| Introduction | p. xi |
| Digital Audio Signals | p. 1 |
| Introduction | p. 1 |
| Digital Audio Signals | p. 1 |
| Sampling and Aliasing | p. 2 |
| Quantization | p. 4 |
| Resampling and Interpolation | p. 5 |
| Digital Audio Compression | p. 7 |
| Conclusion | p. 9 |
| Sampling (Wavetable) Synthesis | p. 11 |
| Introduction | p. 11 |
| Wavetable Synthesis | p. 11 |
| Concatenative Speech Synthesis | p. 13 |
| Manipulating PCM | p. 14 |
| Let's Pause and Think Here | p. 18 |
| Digital Filters | p. 21 |
| Introduction | p. 21 |
| Linear Systems, LTI Systems, Convolution | p. 21 |
| Digital Filters | p. 24 |
| FIR Filters | p. 24 |
| IIR Filters | p. 26 |
| The General Filter Form | p. 26 |
| The Z Transform | p. 27 |
| The Transfer Function | p. 28 |
| Zeroes and Poles | p. 29 |
| First Order One-Zero and One-Pole Filters | p. 29 |
| The Second Order Pole/Zero (BiQuad) Filter | p. 31 |
| A Little on Filter Topologies | p. 34 |
| Conclusion | p. 36 |
| Modal Synthesis | p. 39 |
| Introduction | p. 39 |
| A Simple Mechanical System | p. 39 |
| Solution of the Mass/Spring/Damper System | p. 41 |
| Boundary Conditions and Solutions | p. 43 |
| Sinusoidal Additive Synthesis | p. 45 |
| Filter-Based Modal Synthesis | p. 46 |
| Residual Extraction and Resynthesis | p. 48 |
| Conclusion | p. 50 |
| The Fourier Transform | p. 51 |
| Introduction | p. 51 |
| The Frequency Domain Spectrum | p. 52 |
| The Fourier Series | p. 52 |
| The Discrete Fourier Transform | p. 53 |
| Orthogonality and Uniqueness of the DFT | p. 55 |
| Convolution with the DFT and the FFT | p. 55 |
| Some Fourier Transform Applications | p. 57 |
| The Short-Time Fourier Transform | p. 60 |
| Conclusions | p. 61 |
| Spectral Modeling and Additive Synthesis | p. 63 |
| Introduction | p. 63 |
| Types of Spectra | p. 63 |
| Spectral Modeling | p. 68 |
| Sines Plus Noise Plus Transients | p. 71 |
| Spectra in Time | p. 72 |
| Conclusion | p. 74 |
| Subband Vocoders and Filterbanks | p. 75 |
| Introduction | p. 75 |
| Subband Decomposition of Audio | p. 75 |
| The Channel Vocoder | p. 78 |
| The Cross-Synthesizing Channel Vocoder | p. 80 |
| The Phase Vocoder | p. 81 |
| Conclusions | p. 82 |
| Subtractive Synthesis and LPC | p. 85 |
| Introduction | p. 85 |
| Subtractive Synthesis | p. 85 |
| Resonance-Factored (Formant) Synthesis | p. 87 |
| Linear Prediction | p. 88 |
| LPC Speech Examples | p. 90 |
| LPC for Nonspeech and Real-World Sounds | p. 92 |
| LPC and Physics | p. 94 |
| Conclusions | p. 94 |
| Strings and Bars | p. 97 |
| Introduction | p. 97 |
| The Ideal String | p. 97 |
| Refining the Ideal String | p. 101 |
| Weak Stiffness | p. 103 |
| Really Stiff Structures: Bars | p. 105 |
| Conclusions | p. 106 |
| Nonlinearity, Waveshaping, FM | p. 109 |
| Introduction | p. 109 |
| Simple Physical Nonlinearity | p. 109 |
| Simulating Physical Nonlinearity | p. 113 |
| Nonlinear Wave Synthesis by Lookup Table | p. 114 |
| Conclusions | p. 119 |
| Tubes and Air Cavities | p. 121 |
| Introduction | p. 121 |
| The Ideal Acoustic Tube | p. 121 |
| Building a Simple Clarinet | p. 122 |
| Resonance in Air Cavities | p. 124 |
| Conclusions | p. 128 |
| Two and Three Dimensions | p. 131 |
| Introduction | p. 131 |
| Membranes and Plates, Mass/Spring Models | p. 131 |
| Three-Dimensional Structures | p. 136 |
| Banded Waveguides in Higher Dimensions | p. 140 |
| Spatial Modes in Complex Geometries | p. 143 |
| Conclusions | p. 146 |
| FOFs, Wavelets, and Particles | p. 149 |
| Introduction | p. 149 |
| Formants in the Time Domain: FOFs | p. 149 |
| Wavelets | p. 152 |
| Granular Synthesis | p. 155 |
| Particle Models | p. 155 |
| Conclusions | p. 167 |
| Exciting and Controlling Sound Models | p. 169 |
| Introduction | p. 169 |
| Plucking and Striking | p. 169 |
| Friction | p. 174 |
| Controlling Synthesis Parameters | p. 183 |
| Controllers | p. 187 |
| Conclusions | p. 189 |
| Walking Synthesis: A Complete System | p. 191 |
| Introduction | p. 191 |
| Overall Architecture of the System | p. 191 |
| Event Analysis | p. 192 |
| Spectral Analysis | p. 194 |
| Statistical Modeling and Estimation | p. 194 |
| Testing on Real Sounds | p. 197 |
| Parametric Resynthesis | p. 199 |
| Conclusion | p. 199 |
| Examples, Systems, and Applications | p. 201 |
| Introduction | p. 201 |
| Auditory Display: Real-Time Multimodal User Interfaces | p. 201 |
| Auditory Display: Sonification | p. 202 |
| Digital Foley Production Workstation/Stage | p. 205 |
| Virtual and Augmented Reality | p. 206 |
| Computer Music and Interactive Art | p. 206 |
| Animation and Gaming | p. 207 |
| The Future | p. 209 |
| DFT, Convolution, and Transform Properties | p. 211 |
| Orthogonality of the Fourier Transform Kernel | p. 211 |
| Uniqueness of the Fourier Transform | p. 212 |
| Convolution | p. 213 |
| Convolution and the DFT | p. 214 |
| A Few Useful DFT Properties and Theorems | p. 216 |
| The Ideal String | p. 221 |
| The Ideal String | p. 221 |
| Acoustic Tubes | p. 225 |
| The Ideal Acoustic Tube | p. 225 |
| D'Alembert Solution to the Acoustic Tube Equation | p. 227 |
| Relating Pressure and Velocity in Acoustic Tubes | p. 227 |
| The Acoustic Tube With Varying Cross-Sectional Area | p. 228 |
| An Acoustic Tube Network | p. 230 |
| Sound Examples and Code on CD/CDROM | p. 233 |
| Sound Examples | p. 233 |
| Source Code and Other Materials on CDROM Data Segment | p. 236 |
| The Synthesis Toolkit in C++ | p. 239 |
| What is the Synthesis Toolkit? | p. 239 |
| A Brief History of the Development of The Synthesis ToolKit | p. 241 |
| Synthesizing Sound in Real Time | p. 241 |
| Non-Real-Time Soundfile Synthesis | p. 243 |
| An Example Instrument: Blown Bottle | p. 244 |
| Real-Time Synthesis Control | p. 245 |
| Classes and Instruments | p. 246 |
| Conclusions | p. 248 |
| Index | p. 249 |
| Table of Contents provided by Syndetics. All Rights Reserved. |
