Musical Sound Effects : (Record no. 134593)
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| 000 -LEADER | |
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| fixed length control field | 07062nam a22004453i 4500 |
| 001 - CONTROL NUMBER | |
| control field | EBC5214669 |
| 003 - CONTROL NUMBER IDENTIFIER | |
| control field | MiAaPQ |
| 005 - DATE AND TIME OF LATEST TRANSACTION | |
| control field | 20240729131704.0 |
| 006 - FIXED-LENGTH DATA ELEMENTS--ADDITIONAL MATERIAL CHARACTERISTICS | |
| fixed length control field | m o d | |
| 007 - PHYSICAL DESCRIPTION FIXED FIELD--GENERAL INFORMATION | |
| fixed length control field | cr cnu|||||||| |
| 008 - FIXED-LENGTH DATA ELEMENTS--GENERAL INFORMATION | |
| fixed length control field | 240724s2018 xx o ||||0 eng d |
| 020 ## - INTERNATIONAL STANDARD BOOK NUMBER | |
| International Standard Book Number | 9781119482680 |
| Qualifying information | (electronic bk.) |
| 020 ## - INTERNATIONAL STANDARD BOOK NUMBER | |
| Canceled/invalid ISBN | 9781786301314 |
| 035 ## - SYSTEM CONTROL NUMBER | |
| System control number | (MiAaPQ)EBC5214669 |
| 035 ## - SYSTEM CONTROL NUMBER | |
| System control number | (Au-PeEL)EBL5214669 |
| 035 ## - SYSTEM CONTROL NUMBER | |
| System control number | (CaPaEBR)ebr11494292 |
| 035 ## - SYSTEM CONTROL NUMBER | |
| System control number | (OCoLC)1019652523 |
| 040 ## - CATALOGING SOURCE | |
| Original cataloging agency | MiAaPQ |
| Language of cataloging | eng |
| Description conventions | rda |
| -- | pn |
| Transcribing agency | MiAaPQ |
| Modifying agency | MiAaPQ |
| 050 #4 - LIBRARY OF CONGRESS CALL NUMBER | |
| Classification number | TK7881.4 .R845 2018 |
| 082 0# - DEWEY DECIMAL CLASSIFICATION NUMBER | |
| Classification number | 781.49 |
| 100 1# - MAIN ENTRY--PERSONAL NAME | |
| Personal name | Réveillac, Jean-Michel. |
| 245 10 - TITLE STATEMENT | |
| Title | Musical Sound Effects : |
| Remainder of title | Analog and Digital Sound Processing. |
| 250 ## - EDITION STATEMENT | |
| Edition statement | 1st ed. |
| 264 #1 - PRODUCTION, PUBLICATION, DISTRIBUTION, MANUFACTURE, AND COPYRIGHT NOTICE | |
| Place of production, publication, distribution, manufacture | Newark : |
| Name of producer, publisher, distributor, manufacturer | John Wiley & Sons, Incorporated, |
| Date of production, publication, distribution, manufacture, or copyright notice | 2018. |
| 264 #4 - PRODUCTION, PUBLICATION, DISTRIBUTION, MANUFACTURE, AND COPYRIGHT NOTICE | |
| Date of production, publication, distribution, manufacture, or copyright notice | ©2018. |
| 300 ## - PHYSICAL DESCRIPTION | |
| Extent | 1 online resource (380 pages) |
| 336 ## - CONTENT TYPE | |
| Content type term | text |
| Content type code | txt |
| Source | rdacontent |
| 337 ## - MEDIA TYPE | |
| Media type term | computer |
| Media type code | c |
| Source | rdamedia |
| 338 ## - CARRIER TYPE | |
| Carrier type term | online resource |
| Carrier type code | cr |
| Source | rdacarrier |
| 505 0# - FORMATTED CONTENTS NOTE | |
| Formatted contents note | 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. |
| 505 8# - FORMATTED CONTENTS NOTE | |
| Formatted contents note | 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. |
| 505 8# - FORMATTED CONTENTS NOTE | |
| Formatted contents note | 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. |
| 588 ## - SOURCE OF DESCRIPTION NOTE | |
| Source of description note | Description based on publisher supplied metadata and other sources. |
| 590 ## - LOCAL NOTE (RLIN) | |
| Local note | Electronic reproduction. Ann Arbor, Michigan : ProQuest Ebook Central, 2024. Available via World Wide Web. Access may be limited to ProQuest Ebook Central affiliated libraries. |
| 650 #0 - SUBJECT ADDED ENTRY--TOPICAL TERM | |
| Topical term or geographic name entry element | Sound-Recording and reproducing-Digital techniques. |
| 655 #4 - INDEX TERM--GENRE/FORM | |
| Genre/form data or focus term | Electronic books. |
| 776 08 - ADDITIONAL PHYSICAL FORM ENTRY | |
| Relationship information | Print version: |
| Main entry heading | Réveillac, Jean-Michel |
| Title | Musical Sound Effects |
| Place, publisher, and date of publication | Newark : John Wiley & Sons, Incorporated,c2018 |
| International Standard Book Number | 9781786301314 |
| 797 2# - LOCAL ADDED ENTRY--CORPORATE NAME (RLIN) | |
| Corporate name or jurisdiction name as entry element | ProQuest (Firm) |
| 856 40 - ELECTRONIC LOCATION AND ACCESS | |
| Uniform Resource Identifier | <a href="https://ebookcentral.proquest.com/lib/orpp/detail.action?docID=5214669">https://ebookcentral.proquest.com/lib/orpp/detail.action?docID=5214669</a> |
| Public note | Click to View |
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