LEADER 03517nam 2200493 450 001 9910151742203321 005 20221206093753.0 010 $a1-119-07935-7 010 $a1-119-07941-1 024 7 $a10.1002/9781119079415 035 $a(CKB)4330000000008385 035 $a(MiAaPQ)EBC4745623 035 $a(CaBNVSL)mat07794169 035 $a(IDAMS)0b000064859d933b 035 $a(IEEE)7794169 035 $a(EXLCZ)994330000000008385 100 $a20170118d2017 uy 101 0 $aeng 135 $aurcnu|||||||| 181 $2rdacontent 182 $2rdamedia 183 $2rdacarrier 200 00$aIntroduction to magnetic random-access memory /$fedited by Bernard Dieny, Ronald B. Goldfarb, Kyung-Jin Lee 210 1$aHoboken, New Jersey :$cWiley-IEEE Press,$d[2017] 210 2$a[Piscataqay, New Jersey] :$cIEEE Xplore,$d[2017] 215 $a1 online resource (263 pages) $cillustrations 225 0 $aIEEE magnetics 311 $a1-119-00974-X 320 $aIncludes bibliographical references and index. 327 $aBasic Spintronic Transport Phenomena / Nicolas Locatelli, Vincent Cros -- Magnetic Properties of Materials for MRAM / Shinji Yuasa -- Micromagnetism Applied to Magnetic Nanostructures / Liliana D Buda-Prejbeanu -- Magnetization Dynamics / William E Bailey -- Magnetic Random-Access Memory / Bernard Dieny, I Lucian Prejbeanu -- Magnetic Back-End Technology / Michael C Gaidis -- Beyond MRAM: Nonvolatile Logic-in-Memory VLSI / Takahiro Hanyu, Tetsuo Endoh, Shoji Ikeda, Tadahiko Sugibayashi, Naoki Kasai, Daisuke Suzuki, Masanori Natsui, Hiroki Koike, Hideo Ohno -- Appendix: Units for Magnetic Properties. 330 $aMagnetic random-access memory (MRAM) is poised to replace traditional computer memory based on complementary metal-oxide semiconductors (CMOS). MRAM will surpass all other types of memory devices in terms of nonvolatility, low energy dissipation, fast switching speed, radiation hardness, and durability. Although toggle-MRAM is currently a commercial product, it is clear that future developments in MRAM will be based on spin-transfer torque, which makes use of electrons' spin angular momentum instead of their charge. MRAM will require an amalgamation of magnetics and microelectronics technologies. However, researchers and developers in magnetics and in microelectronics attend different technical conferences, publish in different journals, use different tools, and have different backgrounds in condensed-matter physics, electrical engineering, and materials science. This book is an introduction to MRAM for microelectronics engineers written by specialists in magnetic materials and devices. It presents the basic phenomena involved in MRAM, the materials and film stacks being used, the basic principles of the various types of MRAM (toggle and spin-transfer torque; magnetized in-plane or perpendicular-to-plane), the back-end magnetic technology, and recent developments toward logic-in-memory architectures. It helps bridge the cultural gap between the microelectronics and magnetics communities. 606 $aMagnetic memory (Computers) 615 0$aMagnetic memory (Computers) 676 $a004.5/3 702 $aDieny$b B$g(Bernard), 702 $aGoldfarb$b Ronald Barry 702 $aLee$b Kyung-Jin 801 0$bCaBNVSL 801 1$bCaBNVSL 801 2$bCaBNVSL 906 $aBOOK 912 $a9910151742203321 996 $aIntroduction to magnetic random-access memory$91906273 997 $aUNINA LEADER 04595nam 2200589 450 001 9910787493003321 005 20230807212341.0 010 $a0-19-997381-4 010 $a0-19-997394-6 035 $a(CKB)3710000000329341 035 $a(EBL)1911966 035 $a(Au-PeEL)EBL1911966 035 $a(CaPaEBR)ebr11000838 035 $a(OCoLC)899942203 035 $a(MiAaPQ)EBC1911966 035 $a(EXLCZ)993710000000329341 100 $a20150116h20152015 uy 0 101 0 $aeng 135 $aur|n|---||||| 181 $2rdacontent 182 $2rdamedia 183 $2rdacarrier 200 10$aInteractive composition $estrategies using Ableton Live and Max for Live /$fV. J. Manzo and Will Kuhn 210 1$aOxford, England :$cOxford University Press,$d2015. 