Musical Sound Effects : Analog and Digital Sound Processing.
Réveillac, Jean-Michel.
Musical Sound Effects : Analog and Digital Sound Processing. - 1st ed. - 1 online resource (380 pages)
Cover -- Half-Title Page -- Title Page -- Copyright Page -- Contents -- Foreword -- About this Book -- Introduction -- 1. Notes on the Theory of Sound -- 1.1. Basic concepts -- 1.1.1. What is sound? -- 1.1.2. Intensity -- 1.1.3. Sound pitch -- 1.1.4. Approaching the concept of timbre -- 1.2. The ears -- 1.2.1. How our ears work -- 1.2.2. Fletcher-Munson curves -- 1.2.3. Auditory spatial awareness -- 1.3. The typology of sounds -- 1.3.1. Sounds and periods -- 1.3.2. Simple sounds and complex sounds -- 1.4. Spectral analysis -- 1.4.1. The sound spectrum -- 1.4.2. Sonogram and spectrogram -- 1.5. Timbre -- 1.5.1. Transient phenomena -- 1.5.2. Range -- 1.5.3. Mass of musical objects -- 1.5.4. Classification of sounds -- 1.6. Sound propagation -- 1.6.1. Dispersion -- 1.6.2. Interference -- 1.6.3. Diffraction -- 1.6.4. Reflection -- 1.6.5. Reverberation (reverb) -- 1.6.6. Absorption -- 1.6.7. Refraction -- 1.6.8. The Doppler effect -- 1.6.9. Beats -- 1.7. Conclusion -- 2. Audio Playback -- 2.1. History -- 2.2. Dolby playback standards and specifications -- 2.2.1. Dolby Surround encoding and decoding -- 2.2.2. Dolby Stereo -- 2.2.3. Dolby Surround -- 2.2.4. Dolby Surround Pro-Logic -- 2.2.5. Dolby DIGITAL AC-3 -- 2.2.6. Dolby Surround EX -- 2.2.7. Dolby Surround Pro-Logic II -- 2.2.8. Dolby Digital Plus -- 2.2.9. Dolby TrueHD -- 2.2.10. Dolby Atmos -- 2.3. DTS encodings -- 2.3.1. DTS -- 2.3.2. DTS Neo 6 -- 2.3.3. DTS ES 6.1 -- 2.3.4. DTS 96/24 -- 2.3.5. DTS HD Master Audio -- 2.3.6. DTS X -- 2.4. Special encodings -- 2.5. SDDS -- 2.6. THX certification -- 2.6.1. THX select and ultracertification -- 2.6.2. THX Ultra 2 certification -- 2.7. Multichannel audio recording -- 2.8. Postproduction and encoding -- 2.9. Multichannel music media: DVD-Audio and SACD -- 2.9.1. DVD-Audio -- 2.9.2. Super Audio CD -- 2.9.3. Comparison of CDs, SACDs and DVD-Audios. 2.10. Conclusion -- 3. Types of Effect -- 3.1. Physical appearance -- 3.1.1. Racks -- 3.1.2. Pedals -- 3.1.3. Software plugins -- 3.2. Audio processing -- 3.3. Conclusion -- 4. Filtering Effects -- 4.1. Families of filtering effects -- 4.2. Equalization -- 4.2.1. Frequency bands and ranges -- 4.2.2. Types of equalizer -- 4.2.3. Examples of equalizers -- 4.2.4. Tips for equalizing a mix -- 4.3. Wah-wah -- 4.3.1. History -- 4.3.2. Theory -- 4.3.3. Auto-wah -- 4.3.4. Examples of wah-wah pedals -- 4.4. Crossover -- 4.5. Conclusion -- 5. Modulation Effects -- 5.1. Flanger -- 5.1.1. History -- 5.1.2. Theory and parameters -- 5.1.3. Models of flanger -- 5.2. Phaser -- 5.2.1. Examples of phasers -- 5.3. Chorus -- 5.3.1. Examples of chorus -- 5.4. Rotary, univibe