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Creating sounds from scratch : a practical guide to music synthesis for producers and composers PDF

352 Pages·2017·45.12 MB·english
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Preview Creating sounds from scratch : a practical guide to music synthesis for producers and composers

Creating Sounds from Scratch Creating Sounds from Scratch A PRACTICAL GUIDE TO MUSIC SYNTHESIS FOR PRODUCERS AND COMPOSERS Andrea Pejrolo Scott B. Metcalfe 1 1 Oxford University Press is a department of the University of Oxford. It furthers the University’s objective of excellence in research, scholarship, and education by publishing worldwide. Oxford is a registered trade mark of Oxford University Press in the UK and certain other countries. Published in the United States of America by Oxford University Press 198 Madison Avenue, New York, NY 10016, United States of America. © Oxford University Press 2017 All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, without the prior permission in writing of Oxford University Press, or as expressly permitted by law, by license, or under terms agreed with the appropriate reproduction rights organization. Inquiries concerning reproduction outside the scope of the above should be sent to the Rights Department, Oxford University Press, at the address above. You must not circulate this work in any other form and you must impose this same condition on any acquirer. Library of Congress Cataloging- in-P ublication Data Names: Pejrolo, Andrea. | Metcalfe, Scott B. Title: Creating sounds from scratch : a practical guide to music synthesis for producers and composers / Andrea Pejrolo, Scott B. Metcalfe. Description: New York, NY : Oxford University Press, [2017] | Includes index. Identifiers: LCCN 2016019139 | ISBN 9780199921874 (cloth : alk. paper) | ISBN 9780199921898 (pbk. : alk. paper) | ISBN 9780199921904 (companion website) Subjects: LCSH: Synthesizer (Musical instrument)—Instruction and study. |Software synthesizers. Classification: LCC MT724 .P47 2017 | DDC 786.7/1 3—dc23 LC record available at https:// lccn.loc.gov/ 2016019139 9 8 7 6 5 4 3 2 1 Paperback printed by WebCom, Inc., Canada Hardback printed by Bridgeport National Bindery, Inc., United States of America To my dearest wife Irache and beautiful daughter Alessandra. —Andrea Pejrolo To my sons, Nathaniel and Andrew, and my beautiful wife Sara. —Scott B. Metcalfe CONTENTS vii Acknowledgments • xv Introduction • xvii About the Companion Website • xix 1 How Did We Get Here? • 1 Introduction • 1 Electronic Music in the Twentieth Century • 3 Musique Concrète • 3 Tape- Based Composition • 5 Electronic Music Synthesis • 6 Instruments • 6 Theremin • 6 Hammond Organ • 8 RCA Electronic Music Synthesizer • 10 The Rise of the Modern Synthesizer • 11 Moog • 11 Buchla • 13 Mellotron • 14 The Road to Polyphony • 15 Duophonic/ Duophony • 16 Paraphony/ Paraphonic • 17 Arrival of True Polyphony • 18 Musical Instrument Digital Interface • 19 Digitally Controlled Oscillator • 21 Synclavier • 21 Chowning and the FM Synthesizer • 22 Digital Sampling • 23 Wavetable Synthesis • 25 Korg M1 Workstation • 27 Conclusion • 28 Acknowledgments • 29 Bibliography • 29 2 Understanding Sound and Hearing • 31 Introduction • 31 What Is Sound? • 31 Timbre— Harmonic Structure • 32 Harmonics, Partials, and Overtones • 34 Natural Harmonic Series in Music • 36 Contents Complex Waveforms • 36 Phase • 36 viii Pitch • 38 Doppler Shift • 41 Amplitude • 42 Timbral Shape Over Time • 43 Human Hearing • 43 Phantom Image • 43 Critical Bands • 44 Frequency Masking • 45 Loudness • 46 Loudness Relative to Harmonic Content • 46 Loudness vs. Duration • 48 Loudness Relative to Frequency • 48 Loudness Perception (RMS/ Peak) • 49 Missing Fundamental • 50 Conclusion • 51 3 The Tools of the Trade • 53 Introduction • 53 Sound Generators • 53 Oscillator (VCO) • 53 Sine Wave • 55 Sawtooth Wave • 56 Noise • 57 Digital Playback • 59 Wavetable Synthesis • 59 Sample Replay/ Sampling • 60 Sound Modifiers • 60 Frequency- Based Modifiers • 61 Low- Pass Filter • 61 Sound Design 3.1— Exploring Resonance and Self- Oscillation Using Pink Noise • 64 High- Pass Filter • 64 Bandpass Filter • 64 Notch Filter • 65 Shelving Filters • 66 Allpass Filter • 66 Time- Based Effects • 68 Low- Frequency Oscillator • 68 Sample- and- Hold • 68 Sync/ Free/ Retrigger • 69 Delay • 70 Keyboard Tracking • 71 Multiple LFOs? • 71 Envelope Generators • 71 Other LFO and EG Applications • 73 Contents Voltage- Controlled Amplifier • 74 Control Voltage • 75 ix Modifiers: Special Effects • 76 Distortion • 76 Delay- Based Effects • 77 Echo • 78 Reverberation • 78 Acoustic Reverb: Halls, Studios, Cathedrals/C hurches, Chambers • 78 Mechanical: Plates and Springs • 79 Digital Reverbs: Algorithmic and Convolution • 81 Phaser • 83 Chorus and Flanger • 83 Ring Modulation • 84 Tuning— Fine vs. Coarse • 85 Unison/ Voice Stacking • 86 Portamento/ Glissando • 86 Modulation Matrix • 87 Arpeggiator • 88 Pattern Sequencer • 88 Oscillator Sync • 88 Pitch Bend/ Modulation Wheel • 89 Instruments • 90 The Digital Hardware- Based Synthesizer • 90 The Keyboard Controller • 91 The Sound Module • 91 Software Synthesizers • 92 Hybrid Synthesizers • 94 The MIDI Standard • 95 Structure of MIDI Data • 96 A Binary World • 97 The MIDI Channels • 97 Type of MIDI Messages • 97 Data Bytes • 98 Description of MIDI Messages • 98 MIDI Connections • 103 Beyond MIDI: Open Sound Control • 103 The Electronic Digital Studio for the Contemporary Composer and Producer • 104 The Computer • 104 The Audio Interface • 105 The Controller • 105 Monitoring System • 110 Microphones and Preamplifiers • 110 Microphone Types • 112 Synthesizers • 112 Portable vs. Home Studios • 114

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