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Subtractive sound synthesis has been one of the most widely used techniques in electronic music and for many analog synthesizers since the early 1960s. It is based on a simple principle, but its operation remains complex, involving many parameters. It can be enriched by a variety of effects that give the sound its authenticity. It does not just imitate musical instruments, but can also transcribe noises present in natural soundscapes, or generate entirely synthetic sounds. Synthesizers and Subtractive Synthesis 1 presents the theoretical basis of a sound phenomenon, the different types of synthesis, the components that are required and present in synthesizers, the working environment specific to the study of subtractive synthesis, and the hardware and software available. After reading the various chapters of this book, readers will have a clear vision of the tools and actions required to grasp the world of subtractive sound.
For decades performers, instrumentalists, composers, technicians and sound engineers continue to manipulate sound material. They are trying with more or less success to create, to innovate, improve, enhance, restore or modify the musical message. The sound of distorted guitar of Jimi Hendrix, Pierre Henry’s concrete music, Pink Flyod’s rock psychedelic, Kraftwerk ‘s electronic music, Daft Punk and rap T-Pain, have let emerge many effects: reverb, compression, distortion, auto-tune, filter, chorus, phasing, etc. The aim of this book is to introduce and explain these effects and sound treatments by addressing their theoretical and practical aspects.
Capturing, recording and broadcasting the voice is often difficult. Many factors must be taken into account and achieving a true representation is much more complex than one might think. The capture devices such as the position of the singer(s) or narrator(s), the acoustics, atmosphere and equipment are just some of the physical aspects that need to be mastered. Then there is the passage through the analog or digital channel, which disrupts the audio signal, as well as the processes that are often required to enrich, improve or even transform the vocal timbre and tessitura. While in the past these processes were purely material, today digital technologies and software produce surprising resu...
Capturing, recording and broadcasting the voice is often difficult. Many factors must be taken into account and achieving a true representation is much more complex than one might think. The capture devices such as the position of the singer(s) or narrator(s), the acoustics, atmosphere and equipment are just some of the physical aspects that need to be mastered. Then there is the passage through the analog or digital channel, which disrupts the audio signal, as well as the processes that are often required to enrich, improve or even transform the vocal timbre and tessitura. While in the past these processes were purely material, today digital technologies and software produce surprising resu...
Volume 3 begins with an introduction to which are added four chapters focused on modeling and flow simulation in an environment in 2 or 3 dimensions (2D or 3D). They deal with different cases taken from situations found in the field. A conclusion comes close this third book: The different software used in this third volume Computer simulation of discrete flows Mixed flow simulation Flows in 3D and the evacuation simulation Flows in 3D for conveying and storage The conclusion discusses the future developments of the software and their integration into society. At the end of each volume is a bibliography and a list of web links. There is also a glossary explaining some abbreviations, acronyms and some very specific terminology of logistics and operations research.
Volume 1 presents successively an introduction followed by 10 chapters and a conclusion: A logistic approach an overview of operations research The basics of graph theory calculating optimal routes Dynamic programming planning and scheduling with PERT and MPM the waves of calculations in a network spanning trees and touring linear programming modeling of road traffic
Volume 2 begins with an introduction and 4 chapters implementing software tools on cases of practical applications and it ends with a conclusion: The various tools used in this volume Operational research with a spreadsheet Dashboards with spreadsheets and pivot tables Scheduling and planning with a project manager The traffic simulation The conclusion shows the new features that are expected to emerge on spreadsheets as well as project managers, developments and convergences between traffic simulators and new infrastructure that are emerging on road networks. Annex 1 focuses on the installation Solver in Microsoft Excel and Annex 2 focuses on the installation of the Java Development Kit.
Subtractive sound synthesis is one of the most widely used techniques in electronic music and in many analog synthesizers since the early 1960s. It is based on a simple principle, but its operation is complex, involving many parameters. It can be enhanced by a variety of effects that give the sound its authenticity, and does not simply imitate musical instruments, but can also transcribe noises present in natural soundscapes or generate entirely synthetic sounds. Synthesizers and Subtractive Sound Synthesis 2 presents practical exercises, ranging from the fundamentals to advanced functionalities. Most of the sound effects applicable to subtractive synthesis are covered: vibrato, phaser, reverb, etc. The final chapters deal with polyphony and arpeggiator-sequences.
Optimization Tools for Logistics covers the theory and practice of the main principles of operational research and the ways it can be applied to logistics and decision support with regards to common software. The book is supported by worked problems and examples from industrial case studies, providing a comprehensive tool for readers from a variety of industries. - Covers simple explanations of the mathematical theories related to logistics - Contains many problems and examples from industrial case studies - Includes coverage of the use of readily available software; spreadsheets, project managers, flows simulators
For decades performers, instrumentalists, composers, technicians and sound engineers continue to manipulate sound material. They are trying with more or less success to create, to innovate, improve, enhance, restore or modify the musical message. The sound of distorted guitar of Jimi Hendrix, Pierre Henry’s concrete music, Pink Flyod’s rock psychedelic, Kraftwerk ‘s electronic music, Daft Punk and rap T-Pain, have let emerge many effects: reverb, compression, distortion, auto-tune, filter, chorus, phasing, etc. The aim of this book is to introduce and explain these effects and sound treatments by addressing their theoretical and practical aspects.