or rotovibe -- 5.4.1. History -- 5.4.2. Theoretical principles -- 5.4.3. Leslie speakers -- 5.4.4. Examples of rotary or univibe pedals -- 5.4.5. Leslie speakers and sound recording -- 5.5. Ring modulation -- 5.5.1. Theoretical principles -- 5.5.2. Examples of ring modulators -- 5.6. Final remarks -- 6. Frequency Effects -- 6.1. Vibrato -- 6.1.1. Theoretical principles -- 6.1.2. Settings -- 6.1.3. Examples of vibrato -- 6.2. Transposers -- 6.2.1. Octaver -- 6.2.2. Pitch shifter -- 6.2.3. Harmonizer -- 6.2.4. Auto-Tune -- 6.3. Conclusion -- 7. Dynamic Effects -- 7.1. Compression -- 7.1.1. History -- 7.1.2. Parameters of compression -- 7.1.3. Examples of compressors -- 7.1.4. Multiband compressors -- 7.1.5. Guidelines for configuring a compressor -- 7.1.6. Parallel compression -- 7.1.7. Serial compression -- 7.1.8. Compression with a sidechain -- 7.1.9. Some basic compression settings -- 7.1.10. Synchronizing the compressor -- 7.1.11. Using a compressor as a limiter -- 7.2. Expanders -- 7.2.1. Parameters -- 7.2.2. Examples of software expanders -- 7.3. Noise gates -- 7.3.1. Parameters. 7.3.2. Examples of noise gates -- 7.3.3. Configuring noise gates -- 7.4. De-essers -- 7.4.1. Principle of a de-esser -- 7.4.2. Examples of de-essers -- 7.4.3. Replacing a de-esser with an equalizer and a compressor -- 7.4.4. Configuring a de-esser -- 7.5. Saturation -- 7.5.1. Fuzz -- 7.5.2. Overdrive -- 7.5.3. Distortion -- 7.5.4. Examples of equipment dedicated to creating saturation -- 7.6. Exciters and enhancers -- 7.6.1. Examples of exciters -- 7.6.2. Using a sound enhancer -- 7.7. Conclusion -- 8. Time Effects -- 8.1. Reverb -- 8.1.1. Theoretical principles -- 8.1.2. History -- 8.1.3. Principles -- 8.1.4. Reverb configuration -- 8.1.5. Recording the IR and deconvolution -- 8.1.6. Studio mixing and reverb -- 8.2. Delay -- 8.2.1. History -- 8.2.2. Types of delay -- 8.2.3. Tips for using delays in the studio -- 8.3. Conclusion -- 9. Unclassifiables -- 9.1. Combined effects -- 9.1.1. Fuzzwha -- 9.1.2. Octafuzz -- 9.1.3. Shimmer -- 9.2. Tremolo -- 9.2.1. History -- 9.2.2. Examples of tremolos -- 9.3. Sound restoration tools -- 9.3.1. Declickers -- 9.3.2. Decracklers -- 9.3.3. Denoisers -- 9.3.4. Declippers -- 9.3.5. Debuzzers -- 9.3.6. Examples of restoration tools -- 9.3.7. Final remarks on sound restoration -- 9.4. Loopers -- 9.4.1. Looper connections -- 9.4.2. Examples of looper pedals -- 9.5. Time stretching -- 9.6. Resampling -- 9.7. Spatialization effects -- 9.8. Conclusion -- Conclusion -- Appendices -- Appendix 1: Distortion -- Appendix 2: Amplifier Classes -- Appendix 3: Introduction to Max/MSP -- Appendix 4: Multieffects Racks -- Glossary -- Bibliography -- Index -- Other titles from iSTE in Waves -- EULA.
9781119482680
Sound-Recording and reproducing-Digital techniques.
Electronic books.
