Audio effects : (Record no. 4876)
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| 000 -LEADER | |
|---|---|
| fixed length control field | 11444cam a22003618a 4500 |
| 001 - CONTROL NUMBER | |
| control field | 18297060 |
| 003 - CONTROL NUMBER IDENTIFIER | |
| control field | OSt |
| 005 - DATE AND TIME OF LATEST TRANSACTION | |
| control field | 20191223121739.0 |
| 008 - FIXED-LENGTH DATA ELEMENTS--GENERAL INFORMATION | |
| fixed length control field | 140910s2015 flu b 001 0 eng |
| 010 ## - LIBRARY OF CONGRESS CONTROL NUMBER | |
| LC control number | 2014033468 |
| 020 ## - INTERNATIONAL STANDARD BOOK NUMBER | |
| International Standard Book Number | 9781466560284 (hardback) |
| 040 ## - CATALOGING SOURCE | |
| Original cataloging agency | DLC |
| Transcribing agency | DLC |
| 042 ## - AUTHENTICATION CODE | |
| Authentication code | pcc |
| 050 00 - LIBRARY OF CONGRESS CALL NUMBER | |
| Classification number | TK7881.4 |
| Item number | .R45 2015 |
| 082 00 - DEWEY DECIMAL CLASSIFICATION NUMBER | |
| Classification number | 621.382 2 RIE M |
| Edition number | 23 |
| 084 ## - OTHER CLASSIFICATION NUMBER | |
| Classification number | TEC007000 |
| Number source | bisacsh |
| 100 1# - MAIN ENTRY--PERSONAL NAME | |
| Personal name | Reiss, Joshua D. |
| 245 10 - TITLE STATEMENT | |
| Title | Audio effects : |
| Remainder of title | theory, implementation, and application / |
| Statement of responsibility, etc. | Joshua D. Reiss, Queen Mary University of London, United Kingdom, Andrew P. McPherson, Queen Mary University of London, United Kingdom. |
| 260 ## - PUBLICATION, DISTRIBUTION, ETC. | |
| Place of publication, distribution, etc. | Boca Raton : |
| Name of publisher, distributor, etc. | CRC Press, Taylor & Francis Group, |
| Date of publication, distribution, etc. | [2015] |
| 300 ## - PHYSICAL DESCRIPTION | |
| Extent | xiii, 353 pages : |
| Other physical details | illustrations (some color) ; |
| Dimensions | 25 cm |
| 504 ## - BIBLIOGRAPHY, ETC. NOTE | |
| Bibliography, etc. note | Includes bibliographical references (pages 339-343) and index. |
| 505 ## - FORMATTED CONTENTS NOTE | |
| Formatted contents note | Preface<br/><br/><br/>About the Authors<br/><br/><br/>Aim and Scope of Book<br/><br/><br/>Introduction and Fundamentals<br/><br/><br/>Understanding Sound and Digital Audio<br/><br/><br/>Working with Decibels<br/><br/><br/>Level Measurements<br/><br/><br/>Representing and Understanding Digital Signals<br/><br/><br/>Representing Complex Numbers<br/><br/><br/>Frequency and Time-Frequency Representations<br/><br/><br/>Aliasing<br/><br/><br/>Modifying and Processing Digital Signals<br/><br/><br/>The Z Transform and Filter Representation<br/><br/><br/>Digital Filter Example<br/><br/><br/>Nonlinear and Time-Varying Effects<br/><br/><br/>Delay Line Effects<br/><br/><br/>Delay<br/><br/><br/>Theory<br/><br/><br/>Basic Delay<br/><br/><br/>Delay with Feedback<br/><br/><br/>Other Delay Types<br/><br/><br/>Slapback Delay<br/><br/><br/>Multitap Delay<br/><br/><br/>Ping-Pong Delay<br/><br/><br/>Implementation<br/><br/><br/>Basic Delay<br/><br/><br/>Variations<br/><br/><br/>Delay Line Interpolation<br/><br/><br/>Code Example<br/><br/><br/>Applications<br/><br/><br/>Vibrato Simulation<br/><br/><br/>Theory<br/><br/><br/>Interpolation<br/><br/><br/>Implementation<br/><br/><br/>Low-Frequency Oscillator<br/><br/><br/>Parameters<br/><br/><br/>Code Example<br/><br/><br/>Applications<br/><br/><br/>Flanging<br/><br/><br/>Theory<br/><br/><br/>Principle of Operation<br/><br/><br/>Basic