01081nam0 22003013i 450 UBO384782320231121125901.09783110232332Hbk20131203d2010 ||||0itac50 baanggerengdez01i xxxe z01nAltsächsisches HandwörterbuchHeinrich TiefenbachBerlinNew YorkDe Gruyter2010XLV, 599 p.25 cm.˜A œconcise old saxon dictionary.UBO3847824Lingua sassone anticaDizionari bilinguiFIRRMLC423591I439.4Antico Sassone21Tiefenbach, HeinrichUBOV050500158680ITIT-0120131203IT-FR0017 Biblioteca umanistica Giorgio ApreaFR0017 UBO3847823Biblioteca umanistica Giorgio Aprea 52MAG 10/1912 52DSU0000000545 VMN RS A 2013120320131203 52Altsächsisches Handworterbuch1774329UNICAS05792nam 22005293 450 991101983190332120240220080208.09781394276721139427672997813942767071394276702(MiAaPQ)EBC31166547(Au-PeEL)EBL31166547(CKB)30404936100041(Exl-AI)31166547(Perlego)4341027(OCoLC)1422744680(EXLCZ)993040493610004120240220d2024 uy 0engurcnu||||||||txtrdacontentcrdamediacrrdacarrierSynthesizers and Subtractive Synthesis 1 Theory and Overview1st ed.Newark :John Wiley & Sons, Incorporated,2024.©2024.1 online resource (288 pages)9781786309242 1786309246 Cover -- Title Page -- Copyright Page -- Contents -- Preface -- Introduction -- Chapter 1. Sound Synthesis -- 1.1. The art of creating sound -- 1.2. Some reminders -- 1.2.1. Sound: a bit of theory -- 1.2.2. Intensity -- 1.2.3. Pitch of a sound -- 1.2.4. Timbre -- 1.2.5. The ear -- 1.3. Sound typology -- 1.3.1. Sounds and periods -- 1.3.2. Simple and complex sounds -- 1.4. Spectral analysis -- 1.4.1. The sound spectrum -- 1.4.2. Sonogram and spectrogram -- 1.5. Waveforms -- 1.5.1. Sine wave -- 1.5.2. Square wave -- 1.5.3. Rectangular wave -- 1.5.4. Pulse wave -- 1.5.5. Triangular wave -- 1.5.6. Sawtooth wave -- 1.6. Timbre -- 1.6.1. Transient phenomena -- 1.6.2. Range -- 1.6.3. Mass of musical objects -- 1.6.4. Classification of sounds -- 1.7. Sound propagation -- 1.7.1. Dispersion -- 1.7.2. Interference -- 1.7.3. Diffraction -- 1.7.4. Reflection -- 1.7.5. Reverberation (reverb) -- 1.7.6. Absorption -- 1.7.7. Refraction -- 1.7.8. Doppler effect -- 1.7.9. Phase and beat -- 1.8. Noise -- 1.8.1. White noise -- 1.8.2. Pink noise -- 1.8.3. Red noise -- 1.8.4. Blue noise -- 1.8.5. Purple noise -- 1.8.6. Gray noise -- 1.8.7. Other noise -- 1.9. History of sound synthesis -- 1.10. Conclusion -- Chapter 2. The Different Types of Synthesis -- 2.1. Subtractive synthesis -- 2.2. Additive synthesis -- 2.3. FM synthesis -- 2.4. Digital synthesis, sampling and wavetables -- 2.5. Physical modeling synthesis -- 2.6. Granular synthesis -- 2.7. Amplitude modulation synthesis -- 2.8. Phase distortion synthesis -- 2.9. Other types of sound synthesis -- Chapter 3. Components, Processing Techniques and Tools -- 3.1. Oscillators -- 3.1.1. Voltage-controlled oscillators -- 3.1.2. Digitally controlled oscillators -- 3.1.3. Digital oscillators -- 3.1.4. Low-frequency oscillators -- 3.2. Filters -- 3.2.1. Low-pass filters -- 3.2.2. High-pass filters.3.2.3. Band-pass filters -- 3.2.4. Band-stop filters -- 3.2.5. Resonance -- 3.2.6. Other filters -- 3.3. The envelope generator -- 3.3.1. Attack -- 3.3.2. Decay -- 3.3.3. Sustain -- 3.3.4. Release -- 3.3.5. Other parameters -- 3.4. Amplifiers -- 3.5. Sample and hold -- 3.6. Ring modulator -- 3.7. Waveshaping -- 3.8. Special effects -- 3.8.1. Pitchbend -- 3.8.2. Glide -- 3.8.3. Keyboard tracking -- 3.8.4. Reverb and delay -- 3.8.5. Phaser, chorus and flanger -- 3.9. From monody to polyphony -- 3.10. Controllers -- 3.10.1. Modwheel -- 3.10.2. Breath controller -- 3.10.3. Expression switch and pedal -- 3.10.4. Keytar -- 3.10.5. Other controllers -- Chapter 4. Work Environment -- 4.1. Materials -- 4.1.1. ARP 2600 -- 4.1.2. The Minimoog -- 4.1.3. The Behringer Neutron -- 4.1.4. The Novation Bass Station II -- 4.1.5. The Arturia MatrixBrute -- 4.2. Software -- 4.2.1. Native Instruments Reaktor -- 4.2.2. VCV Rack 2 -- 4.2.3. Cycling '74 Max/MSP -- 4.2.4. Pure Data -- 4.3. Conclusion -- Chapter 5. CV/Gate and MIDI -- 5.1. CV/Gate -- 5.1.1. Overview -- 5.1.2. Operation -- 5.1.3. Note definition -- 5.1.4. Operation of the gate (or trigger) -- 5.2. Musical Instrument Digital Interface -- 5.2.1. MIDI version 1.0 -- 5.2.2. MIDI Version 2.0 -- 5.2.3. Principle -- 5.2.4. The hardware -- 5.2.5. The software -- 5.2.6. MIDI Control Change -- 5.2.7. Examples of MIDI transmission -- 5.2.8. MIDI implementation chart -- 5.2.9. General MIDI standard -- 5.2.10. The General MIDI 2 standard -- 5.2.11. The GS format -- 5.2.12. The XG format -- 5.2.13. MIDI file structure -- 5.2.14. An example of a MIDI file -- 5.3. MIDI CV/Gate converters -- Conclusion -- Appendix 1. General MIDI 1 and 2 Instruments -- Appendix 2. MIDI Box, Merger and Patcher -- Glossary -- References -- Index.This book, authored by Jean-Michel Réveillac, provides an in-depth exploration of synthesizers and subtractive synthesis. It covers the theory and practical applications of sound synthesis, addressing key concepts such as sound creation, spectral analysis, and waveform types. The text is divided into chapters that discuss various synthesis methods, including additive, FM, digital, and physical modeling synthesis, as well as noise and sound propagation. The book is intended for readers with an interest in music technology, sound engineering, and electronic music production, offering detailed insights into the components, processing techniques, and tools involved in synthesizer technology.Generated by AI.Electronic musicGenerated by AISoftware synthesizersGenerated by AIElectronic musicSoftware synthesizers786.74Reveillac Jean-Michel877405MiAaPQMiAaPQMiAaPQBOOK9911019831903321Synthesizers and Subtractive Synthesis 14420788UNINA