TK7881.4 .R845 2018
781.49
Musical Sound Effects : Analog and Digital Sound Processing. - 1st ed. - 1 online resource (380 pages)
Cover -- Half-Title Page -- Title Page -- Copyright Page -- Contents -- Foreword -- About this Book -- Introduction -- 1. Notes on the Theory of Sound -- 1.1. Basic concepts -- 1.1.1. What is sound? -- 1.1.2. Intensity -- 1.1.3. Sound pitch -- 1.1.4. Approaching the concept of timbre -- 1.2. The ears -- 1.2.1. How our ears work -- 1.2.2. Fletcher-Munson curves -- 1.2.3. Auditory spatial awareness -- 1.3. The typology of sounds -- 1.3.1. Sounds and periods -- 1.3.2. Simple sounds and complex sounds -- 1.4. Spectral analysis -- 1.4.1. The sound spectrum -- 1.4.2. Sonogram and spectrogram -- 1.5. Timbre -- 1.5.1. Transient phenomena -- 1.5.2. Range -- 1.5.3. Mass of musical objects -- 1.5.4. Classification of sounds -- 1.6. Sound propagation -- 1.6.1. Dispersion -- 1.6.2. Interference -- 1.6.3. Diffraction -- 1.6.4. Reflection -- 1.6.5. Reverberation (reverb) -- 1.6.6. Absorption -- 1.6.7. Refraction -- 1.6.8. The Doppler effect -- 1.6.9. Beats -- 1.7. Conclusion -- 2. Audio Playback -- 2.1. History -- 2.2. Dolby playback standards and specifications -- 2.2.1. Dolby Surround encoding and decoding -- 2.2.2. Dolby Stereo -- 2.2.3. Dolby Surround -- 2.2.4. Dolby Surround Pro-Logic -- 2.2.5. Dolby DIGITAL AC-3 -- 2.2.6. Dolby Surround EX -- 2.2.7. Dolby Surround Pro-Logic II -- 2.2.8. Dolby Digital Plus -- 2.2.9. Dolby TrueHD -- 2.2.10. Dolby Atmos -- 2.3. DTS encodings -- 2.3.1. DTS -- 2.3.2. DTS Neo 6 -- 2.3.3. DTS ES 6.1 -- 2.3.4. DTS 96/24 -- 2.3.5. DTS HD Master Audio -- 2.3.6. DTS X -- 2.4. Special encodings -- 2.5. SDDS -- 2.6. THX certification -- 2.6.1. THX select and ultracertification -- 2.6.2. THX Ultra 2 certification -- 2.7. Multichannel audio recording -- 2.8. Postproduction and encoding -- 2.9. Multichannel music media: DVD-Audio and SACD -- 2.9.1. DVD-Audio -- 2.9.2. Super Audio CD -- 2.9.3. Comparison of CDs, SACDs and DVD-Audios. 2.10. Conclusion -- 3. Types of Effect -- 3.1. Physical appearance -- 3.1.1. Racks -- 3.1.2. Pedals -- 3.1.3. Software plugins -- 3.2. Audio processing -- 3.3. Conclusion -- 4. Filtering Effects -- 4.1. Families of filtering effects -- 4.2. Equalization -- 4.2.1. Frequency bands and ranges -- 4.2.2. Types of equalizer -- 4.2.3. Examples of equalizers -- 4.2.4. Tips for equalizing a mix -- 4.3. Wah-wah -- 4.3.1. History -- 4.3.2. Theory -- 4.3.3. Auto-wah -- 4.3.4. Examples of wah-wah pedals -- 4.4. Crossover -- 4.5. Conclusion -- 5. Modulation Effects -- 5.1. Flanger -- 5.1.1. History -- 5.1.2. Theory and parameters -- 5.1.3. Models of flanger -- 5.2. Phaser -- 5.2.1. Examples of phasers -- 5.3. Chorus -- 5.3.1. Examples of chorus -- 5.4. Rotary, univibe or rotovibe -- 5.4.1. History -- 5.4.2. Theoretical