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The Resource Designing sound, Andy Farnell

Designing sound, Andy Farnell

Label
Designing sound
Title
Designing sound
Statement of responsibility
Andy Farnell
Creator
Subject
Language
eng
Summary
  • Designing Sound teaches students and professional sound designers to understand and create sound effects starting from nothing. Its thesis is that any sound can be generated from first principles, guided by analysis and synthesis. The text takes a practitioner's perspective, exploring the basic principles of making ordinary, everday sounds using an easily accessed free software. Readers use the Pure Data (Pd) language to construct sound objects, which are more flexible and useful than recordings. Sound is considered as a process, rather than as data--an approach sometimes known as "procedural audio. "Procedual sound is a living sound effect that can run as computer code and be changed in real time according to unpredictable events. Applications include video games, film, animation, and media in which sound is part of an interactive process
  • The book takes a practical, systematic approach to the subject, teaching by example and providing background information that offers a firm theoretical context for its pragmatic stance. Many of the examples follow a pattern, beginning with a discussion of the nature and physics of a sound, proceeding through the development of models and implementation of examples, to the final step of producing a Pure Data program for the desired sound. Different synthesis methods are discussed, analysed, and refined throughout. After mastering the techniques peresented in Designing Sound, students will be able to build their own sound objects for use in interactive applications and other projects
  • Andy Farnell has a degree in computer Science and Electronic Engineering from University College London and now specializes in digital audio signal processing. He has worked as a sound effects programmer for BBC radio and television and as a programmer on server-side applications for product search and data storage
  • "A monumental work. This surely has the potential of becoming the sound designer's bible!"--Kees van den Doel, Scientific Computing Laboratory, University of British Columbia
  • "An excellent, practical introduction to sound synthesis methods. The most useful resource on Pure Data that l've come across. Essential reading for anyone wanting to learn how to create sounds."--Karen Collins, Canada Research Chair in Interactive Audio, University of Waterloo
  • "Putting the creativity of every single sonic nuance in the hands of the sound designer--and the listener--is the gift that Farnell brings through his book Designing Sound. What an empowering experience!"--David Sonnenschein, Director, Musician, and author of Sound Design: The Expressive Power of Music, Voice, and Sound Effects in Cinema --Book Jacket
Cataloging source
DLC
http://library.link/vocab/creatorDate
1969-
http://library.link/vocab/creatorName
Farnell, Andy
Illustrations
illustrations
Index
index present
LC call number
TK7881.4
LC item number
.F365 2010
Literary form
non fiction
Nature of contents
bibliography
http://library.link/vocab/subjectName
  • Computer sound processing
  • Sound
  • Sounds
  • Motion pictures
  • Animated films
  • Video games
  • traitement du son par ordinateur
  • son
  • Son
  • Son
  • Cinéma
Label
Designing sound, Andy Farnell
Instantiates
Publication
Bibliography note
Includes bibliographical references and index
Contents
  • 3.1.
  • Elementary Physics
  • Energy
  • Force
  • Pressure
  • Work
  • Systems
  • Power
  • Energy Sources
  • Matter and Mass
  • 1.
  • Force, Distance, and Acceleration
  • Displacement, Movement, and Freedom
  • Excitation
  • 3.2.
  • Materials
  • Elasticity and Restoration
  • Density
  • Plasticity
  • Structure and Strength
  • 3.3.
  • Introduction
  • Waves
  • Wave Models
  • Exchange of Forces
  • Propagation
  • Wave Types
  • Amplitude
  • Speed
  • Group and Phase Velocity
  • Wavelength
  • Frequency and Period
  • I.
  • Simple Wave Math
  • Phase
  • Superposition and Phase Cancellation
  • 3.4.
  • Boundaries
  • Phase of Bending Waves at Solid Boundaries
  • Coupling
  • Reflection and Standing Waves
  • Modes
  • Visualising Sound Waves
  • Theory
  • Shape
  • Entropy and Heat
  • Loss and Damping
  • 3.5.
  • Analogues
  • Potential
  • Energy Inlet
  • Flow
  • Resistance
  • Tap or Outlet
  • 2.
  • Capacitance
  • Example Network Analogy
  • Example System Analysis
  • Acknowledgements
  • References
  • Theory Introduction
  • 3.
  • Physical Sound
  • Quantisation
  • 4.2.
  • Simple Harmonic Oscillators
  • Frequency of a Mass on Spring
  • Frequency of a Pendulum
  • Frequency of an LC Network
  • 4.3.
  • Complex Harmonic Oscillators
  • Oscillation of a String
  • Oscillation of a Bar or Rod
  • 4.
  • Oscillation of Cones, Membranes, Laminas
  • 4.4.
  • Driven Oscillations and Resonance
  • References
  • 5.
  • Acoustics
  • 5.1.
  • Acoustic Systems
  • Virbrations in Air
  • Radiation
  • Oscillations
  • Radiation Patterns
  • Spherical, Cylindrical, and Planar Waves
  • 5.2.
  • Intensity and Attenuation
  • Sound Pressure Level
  • Position and Correlation
  • Acoustic Sound Intensity
  • Geometric Attenuation
  • Transmission and Absorption
  • 5.3.
  • 4.1.
