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Synthesizers and Subtractive Synthesis 1 : Theory and Overview
| Synthesizers and Subtractive Synthesis 1 : Theory and Overview |
| Autore | Réveillac Jean-Michel |
| Edizione | [1st ed.] |
| Pubbl/distr/stampa | Newark : , : John Wiley & Sons, Incorporated, , 2024 |
| Descrizione fisica | 1 online resource (288 pages) |
| ISBN |
1-394-27672-9
1-394-27670-2 |
| Formato | Materiale a stampa  |
| Livello bibliografico | Monografia |
| Lingua di pubblicazione | eng |
| Nota di contenuto |
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. |
| Record Nr. | UNINA-9910835065403321 |
| Réveillac Jean-Michel | ||
| Newark : , : John Wiley & Sons, Incorporated, , 2024 | ||
| Materiale a stampa | ||
| Lo trovi qui: Univ. Federico II | ||
| ||
Synthesizers and Subtractive Synthesis 1 : Theory and Overview
| Synthesizers and Subtractive Synthesis 1 : Theory and Overview |
| Autore | Réveillac Jean-Michel |
| Edizione | [1st ed.] |
| Pubbl/distr/stampa | Newark : , : John Wiley & Sons, Incorporated, , 2024 |
| Descrizione fisica | 1 online resource (288 pages) |
| Disciplina | 786.74 |
| Soggetto topico |
Electronic music
Software synthesizers |
| ISBN |
9781394276721
1394276729 9781394276707 1394276702 |
| Formato | Materiale a stampa |
| Livello bibliografico | Monografia |
| Lingua di pubblicazione | eng |
| Nota di contenuto |
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. |
| Record Nr. | UNINA-9911019831903321 |
Réveillac Jean-Michel
|
||
| Newark : , : John Wiley & Sons, Incorporated, , 2024 | ||
| Materiale a stampa | ||
| Lo trovi qui: Univ. Federico II | ||
| ||
Synthesizers and Subtractive Synthesis, Volume 2 : Application and Practice
| Synthesizers and Subtractive Synthesis, Volume 2 : Application and Practice |
| Autore | Réveillac Jean-Michel |
| Edizione | [1st ed.] |
| Pubbl/distr/stampa | Newark : , : John Wiley & Sons, Incorporated, , 2024 |
| Descrizione fisica | 1 online resource (302 pages) |
| Disciplina | 786.74 |
| Soggetto topico |
Electronic music
Software synthesizers |
| ISBN |
9781394297740
1394297742 9781394297726 1394297726 |
| Formato | Materiale a stampa |
| Livello bibliografico | Monografia |
| Lingua di pubblicazione | eng |
| Nota di contenuto |
Cover -- Title Page -- Copyright Page -- Contents -- Preface -- Introduction -- Chapter 1 Subtractive Synthesis: The Beginning -- 1.1. Exercise 1 - generate sound with a single oscillator -- 1.1.1. Behringer Neutron -- 1.1.2. Behringer 2600 (ARP 2600) -- 1.1.3. Max/MSP -- 1.1.4. Pure Data -- 1.1.5. VCV Rack -- 1.2. Exercise 2 - associate an envelope -- 1.2.1. Behringer Neutron -- 1.2.2. Behringer 2600 (ARP 2600) -- 1.2.3. Max/MSP -- 1.2.4. Pure Data -- 1.2.5. VCV Rack -- 1.3. Exercise 3 - add a filter -- 1.3.1. Behringer Neutron -- 1.3.2. Max/MSP -- 1.3.3. Pure Data -- 1.3.4. VCV Rack -- 1.4. A