5
1
9780190236663
Introduction
1. Basic Acoustics
The Nature of Sound Events
Wave Propagation
Simple Harmonic Motion
Characteristics of Waves
Refraction and Reflection
Superposition
Standing Waves, Resonant Frequencies, and Harmonics
Sympathetic Resonance
Phase and Waveshape
Speed and Velocity
Frequencies of Strings and Echoes
String Frequencies
Echo Rate
Suggested Exercises
2. Music and Acoustics
Properties of Musical Sound
What Is the Difference Between Music and Noise?
Frequency/Pitch
Frequency and Wavelength
Doppler Shift
Frequency Is Fixed and Precise, Pitch Is Flexible and by Convention
Human Pitch Perception is Logarithmic
Loudness
Power
Complications in Measuring Acoustic Power Levels
The Decibel Scale
Definition of the Decibel
Intensity
Pressure
Relationship of Intensity to Pressure
Root Mean Square
Pressure and Decibels
Understanding "Negative" Decibels
Timbre
Modes of Vibration
The Fourier Analysis
Spectral Plots
Limitations of the Fourier Transform
The Harmonic Series and Intonation
Pitches Are Just Ratios
Harmonics in Performance
A Partial by Any Other Name...
Formants
Timbre: To Be Continued...
Making Waves: Building Blocks of Sound Synthesis
Suggested Exercises
3. Perceptual Issues in Acoustics
What Is the Difference Between Consonance and Dissonance?
The Mystery of the Octave, and the Evolutionary Basis of Music
Perspectives on Consonance and Dissonance
Sound Spectra in Time
Localization of Natural Events
Interaural Time Delay (ITD)
Spectral Shadowing, or Interaural Level Delay (ILD)
Pinnae Filtering
Mismatches Between Measurement and Perception
Phase
Timbre
Loudness
Masking
Hearing Things That Aren't There
Second-order Beats
Binaural Beats
The Missing Fundamental
Difference Tones
The Physical Basis of Pitch Perception
Auditory Scene Analysis
Turn It Down!
Suggested Exercises
4. Fundamentals of Electricity
Static Electricity
Electricity = Electrons
From Parlor Tricks to Lightning Storms
Current, Voltage, Resistance, and Power
The Battery
Magnetism
Magnetism and Electrical Current
Magnetic Induction
Electromagnetic Resonance
Impedance
Coils and AC: Inductance
Capacitor Plates and AC: Capacitance
Impedance, Voltage, and Current
Controlling Current: From Vacuum Tubes to Microprocessors
Vacuum Tubes
Semiconductors
Electronics and Music
Telephone Communication
Vinyl Records
Tape
Radio Broadcasting
Studio Connections
Grounding
Audio Levels
Audio Cables and Impedance
Keeping a Squeeze on Current
Suggested Exercises
5. The Basics of Digital Audio
Historical Context
Digitizing Audio: The Big Picture
The Central Problem
Digital Conversion
Does Digital Sound as Good as Analog?
Arguments for Analog
Arguments for Digital
So Where Does That Leave Us?
Characteristics of Digital Audio
Sampling Rate
The Sampling Rate of CD Audio and Its Origin
Sample Size
Signal-to-Error Ratio
Dither
Sample Size vs. Sampling Rate
Filtering
What Is Filtering?
Filter Types
Lowpass Filter
Highpass Filter
Bandpass Filter
Band-Reject Filter
"Everything Is a Filter!"
The Digital Filtering Process
Feedforward vs. Feedback Filters
Lowpass Filters
Highpass Filters
Bandpass and Band-Reject Filters
Other Filter Characteristics
The Digital Recording and Playback Process
Recording
Dither
Lowpass(Antialiasing) Filter
Sample and Hold
Analog-to-Digital Converter (ADC)
Multiplexer
Error Correction
Encoding
Playback
Buffer
Error Correction
Digital-to-Analog Converter (DAC) and Sample and Hold
Output Lowpass Filter
Suggested Exercises
6. Working with Digital Audio
Analysis and Processing
Spectral Representation
0 Hz = Direct Current
Spectra of Digital Signals
The Fourier Transform Process
Perspective One: Multiplication by Probe Signals
Perspective Two: A Harmonic Coordinate System
Perspective Three: Taking the Inner Product
Perspective Four: Filter Bank
The Fast Fourier Transform (FFT)
Time Domain Localization vs. Spectral Resolution
Segmenting the Signal: Short Time Fourier Transform and Window Functions
Window Length and Spectral Resolution
Window Functions
Convolution
What Is It?
