简介
Sound Synthesis and Sampling' provides a comprehensive introduction to the underlying principles and practical techniques applied to both commercial and research sound synthesizers. This new edition has been updated throughout to reflect current needs and practices- revised and placed in a modern context, providing a guide to the theory of sound and sampling in the context of software and hardware that enables sound making. For the revised edition emphasis is on expanding explanations of software and computers, new sections include techniques for making sound physically, sections within analog and digital electronics. Martin Russ is well known and the book praised for its highly readable and non-mathematical approach making the subject accessible to readers starting out on computer music courses or those working in a studio.
* Explains the theory of sound and sampling to allow readers to really understand the different types of synthesis and sound making
* Covers all the latest technology and techniques in music production and sound design enabling the reader to get to grips with the current shape of computer technology and music composition
* Includes glossary and jargon buster for quick reference and grasp of vocabulary
目录
CONTENTS 6
PREFACE TO FIRST EDITION 12
PREFACE TO SECOND EDITION 14
PREFACE TO THIRD EDITION 16
VISUAL MAP 18
ABOUT THIS BOOK 22
PART 1 BACKGROUND 26
Chapter 1 Background 28
1.1 What is synthesis? 28
1.2 Beginnings 36
1.3 Telecoms research 39
1.4 Tape techniques 42
1.5 Experimental versus popular musical uses of synthesis 47
1.6 Electro-acoustic music 49
1.7 The 'Produce, Mix, Record, Reproduce' sound cycle 50
1.8 From academic research to commercial production 51
1.9 Synthesis in context 55
1.10 Acoustics and electronics: fundamental principles 61
1.11 Analogue electronics 75
1.12 Digital and sampling 79
1.13 MIDI, transports and protocols 91
1.14 Computers and software 95
1.15 Virtualization and integration 98
1.16 Questions 100
1.17 Timeline 101
PART 2 TECHNIQUES 112
Chapter 2 Making Sounds Physically 114
2.1 Sounds and musical instruments 114
2.2 Hit, scrape and twang 116
2.3 Blow into and over 117
2.4 Sequencing 117
2.5 Recording 117
2.6 Performing 118
2.7 Examples 118
2.8 Questions 119
2.9 Timeline 119
Chapter 3 Making Sounds with Analogue Electronics 124
3.1 Before the synthesizer 124
3.2 Analogue and digital 126
3.3 Subtractive synthesis 131
3.4 Additive synthesis 170
3.5 Other methods of analogue synthesis 183
3.6 Topology 193
3.7 Early versus modern implementations 201
3.8 Sampling in an analogue environment 211
3.9 Sequencing 216
3.10 Recording 218
3.11 Performing 218
3.12 Example instruments 219
3.13 Questions 223
3.14 Timeline 224
Chapter 4 Making Sounds with Hybrid Electronics 230
4.1 Wavecycle 231
4.2 Wavetable 241
4.3 DCOs 250
4.4 DCFs 259
4.5 S&S 259
4.6 Topology 270
4.7 Implementations over time 271
4.8 Hybrid mixers (automation) 273
4.9 Sequencing 274
4.10 Recording 275
4.11 Performing 275
4.12 Example instruments 276
4.13 Questions 278
4.14 Timeline 279
Chapter 5 Making Sounds with Digital Electronics 280
5.1 FM 282
5.2 Waveshaping 301
5.3 Physical modeling 305
5.4 Analogue modeling 316
5.5 Granular synthesis 319
5.6 FOF and other techniques 320