  • Other Propagation Effects
  • Reflection
  • Scattering
  • Dispersion
  • Refraction
  • Diffraction
  • Diffusion
  • Ground Effects
  • Oblique Boundary Loss
  • Wind Shear
  • Oscillators
  • Aberration
  • The Doppler Effect
  • Room Acoustics
  • Reverb Time
  • Outdoor Acoustics
  • Period and Frequency
  • Frequency of a Spinning Object
  • Relaxation
  • Frequency of Relaxation Systems
  • Textbooks
  • Papers
  • Online Resources
  • 6.
  • Psychoacoustics
  • 6.1.
  • Perceiving Sounds
  • Ears
  • Frequency Range of Human Hearing
  • Nonlinearity
  • 5.4.
  • Threshold of Hearing
  • Just Noticeable Difference
  • Localisation
  • Interaural Time Difference
  • Interaural Intensity Difference
  • Head Response Transfer Function
  • Distance
  • Source Identity
  • Perception of Loudness
  • Loudness Scales and Weighting
  • Acoustic Oscillations
  • Duration and Loudness
  • Fatigue
  • Change of Loudness
  • Perception of Frequency
  • Pure Tone Discrimination
  • Critical Bands
  • Ranges
  • Resolution
  • Average of Close Components
  • Rapid Change of Amplitude
  • Turbulence
  • Phantom Fundamentals
  • Huggins Binaural Pitch
  • Bilsen Band Edge Pitch
  • Perception of Spectra
  • Perception of Harmonic and Inharmonic Spectra
  • Consonance, Harmony, and Roughness
  • Brightness, Dullness, and Spectral Centroid
  • Reynolds Number
  • Sounds of Turbulence
  • Pipes
  • Radiation from Pipes and Horns
  • Helmholtz Oscillator
  • Decay
  • Sustain
  • Release
  • Effort and Movement
  • Precedence and Belonging
  • Gabor Limit for Duration
  • Hirsh Limit for Ordering
  • Streaming
  • Streaming by Pitch
  • Van Noorden Ambiguity
  • Resonance, Flatness, and Formants
  • Spectral and Spacial Streams
  • 6.2.
  • Sound Congnition
  • Gestalt Effects
  • Discrimination
  • Scaling
  • Similarity
  • Matching
  • Classification
  • Identification
  • Perception of Temporal Structure
  • Recognition
  • Attention
  • Correspondence
  • Asynchronous Sound
  • Acousmatic Sound
  • The Audiovisual Contract
  • Absence
  • Concurrent Masking
  • Temporal Proximity Masking
  • 6.3.
  • Granularity
  • Auditory Scene Analysis
  • Segregation
  • Schema Activation
  • Primitive Features
  • Harmonicity
  • Continuity
  • Momentum
  • Monotonicity
  • Temporal Correlation
  • Coherence
  • Events and Flows
  • The Process of Scene Analysis
  • 6.4.
  • Auditory Memory
  • Short- and Long-term Memory
  • Auditory Pipeline
  • Verbal and Nonverbal Memory
  • Visual Augmentation
  • Envelopes
  • Attack
  • Transient and Rise Time
  • Slow Attacks
  • Semantic
  • Critical
  • Reduced
  • Analytic Listening
  • Component Analysis
  • Signal Listening
  • Engaged
  • 6.6.
  • Physiological Responses to Sound
  • Stapedius Reflex
  • 6.5.
  • Startle Response
  • Orientation Response
  • Ecstatic Response
  • Stress Responses
  • Binaural Beat Entrainment
  • Psychotherapeutical Applications and Art
  • Cross-modal Perception
  • 6.7.
  • Sound, Language, and Knowledge
  • Imagining Sound
  • Listening Strategies
  • Talking about Sound
  • Noun Descriptions
  • Adjective and Adjunctive Descriptions
  • Gerund Verb Descriptions
  • Onomatopoeia and Alliteration
  • Reference Points
  • Procedural Knowledge
  • Declarative Domain Knowledge
  • Imperative Knowledge
  • Poetic Knowledge
  • Listening Hierarchy
  • Categorical Knowledge
  • Weak Cultural Domain Knowledge
  • Strong Cultural Domain Knowledge
  • Exercises
  • Exercise 1
  • Perception
  • Exercise 2
  • Language
  • Exercise 3
  • Knowledge and Communication
  • Reflexive
  • Acknowledgements
  • References
  • Books
  • Papers
  • Online Resources
  • Connotative
  • Causal
  • Empathetic
  • Functional
  • Representing Signals
  • Digital Encoding
  • Digital-to-Analog Conversion
  • Analog-to-Digital Conversion
  • Digital Signal Processing
  • Floating Point Normalised Form
  • Smoothing Samples
  • 7.2.
  • Graphs
  • Spectra
  • 7.
  • Spectrograms
  • Waterfall Plots
  • 7.3.
  • Generating Digital Waveforms
  • Generating Samples
  • Buffering
  • The Sound of Zero (Silence)
  • The Sound of One (Constants)
  • Moving Signals
  • Sinusoidal Waves
  • Digital Signals
  • Complex Harmonic Motion
  • Randomly Moving Signals
  • Suddenly Moving Signals
  • Slowly Moving Signals
  • Signal Programming Abstraction
  • A Csound Snippet
  • A CLM Snippet
  • Acknowledgements
  • References
  • Books
  • 7.1.
  • Papers
  • Online Resources
  • II.
  • Tools
  • 8.