Why Is Convolution Important?
Time Domain Multiplication: Ring Modulation
Time Domain Convolution: Filtering
Finite Impulse Response (FIR) Filters and Infinite Impulse Response (IIR) Filters
Spectral Shaping
Oversampling and Noise Shaping
Perceptual Coding
Psychoacoustics
Masking and Perceptual Coding
Encoding Techniques
Approaches to Improving Audio: Compress Content or Increase Resolution?
Storage Media
Compact Disc
Retrieving Data
The Form of the Data
CD Recorders
DVD
Super Audio CD (SACD)
DVD-Audio
High Definition Compatible Digital (HDCD)
Blu-ray
Hard-Disk Recording: The Convergence of Multimedia
Digital Workstations
Transferring Data Between Devices
Audio File Types
NeXT/Sun
AIFF
SDII
WAVE
CAF
Video Streaming and Networked Music
Suggested Exercises
7. Acoustic Signatures: Room Acoustics, Microphones, and Loudspeakers
Room Acoustics
Direct and Reflected Sound
Large Performance Spaces
Direct Sound
Early Reflections
Diffuse Reverberation
Reverberation Radius
Impulse Response
Interaural Cross-Correlation (IACC)
Types of Reflection: Specular and Diffuse
Speech vs. Music
Absorption
Absorption and Sound Propagation
Ideal Concert Hall Characteristics
Small Performance Spaces
Room Modes
Flutter Echo
Comb Filtering
Acoustic Treatment of Small Spaces
Microphones
Receptor Types
Pressure
Pressure Gradient (Velocity)
Transducer Types
Dynamic (Electrodynamic, Electromagnetic, Ribbon, Moving Coil)
Condenser (Capacitor)
Directionality
Omnidirectional
Bidirectional (Figure 8)
First-Order Directional Microphones
Standard Cardioid
Subcardioid
Supercardioid
Hypercardioid
Variable Pattern Microphones
Directionality and Frequency Response
Phase Drop-off
Intensity Drop-off
Direct vs. Diffuse Sound Responses
Microphone Configurations
Recording Popular vs. Recording Classical
Time-of-Arrival Configurations
Intensity Configurations
XY Microphone Configuration
MS Microphone Configuration
Near-Coincident Configurations
ORTF
Spherical Stereo Microphones
Support (Accent) Microphones
Multi-Microphone Configuration for Recording Large Ensembles
Surround Recording Configurations
INA 5
The Fukada Tree
OCT Surround
Expansions of the Spherical Stereo Microphone
Soundfield Microphone
Loudspeaker Technology
Suggested Exercises
8. Treating and Mixing Audio
Effects: An Introduction
Combining Effects
A Few Words on Word Length
Error and Word Length
Converting to Lower Word Sizes
Latency
Delay-Based Effects
Simple Delay
Multitap Delay
Feedback Delay
Building Blocks of Delay-Based Effects: Comb and All-pass Filters
Comb Filters
Feedforward Comb Filter (Inverted Comb Filter)
Feedback Comb Filter
All-pass Filters
Delay-Based Effects
Flanging
Chorusing
Phase Shifting
Reverberation
Reverb Chamber (Echo Chamber)
Spring Reverb
Plate Reverb
Digital Reverberation
Convolution Reverb
Delayed Signals: A Matter of Interpolation
Spectral Effects
Ring/Amplitude Modulation
Channel Vocoder
Phase Vocoder
Dynamic Effects
Compressor/Limiter
Expander/Noise Gate
Companding
Normalization/Maximization
Normalization
Maximization
Mixing and Signal Flow
Channels
Level Meters
Phantom Power
Channel Insert
Equalization
Channel Fader
Mixer Buses
Mute/Solo Switches
Pan
Output Buses
Patchbay
Stereophony
Localization vs. Spaciousness
Simulated Localization in Audio Systems
Quadraphony
5.1 Surround Sound
Eight Channels and More
Ambisonics
Mastering
Suggested Exercises
9. Communication Among Devices
MIDI: The Big Picture
Connecting MIDI Synthesizers
MIDI Messages
Status Bytes and Data Bytes
Channel Voice Message Types
Note Off
Note On
Polyphonic Key Pressure (Poly Aftertouch)
Channel Key Pressure (Channel Aftertouch)
Program Change
Pitch Bend
Control Change
System Exclusive Messages
Start System Exclusive
End System Exclusive (EOX)
MIDI Utility Programs
Additions to the MIDI Protocol
Standard MIDI Files (SMFs)
General MIDI
Karaoke Files
GS MIDI and XG MIDI
MIDI Show Control (MSC)
Just What Do You Mean By That?
