LEADER 00843nam0-22002891i-450- 001 990005921220403321 005 19980601 035 $a000592122 035 $aFED01000592122 035 $a(Aleph)000592122FED01 035 $a000592122 100 $a19980601d1933----km-y0itay50------ba 105 $a----n---00-yy 200 1 $a<>riforma del Codice penale Francese$fDonnedieu De Vabres 210 $aRoma$cTipografia delle Mantellate$d1933 215 $a19 p.$d24 cm 463 $d$1200$a"Rivista di diritto penitenziario" 676 $a345 700 1$aDonnedieu de Vabres,$bHenri$0225161 801 0$aIT$bUNINA$gRICA$2UNIMARC 901 $aBK 912 $a990005921220403321 952 $aMASS.BUSTA 18 (27)$b37524$fFGBC 959 $aFGBC 996 $aRiforma del Codice penale Francese$9585927 997 $aUNINA DB $aGIU01 LEADER 01477oam 2200397Ia 450 001 9910698398003321 005 20070823131040.0 035 $a(CKB)4330000001272016 035 $a(OCoLC)77537020 035 $a(EXLCZ)994330000001272016 100 $a20070105d2006 ua 0 101 0 $aeng 135 $aurmn||||m|||| 181 $ctxt$2rdacontent 182 $cc$2rdamedia 183 $acr$2rdacarrier 200 10$aEvaporation from Lake Mead, Arizona and Nevada, 1997-99$b[electronic resource] /$fby Craig L. Westenburg, Guy A. DeMeo, and Daron J. Tanko ; prepared in cooperation with the Bureau of Reclamation 210 1$aReston, Va. :$cU.S. Geological Survey,$d2006. 215 $avi, 24 pages $cdigital, PDF file 225 1 $aScientific investigations report ;$v2006-5252 300 $aTitle from PDF title screen (viewed on Jan. 5, 2007). 320 $aIncludes bibliographical references (pages 22-23). 606 $aEvaporation (Meteorology)$zMead, Lake (Ariz. and Nev.) 615 0$aEvaporation (Meteorology) 700 $aWestenburg$b Craig L$01421934 701 $aDeMeo$b Guy A$g(Guy Andrew)$01412964 701 $aTanko$b Daron J$01418422 712 02$aUnited States.$bBureau of Reclamation. 712 02$aGeological Survey (U.S.) 801 0$bGIS 801 1$bGIS 801 2$bGPO 906 $aBOOK 912 $a9910698398003321 996 $aEvaporation from Lake Mead, Arizona and Nevada, 1997-99$93544686 997 $aUNINA LEADER 05793nam 22005293 450 001 9911019831903321 005 20240220080208.0 010 $a9781394276721 010 $a1394276729 010 $a9781394276707 010 $a1394276702 035 $a(MiAaPQ)EBC31166547 035 $a(Au-PeEL)EBL31166547 035 $a(CKB)30404936100041 035 $a(Exl-AI)31166547 035 $a(Perlego)4341027 035 $a(OCoLC)1422744680 035 $a(EXLCZ)9930404936100041 100 $a20240220d2024 uy 0 101 0 $aeng 135 $aurcnu|||||||| 181 $ctxt$2rdacontent 182 $cc$2rdamedia 183 $acr$2rdacarrier 200 10$aSynthesizers and Subtractive Synthesis 1 $eTheory and Overview 205 $a1st ed. 210 1$aNewark :$cJohn Wiley & Sons, Incorporated,$d2024. 210 4$d©2024. 215 $a1 online resource (288 pages) 311 08$a9781786309242 311 08$a1786309246 327 $aCover -- 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. 327 $a3.2.3. 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. 330 $aThis 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. 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