Flanger<br/><br/><br/>Low-Frequency Oscillator<br/><br/><br/>Flanger with Feedback<br/><br/><br/>Stereo Flanging<br/><br/><br/>Properties<br/><br/><br/>Common Parameters<br/><br/><br/>Depth (or Mix)<br/><br/><br/>Delay and Sweep Width<br/><br/><br/>Speed and Waveform<br/><br/><br/>Feedback (or Regeneration)<br/><br/><br/>Inverted Mode (or Phase)<br/><br/><br/>Implementation<br/><br/><br/>Buffer Allocation<br/><br/><br/>Interpolation<br/><br/><br/>Code Example<br/><br/><br/>Applications<br/><br/><br/>Resonant Pitches<br/><br/><br/>Avoiding Disappearing Instruments<br/><br/><br/>Flanging versus Chorus<br/><br/><br/>Chorus<br/><br/><br/>Theory<br/><br/><br/>Basic Chorus<br/><br/><br/>Low-Frequency Oscillator<br/><br/><br/>Pitch-Shifting in the Chorus<br/><br/><br/>Multivoice Chorus<br/><br/><br/>Stereo Chorus<br/><br/><br/>Properties<br/><br/><br/>Common Parameters<br/><br/><br/>Depth (or Mix)<br/><br/><br/>Delay and Sweep Width<br/><br/><br/>Speed and Waveform<br/><br/><br/>Number of Voices<br/><br/><br/>Other Variations<br/><br/><br/>Summary: Flanger and Chorus Compared<br/><br/><br/>Filter Design<br/><br/><br/>Filter Construction and Transformation<br/><br/><br/>Simple, Prototype Low-Pass Filter<br/><br/><br/>High-Order Prototype Low-Pass Filter<br/><br/><br/>Changing the Gain at the Cutoff Frequency<br/><br/><br/>Shifting the Cutoff Frequency<br/><br/><br/>Creating a Shelving Filter<br/><br/><br/>Inverting the Magnitude Response<br/><br/><br/>Simple Low-Pass to Band Pass Transformation<br/><br/><br/>Popular IIR Filter Design<br/><br/><br/>Low Pass<br/><br/><br/>High Pass<br/><br/><br/>Low Shelf<br/><br/><br/>High Shelf<br/><br/><br/>Gain at Bandwidth<br/><br/><br/>Band Pass Filters<br/><br/><br/>Band Stop Filters<br/><br/><br/>Peaking and Notch Filters<br/><br/><br/>The Allpass Filter<br/><br/><br/>Applications of Filter Fundamentals<br/><br/><br/>Exponential Moving Average Filter<br/><br/><br/>Loudspeaker Crossovers<br/><br/><br/>Filter Effects<br/><br/><br/>Equalization<br/><br/><br/>Theory<br/><br/><br/>Two-Knob Tone Controls<br/><br/><br/>Three-Knob Tone Controls<br/><br/><br/>Presence Control<br/><br/><br/>Loudness Control<br/><br/><br/>Graphic Equalizers<br/><br/><br/>Bands in a Graphic Equalizer<br/><br/><br/>Parametric Equalizers<br/><br/><br/>Summary<br/><br/><br/>Implementation<br/><br/><br/>General Notes<br/><br/><br/>Tone Control Architecture<br/><br/><br/>Calculating Filter Coefficients<br/><br/><br/>Presence and Loudness Architecture<br/><br/><br/>Graphic Equalizer Architecture<br/><br/><br/>Parametric Equalizer Architecture<br/><br/><br/>Code Example<br/><br/><br/>Applications<br/><br/><br/>Graphic Equalizer Application<br/><br/><br/>Parametric Equalizer Application<br/><br/><br/>Wah-Wah<br/><br/><br/>Theory<br/><br/><br/>Basis in Speech<br/><br/><br/>Basic Wah-Wah<br/><br/><br/>Auto-Wah<br/><br/><br/>Tremolo-Wah<br/><br/><br/>Other Variations<br/><br/><br/>Implementation<br/><br/><br/>Filter Design<br/><br/><br/>Low-Frequency Oscillator<br/><br/><br/>Envelope Follower<br/><br/><br/>Analog Emulation<br/><br/><br/>Phaser<br/><br/><br/>Theory<br/><br/><br/>Basic Phaser<br/><br/><br/>Low-Frequency Oscillator<br/><br/><br/>Phaser with Feedback<br/><br/><br/>Stereo Phaser<br/><br/><br/>Implementation<br/><br/><br/>Allpass Filter Calculation<br/><br/><br/>Alternate Implementation<br/><br/><br/>LFO Waveform<br/><br/><br/>Analog and Digital Implementations<br/><br/><br/>Common Parameters<br/><br/><br/>Code Example<br/><br/><br/>Amplitude