Open Sound Control (OSC)
Remapping Values
DIY Device Development
Suggested Exercises
10. Digital Instruments
Hardware Instruments
Samplers
Synthesizers
Alternate MIDI Controllers
Software Instruments
MIDI-Based Software
Sequencing Software
Notation Software
Editor/Librarian Software
Digital Audio-Based Instruments
Digital Audio Workstation Software
Softsynths and Sample Libraries
Sound Synthesis
Wavetables
Unit Generators and Signal Flow Charts
Additive Synthesis
Subtractive Synthesis
Low Frequency Oscillator (LFO)
Detune
Pulse Width Modulation (PWM)
Oscillator Sync
Vowel Synthesis
Frequency/Phase Modulation
Nonlinear Waveshaping
Physical Modeling
Granular Synthesis
Algorithmic and Interactive Composition
Suggested Exercises
11. Tales from the Trenches: Survival Tips in Specific Contexts
Live Sound Mixing
Setting Up a Recording Studio
Room Coloration
Electrical Noise
Common-Sense Procedures
Cable Wrapping
Order of Operation
Scoring for Video
Networking Devices
Network Address Components
Router
IP (Internet Protocol) Address
Subnet Mask
Ports
Examples of Network Connections
Mixer Console App
Max/MSP and SuperCollider
Lemur and SuperCollider
MIDI over LAN
Audio over LAN
Appendix 1: Geometric View of a Sine Wave
Phasors, Radians, and the Unit Circle
Sinusoidal Equation
Appendix 2: Plotting Sine Charts in a Spreadsheet
Creating a Basic Sine Wave Plot
Step One: Create a Series of 360 Values (from 0 to 359)
Step Two: Convert Degrees to Radians
Step Three: Create a Sine Wave
Step Four: Plot the Sine Values
Building on the Foundation
Change Amplitude, Frequency, and Initial Phase
Use Absolute Cell References
Use an Absolute Column Reference and a Relative Row Reference
Plot More Than One Sine Wave
Add the Separate Sine Waves to Create a Composite Sine Wave
Appendix 3: Overview of Logarithms
Exponents, Viewed from Another Angle
Property 1
Property 2
Property 3
Appendix 4: Representing Numbers
Numbers Are Power
Of What Value Power?
Numbers in Computers
The Binary Number System
Some Essential Terminology
The Hexadecimal Number System
Integers and Floating Points
Glossary
Bibliography
Digital Audio and Acoustics for the Creative Arts / Edition 1 available in Paperback
Digital Audio and Acoustics for the Creative Arts / Edition 1
by Mark Ballora
Mark Ballora
- ISBN-10:
- 0190236663
- ISBN-13:
- 9780190236663
- Pub. Date:
- 09/30/2016
- Publisher:
- Oxford University Press
- ISBN-10:
- 0190236663
- ISBN-13:
- 9780190236663
- Pub. Date:
- 09/30/2016
- Publisher:
- Oxford University Press
Digital Audio and Acoustics for the Creative Arts / Edition 1
by Mark Ballora
Mark Ballora
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Overview
Designed for introductory courses in electronic music and multimedia, Digital Audio and Acoustics for the Creative Arts presents the fundamental concepts of musical acoustics, psychoacoustics, electronics, digital audio, audio recording, and communication among devices via the Musical Instrument Digital Interface (MIDI) and Open Sound Control (OSC).