  • Tools Introduction
  • 8.1.
  • What You Will Need
  • 8.2.
  • Tools for Sound Design
  • Signals
  • 8.3.
  • Supporting Tools
  • 9.
  • Starting with Pure Data
  • 9.1.
  • Pure Data
  • Installing and Running Pure Data
  • Testing Pure Data
  • Transducers
  • Electronic, Continuous Signals
  • Sound Transducers
  • Information
  • Your First Patch
  • Creating a Canvas
  • New Object Placement
  • Edit Mode and Wiring
  • Initial Parameters
  • Modifying Objects
  • Number Input and Output
  • Toggling Edit Mode
  • More Edit Operations
  • Patch Files
  • 9.2.
  • 9.3.
  • Message Data and GUI Boxes
  • Selectors
  • Bang Message
  • Bang Box
  • Float Messages
  • Number Box
  • Toggle Box
  • Sliders and Other Numerical GUI Elements
  • General Messages
  • How Does Pure Data Work?
  • Message Box
  • Symbolic Messages
  • Symbol Box
  • Lists
  • Pointers
  • Tables, Arrays, and Graphs
  • 9.4.
  • Getting Help with Pure Data
  • Exercises
  • Exercise 1
  • Objects
  • Exercise 2
  • Exercise 3
  • References
  • 10.
  • Using Pure Data
  • 10.1.
  • Basic Objects and Principles of Operation
  • Hot and Cold Inlets
  • Bad Evaluation Order
  • Trigger Objects
  • Connections
  • Making Cold Inlets Hot
  • Float Objects
  • Int Objects
  • Symbol and List Objects
  • Merging Message Connections
  • Data
  • Patches
  • A Deeper Look at Pd
  • Pure Data Software Architecture
  • Route
  • Moses
  • Spigot
  • Swap
  • Change
  • Send and Receive Objects
  • Broadcast Messages
  • Special Message Destinations
  • Message Sequences
  • 10.4.
  • 10.2.
  • List Objects and Operations
  • Packing and Unpacking Lists
  • Substitutions
  • Persistence
  • List Distribution
  • More Advanced List Operations
  • 10.5.
  • Input and Output
  • The Print Object
  • MIDI
  • Working with Time and Events
  • 10.6.
  • Working with Numbers
  • Arithmetic Objects
  • Trigonometric Maths Objects
  • Random Numbers
  • Arithmetic Example
  • Comparative Objects
  • Boolean Logical Objects
  • 10.7.
  • Common Idioms
  • Metronome
  • Constrained Counting
  • Accumulator
  • Rounding
  • Scaling
  • Looping with Until
  • Message Complement and Inverse
  • Random Selection
  • Weighted Random Selection
  • Delay Cascade
  • Last Float and Averages
  • A Counter Timebase
  • Running Maximum (or Minimum)
  • Float Low Pass
  • 11.
  • Pure Data Audio
  • 11.1.
  • Audio Objects
  • Audio Connections
  • Blocks
  • Audio Object CPU Use
  • Time Objects
  • Select
  • 10.3.
  • Data Flow Control
  • Audio Input and Output
  • Example: A Simple MIDI Monosynth
  • Audio Filter Objects
  • Audio Arithmetic Objects
  • Trigonometric and Math Objects
  • Audio Delay Objects
  • References
  • 12.
  • Abstraction
  • 12.1.
  • 11.2.
  • Subpatches
  • Copying Subpatches
  • Deep Subpatches
  • Abstractions
  • Scope and $0
  • 12.2.
  • Instantiation
  • 12.3.
  • Editing
  • 12.4.
  • Audio Objects and Principles
  • Parameters
  • 12.5.
  • Defaults and States
  • 12.6.
  • Common Abstraction Techniques
  • Graph on Parent
  • Using List Inputs
  • Packing and Unpacking
  • Control Normalisation
  • Summation Chains
  • Fanout and Merging
  • Routed Inputs
  • 13.
  • Shaping Sound
  • Time and Resolution
  • Audio Signal Block to Messages
  • Sending and Receiving Audio Signals
  • Audio Generators
  • Audio Line Objects
  • 13.2.
  • Periodic Functions
  • Wrapping Ranges
  • Cosine Function
  • 13.3.
  • Other Functions
  • Polynomials
  • Expressions
  • 13.4.
  • Time-Dependent Signal Shaping
  • Note continued:
  • Delay
  • Phase Cancellation
  • Filters
  • User-Friendly Filters
  • Integration
  • Differentiation
  • References
  • 14.
  • Pure Data Essentials
  • 14.1.
  • 13.1.
  • Channel Strip
  • Signal Switch
  • Simple Level Control
  • Using a Log Law Fader
  • MIDI Fader
  • Mute Button and Smooth Fades
  • Panning
  • Simple Linear Panner
  • Square Root Panner
  • Cosine Panner
  • Amplitude-Dependent Signal Shaping
  • Crossfader
  • Demultiplexer
  • 14.2.
  • Audio File Tools
  • Monophonic Sampler
  • File Recorder
  • Loop Player
  • 14.3.
  • Events and Sequencing
  • Timebase
  • Simple Signal Arithmetic
  • Select Sequencer
  • Partitioning Time
  • Dividing Time
  • Event-Synchronised LFO
  • List Sequencer
  • Textfile Control
  • Limits
  • Wave Shaping
  • Squaring and Roots
  • Curved Envelopes
  • Exercise 4
  • Acknowledgements
  • References
  • Online Resources
  • III.