5.7 Analysis\u2013synthesis 330
5.8 Hybrid techniques 338
5.9 Topology 340
5.10 Implementations 340
5.11 Digital samplers 341
5.12 Editing 345
5.13 Storage 352
5.14 Topology 356
5.15 Digital effects 360
5.16 Digital mixers 360
5.17 Drum machines 361
5.18 Sequencers 369
5.19 Workstations 374
5.20 Accompaniment 378
5.21 Groove boxes 379
5.22 Dance, clubs and DJs 381
5.23 Sequencing 383
5.24 Recording 383
5.25 Performing \u2013 playing multiple keyboards 384
5.26 Examples of digital synthesis instruments 389
5.27 Examples of sampling equipment 394
5.28 Questions on digital synthesis 397
5.29 Questions on sampling 397
5.30 Questions on environment 398
5.31 Timeline 398
Chapter 6 Making Sounds with Computer Software 404
6.1 Mainframes to calculators 404
6.2 Personal computers 404
6.3 The PC as integrator 406
6.4 Computers and audio 407
6.5 The plug-in 409
6.6 Ongoing integration of the audio cycle 418
6.7 Studios on computers: the integrated sequencer 425
6.8 The rise of the abstract controller and fall of MIDI 428
6.9 Dance, clubs and DJs 429
6.10 Sequencing 429
6.11 Recording 430
6.12 Performing 430
6.13 Examples 434
6.14 Questions 436
6.15 Timeline 436
PART 3 APPLICATIONS 440
Chapter 7 Sound-Making Techniques 442
7.1 Arranging 442
7.2 Stacking 444
7.3 Layering 447
7.4 Hocketing 450
7.5 Multi-timbrality and polyphony 454
7.6 GM 462
7.7 On-board effects 465
7.8 Editing 475
7.9 Sequencing 487
7.10 Recording 488
7.11 Performing 488
7.12 Questions 488
7.13 Timeline 489
Chapter 8 Controllers 498
8.1 Controller and expander 499
8.2 MIDI control 501
8.3 Keyboards 509
8.4 Keyboard control 512
8.5 Wheels and other hand-operated controls 514
8.6 Foot controls 517
8.7 Ribbon controllers 518
8.8 Wind controllers 518
8.9 Guitar controllers 519
8.10 Mixer controllers 522
8.11 DJ controllers 522
8.12 3D controllers 523
8.13 Front panel controls 523
8.14 MIDI control and MIDI 'Learn' 526
8.15 Advantages and disadvantages 527
8.16 Sequencing 528
8.17 Recording 528
8.18 Performing 529
8.19 Questions 529
8.20 Timeline 530
PART 4 ANALYSIS 532
Chapter 9 The Future of Sound-Making 534
9.1 Closing the circle 536
9.2 Control 536
9.3 Commercial imperatives 539
9.4 Questions 542
9.5 Timeline 543
BIBLIOGRAPHY 544
JARGON 548
INDEX 556
PREFACE TO FIRST EDITION 12
PREFACE TO SECOND EDITION 14
PREFACE TO THIRD EDITION 16
VISUAL MAP 18
ABOUT THIS BOOK 22
PART 1 BACKGROUND 26
Chapter 1 Background 28
1.1 What is synthesis? 28
1.2 Beginnings 36
1.3 Telecoms research 39
1.4 Tape techniques 42
1.5 Experimental versus popular musical uses of synthesis 47
1.6 Electro-acoustic music 49
1.7 The 'Produce, Mix, Record, Reproduce' sound cycle 50
1.8 From academic research to commercial production 51
1.9 Synthesis in context 55
1.10 Acoustics and electronics: fundamental principles 61
1.11 Analogue electronics 75
1.12 Digital and sampling 79
1.13 MIDI, transports and protocols 91
1.14 Computers and software 95
1.15 Virtualization and integration 98
1.16 Questions 100
1.17 Timeline 101
PART 2 TECHNIQUES 112
Chapter 2 Making Sounds Physically 114
2.1 Sounds and musical instruments 114
2.2 Hit, scrape and twang 116
2.3 Blow into and over 117
2.4 Sequencing 117
2.5 Recording 117
2.6 Performing 118
2.7 Examples 118
2.8 Questions 119
2.9 Timeline 119