Product Details
ISBN-13: | 9780190236663 |
---|---|
Publisher: | Oxford University Press |
Publication date: | 09/30/2016 |
Edition description: | New Edition |
Pages: | 368 |
Product dimensions: | 9.00(w) x 8.00(h) x 0.80(d) |
About the Author
Mark Ballora is Associate Professor of Music Technology at Penn State University.
Table of Contents
AcknowledgmentsIntroduction
1. Basic Acoustics
The Nature of Sound Events
Wave Propagation
Simple Harmonic Motion
Characteristics of Waves
Refraction and Reflection
Superposition
Standing Waves, Resonant Frequencies, and Harmonics
Sympathetic Resonance
Phase and Waveshape
Speed and Velocity
Frequencies of Strings and Echoes
String Frequencies
Echo Rate
Suggested Exercises
2. Music and Acoustics
Properties of Musical Sound
What Is the Difference Between Music and Noise?
Frequency/Pitch
Frequency and Wavelength
Doppler Shift
Frequency Is Fixed and Precise, Pitch Is Flexible and by Convention
Human Pitch Perception is Logarithmic
Loudness
Power
Complications in Measuring Acoustic Power Levels
The Decibel Scale
Definition of the Decibel
Intensity
Pressure
Relationship of Intensity to Pressure
Root Mean Square
Pressure and Decibels
Understanding "Negative" Decibels
Timbre
Modes of Vibration
The Fourier Analysis
Spectral Plots
Limitations of the Fourier Transform
The Harmonic Series and Intonation
Pitches Are Just Ratios
Harmonics in Performance
A Partial by Any Other Name...
Formants
Timbre: To Be Continued...
Making Waves: Building Blocks of Sound Synthesis
Suggested Exercises
3. Perceptual Issues in Acoustics
What Is the Difference Between Consonance and Dissonance?
The Mystery of the Octave, and the Evolutionary Basis of Music
Perspectives on Consonance and Dissonance
Sound Spectra in Time
Localization of Natural Events
Interaural Time Delay (ITD)
Spectral Shadowing, or Interaural Level Delay (ILD)
Pinnae Filtering
Mismatches Between Measurement and Perception
Phase
Timbre
Loudness
Masking
Hearing Things That Aren't There
Second-order Beats
Binaural Beats
The Missing Fundamental
Difference Tones
The Physical Basis of Pitch Perception
Auditory Scene Analysis
Turn It Down!
Suggested Exercises
4. Fundamentals of Electricity
Static Electricity
Electricity = Electrons
From Parlor Tricks to Lightning Storms
Current, Voltage, Resistance, and Power
The Battery
Magnetism
Magnetism and Electrical Current
Magnetic Induction
Electromagnetic Resonance
Impedance
Coils and AC: Inductance
Capacitor Plates and AC: Capacitance
Impedance, Voltage, and Current
Controlling Current: From Vacuum Tubes to Microprocessors
Vacuum Tubes
Semiconductors
Electronics and Music
Telephone Communication
Vinyl Records
Tape
Radio Broadcasting
Studio Connections
Grounding
Audio Levels
Audio Cables and Impedance
Keeping a Squeeze on Current
Suggested Exercises
5. The Basics of Digital Audio
Historical Context
Digitizing Audio: The Big Picture
The Central Problem
Digital Conversion
Does Digital Sound as Good as Analog?
Arguments for Analog
Arguments for Digital
So Where Does That Leave Us?
Characteristics of Digital Audio
Sampling Rate
The Sampling Rate of CD Audio and Its Origin
Sample Size
Signal-to-Error Ratio
Dither
Sample Size vs. Sampling Rate
Filtering
What Is Filtering?
Filter Types
Lowpass Filter
Highpass Filter
Bandpass Filter
Band-Reject Filter
"Everything Is a Filter!"