principles -- 5.4.3. Leslie speakers -- 5.4.4. Examples of rotary or univibe pedals -- 5.4.5. Leslie speakers and sound recording -- 5.5. Ring modulation -- 5.5.1. Theoretical principles -- 5.5.2. Examples of ring modulators -- 5.6. Final remarks -- 6. Frequency Effects -- 6.1. Vibrato -- 6.1.1. Theoretical principles -- 6.1.2. Settings -- 6.1.3. Examples of vibrato -- 6.2. Transposers -- 6.2.1. Octaver -- 6.2.2. Pitch shifter -- 6.2.3. Harmonizer -- 6.2.4. Auto-Tune -- 6.3. Conclusion -- 7. Dynamic Effects -- 7.1. Compression -- 7.1.1. History -- 7.1.2. Parameters of compression -- 7.1.3. Examples of compressors -- 7.1.4. Multiband compressors -- 7.1.5. Guidelines for configuring a compressor -- 7.1.6. Parallel compression -- 7.1.7. Serial compression -- 7.1.8. Compression with a sidechain -- 7.1.9. Some basic compression settings -- 7.1.10. Synchronizing the compressor -- 7.1.11. Using a compressor as a limiter -- 7.2. Expanders -- 7.2.1. Parameters -- 7.2.2. Examples of software expanders -- 7.3. Noise gates -- 7.3.1. Parameters. 7.3.2. Examples of noise gates -- 7.3.3. Configuring noise gates -- 7.4. De-essers -- 7.4.1. Principle of a de-esser -- 7.4.2. Examples of de-essers -- 7.4.3. Replacing a de-esser with an equalizer and a compressor -- 7.4.4. Configuring a de-esser -- 7.5. Saturation -- 7.5.1. Fuzz -- 7.5.2. Overdrive -- 7.5.3. Distortion -- 7.5.4. Examples of equipment dedicated to creating saturation -- 7.6. Exciters and enhancers -- 7.6.1. Examples of exciters -- 7.6.2. Using a sound enhancer -- 7.7. Conclusion -- 8. Time Effects -- 8.1. Reverb -- 8.1.1. Theoretical principles -- 8.1.2. History -- 8.1.3. Principles -- 8.1.4. Reverb configuration -- 8.1.5. Recording the IR and deconvolution -- 8.1.6. Studio mixing and reverb -- 8.2. Delay -- 8.2.1. History -- 8.2.2. Types of delay -- 8.2.3. Tips for using delays in the studio -- 8.3. Conclusion -- 9. Unclassifiables -- 9.1. Combined effects -- 9.1.1. Fuzzwha -- 9.1.2. Octafuzz -- 9.1.3. Shimmer -- 9.2. Tremolo -- 9.2.1. History -- 9.2.2. Examples of tremolos -- 9.3. Sound restoration tools -- 9.3.1. Declickers -- 9.3.2. Decracklers -- 9.3.3. Denoisers -- 9.3.4. Declippers -- 9.3.5. Debuzzers -- 9.3.6. Examples of restoration tools -- 9.3.7. Final remarks on sound restoration -- 9.4. Loopers -- 9.4.1. Looper connections -- 9.4.2. Examples of looper pedals -- 9.5. Time stretching -- 9.6. Resampling -- 9.7. Spatialization effects -- 9.8. Conclusion -- Conclusion -- Appendices -- Appendix 1: Distortion -- Appendix 2: Amplifier Classes -- Appendix 3: Introduction to Max/MSP -- Appendix 4: Multieffects Racks -- Glossary -- Bibliography -- Index -- Other titles from iSTE in Waves -- EULA.
9781119482680
Sound-Recording and reproducing-Digital techniques.
Electronic books.
TK7881.4 .R845 2018
781.49