Modulation<br/><br/><br/>Tremolo<br/><br/><br/>Theory<br/><br/><br/>Low-Frequency<br/><br/><br/>Oscillator<br/><br/><br/>Properties<br/><br/><br/>Implementation<br/><br/><br/>Audio Rate and Control Rate<br/><br/><br/>Code Example<br/><br/><br/>Ring Modulation<br/><br/><br/>Theory<br/><br/><br/>Modulation in the Frequency Domain<br/><br/><br/>Perception<br/><br/><br/>w-Frequency Oscillator<br/><br/><br/>Variations<br/><br/><br/>Implementation<br/><br/><br/>Code Example<br/><br/><br/>Applications<br/><br/><br/>Dynamics Processing<br/><br/><br/>Dynamic Range Compression<br/><br/><br/>Theory<br/><br/><br/>Compressor Controls<br/><br/><br/>Signal Paths<br/><br/><br/>The Gain Stage<br/><br/><br/>The Gain Computer<br/><br/><br/>Level Detection<br/><br/><br/>RMS Detector<br/><br/><br/>Peak Detector<br/><br/><br/>Level-Corrected Peak Detectors<br/><br/><br/>Implementation<br/><br/><br/>Feedback and Feedforward Design<br/><br/><br/>An Alternate Digital Feedback Compressor<br/><br/><br/>Detector Placement<br/><br/><br/>Code Example<br/><br/><br/>Application<br/><br/><br/>Artifacts<br/><br/><br/>Summary<br/><br/><br/>Noise Gates and Expanders<br/><br/><br/>Theory and Implementation<br/><br/><br/>Applications<br/><br/><br/>Overdrive, Distortion, and Fuzz<br/><br/><br/>Theory<br/><br/><br/>Characteristic Curve<br/><br/><br/>Hard and Soft Clipping<br/><br/><br/>Input Gain<br/><br/><br/>Symmetry and Rectification<br/><br/><br/>Harmonic Distortion<br/><br/><br/>Intermodulation Distortion<br/><br/><br/>Analog Emulation<br/><br/><br/>Implementation<br/><br/><br/>Basic Implementation<br/><br/><br/>Aliasing and Oversampling<br/><br/><br/>Filtering<br/><br/><br/>Common Parameters<br/><br/><br/>Tube Sound Distortion<br/><br/><br/>Code Example<br/><br/><br/>Applications<br/><br/><br/>Expressivity and Spectral Content<br/><br/><br/>Sustain<br/><br/><br/>Comparison with Compression<br/><br/><br/>The Phase Vocoder<br/><br/><br/>Phase Vocoder Theory<br/><br/><br/>Overview<br/><br/><br/>Windowing<br/><br/><br/>Analysis: Fast Fourier Transform<br/><br/><br/>Interpreting Frequency Domain Data<br/><br/><br/>Target Phase, Phase Deviation, and Instantaneous Frequency<br/><br/><br/>Synthesis: Inverse Fast Fourier Transform<br/><br/><br/>Overlap-Add<br/><br/><br/>Filterbank Analysis Variant<br/><br/><br/>Oscillator Bank Reconstruction Variant<br/><br/><br/>Phase Vocoder Effects<br/><br/><br/>Robotization<br/><br/><br/>Robotization Code Example<br/><br/><br/>Whisperization<br/><br/><br/>Whisperization Code Example<br/><br/><br/>Time Scaling<br/><br/><br/>Time-Scaling Resynthesis<br/><br/><br/>Pitch Shifting<br/><br/><br/>Code Example<br/><br/><br/>Phase Vocoder Artifacts<br/><br/><br/>Spatial Audio<br/><br/><br/>Theory<br/><br/><br/>Panorama<br/><br/><br/>Precedence<br/><br/><br/>Vector Base Amplitude Panning<br/><br/><br/>Ambisonics<br/><br/><br/>Wave Field Synthesis<br/><br/><br/>The Head-Related Transfer Function<br/><br/><br/>ITD Model<br/><br/><br/>ILD Model<br/><br/><br/>Implementation<br/><br/><br/>Joint Panorama and Precedence<br/><br/><br/>Ambisonics and Its Relationship to VBAP<br/><br/><br/>Implementation of WFS<br/><br/><br/>HRTF Calculation<br/><br/><br/>Applications<br/><br/><br/>Transparent Amplification<br/><br/><br/>Surround Sound<br/><br/><br/>Sound Reproduction Using HRTFs<br/><br/><br/>The Doppler Effect<br/><br/><br/>A Familiar Example<br/><br/><br/>Derivation of the Doppler Effect<br/><br/><br/>Simple Derivation of the Basic Doppler Effect<br/><br/><br/>General Derivation of the Doppler