  • Technique
  • 15.
  • Technique Introduction
  • 15.1.
  • Techniques of Sound Design
  • 14.4.
  • Layered Approach
  • The Middle Layer
  • References
  • 16.
  • Strategic Production
  • 16.1.
  • Working Methods
  • Listen
  • Stimulate
  • Use Scale
  • Effects
  • Vary Scope
  • Keep Moving
  • Balance Priorities
  • Reuse and Share Successful Techniques
  • Create a Comfortable Working Space
  • Invite Input
  • 16.2.
  • SE Approaches
  • Structured Approach Summary
  • 16.3.
  • Stereo Chorus/Flanger Effect
  • Requirements Analysis Process
  • Consensus of Vision
  • Requirements Specification Document
  • Writing Requirements Specifications
  • Placeholders and Attachment
  • Target Medium
  • 16.4.
  • Research
  • Papers, Books, TV Documentaries
  • Schematics and Plans
  • Simple Reverberation
  • Analytical, Partial Recording
  • Impulses and Test Excitations
  • Physical Deconstruction
  • 16.5.
  • Creating a Model
  • Model Abstraction
  • Exercises
  • Exercise 1
  • Exercise 2
  • Exercise 3
  • Methods
  • Piecewise
  • Prue Additive
  • Mixed Additive Composites
  • Wavetables
  • Subtractive
  • Nonlinear
  • Granular
  • Physical
  • 16.8.
  • 16.6.
  • Implementation
  • Encapsulation
  • Internal Control
  • Interface
  • 16.9.
  • Parameterisation
  • Decoupling
  • Orthogonality and Parameter Space
  • Efficiency of Parameter Space
  • Factoring/Collapsing
  • Analysis
  • 16.10.
  • Practice and Psychology
  • Design Cycle
  • Objectification
  • Expediency
  • Flow
  • Concentration, Familiatarity, Simplicity
  • Time and Vision
  • References
  • Online Resources
  • Waveform Analysis
  • 17.
  • Technique 1 -- Summation
  • 17.1.
  • Additive Synthesis
  • 17.2.
  • Discrete Summation Synthesis
  • 17.3.
  • Precomputation
  • References
  • 18.
  • Spectral Analysis
  • Technique 2 -- Tables
  • 18.1.
  • Wavetable Synthesis
  • 18.2.
  • Practical Wavetables
  • 18.3.
  • Vector Synthesis
  • 18.4.
  • Wavescanning Synthesis
  • References
  • Physical Analysis
  • Operational Analysis
  • Model Parameterisation
  • 16.7.
  • 20.
  • Technique 4 -- Modulation
  • 20.1.
  • Amplitude Modulation
  • 20.2.
  • Adding Sidebands
  • 20.3.
  • Cascade AM, with Other Spectra
  • 20.4.
  • Single Sideband Modulation
  • 19.
  • 20.5.
  • Frequency Modulation
  • Negative Frequencies
  • Phase Modulation
  • References
  • 21.
  • Technique 5 -- Grains
  • 21.1.
  • Granular Sythesis
  • A Grain Generator
  • Technique 3 -- Nonlinear Functions
  • Types of Granular Synthesis
  • Sound Hybridisation
  • A Granular Texture Source
  • 21.2.
  • Time and Pitch Alteration
  • References
  • Textbooks
  • Papers
  • 22.
  • Game Audio
  • 19.1.
  • 22.1.
  • Virtual Reality Fundamentals
  • Game Objects
  • Object Methods
  • Object Views
  • Object Behaviours
  • The Players
  • World Geometry
  • Stages
  • Platforms
  • Waveshaping
  • Game Logic
  • Actors and Relevance
  • 22.2.
  • Samples or Procedural Audio?
  • Events versus Behaviours
  • Limitations of Sample-Based Audio
  • Table Transfer Functions
  • 19.2.
  • Chebyshev Polynomials
  • References
  • Ambiance
  • Attenuation and Damping
  • Replication and Alignment
  • Music Dialogue and Menus
  • 22.4.
  • Procedural Audio Advantages
  • Deferred Form
  • Default Forms
  • Variety
  • Variable Cost
  • 22.3.
  • Dynamic LOAD
  • 22.5.
  • Challenges for New Game Audio Systems
  • Dynamic Graph Configuration
  • Denormal and Drift Contingencies
  • Automatic Code Translation
  • Embedding a Pd Interpreter
  • Plugins
  • Cost Metrics
  • Hybrid Architectures
  • Traditional Game Audio Engine Funtions
  • Hard Sounds
  • References
  • Books
  • Papers
  • Online Sources
  • IV.
  • Practicals
  • 23.
  • Practicals Introduction
  • Practical Series -- Artificial Sounds
  • Switching
  • 24.
  • Pedestrians
  • 25.
  • Phone Tones
  • 26.
  • DTMF Tones
  • 27.
  • Alarm Generator
  • 28.
  • Police
  • Sequence and Randomisation
  • Practical Series -- Idiophonics
  • 29.
  • Telephone Bell
  • Blending
  • Grouping and Buses
  • Real-Time Controllers
  • Localisation
  • Practical Series -- Nature
  • 34.
  • Fire
  • 35.
