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Audio Anecdotes is a book about digital sound. It discusses analyzing, processing, creating, and recording many forms of sound and music, emphasizing the opportunities presented by digital media made possible by the arrival of inexpensive and nearly ubiquitous digital computing equipment. Applications of digital audio techniques are indispensable in: - The recording industry - The film industry - Interactive gaming - Computer Human Interaction.
The contributors to this volume include researchers, recording engineers, and sound designers, as well as creative artists, and the articles reflect this broad spectrum of experience in dealing with: - The fundamentals: the physics, measurement and perception of sound - Signal processing: the mathematical manipulation of sound - Recording and playback of sound: including music, voice, and field recording - Synthesis: rendering sounds which never existed including the synthesis of musical instruments, voice, or noise (Foley Sound) - Signal processing applications: from compression techniques to signal detection and recognition - Computer techniques: efficiently implementing low latency high performance audio systems on digital computers - Music theory: the mathematics of both western and non-western music - Creative topics: composition and sound design - Nature, mind, and body: how sound exists in nature and affects the mind and body This book will be an invaluable tool for anybody who uses digital sound in the creation of computer generated works, musicians, game developers, sound producers in movies and other media, and more.
- Sales Rank: #3036865 in Books
- Brand: Brand: A K Peters/CRC Press
- Published on: 2004-03-11
- Ingredients: Example Ingredients
- Original language: English
- Number of items: 1
- Dimensions: 9.00" h x 6.00" w x 1.50" l, .0 pounds
- Binding: Hardcover
- 512 pages
- Used Book in Good Condition
Review
This book�is like a Swiss army knife of information about digital audio.
������ -- Robert Rowe, Journal of Audio Engineering , February 2005
The editors' goal for this book was to provide an accessible introduction to research in digital audio and its associated software. .
������ -- Computing Reviews , June 2005
The wonderful thing about this book is that it contains well-written introductions to many subjects, including sound propagation, auditory scene analysis, audio file formats, and rate conversion, that otherwise might be found in magazines, on the Internet, or not at all.
������ -- Robert Rowe, Audio Engineering Society , March 2005
A highly recommended supplementary educational text for anyone pursuing or involved in a career in the digital audio field.
������ -- Library Bookwatch, July 2004
The appeal of this book is its practical usefulness, the variety of approaches taken within some chapters, its accessibility, and the breadth of experience brought to bear, particularly from a technical perspective. In these terms, it is likely to be a handy reference book on many shelves in educational, artistic, and engineering settings, and it certainly fills a gap in some of the current tutorial offerings.
������ -- Ian Whalley, Computer Music Journal , April 2009
Most helpful customer reviews
0 of 0 people found the following review helpful.
Five Stars
By n praveen kumar
Thankyou for educating us.
0 of 0 people found the following review helpful.
Lots of good information
By The mindpainter
I plan to get other books in this series, they are very worthwhile information sources, I would recommend them to anyone doing recording with their own computers.
4 of 4 people found the following review helpful.
Sound junkie's delight
By Dennis Littrell
Ken Greenebaum, who co-edited this book with Ronen Barzel, and wrote some of the articles, indicates in the preface that his motivation for putting Audio Anecdote together was to get the book he had wished for when he was starting out in digital audio. What he came up with is a wide-ranging collection of 25 articles on various aspects of sound--what it is, how we hear it, how it affects us, how it can be produced and altered, and how it can fool us. Some of the articles are rigorously scientific and technical, while others really are anecdotal and personal. Most significantly there is a wealth of information about the manipulation of sound, and there is some history of the development of our understanding of sound.
Most of the material is aimed at people who have an intense interest in audio, and audio reproduction and development, and who already have some knowledge. However this book also works well for a rank beginner (such as myself). The articles are clear and well-presented with many black and white illustrations, tables, diagrams, and mathematical formulas, not to mention programming code! There is a glossary and there is some overlap in the "anecdotes." For example, after a brief overview of the book, Greenebaum begins with an introductory-like article on what sound is and how we measure it. This is followed by a more technical article by Hesham Fouad entitled "Understanding the Decibel." This in turn is followed by Greenebaum's essay on "Sound Propagation." His exploration of the physics involved is clear and easy to read.
One of the many things that I discovered is that "When we speak on the telephone, a portion of our voice output is intentionally played back to us through the earpiece." Derek DiFilippo and Greenebaum explain in their article, "Perceivable Auditory Latencies" that "If we didn't have a clear sense of hearing ourselves speak, we would tend to talk louder and louder because we [would] assume that the listener on the other end...[wouldn't be able to] hear us either." (pp. 74-75)
I also learned (from Oscar-winning sound director Randy Thom in his article, "Designing a Movie for Sound") that the wise film maker should make his movie with sound in mind pre-production, not as something added on afterward. As Thom points out, in the great cinematic experiences, "the visual and aural elements are working together so well that it is nearly impossible to distinguish them." (p. 406) He mentions the opening of Francis Ford Coppola's Apocalypse Now (1979) and the bird attack scene in Hitchcock's The Birds (1963), and the opening of David Fincher's Seven (1995) as examples. And I can't help adding the striking opening sequence from Clint Eastwood's High Plains Drifter (1973) as another preeminent example of how sound can be as important, or even more important, than visuals in making a scene a lasting experience.
Included with the book is a CD that you can listen to with examples of sounds keyed to the discussions in the articles. The effect of latency ("the time between human input to a system...and system output," p. 65) and many other sound phenomena are demonstrated in the most effective way possible--by hearing them.
Special mention might be made of writer Adrienne Ross's personal contribution, "Understanding Hearing Losses and Hearing Gains...," which truly is an anecdote, beautifully written about her discovery of a hearing defect that she had lived with most of her life without realizing it. The fact that she had compensated for the defect by using her other senses, dramatically demonstrates how our experience of sound is not isolated from our other sensual experiences.
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