Chapter 3 Making Sounds with Analogue Electronics 124
3.1 Before the synthesizer 124
3.2 Analogue and digital 126
3.3 Subtractive synthesis 131
3.4 Additive synthesis 170
3.5 Other methods of analogue synthesis 183
3.6 Topology 193
3.7 Early versus modern implementations 201
3.8 Sampling in an analogue environment 211
3.9 Sequencing 216
3.10 Recording 218
3.11 Performing 218
3.12 Example instruments 219
3.13 Questions 223
3.14 Timeline 224
Chapter 4 Making Sounds with Hybrid Electronics 230
4.1 Wavecycle 231
4.2 Wavetable 241
4.3 DCOs 250
4.4 DCFs 259
4.5 S&S 259
4.6 Topology 270
4.7 Implementations over time 271
4.8 Hybrid mixers (automation) 273
4.9 Sequencing 274
4.10 Recording 275
4.11 Performing 275
4.12 Example instruments 276
4.13 Questions 278
4.14 Timeline 279
Chapter 5 Making Sounds with Digital Electronics 280
5.1 FM 282
5.2 Waveshaping 301
5.3 Physical modeling 305
5.4 Analogue modeling 316
5.5 Granular synthesis 319
5.6 FOF and other techniques 320
5.7 Analysis\u2013synthesis 330
5.8 Hybrid techniques 338
5.9 Topology 340
5.10 Implementations 340
5.11 Digital samplers 341
5.12 Editing 345
5.13 Storage 352
5.14 Topology 356
5.15 Digital effects 360
5.16 Digital mixers 360
5.17 Drum machines 361
5.18 Sequencers 369
5.19 Workstations 374
5.20 Accompaniment 378
5.21 Groove boxes 379
5.22 Dance, clubs and DJs 381
5.23 Sequencing 383
5.24 Recording 383
5.25 Performing \u2013 playing multiple keyboards 384
5.26 Examples of digital synthesis instruments 389
5.27 Examples of sampling equipment 394
5.28 Questions on digital synthesis 397
5.29 Questions on sampling 397
5.30 Questions on environment 398
5.31 Timeline 398
Chapter 6 Making Sounds with Computer Software 404
6.1 Mainframes to calculators 404
6.2 Personal computers 404
6.3 The PC as integrator 406
6.4 Computers and audio 407
6.5 The plug-in 409
6.6 Ongoing integration of the audio cycle 418
6.7 Studios on computers: the integrated sequencer 425
6.8 The rise of the abstract controller and fall of MIDI 428
6.9 Dance, clubs and DJs 429
6.10 Sequencing 429
6.11 Recording 430
6.12 Performing 430
6.13 Examples 434
6.14 Questions 436
6.15 Timeline 436
PART 3 APPLICATIONS 440
Chapter 7 Sound-Making Techniques 442
7.1 Arranging 442
7.2 Stacking 444
7.3 Layering 447
7.4 Hocketing 450
7.5 Multi-timbrality and polyphony 454
7.6 GM 462
7.7 On-board effects 465
7.8 Editing 475
7.9 Sequencing 487
7.10 Recording 488
7.11 Performing 488
7.12 Questions 488
7.13 Timeline 489
Chapter 8 Controllers 498
8.1 Controller and expander 499
8.2 MIDI control 501
8.3 Keyboards 509
8.4 Keyboard control 512
8.5 Wheels and other hand-operated controls 514
8.6 Foot controls 517
8.7 Ribbon controllers 518
8.8 Wind controllers 518
8.9 Guitar controllers 519
8.10 Mixer controllers 522
8.11 DJ controllers 522
8.12 3D controllers 523
8.13 Front panel controls 523
8.14 MIDI control and MIDI 'Learn' 526
8.15 Advantages and disadvantages 527
8.16 Sequencing 528
8.17 Recording 528
8.18 Performing 529
8.19 Questions 529
8.20 Timeline 530
PART 4 ANALYSIS 532
Chapter 9 The Future of Sound-Making 534
9.1 Closing the circle 536
9.2 Control 536
9.3 Commercial imperatives 539
9.4 Questions 542
9.5 Timeline 543
BIBLIOGRAPHY 544
JARGON 548
INDEX 556
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