The Digital Filtering Process
Feedforward vs. Feedback Filters
Lowpass Filters
Highpass Filters
Bandpass and Band-Reject Filters
Other Filter Characteristics
The Digital Recording and Playback Process
Recording
Dither
Lowpass(Antialiasing) Filter
Sample and Hold
Analog-to-Digital Converter (ADC)
Multiplexer
Error Correction
Encoding
Playback
Buffer
Error Correction
Digital-to-Analog Converter (DAC) and Sample and Hold
Output Lowpass Filter
Suggested Exercises
6. Working with Digital Audio
Analysis and Processing
Spectral Representation
0 Hz = Direct Current
Spectra of Digital Signals
The Fourier Transform Process
Perspective One: Multiplication by Probe Signals
Perspective Two: A Harmonic Coordinate System
Perspective Three: Taking the Inner Product
Perspective Four: Filter Bank
The Fast Fourier Transform (FFT)
Time Domain Localization vs. Spectral Resolution
Segmenting the Signal: Short Time Fourier Transform and Window Functions
Window Length and Spectral Resolution
Window Functions
Convolution
What Is It?
Why Is Convolution Important?
Time Domain Multiplication: Ring Modulation
Time Domain Convolution: Filtering
Finite Impulse Response (FIR) Filters and Infinite Impulse Response (IIR) Filters
Spectral Shaping
Oversampling and Noise Shaping
Perceptual Coding
Psychoacoustics
Masking and Perceptual Coding
Encoding Techniques
Approaches to Improving Audio: Compress Content or Increase Resolution?
Storage Media
Compact Disc
Retrieving Data
The Form of the Data
CD Recorders
DVD
Super Audio CD (SACD)
DVD-Audio
High Definition Compatible Digital (HDCD)
Blu-ray
Hard-Disk Recording: The Convergence of Multimedia
Digital Workstations
Transferring Data Between Devices
Audio File Types
NeXT/Sun
AIFF
SDII
WAVE
CAF
Video Streaming and Networked Music
Suggested Exercises
7. Acoustic Signatures: Room Acoustics, Microphones, and Loudspeakers
Room Acoustics
Direct and Reflected Sound
Large Performance Spaces
Direct Sound
Early Reflections
Diffuse Reverberation
Reverberation Radius
Impulse Response
Interaural Cross-Correlation (IACC)
Types of Reflection: Specular and Diffuse
Speech vs. Music
Absorption
Absorption and Sound Propagation
Ideal Concert Hall Characteristics
Small Performance Spaces
Room Modes
Flutter Echo
Comb Filtering
Acoustic Treatment of Small Spaces
Microphones
Receptor Types
Pressure
Pressure Gradient (Velocity)
Transducer Types
Dynamic (Electrodynamic, Electromagnetic, Ribbon, Moving Coil)
Condenser (Capacitor)
Directionality
Omnidirectional
Bidirectional (Figure 8)
First-Order Directional Microphones
Standard Cardioid
Subcardioid
Supercardioid
Hypercardioid
Variable Pattern Microphones
Directionality and Frequency Response
Phase Drop-off
Intensity Drop-off
Direct vs. Diffuse Sound Responses
Microphone Configurations
Recording Popular vs. Recording Classical
Time-of-Arrival Configurations
Intensity Configurations
XY Microphone Configuration
MS Microphone Configuration
Near-Coincident Configurations
ORTF
Spherical Stereo Microphones
Support (Accent) Microphones
Multi-Microphone Configuration for Recording Large Ensembles
Surround Recording Configurations
INA 5
The Fukada Tree
OCT Surround
Expansions of the Spherical Stereo Microphone
Soundfield Microphone
Loudspeaker Technology
Suggested Exercises
8. Treating and Mixing Audio
Effects: An Introduction
Combining Effects
A Few Words on Word Length
Error and Word Length
Converting to Lower Word Sizes
Latency
Delay-Based Effects
Simple Delay
Multitap Delay
Feedback Delay
Building Blocks of Delay-Based Effects: Comb and All-pass Filters