210 4$dİ2015 215 $a1 online resource (281 p.) 300 $aDescription based upon print version of record. 311 $a0-19-997395-4 311 $a0-19-997382-2 320 $aIncludes bibliographical references and index. 327 $aCover; Contents; Foreword; Preface; Acknowledgments; About the Companion Website; 1 Basics; Companion Site and Files; Basic Setup; Working in Live; On Your Own; 2 Session View; Session View; Adding Effects; Key and MIDI Mapping; Record to Arrangement View; On Your Own; 3 Introduction to Max for Live; Why Would I Want to Start Programming?; Writing a MIDI Program; On Your Own; 4 Ambient; Getting Started; Other Instruments; Form; On Your Own; 5 Pop and Rock Music; Enhancing the Recording with Effects; Automation; Making It Performable in a Live Situation 327 $aUsing the Return Tracks as Monitor MixesMultiple Sessions in One Session; Live for Practicing; On Your Own; Monkey FX Guide; 6 Electroacoustic Music; Preparing the Canvas; Preparing the Form; Preparing Computer-Generated Sounds; Preparing the Session for Performance; Composition Examples; On Your Own; 7 Modern Hip-Hop and Trap Music; Drum Patterns; Sub Kicks and Bass Lines; Buildup Patterns; Chord Sequences; Stabs; Lasers; Chipmunk Vocals and Shouts; Composition Examples; On Your Own; 8 House Music; Kick Drum and Essential Elements; Electro Bass Synth 327 $aSetting Up Mix Groups and Sidechain DuckingForm and Arrangement; On Your Own; 9 Breakbeat/Drum and Bass; Creating a Sampled Loop; Reese Bass; Sub Bass and Advanced Reese; Sampled Sirens and Other Instruments; Buildup Scene; Mixing; Form Considerations; On Your Own; 10 Chiptune; Designing a Custom Chip Instrument; Using the Custom Chip Sounds; Auto-Chords and MIDI Reuse; Sampled Chip Sounds; 8-Bit Drums; Form and Structure; On Your Own; 11 Granular Synthesis; Basic Sampling; Wavetable Synthesis with Simpler; Granular Synthesis with Granulator II; Drums from a Voice; Mixing; On Your Own 327 $a12 DubstepDrum Patterns; Bass Instruments and Resampling; Treble Leads; Risers; Initial Mixing; On Your Own; 13 Remixing and Loop Sampling; Simple Remixing; Mashups; Sampling Loops from Preexisting Songs; Remixing an Acapella; On Your Own; 14 Mastering; Generic Mixing Technique; The Master Track; The Limiter; The Mastering Chain; Compression on the Master Track; Equalizing on the Master Track; Multiband Dynamics; The Loudness War; Exporting; On Your Own; 15 Analysis of Projects; Live Rig; Pedalman Pro; Wrap-Up; On Your Own; Bibliography; Index; A; B; C; D; E; F; G; H; I; J; K; L; M; N; O; P 327 $aQR; S; T; U; V; W; Y; Z 330 $aInteractive Composition empowers readers with all of the practical skills and insights they need to compose and perform electronic popular music in a variety of popular styles. The book begins by introducing all of the tools involved in creating interactive compositions through the software Ableton Live and Max for Live. The following chapters then put the tools to use by both describing particular musical styles and also teaching readers how to compose and perform within these styles using the software. As readers progresses through the book, they will learn to use the software to facilitate 606 $aDigital audio editors 606 $aSoftware synthesizers 606 $aComposition (Music)$xComputer programs 615 0$aDigital audio editors. 615 0$aSoftware synthesizers. 615 0$aComposition (Music)$xComputer programs. 676 $a781.3/453 700 $aManzo$b V. J.$01482902 702 $aKuhn$b Will 801 0$bMiAaPQ 801 1$bMiAaPQ 801 2$bMiAaPQ 906 $aBOOK 912 $a9910787493003321 996 $aInteractive composition$93700836 997 $aUNINA