Recording And Voice Processing Volume 2

Capturing, recording and broadcasting the voice is often difficult. Many factors must be taken into account and achieving a true representation is much more complex than one might think. The capture devices such as the position of the singer(s) or narrator(s), the acoustics, atmosphere and equipment are just some of the physical aspects that need to be mastered. Then there is the passage through the analog or digital channel, which disrupts the audio signal, as well as the processes that are often required to enrich, improve or even transform the vocal timbre and tessitura. While in the past these processes were purely material, today digital technologies and software produce surprising results that every professional in recording and broadcasting should know how to master. Recording and Voice Processing 2 focuses on live and studio voice recordings. It presents the various pieces of hardware and software necessary for voice recording, and details possible sound channel configurations based on recording location. An actual recording, and its various constraints, is then considered, addressing the pitfalls to avoid and the strategies to use in order to achieve a satisfactory result. Different special effects (vocoder, auto-tune, Melodyne, etc.) that can be used on the voice, whether spoken or sung, are also presented.

Capturing, recording and broadcasting the voice is often difficult. Many factors must be taken into account and achieving a true representation is much more complex than one might think. The capture devices such as the position of the singer(s) or narrator(s), the acoustics, atmosphere and equipment are just some of the physical aspects that need to be mastered. Then there is the passage through the analog or digital channel, which disrupts the audio signal, as well as the processes that are often required to enrich, improve or even transform the vocal timbre and tessitura. While in the past these processes were purely material, today digital technologies and software produce surprising results that every professional in recording and broadcasting should know how to master. Recording and Voice Processing 1 addresses some general theoretical concepts. A history of recording and the physiology of the vocal apparatus are detailed in order to give the reader an understanding of the fundamental aspects of the subject. This volume also includes an advanced study of microphones, addressing their characteristics and typologies. The acoustic environment and its treatment are also considered in terms of the location of the sound capture - whether in a home studio, recording studio, live or natural environment - in order to achieve a satisfactory sound recording.

Elastic waves are used in fields as diverse as the non-destructive evaluation of materials, medicine, seismology and telecommunications. Elastic Waves in Solids 2 analyzes the radiation, scattering and generation of these waves. It studies the emission of bulk or surface waves from sources localized on the surface of an isotropic or anisotropic solid. It then examines the scattering of a longitudinal or transverse elastic wave by one or more cylindrical or spherical heterogeneities. Finally, it explores the methods and devices used to generate and detect elastic waves, using the piezoelectric effect or the interaction with a laser beam. Accompanying figures illustrate these properties, and the text provides the orders of magnitude of some characteristic parameters. This book is intended for students completing a master’s degree in acoustics, mechanics, geophysics or engineering, as well as teachers and researchers in these disciplines.

The 2016 International Conference on Civil, Architecture and Environmental Engineering (ICCAE 2016), November 4-6, 2016, Taipei, Taiwan, is organized by China University of Technology and Taiwan Society of Construction Engineers, aimed to bring together professors, researchers, scholars and industrial pioneers from all over the world. ICCAE 2016 is the premier forum for the presentation and exchange of experience, progress and research results in the field of theoretical and industrial experience. The conference consists of contributions promoting the exchange of ideas between researchers and educators all over the world.

Subtractive sound synthesis has been one of the most widely used techniques in electronic music and for many analog synthesizers since the early 1960s. It is based on a simple principle, but its operation remains complex, involving many parameters. It can be enriched by a variety of effects that give the sound its authenticity. It does not just imitate musical instruments, but can also transcribe noises present in natural soundscapes, or generate entirely synthetic sounds. Synthesizers and Subtractive Synthesis 1 presents the theoretical basis of a sound phenomenon, the different types of synthesis, the components that are required and present in synthesizers, the working environment specific to the study of subtractive synthesis, and the hardware and software available. After reading the various chapters of this book, readers will have a clear vision of the tools and actions required to grasp the world of subtractive sound.

Music education takes place in many contexts, both formal and informal. Be it in a school or music studio, while making music with friends or family, or even while travelling in a car, walking through a shopping mall or watching television, our myriad sonic experiences accumulate from the earliest months of life to foster our facility for making sense of the sound worlds in which we live. The Oxford Handbook of Music Education offers a comprehensive overview of the many facets of musical experience, behavior and development in relation to this diverse variety of contexts. While the first volume primarily focuses on children during school-age years, this second collects an international list of contributors to explore how music learning takes place outside of the traditional classroom environment. Discussing a range of issues such as music education for the special needs population, music learning in adulthood, and music learning through media and technology these chapters help to broaden conceptions of music and musical involvement. Whether they are used individually or in tandem, the two volumes of The Oxford Handbook of Music Education update and redefine the discipline, and show how individuals across the world learn, enjoy and share the power and uniqueness of music.

Adaptive Signal Models: Theory, Algorithms and Audio Applications presents methods for deriving mathematical models of natural signals. The introduction covers the fundamentals of analysis-synthesis systems and signal representations. Some of the topics in the introduction include perfect and near-perfect reconstruction, the distinction between parametric and nonparametric methods, the role of compaction in signal modeling, basic and overcomplete signal expansions, and time-frequency resolution issues. These topics arise throughout the book as do a number of other topics such as filter banks and multiresolution. The second chapter gives a detailed development of the sinusoidal model as a parametric extension of the short-time Fourier transform. This leads to multiresolution sinusoidal modeling techniques in Chapter Three, where wavelet-like approaches are merged with the sinusoidal model to yield improved models. In Chapter Four, the analysis-synthesis residual is considered; for realistic synthesis, the residual must be separately modeled after coherent components (such as sinusoids) are removed. The residual modeling approach is based on psychoacoustically motivated nonuniform filter banks. Chapter Five deals with pitch-synchronous versions of both the wavelet and the Fourier transform; these allow for compact models of pseudo-periodic signals. Chapter Six discusses recent algorithms for deriving signal representations based on time-frequency atoms; primarily, the matching pursuit algorithm is reviewed and extended. The signal models discussed in the book are compact, adaptive, parametric, time-frequency representations that are useful for analysis, coding, modification, and synthesis of natural signals such as audio. The models are all interpreted as methods for decomposing a signal in terms of fundamental time-frequency atoms; these interpretations, as well as the adaptive and parametric natures of the models, serve to link the various methods dealt with in the text. Adaptive Signal Models: Theory, Algorithms and Audio Applications serves as an excellent reference for researchers of signal processing and may be used as a text for advanced courses on the topic.