Comb Filters
Feedforward Comb Filter (Inverted Comb Filter)
Feedback Comb Filter
All-pass Filters
Delay-Based Effects
Flanging
Chorusing
Phase Shifting
Reverberation
Reverb Chamber (Echo Chamber)
Spring Reverb
Plate Reverb
Digital Reverberation
Convolution Reverb
Delayed Signals: A Matter of Interpolation
Spectral Effects
Ring/Amplitude Modulation
Channel Vocoder
Phase Vocoder
Dynamic Effects
Compressor/Limiter
Expander/Noise Gate
Companding
Normalization/Maximization
Normalization
Maximization
Mixing and Signal Flow
Channels
Level Meters
Phantom Power
Channel Insert
Equalization
Channel Fader
Mixer Buses
Mute/Solo Switches
Pan
Output Buses
Patchbay
Stereophony
Localization vs. Spaciousness
Simulated Localization in Audio Systems
Quadraphony
5.1 Surround Sound
Eight Channels and More
Ambisonics
Mastering
Suggested Exercises
9. Communication Among Devices
MIDI: The Big Picture
Connecting MIDI Synthesizers
MIDI Messages
Status Bytes and Data Bytes
Channel Voice Message Types
Note Off
Note On
Polyphonic Key Pressure (Poly Aftertouch)
Channel Key Pressure (Channel Aftertouch)
Program Change
Pitch Bend
Control Change
System Exclusive Messages
Start System Exclusive
End System Exclusive (EOX)
MIDI Utility Programs
Additions to the MIDI Protocol
Standard MIDI Files (SMFs)
General MIDI
Karaoke Files
GS MIDI and XG MIDI
MIDI Show Control (MSC)
Just What Do You Mean By That?
Open Sound Control (OSC)
Remapping Values
DIY Device Development
Suggested Exercises
10. Digital Instruments
Hardware Instruments
Samplers
Synthesizers
Alternate MIDI Controllers
Software Instruments
MIDI-Based Software
Sequencing Software
Notation Software
Editor/Librarian Software
Digital Audio-Based Instruments
Digital Audio Workstation Software
Softsynths and Sample Libraries
Sound Synthesis
Wavetables
Unit Generators and Signal Flow Charts
Additive Synthesis
Subtractive Synthesis
Low Frequency Oscillator (LFO)
Detune
Pulse Width Modulation (PWM)
Oscillator Sync
Vowel Synthesis
Frequency/Phase Modulation
Nonlinear Waveshaping
Physical Modeling
Granular Synthesis
Algorithmic and Interactive Composition
Suggested Exercises
11. Tales from the Trenches: Survival Tips in Specific Contexts
Live Sound Mixing
Setting Up a Recording Studio
Room Coloration
Electrical Noise
Common-Sense Procedures
Cable Wrapping
Order of Operation
Scoring for Video
Networking Devices
Network Address Components
Router
IP (Internet Protocol) Address
Subnet Mask
Ports
Examples of Network Connections
Mixer Console App
Max/MSP and SuperCollider
Lemur and SuperCollider
MIDI over LAN
Audio over LAN
Appendix 1: Geometric View of a Sine Wave
Phasors, Radians, and the Unit Circle
Sinusoidal Equation
Appendix 2: Plotting Sine Charts in a Spreadsheet
Creating a Basic Sine Wave Plot
Step One: Create a Series of 360 Values (from 0 to 359)
Step Two: Convert Degrees to Radians
Step Three: Create a Sine Wave
Step Four: Plot the Sine Values
Building on the Foundation
Change Amplitude, Frequency, and Initial Phase
Use Absolute Cell References
Use an Absolute Column Reference and a Relative Row Reference
Plot More Than One Sine Wave
Add the Separate Sine Waves to Create a Composite Sine Wave
Appendix 3: Overview of Logarithms
Exponents, Viewed from Another Angle
Property 1
Property 2
Property 3
Appendix 4: Representing Numbers
Numbers Are Power
Of What Value Power?
Numbers in Computers
The Binary Number System
Some Essential Terminology
The Hexadecimal Number System
Integers and Floating Points
Glossary
Bibliography
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