Digital Sound Processing for Music and Multimedia

By: Ross Kirk, Andy Hunt

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Paperback | 29 March 1999 | Edition Number 1

At a Glance

Paperback
356 Pages

Dimensions(cm)
25 x 19 x 2

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Provides an introduction to the nature, synthesis and transformation of sound which forms the basis of digital sound processing for music and multimedia. Background information in computer techniques is included so that you can write computer algorithms to realise new processes central to your own musical and sound processing ideas. Finally, material is inlcuded to explain the way in which people contribute to the development of new kinds of performance and composition systems.
Key features of the book include:
- Contents structured into free-standing parts for easy navigation
- Flow lines' to suggest alternative paths through the book, depending on the primary interest of the reader.
- Practical examples are contained on a supporting website.
Digital Sound Processing can be used by anyone, whether from an audio engineering, musical or music technology perspective.
Digital sound processing in its various spheres - music technology, studio systems and multimedia - are witnessing the dawning of a new age. The opportunities for involvement in the expansion and development of sound transformation, musical performance and composition are unprecedented.
The supporting website (www.york.ac.uk/inst/mustech/dspmm.htm) contains working examples of computer techniques, music synthesis and sound processing.

Written in easy to understand manner, with a minimum of maths
Suit readers from a number of disciplines: audio engineering, music technology or computing
Supporting website contains practical examples in computer techniques, music synthesis and sound processing

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Series introduction	p. ix
Acknowledgements	p. xi
Introduction and background	p. xiii
Context	p. 1
Sound generation and recording in the twentieth century	p. 3
Setting the context	p. 4
The effect of technology on sound production	p. 4
Musical changes from 1900-1950	p. 5
Early systems for electronic sound generation	p. 9
Development of recording technology	p. 12
Electronic music studios	p. 14
Live electronic music	p. 16
Synthesisers	p. 17
Digital sound	p. 21
The performance interface	p. 23
Digital computers with performance interfaces	p. 24
The digital revolution	p. 26
Performance instruments in the MIDI age	p. 29
The microcomputer	p. 31
Systems for capturing performance gesture	p. 33
Interactive music environments	p. 35
Summary	p. 37
Sounds and signals	p. 39
Sound and signals in music technology and digital audio	p. 41
The electrical analogue of acoustic signals	p. 42
The nature and content of signals	p. 43
The effect of linearity and gain on the transmission of signals	p. 52
The effect of frequency response on the transmission of signals	p. 55
Summary	p. 59
Digital audio	p. 61
Preparation: frequency translation	p. 62
The sampling process	p. 66
Pulse code modulation (PCM) systems	p. 72
Characteristics of digital audio systems	p. 77
Synthetic audio systems	p. 82
Summary	p. 89
Music technology systems	p. 91
MIDI: connecting instruments together	p. 93
Musical background	p. 94
The environment from which MIDI emerged	p. 95
The development of MIDI	p. 96
Designing instrument connections	p. 98
The MIDI specification - hardware	p. 99
The MIDI specification - messages	p. 100
Format and construction of MIDI messages	p. 104
Extensions to the original MIDI specification	p. 111
Limitations of MIDI	p. 114
The future of instrumental connections	p. 115
Summary	p. 116
The structure of common music technology systems	p. 118
Types of electronic music equipment	p. 119
Methods of digital sound generation	p. 124
Methods of digital sound processing	p. 129
Digital sound generation techniques	p. 130
Digital sound processing techniques	p. 138
Summary	p. 167
Computer fundamentals	p. 169
An introduction to digital logic	p. 171
Elementary logic and binary systems	p. 171
Combinatorial logic and logic gates	p. 172
Functional description of the operation of gates	p. 176
Some simple examples of combinatorial logic circuits	p. 177
Sequential logic	p. 178
Summary	p. 182
Computers and programs	p. 183
The essential architecture of a computer system	p. 184
A look inside the central processing unit	p. 188
The representation of instructions in a computer	p. 194
The representation of data in a computer	p. 200
The components of programs	p. 204
Conditional branching and the program status word	p. 207
Subroutines and stacks	p. 209
Summary	p. 216
Interfacing: the use of the computer as a component	p. 217
Interfacing from the point of view of the programmer	p. 218
Interfacing from the point of view of the processor	p. 220
Interfacing from the point of view of the interface	p. 220
Parallel and serial ports	p. 224
Digital to analogue, and analogue to digital conversion	p. 226
Polled, interrupt driven and direct memory access (DMA) interfaces	p. 231
The Texas Instruments TMS320C30 Digital Signal Processor (DSP)	p. 238
The MIDI interface	p. 242
PC sound cards	p. 245
Summary	p. 247
Programming for sound generation and processing	p. 251
Computer programming for musical applications	p. 253
The need for computer programming	p. 254
Types of programming language	p. 254
Structured programming for music	p. 258
Programming at control rate	p. 259
Data generation and output	p. 261
Data input and transformation	p. 268
Summary	p. 271
Programming for audio and visual synthesis	p. 273
Programming at audio rate	p. 274
The unit generator concept	p. 274
Programming libraries	p. 275
MIDAS	p. 276
Audio synthesis and signal processing examples	p. 279
Programming for audio-visual synthesis	p. 290
Summary	p. 295
Interface design for the future	p. 297
Designing the musician-machine interface	p. 299
Human-computer interaction	p. 300
Styles of interface	p. 300
Models of user interaction	p. 304
User interfaces in computer music	p. 307
Suggested areas of change	p. 310
Design exercise	p. 315
Summary	p. 326
Index	p. 327
Table of Contents provided by Syndetics. All Rights Reserved.

Digital Sound Processing for Music and Multimedia

At a Glance

Paperback

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