Effect<br/><br/><br/>Simplifications and Approximations<br/><br/><br/>Implementation<br/><br/><br/>Time-Varying Delay Line Reads<br/><br/><br/>Multiple Write Pointers<br/><br/><br/>Code Example<br/><br/><br/>Applications<br/><br/><br/>Reverberation<br/><br/><br/>Theory<br/><br/><br/>Sabine and Norris-Eyring Equations<br/><br/><br/>Direct and Reverberant Sound Fields<br/><br/><br/>Implementation<br/><br/><br/>Algorithmic Reverb<br/><br/><br/>Schroeder's Reverberator<br/><br/><br/>Moorer's Reverberator<br/><br/><br/>Generating Reverberation with the Image Source Method<br/><br/><br/>Background<br/><br/><br/>The Image Source Model<br/><br/><br/>Modeling Reflections as Virtual Sources<br/><br/><br/>Locating the Virtual Sources<br/><br/><br/>The Impulse Response for a Virtual Source<br/><br/><br/>Convolutional Reverb<br/><br/><br/>Convolution and Fast Convolution<br/><br/><br/>Block-Based Convolution<br/><br/><br/>Physical Meaning<br/><br/><br/>Other Approaches<br/><br/><br/>Applications<br/><br/><br/>Why Use Reverb?<br/><br/><br/>Stereo Reverb<br/><br/><br/>Gated Reverb<br/><br/><br/>Reverse Reverb<br/><br/><br/>Common Parameters<br/><br/><br/>Audio Production<br/><br/><br/>The Mixing Console<br/><br/><br/>The Channel Section<br/><br/><br/>The Master Section<br/><br/><br/>Metering and Monitoring<br/><br/><br/>Basic Mixing Console<br/><br/><br/>Signal Flow and Routing<br/><br/><br/>Inserts for Processors, Auxiliary Sends for Effects<br/><br/><br/>Subgroup and Grouping<br/><br/><br/>Digital versus Analog<br/><br/><br/>Latency<br/><br/><br/>Digital User Interface Design<br/><br/><br/>Sound Quality<br/><br/><br/>Do You Need to Decide?<br/><br/><br/>Software Mixers<br/><br/><br/>Digital Audio Workstations<br/><br/><br/>Common Functionality of Computer-Based DAWs<br/><br/><br/>MIDI and Sequencers<br/><br/><br/>Audio Effect Ordering<br/><br/><br/>Noise Gates<br/><br/><br/>Compressors and Noise Gates<br/><br/><br/>Compression and EQ<br/><br/><br/>Reverb and Flanger<br/><br/><br/>Reverb and Vibrato<br/><br/><br/>Delay Line Effects<br/><br/><br/>Distortion<br/><br/><br/>Order Summary<br/><br/><br/>Combinations of Audio Effects<br/><br/><br/>Parallel Effects and Parallel Compression<br/><br/><br/>Sidechaining<br/><br/><br/>Ducking<br/><br/><br/>De-Esser Sidechain Compression for Mastering<br/><br/><br/>Multiband Compression<br/><br/><br/>Dynamic Equalization<br/><br/><br/>Combining LFOs with Other Effects<br/><br/><br/>Discussion<br/><br/><br/>Building Audio Effect Plug-Ins<br/><br/><br/>Plug-In Basics<br/><br/><br/>Programming Language<br/><br/><br/>Plug-In Properties<br/><br/><br/>The JUCE Framework<br/><br/><br/>Theory of Operation<br/><br/><br/>Callback Function<br/><br/><br/>Managing Parameters<br/><br/><br/>Initialization and Cleanup<br/><br/><br/>Preserving State<br/><br/><br/>Example: Building a Delay Effect in JUCE<br/><br/><br/>Required Software<br/><br/><br/>Creating a New Plug-In in JUCE<br/><br/><br/>Opening Example Plug-Ins<br/><br/><br/>File Overview<br/><br/><br/>PluginProcessor.h<br/><br/><br/>Declaration and Methods<br/><br/><br/>Variables<br/><br/><br/>PluginProcessor.cpp<br/><br/><br/>Audio Callback<br/><br/><br/>Initialization<br/><br/><br/>Managing Parameters<br/><br/><br/>Cleanup<br/><br/><br/>PluginEditor.h<br/><br/><br/>PluginEditor.cpp<br/><br/><br/>Initialization<br/><br/><br/>Managing Parameters<br/><br/><br/>Resizing<br/><br/><br/>Cleanup<br/><br/><br/>Summary<br/><br/><br/>Advanced Topics<br/><br/><br/>Efficiency Considerations<br/><br/><br/>Thread Safety<br/><br/><br/>Conclusion<br/><br/><br/>References<br/><br/><br/>Index |