  • Bubbles
  • 36.
  • Running Water
  • 37.
  • Pouring
  • 38.
  • 30.
  • Rain
  • 39.
  • Electricity
  • 40.
  • Thunder
  • 41.
  • Wind
  • Practical Series -- Machines
  • 42.
  • Switches
  • Bouncing
  • 43.
  • Clocks
  • 44.
  • Motors
  • 45.
  • Cars
  • 46.
  • Fans
  • 47.
  • Jet Engine
  • 31.
  • 48.
  • Helicopter
  • Practical Series -- Lifeforms
  • 49.
  • Footsteps
  • 50.
  • Insects
  • 51.
  • Birds
  • 52.
  • Rolling
  • Mammals
  • Practical Series -- Mayhem
  • 53.
  • Guns
  • 54.
  • Explosions
  • 55.
  • Rocket Launcher
  • Practical Series -- Science-Fiction
  • 56.
  • 32.
  • Transporter
  • 57.
  • R2D2
  • 58.
  • Red Alert
  • Creaking
  • 33.
  • Boing
Control code
494275436
Dimensions
24 cm
Extent
[xxiii], 664 p.
Isbn
9780262014410
Isbn Type
(hbk. : alk. paper)
Lccn
2009050741
Other physical details
ill.
System control number
(OCoLC)494275436
Label
Designing sound, Andy Farnell
Publication
Bibliography note
Includes bibliographical references and index
Contents
  • 3.1.
  • Elementary Physics
  • Energy
  • Force
  • Pressure
  • Work
  • Systems
  • Power
  • Energy Sources
  • Matter and Mass
  • 1.
  • Force, Distance, and Acceleration
  • Displacement, Movement, and Freedom
  • Excitation
  • 3.2.
  • Materials
  • Elasticity and Restoration
  • Density
  • Plasticity
  • Structure and Strength
  • 3.3.
  • Introduction
  • Waves
  • Wave Models
  • Exchange of Forces
  • Propagation
  • Wave Types
  • Amplitude
  • Speed
  • Group and Phase Velocity
  • Wavelength
  • Frequency and Period
  • I.
  • Simple Wave Math
  • Phase
  • Superposition and Phase Cancellation
  • 3.4.
  • Boundaries
  • Phase of Bending Waves at Solid Boundaries
  • Coupling
  • Reflection and Standing Waves
  • Modes
  • Visualising Sound Waves
  • Theory
  • Shape
  • Entropy and Heat
  • Loss and Damping
  • 3.5.
  • Analogues
  • Potential
  • Energy Inlet
  • Flow
  • Resistance
  • Tap or Outlet
  • 2.
  • Capacitance
  • Example Network Analogy
  • Example System Analysis
  • Acknowledgements
  • References
  • Theory Introduction
  • 3.
  • Physical Sound
  • Quantisation
  • 4.2.
  • Simple Harmonic Oscillators
  • Frequency of a Mass on Spring
  • Frequency of a Pendulum
  • Frequency of an LC Network
  • 4.3.
  • Complex Harmonic Oscillators
  • Oscillation of a String
  • Oscillation of a Bar or Rod
  • 4.
  • Oscillation of Cones, Membranes, Laminas
  • 4.4.
  • Driven Oscillations and Resonance
  • References
  • 5.
  • Acoustics
  • 5.1.
  • Acoustic Systems
  • Virbrations in Air
  • Radiation
  • Oscillations
  • Radiation Patterns
  • Spherical, Cylindrical, and Planar Waves
  • 5.2.
  • Intensity and Attenuation
  • Sound Pressure Level
  • Position and Correlation
  • Acoustic Sound Intensity
  • Geometric Attenuation
  • Transmission and Absorption
  • 5.3.
  • 4.1.
  • Other Propagation Effects
  • Reflection
  • Scattering
  • Dispersion
  • Refraction
  • Diffraction
  • Diffusion
  • Ground Effects
  • Oblique Boundary Loss
  • Wind Shear
  • Oscillators
  • Aberration
  • The Doppler Effect
  • Room Acoustics
  • Reverb Time
  • Outdoor Acoustics
  • Period and Frequency
  • Frequency of a Spinning Object
  • Relaxation
  • Frequency of Relaxation Systems
  • Textbooks
  • Papers
  • Online Resources
  • 6.
  • Psychoacoustics
  • 6.1.
  • Perceiving Sounds
  • Ears
  • Frequency Range of Human Hearing
  • Nonlinearity
  • 5.4.
  • Threshold of Hearing
  • Just Noticeable Difference
  • Localisation
  • Interaural Time Difference
  • Interaural Intensity Difference
  • Head Response Transfer Function
  • Distance
  • Source Identity
  • Perception of Loudness
  • Loudness Scales and Weighting
  • Acoustic Oscillations
  • Duration and Loudness
  • Fatigue
  • Change of Loudness
  • Perception of Frequency
  • Pure Tone Discrimination
  • Critical Bands
  • Ranges
  • Resolution
  • Average of Close Components
  • Rapid Change of Amplitude
  • Turbulence
  • Phantom Fundamentals
  • Huggins Binaural Pitch
  • Bilsen Band Edge Pitch
  • Perception of Spectra
  • Perception of Harmonic and Inharmonic Spectra
  • Consonance, Harmony, and Roughness
  • Brightness, Dullness, and Spectral Centroid
  • Reynolds Number
  • Sounds of Turbulence
  • Pipes
  • Radiation from Pipes and Horns
  • Helmholtz Oscillator
  • Decay
  • Sustain
  • Release
  • Effort and Movement
  • Precedence and Belonging
  • Gabor Limit for Duration
  • Hirsh Limit for Ordering
  • Streaming
  • Streaming by Pitch
  • Van Noorden Ambiguity
  • Resonance, Flatness, and Formants
  • Spectral and Spacial Streams
  • 6.2.
