This title is now published by The MIT Press
Table of Contents
- 1 Introduction
- PART I: Theory
- 2 Introduction to theory chapters
- 3 Physical Sound
- 3.1 Elementary physics
- 3.2 Materials
- 3.3 Waves
- 3.4 Boundaries
- 3.5 Analogs
- 4 Oscillations
- 4.1 Oscillators
- 4.2 Simple harmonic oscillators
- 4.3 Complex harmonic oscillators
- 4.4 Driven oscillations and resonance
- 5 Acoustics
- 5.1 Acoustic systems
- 5.2 Intensity and attenuation
- 5.3 Other propagation effects
- 5.4 Acoustic oscillations
- 6 Psychoacoustics
- 6.1 Perceiving sounds
- 6.2 Sound cognition
- 6.3 Auditory scene analysis
- 6.4 Auditory memory
- 6.5 Listening strategies
- 6.6 Physiological responses to sound
- 6.7 Sound, language and knowledge
- 7 Digital Signals
- 7.1 Signals
- 7.2 Graphs
- 7.3 Generating digital waveforms
- PART II: Tools
- 8 Tools introduction
- 8.1 You will need:
- 8.2 Tools for sound design
- 8.3 Supporting tools
- 9 Starting with Pure Data
- 9.1 Pure Data
- 9.2 How does Pure Data work?
- 9.3 Message data and GUI boxes
- 9.4 Getting help with Pure Data
- 10 Using Pure Data
- 10.1 Basic objects and principles of operation
- 10.2 Working with time and events
- 10.3 Data flow control
- 10.4 List ob jects and operations
- 10.5 Input and output
- 10.6 Working with numbers
- 10.7 Common idioms
- 11 Pure Data Audio
- 11.1 Audio objects
- 11.2 Audio objects and principles
- 12 Abstraction
- 12.1 Subpatches
- 12.2 Instantiation
- 12.3 Editing
- 12.4 Parameters
- 12.5 Defaults and states
- 12.6 Common abstraction techniques
- 13 Shaping sound
- 13.1 Amplitude dependent signal shaping
- 13.2 Periodic functions
- 13.3 Other functions
- 13.4 Time dependent signal shaping
- 14 Pure Data essentials
- 14.1 Channel strip
- 14.2 Audio file tools
- 14.3 Events and sequencing
- 14.4 Effects
- PART III: Technique
- 15 Technique introduction
- 15.1 Techniques of sound design
- 16 Strategic production
- 16.1 Working methods
- 16.2 SE approaches
- 16.3 Requirements analysis process
- 16.4 Research
- 16.5 Creating a model
- 16.6 Analysis
- 16.7 Methods
- 16.8 Implementation
- 16.9 Parameterisation
- 16.10 Practice and psychology
- 17 Technique 1 - Summation
- 17.1 Additive synthesis
- 17.2 Discrete summation synthesis
- 17.3 Pre-computation
- 18 Technique 2 - Tables
- 18.1 Wavetable synthesis
- 18.2 Practical wavetables
- 18.3 Vector synthesis
- 18.4 Wavescanning synthesis
- 19 Technique 3 - Nonlinear Functions
- 19.1 Waveshaping
- 19.2 Chebyshev polynomials
- 20 Technique 4 - Modulation
- 20.1 Amplitude modulation
- 20.2 Adding sidebands
- 20.3 Cascade AM, with other spectra
- 20.4 Single sideband modulation
- 20.5 Frequency modulation
- 21 Technique 5 - Grains
- 21.1 Granular synthesis
- 21.2 Time and pitch alteration
- 22 Game Audio
- 22.1 Virtual reality fundamentals
- 22.2 Samples or procedural audio?
- 22.3 Traditional game audio engine functions
- 22.4 Procedural audio advantages
- 22.5 Challenges for new games audio systems
- PART IV: Practicals
- 23 Practicals introduction
- Practical series - Artificial sounds
- 24 Pedestrians
- 25 Phone tones
- 26 DTMF Tones
- 27 Alarm generator
- 28 Police
- Practical series - Idiophonics
- 29 Telephone bell
- 30 Bouncing
- 31 Rolling
- 32 Creaking
- 33 Boing
- Practical series - Nature
- 34 Fire
- 35 Bubbles
- 36 Running water
- 37 Pouring
- 38 Rain
- 39 Electricity
- 40 Thunder
- 41 Wind
- Practical series - Machines
- 42 Switches
- 43 Clocks
- 44 Motors
- 45 Cars
- 46 Fans
- 47 Jet engine
- 48 Helicopter
- Practical series - Lifeforms
- 49 Footsteps
- 50 nsects
- 51 Birds
- 52 Mammals
- Practical series - Mayhem
- 53 Guns
- 54 Explosions
- 55 Rocket launcher
- Practical series - Sci-Fi
- 56 Transporter
- 57 R2D2
- 58 Red alert