little further with Max/MSP, Pure Data and VCV Rack -- 1.4.1. ADSR with Max/MSP -- 1.4.2. Filter with Max/MSP -- 1.4.3. Configurable filter with Max/MSP -- 1.4.4. Custom waveforms with Pure Data -- 1.4.5. ADSR with Pure Data -- 1.4.6. Signals and filters with Pure Data -- 1.4.7. Additional modules with the VCV Rack -- 1.5. Final remarks -- Chapter 2 Subtractive Synthesis: The Fundamentals -- 2.1. Exercise 4 - adding an envelope to the filter -- 2.1.1. Minimoog -- 2.1.2. Behringer 2600 (ARP 2600) -- 2.1.3. Max/MSP -- 2.1.4. Pure Data -- 2.1.5. VCV Rack -- 2.2. Exercise 5 - integrating an LFO -- 2.2.1. Minimoog -- 2.2.2. Novation Bass Station II -- 2.2.3. Max/MSP -- 2.2.4. Pure Data -- 2.2.5. VCV Rack -- 2.2.6. Reaktor -- 2.3. Exercise 6 - multiple oscillators -- 2.3.1. Minimoog (or clones) -- 2.3.2. Novation Bass Station II -- 2.3.3. Max/MSP -- 2.3.4. Pure Data -- 2.3.5. VCV Rack -- 2.3.6. Reaktor -- 2.4. Exercise 7 - noise generator -- 2.4.1. Minimoog -- 2.4.2. Behringer 2600 (ARP 2600) -- 2.4.3. Novation Bass Station II -- 2.4.4. Max/MSP -- 2.4.5. Pure Data -- 2.5. To conclude classic synthesis -- Chapter 3 Advanced Subtractive Synthesis -- 3.1. Exercise 8 - ring modulation -- 3.1.1. Behringer 2600 (ARP 2600) -- 3.1.2. Arturia MatrixBrute.
3.1.3. Novation Bass Station II -- 3.1.4. Max/MSP -- 3.1.5. Pure Data -- 3.1.6. VCV Rack -- 3.1.7. Reaktor -- 3.2. Exercise 9 - sample and hold -- 3.2.1. Behringer 2600 (ARP 2600) -- 3.2.2. Arturia MatrixBrute -- 3.2.3. Max/MSP -- 3.2.4. Pure Data -- 3.2.5. VCV Rack -- 3.2.6. Reaktor -- 3.3. Sound effects -- 3.3.1. Exercise 10 - reverberation -- 3.3.2. Exercise 11 - chorus -- 3.3.3. Exercise 12 - flanger -- 3.3.4. Exercise 13 - phaser -- 3.4. Conclusion -- Chapter 4 Duophony, Paraphony and Polyphony -- 4.1. Exercise 14 - duophony and paraphony -- 4.1.1. Behringer 2600 (ARP 2600) -- 4.1.2. Novation Bass Station II -- 4.1.3. Behringer Neutron -- 4.1.4. Arturia MatrixBrute -- 4.2. Exercise 15 - polyphony -- 4.2.1. Max/MSP -- 4.2.2. Pure Data -- 4.2.3. VCV Rack -- 4.2.4. Reaktor -- 4.3. Conclusion -- Chapter 5 Sequencers and Arpeggiators -- 5.1. Exercise 16 - sequencers and arpeggiators -- 5.1.1. VCV Rack -- 5.1.2. Reaktor -- 5.1.3. Max/MSP -- 5.1.4. Pure Data -- 5.2. Conclusion -- Conclusion -- Appendix 1 USB Connectivity -- Appendix 2 Pure Data Extensions -- A2.1. Oscilloscope -- A2.2. Activating/deactivating the DSP -- A2.3. Virtual keyboard -- A2.4. A virtual keyboard patch -- Appendix 3 Keyboards and Interfaces -- A3.1. MIDI keyboards -- A3.2. Audio-MIDI interface -- Appendix 4 MIDI Notes, Numbers and Frequencies -- Glossary -- References -- Index -- Other titles from ISTE in Waves -- EULA. |
| Record Nr. | UNINA-9911019517203321 |
|
Réveillac Jean-Michel
|
||
| Newark : , : John Wiley & Sons, Incorporated, , 2024 | ||
| Materiale a stampa | ||
| Lo trovi qui: Univ. Federico II | ||
| ||