Designing sound / Andy Farnell.

by Farnell, Andy, 1969-Looking glass.

Publisher: Cambridge, Mass. : MIT Press, [2010]Description: [xxiv], 664 pages : illustrations ; 24 cm.ISBN: 9780262014410; 0262014416.Subject(s): Computer sound processingLooking glass | Sound -- Recording and reproducing -- Digital techniquesLooking glass | SoundsLooking glass | Motion pictures -- Sound effectsLooking glass | Animated films -- Sound effectsLooking glass | Video games -- Sound effectsLooking glassNote: Includes bibliographical references and index.
Item type Home library Collection Class number Status Date due Barcode Item reservations
Long loan London College of Communication
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Printed books 786.76 FAR (Browse shelf (Opens below)) Available 54126108
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Enhanced descriptions from Syndetics:

A practitioner's guide to the basic principles of creating sound effects using easily accessed free software. Designing Sound teaches students and professional sound designers to understand and create sound effects starting from nothing. Its thesis is that any sound can be generated from first principles, guided by analysis and synthesis. The text takes a practitioner's perspective, exploring the basic principles of making ordinary, everyday sounds using an easily accessed free software. Readers use the Pure Data (Pd) language to construct sound objects, which are more flexible and useful than recordings. Sound is considered as a process, rather than as data-an approach sometimes known as "procedural audio." Procedural sound is a living sound effect that can run as computer code and be changed in real time according to unpredictable events. Applications include video games, film, animation, and media in which sound is part of an interactive process. The book takes a practical, systematic approach to the subject, teaching by example and providing background information that offers a firm theoretical context for its pragmatic stance. Many of the examples follow a pattern, beginning with a discussion of the nature and physics of a sound, proceeding through the development of models and the implementation of examples, to the final step of producing a Pure Data program for the desired sound. Different synthesis methods are discussed, analyzed, and refined throughout. After mastering the techniques presented in Designing Sound , students will be able to build their own sound objects for use in interactive applications and other projects

Includes bibliographical references and index.

Table of contents provided by Syndetics

  • Acknowledgements (p. xxiii)
  • 1 Introduction (p. 1)
  • I Theory
  • 2 Theory Introduction (p. 7)
  • 3 Physical Sound (p. 9)
  • 4 Oscillations (p. 39)
  • 5 Acoustics (p. 55)
  • 6 Psychoacoustics (p. 77)
  • 7 Digital Signals (p. 119)
  • II Tools
  • 8 Tools Introduction (p. 147)
  • 9 Starting with Pure Data (p. 149)
  • 10 Using Pure Data (p. 165)
  • 11 Pure Data Audio (p. 185)
  • 12 Abstraction (p. 193)
  • 13 Shaping Sound (p. 205)
  • 14 Pure Data Essentials (p. 219)
  • III Technique
  • 15 Technique Introduction (p. 239)
  • 16 Strategic Production (p. 243)
  • 17 Technique 1ù Summation (p. 267)
  • 18 Technique 2ù Tables (p. 277)
  • 19 Technique 3ù Nonlinear Functions (p. 283)
  • 20 Technique 4ù Modulation (p. 291)
  • 21 Technique 5ù Grains (p. 305)
  • 22 Game Audio (p. 315)
  • IV Practicals
  • Practicals Introduction (p. 329)
  • Practical Seriesù ArtificialSounds (p. 331)
  • Practical Seriesù Idiophonics (p. 365)
  • Practical Seriesù Nature (p. 407)
  • Practical Seriesù Machines (p. 483)
  • Practical Seriesù Lifeforms (p. 545)
  • Practical Seriesù Mayhem (p. 591)
  • Practical Seriesù Science-Fiction (p. 627)
  • Cover Image Sources (p. 647)
  • Index (p. 649)

Author notes provided by Syndetics

Andy Farnell has a degree in Computer Science and Electronic Engineering from University College London and now specializes in digital audio signal processing. He has worked as a sound effects programmer for BBC radio and television and as a programmer on server-side applications for product search and data storage.