied physics |
| dewey-raw | 621.389/3 |
| dewey-search | 621.389/3 |
| dewey-sort | 3621.389 13 |
| dewey-tens | 620 - Engineering and allied operations |
| discipline | Elektrotechnik / Elektronik / Nachrichtentechnik Musikwissenschaft |
| format | Book |
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| id | DE-604.BV044210963 |
| illustrated | Illustrated |
| indexdate | 2024-07-10T07:46:43Z |
| institution | BVB |
| isbn | 9781590282748 |
| language | English |
| lccn | 016025421 |
| oai_aleph_id | oai:aleph.bib-bvb.de:BVB01-029617234 |
| oclc_num | 976437024 |
| open_access_boolean | |
| owner | DE-739 |
| owner_facet | DE-739 |
| physical | xiii, 552 Seiten Illustrationen |
| publishDate | 2016 |
| publishDateSearch | 2016 |
| publishDateSort | 2016 |
| publisher | Franklin, Beedle & Associates, Inc. |
| record_format | marc |
| spelling | Burg, Jennifer aut Digital sound & music concepts, applications, and science Jennifer Burg, Jason Romney, Eric Schwartz Digital sound and music Portland, Oregon Franklin, Beedle & Associates, Inc. [2016] xiii, 552 Seiten Illustrationen txt rdacontent n rdamedia nc rdacarrier "This book presents material that explains the science and mathematics of digital sound in a way that connects it to theatre, movies, and music production"... Sound Recording and reproducing Digital techniques Digitale Audiotechnik (DE-588)4140447-6 gnd rswk-swf Musikproduktion (DE-588)4235850-4 gnd rswk-swf Digitale Audiotechnik (DE-588)4140447-6 s Musikproduktion (DE-588)4235850-4 s DE-604 Romney, Jason aut Schwartz, Eric aut Digitalisierung UB Passau - ADAM Catalogue Enrichment application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=029617234&sequence=000002&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA Inhaltsverzeichnis |
| spellingShingle | Burg, Jennifer Romney, Jason Schwartz, Eric Digital sound & music concepts, applications, and science Sound Recording and reproducing Digital techniques Digitale Audiotechnik (DE-588)4140447-6 gnd Musikproduktion (DE-588)4235850-4 gnd |
| subject_GND | (DE-588)4140447-6 (DE-588)4235850-4 |
| title | Digital sound & music concepts, applications, and science |
| title_alt | Digital sound and music |
| title_auth | Digital sound & music concepts, applications, and science |
| title_exact_search | Digital sound & music concepts, applications, and science |
| title_full | Digital sound & music concepts, applications, and science Jennifer Burg, Jason Romney, Eric Schwartz |
| title_fullStr | Digital sound & music concepts, applications, and science Jennifer Burg, Jason Romney, Eric Schwartz |
| title_full_unstemmed | Digital sound & music concepts, applications, and science Jennifer Burg, Jason Romney, Eric Schwartz |
| title_short | Digital sound & music |
| title_sort | digital sound music concepts applications and science |
| title_sub | concepts, applications, and science |
| topic | Sound Recording and reproducing Digital techniques Digitale Audiotechnik (DE-588)4140447-6 gnd Musikproduktion (DE-588)4235850-4 gnd |
| topic_facet | Sound Recording and reproducing Digital techniques Digitale Audiotechnik Musikproduktion |
| url | http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=029617234&sequence=000002&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA |
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