  • Sound Congnition
  • Gestalt Effects
  • Discrimination
  • Scaling
  • Similarity
  • Matching
  • Classification
  • Identification
  • Perception of Temporal Structure
  • Recognition
  • Attention
  • Correspondence
  • Asynchronous Sound
  • Acousmatic Sound
  • The Audiovisual Contract
  • Absence
  • Concurrent Masking
  • Temporal Proximity Masking
  • 6.3.
  • Granularity
  • Auditory Scene Analysis
  • Segregation
  • Schema Activation
  • Primitive Features
  • Harmonicity
  • Continuity
  • Momentum
  • Monotonicity
  • Temporal Correlation
  • Coherence
  • Events and Flows
  • The Process of Scene Analysis
  • 6.4.
  • Auditory Memory
  • Short- and Long-term Memory
  • Auditory Pipeline
  • Verbal and Nonverbal Memory
  • Visual Augmentation
  • Envelopes
  • Attack
  • Transient and Rise Time
  • Slow Attacks
  • Semantic
  • Critical
  • Reduced
  • Analytic Listening
  • Component Analysis
  • Signal Listening
  • Engaged
  • 6.6.
  • Physiological Responses to Sound
  • Stapedius Reflex
  • 6.5.
  • Startle Response
  • Orientation Response
  • Ecstatic Response
  • Stress Responses
  • Binaural Beat Entrainment
  • Psychotherapeutical Applications and Art
  • Cross-modal Perception
  • 6.7.
  • Sound, Language, and Knowledge
  • Imagining Sound
  • Listening Strategies
  • Talking about Sound
  • Noun Descriptions
  • Adjective and Adjunctive Descriptions
  • Gerund Verb Descriptions
  • Onomatopoeia and Alliteration
  • Reference Points
  • Procedural Knowledge
  • Declarative Domain Knowledge
  • Imperative Knowledge
  • Poetic Knowledge
  • Listening Hierarchy
  • Categorical Knowledge
  • Weak Cultural Domain Knowledge
  • Strong Cultural Domain Knowledge
  • Exercises
  • Exercise 1
  • Perception
  • Exercise 2
  • Language
  • Exercise 3
  • Knowledge and Communication
  • Reflexive
  • Acknowledgements
  • References
  • Books
  • Papers
  • Online Resources
  • Connotative
  • Causal
  • Empathetic
  • Functional
  • Representing Signals
  • Digital Encoding
  • Digital-to-Analog Conversion
  • Analog-to-Digital Conversion
  • Digital Signal Processing
  • Floating Point Normalised Form
  • Smoothing Samples
  • 7.2.
  • Graphs
  • Spectra
  • 7.
  • Spectrograms
  • Waterfall Plots
  • 7.3.
  • Generating Digital Waveforms
  • Generating Samples
  • Buffering
  • The Sound of Zero (Silence)
  • The Sound of One (Constants)
  • Moving Signals
  • Sinusoidal Waves
  • Digital Signals
  • Complex Harmonic Motion
  • Randomly Moving Signals
  • Suddenly Moving Signals
  • Slowly Moving Signals
  • Signal Programming Abstraction
  • A Csound Snippet
  • A CLM Snippet
  • Acknowledgements
  • References
  • Books
  • 7.1.
  • Papers
  • Online Resources
  • II.
  • Tools
  • 8.
  • Tools Introduction
  • 8.1.
  • What You Will Need
  • 8.2.
  • Tools for Sound Design
  • Signals
  • 8.3.
  • Supporting Tools
  • 9.
  • Starting with Pure Data
  • 9.1.
  • Pure Data
  • Installing and Running Pure Data
  • Testing Pure Data
  • Transducers
  • Electronic, Continuous Signals
  • Sound Transducers
  • Information
  • Your First Patch
  • Creating a Canvas
  • New Object Placement
  • Edit Mode and Wiring
  • Initial Parameters
  • Modifying Objects
  • Number Input and Output
  • Toggling Edit Mode
  • More Edit Operations
  • Patch Files
  • 9.2.
  • 9.3.
  • Message Data and GUI Boxes
  • Selectors
  • Bang Message
  • Bang Box
  • Float Messages
  • Number Box
  • Toggle Box
  • Sliders and Other Numerical GUI Elements
  • General Messages
  • How Does Pure Data Work?
  • Message Box
  • Symbolic Messages
  • Symbol Box
  • Lists
  • Pointers
  • Tables, Arrays, and Graphs
  • 9.4.
  • Getting Help with Pure Data
  • Exercises
  • Exercise 1
  • Objects
  • Exercise 2
  • Exercise 3
  • References
  • 10.
  • Using Pure Data
  • 10.1.