| 520 ## - SUMMARY, ETC. | |
| Summary, etc. | "Audio Effects: Theory, Implementation and Application explores digital audio effects relevant to audio signal processing and music informatics. It supplies fundamental background information on digital signal processing, focusing on audio-specific aspects that constitute the building block on which audio effects are developed. The text integrates theory and practice, relating technical implementation to musical implications. It can be used to gain an understanding of the operation of existing audio effects or to create new ones. In addition to delivering detailed coverage of common (and unusual) audio effects, the book discusses current digital audio standards, most notably VST and AudioUnit. Source code is provided in C/C++ and implemented as audio effect plug-ins with accompanying sound samples. Each section of the book includes study questions, anecdotes from the history of music technology, and examples that offer valuable real-world insight, making this an ideal resource for researchers and for students moving directly into industry"-- |
| Assigning source | Provided by publisher. |
| 650 #0 - SUBJECT ADDED ENTRY--TOPICAL TERM | |
| Topical term or geographic name entry element | Computer sound processing. |
| 650 #0 - SUBJECT ADDED ENTRY--TOPICAL TERM | |
| Topical term or geographic name entry element | Sound |
| General subdivision | Recording and reproducing |
| -- | Digital techniques. |
| 650 #0 - SUBJECT ADDED ENTRY--TOPICAL TERM | |
| Topical term or geographic name entry element | Signal processing |
| General subdivision | Digital techniques. |
| 650 #7 - SUBJECT ADDED ENTRY--TOPICAL TERM | |
| Topical term or geographic name entry element | TECHNOLOGY & ENGINEERING / Electrical. |
| Source of heading or term | bisacsh |
| 700 1# - ADDED ENTRY--PERSONAL NAME | |
| Personal name | McPherson, Andrew P. |
| 856 42 - ELECTRONIC LOCATION AND ACCESS | |
| Materials specified | Cover image |
| Uniform Resource Identifier | <a href="http://images.tandf.co.uk/common/jackets/websmall/978146656/9781466560284.jpg">http://images.tandf.co.uk/common/jackets/websmall/978146656/9781466560284.jpg</a> |
| 906 ## - LOCAL DATA ELEMENT F, LDF (RLIN) | |
| a | 7 |
| b | cbc |
| c | orignew |
| d | 1 |
| e | ecip |
| f | 20 |
| g | y-gencatlg |
| 942 ## - ADDED ENTRY ELEMENTS (KOHA) | |
| Source of classification or shelving scheme | Dewey Decimal Classification |
| Koha item type | Stack text books |
| Withdrawn status | Lost status | Source of classification or shelving scheme | Damaged status | Not for loan | Collection code | Home library | Current library | Date acquired | Total Checkouts | Full call number | Barcode | Date last seen | Price effective from | Koha item type |
|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|
| Dewey Decimal Classification | 108/3 | All India Institute of Speech and Hearing | All India Institute of Speech and Hearing | 23/12/2019 | 621.382 2 RIE M;1 | 20228 | 23/12/2019 | 23/12/2019 | Stack text books | |||||
| Dewey Decimal Classification | 108/3 | All India Institute of Speech and Hearing | All India Institute of Speech and Hearing | 23/12/2019 | 621.382 2 RIE M;2 | 20229 | 23/12/2019 | 23/12/2019 | Stack text books | |||||
| Dewey Decimal Classification | R-67/2 | All India Institute of Speech and Hearing | All India Institute of Speech and Hearing | 13/07/2022 | 621.382 2 RIE M | 20227 | 13/07/2022 | 13/07/2022 | Reference text books |