  • Basic Objects and Principles of Operation
  • Hot and Cold Inlets
  • Bad Evaluation Order
  • Trigger Objects
  • Connections
  • Making Cold Inlets Hot
  • Float Objects
  • Int Objects
  • Symbol and List Objects
  • Merging Message Connections
  • Data
  • Patches
  • A Deeper Look at Pd
  • Pure Data Software Architecture
  • Route
  • Moses
  • Spigot
  • Swap
  • Change
  • Send and Receive Objects
  • Broadcast Messages
  • Special Message Destinations
  • Message Sequences
  • 10.4.
  • 10.2.
  • List Objects and Operations
  • Packing and Unpacking Lists
  • Substitutions
  • Persistence
  • List Distribution
  • More Advanced List Operations
  • 10.5.
  • Input and Output
  • The Print Object
  • MIDI
  • Working with Time and Events
  • 10.6.
  • Working with Numbers
  • Arithmetic Objects
  • Trigonometric Maths Objects
  • Random Numbers
  • Arithmetic Example
  • Comparative Objects
  • Boolean Logical Objects
  • 10.7.
  • Common Idioms
  • Metronome
  • Constrained Counting
  • Accumulator
  • Rounding
  • Scaling
  • Looping with Until
  • Message Complement and Inverse
  • Random Selection
  • Weighted Random Selection
  • Delay Cascade
  • Last Float and Averages
  • A Counter Timebase
  • Running Maximum (or Minimum)
  • Float Low Pass
  • 11.
  • Pure Data Audio
  • 11.1.
  • Audio Objects
  • Audio Connections
  • Blocks
  • Audio Object CPU Use
  • Time Objects
  • Select
  • 10.3.
  • Data Flow Control
  • Audio Input and Output
  • Example: A Simple MIDI Monosynth
  • Audio Filter Objects
  • Audio Arithmetic Objects
  • Trigonometric and Math Objects
  • Audio Delay Objects
  • References
  • 12.
  • Abstraction
  • 12.1.
  • 11.2.
  • Subpatches
  • Copying Subpatches
  • Deep Subpatches
  • Abstractions
  • Scope and $0
  • 12.2.
  • Instantiation
  • 12.3.
  • Editing
  • 12.4.
  • Audio Objects and Principles
  • Parameters
  • 12.5.
  • Defaults and States
  • 12.6.
  • Common Abstraction Techniques
  • Graph on Parent
  • Using List Inputs
  • Packing and Unpacking
  • Control Normalisation
  • Summation Chains
  • Fanout and Merging
  • Routed Inputs
  • 13.
  • Shaping Sound
  • Time and Resolution
  • Audio Signal Block to Messages
  • Sending and Receiving Audio Signals
  • Audio Generators
  • Audio Line Objects
  • 13.2.
  • Periodic Functions
  • Wrapping Ranges
  • Cosine Function
  • 13.3.
  • Other Functions
  • Polynomials
  • Expressions
  • 13.4.
  • Time-Dependent Signal Shaping
  • Note continued:
  • Delay
  • Phase Cancellation
  • Filters
  • User-Friendly Filters
  • Integration
  • Differentiation
  • References
  • 14.
  • Pure Data Essentials
  • 14.1.
  • 13.1.
  • Channel Strip
  • Signal Switch
  • Simple Level Control
  • Using a Log Law Fader
  • MIDI Fader
  • Mute Button and Smooth Fades
  • Panning
  • Simple Linear Panner
  • Square Root Panner
  • Cosine Panner
  • Amplitude-Dependent Signal Shaping
  • Crossfader
  • Demultiplexer
  • 14.2.
  • Audio File Tools
  • Monophonic Sampler
  • File Recorder
  • Loop Player
  • 14.3.
  • Events and Sequencing
  • Timebase
  • Simple Signal Arithmetic
  • Select Sequencer
  • Partitioning Time
  • Dividing Time
  • Event-Synchronised LFO
  • List Sequencer
  • Textfile Control
  • Limits
  • Wave Shaping
  • Squaring and Roots
  • Curved Envelopes
  • Exercise 4
  • Acknowledgements
  • References
  • Online Resources
  • III.
  • Technique
  • 15.
  • Technique Introduction
  • 15.1.
  • Techniques of Sound Design
  • 14.4.
  • Layered Approach
  • The Middle Layer
  • References
  • 16.
  • Strategic Production
  • 16.1.
  • Working Methods
  • Listen
  • Stimulate
  • Use Scale
  • Effects
  • Vary Scope
  • Keep Moving
  • Balance Priorities
  • Reuse and Share Successful Techniques
  • Create a Comfortable Working Space
  • Invite Input
  • 16.2.
  • SE Approaches
  • Structured Approach Summary
  • 16.3.
  • Stereo Chorus/Flanger Effect
  • Requirements Analysis Process
  • Consensus of Vision
  • Requirements Specification Document
  • Writing Requirements Specifications
  • Placeholders and Attachment
  • Target Medium
  • 16.4.
  • Research
  • Papers, Books, TV Documentaries
  • Schematics and Plans
  • Simple Reverberation
  • Analytical, Partial Recording
  • Impulses and Test Excitations
  • Physical Deconstruction
  • 16.5.
  • Creating a Model
  • Model Abstraction
  • Exercises
  • Exercise 1
  • Exercise 2
  • Exercise 3
  • Methods
  • Piecewise
  • Prue Additive
  • Mixed Additive Composites
  • Wavetables
  • Subtractive
  • Nonlinear
  • Granular
  • Physical
  • 16.8.
  • 16.6.
  • Implementation
  • Encapsulation
  • Internal Control
  • Interface
  • 16.9.
  • Parameterisation
  • Decoupling
  • Orthogonality and Parameter Space
  • Efficiency of Parameter Space
  • Factoring/Collapsing
  • Analysis
  • 16.10.
  • Practice and Psychology
  • Design Cycle
  • Objectification
  • Expediency
  • Flow
  • Concentration, Familiatarity, Simplicity
  • Time and Vision
  • References
  • Online Resources
  • Waveform Analysis
  • 17.
  • Technique 1 -- Summation
  • 17.1.
  • Additive Synthesis
  • 17.2.
  • Discrete Summation Synthesis
  • 17.3.
  • Precomputation
  • References
  • 18.
  • Spectral Analysis
  • Technique 2 -- Tables
  • 18.1.
  • Wavetable Synthesis
  • 18.2.
  • Practical Wavetables
  • 18.3.
  • Vector Synthesis
  • 18.4.
  • Wavescanning Synthesis
  • References
  • Physical Analysis
  • Operational Analysis
  • Model Parameterisation
  • 16.7.
  • 20.
  • Technique 4 -- Modulation
  • 20.1.
  • Amplitude Modulation
  • 20.2.
  • Adding Sidebands
  • 20.3.
  • Cascade AM, with Other Spectra
  • 20.4.
  • Single Sideband Modulation
  • 19.
  • 20.5.
  • Frequency Modulation
  • Negative Frequencies
  • Phase Modulation
  • References
  • 21.
  • Technique 5 -- Grains
  • 21.1.
  • Granular Sythesis
  • A Grain Generator
  • Technique 3 -- Nonlinear Functions
  • Types of Granular Synthesis
  • Sound Hybridisation
  • A Granular Texture Source
  • 21.2.
  • Time and Pitch Alteration
  • References
  • Textbooks
  • Papers
  • 22.
  • Game Audio
  • 19.1.
  • 22.1.
  • Virtual Reality Fundamentals
  • Game Objects
  • Object Methods
  • Object Views
  • Object Behaviours
  • The Players
  • World Geometry
  • Stages
  • Platforms
  • Waveshaping
  • Game Logic
  • Actors and Relevance
  • 22.2.
  • Samples or Procedural Audio?
  • Events versus Behaviours
  • Limitations of Sample-Based Audio
  • Table Transfer Functions
  • 19.2.
  • Chebyshev Polynomials
  • References
  • Ambiance
  • Attenuation and Damping
  • Replication and Alignment
  • Music Dialogue and Menus
  • 22.4.
  • Procedural Audio Advantages
  • Deferred Form
  • Default Forms
  • Variety
  • Variable Cost
  • 22.3.
  • Dynamic LOAD
  • 22.5.
  • Challenges for New Game Audio Systems
  • Dynamic Graph Configuration
  • Denormal and Drift Contingencies
  • Automatic Code Translation
  • Embedding a Pd Interpreter
  • Plugins
  • Cost Metrics
  • Hybrid Architectures
  • Traditional Game Audio Engine Funtions
  • Hard Sounds
  • References
  • Books
  • Papers
  • Online Sources
  • IV.
  • Practicals
  • 23.
  • Practicals Introduction
  • Practical Series -- Artificial Sounds
  • Switching
  • 24.
  • Pedestrians
  • 25.
  • Phone Tones
  • 26.
  • DTMF Tones
  • 27.
  • Alarm Generator
  • 28.
  • Police
  • Sequence and Randomisation
  • Practical Series -- Idiophonics
  • 29.
  • Telephone Bell
  • Blending
  • Grouping and Buses
  • Real-Time Controllers
  • Localisation
  • Practical Series -- Nature
  • 34.
  • Fire
  • 35.
  • Bubbles
  • 36.
  • Running Water
  • 37.
  • Pouring
  • 38.
  • 30.
  • Rain
  • 39.
  • Electricity
  • 40.
  • Thunder
  • 41.
  • Wind
  • Practical Series -- Machines
  • 42.
  • Switches
  • Bouncing
  • 43.
  • Clocks
  • 44.
  • Motors
  • 45.
  • Cars
  • 46.
  • Fans
  • 47.
  • Jet Engine
  • 31.
  • 48.
  • Helicopter
  • Practical Series -- Lifeforms
  • 49.
  • Footsteps
  • 50.
  • Insects
  • 51.
  • Birds
  • 52.
  • Rolling
  • Mammals
  • Practical Series -- Mayhem
  • 53.
  • Guns
  • 54.
  • Explosions
  • 55.
  • Rocket Launcher
  • Practical Series -- Science-Fiction
  • 56.
  • 32.
  • Transporter
  • 57.
  • R2D2
  • 58.
  • Red Alert
  • Creaking
  • 33.
  • Boing
Control code
494275436
Dimensions
24 cm
Extent
[xxiii], 664 p.
Isbn
9780262014410
Isbn Type
(hbk. : alk. paper)
Lccn
2009050741
Other physical details
ill.
System control number
(OCoLC)494275436

Library Locations

    • Copley LibraryBorrow it
      5998 Alcalá Park, San Diego, CA, 92110-2492, US
      32.771354 -117.193327
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