For decades performers, instrumentalists, composers, technicians and sound engineers continue to manipulate sound material. They are trying with more or less success to create, to innovate, improve, enhance, restore or modify the musical message. The sound of distorted guitar of Jimi Hendrix, Pierre Henry's concrete music, Pink Flyod's rock psychedelic, Kraftwerk 's electronic music, Daft Punk and rap T-Pain, have let emerge many effects: reverb, compression, distortion, auto-tune, filter, chorus, phasing, etc. The aim of this book is to introduce and explain these effects and sound treatments by addressing their theoretical and practical aspects.
Autorentext
Jean-Michel Réveillac is a consultant-adviser and lecturer for large companies. He currently teaches at the University of Burgundy, and CNAM in France and at IGA in Morocco.
Inhalt
Foreword xi
About this Book xiii
Introduction xvii
Chapter 1. Notes on the Theory of Sound 1
1.1. Basic concepts 1
1.1.1. What is sound? 1
1.1.2. Intensity 4
1.1.3. Sound pitch 7
1.1.4. Approaching the concept of timbre 8
1.2. The ears 9
1.2.1. How our ears work 9
1.2.2. FletcherMunson curves 14
1.2.3. Auditory spatial awareness 15
1.3. The typology of sounds 21
1.3.1. Sounds and periods 21
1.3.2. Simple sounds and complex sounds 22
1.4. Spectral analysis 24
1.4.1. The sound spectrum 24
1.4.2. Sonogram and spectrogram 26
1.5. Timbre 27
1.5.1. Transient phenomena 27
1.5.2. Range 28
1.5.3. Mass of musical objects 30
1.5.4. Classification of sounds 31
1.6. Sound propagation 32
1.6.1. Dispersion 32
1.6.2. Interference 33
1.6.3. Diffraction 35
1.6.4. Reflection 37
1.6.5. Reverberation (reverb) 39
1.6.6. Absorption 39
1.6.7. Refraction 39
1.6.8. The Doppler effect 40
1.6.9. Beats 40
1.7. Conclusion 41
Chapter 2. Audio Playback 43
2.1. History 44
2.2. Dolby playback standards and specifications 48
2.2.1. Dolby Surround encoding and decoding 48
2.2.2. Dolby Stereo 49
2.2.3. Dolby Surround 50
2.2.4. Dolby Surround Pro-Logic 50
2.2.5. Dolby DIGITAL AC-3 51
2.2.6. Dolby Surround EX 52
2.2.7. Dolby Surround Pro-Logic II 52
2.2.8. Dolby Digital Plus 54
2.2.9. Dolby TrueHD 54
2.2.10. Dolby Atmos 55
2.3. DTS encodings 55
2.3.1. DTS 56
2.3.2. DTS Neo 6 56
2.3.3. DTS ES 6.1 57
2.3.4. DTS 96/24 57
2.3.5. DTS HD Master Audio 57
2.3.6. DTS X 58
2.4. Special encodings 58
2.5. SDDS 59
2.6. THX certification 59
2.6.1. THX select and ultracertification 61
2.6.2. THX Ultra 2 certification 61
2.7. Multichannel audio recording 62
2.8. Postproduction and encoding 63
2.9. Multichannel music media: DVD-Audio and SACD 65
2.9.1. DVD-Audio 65
2.9.2. Super Audio CD 67
2.9.3. Comparison of CDs, SACDs and DVD-Audios 69
2.10. Conclusion 69
Chapter 3. Types of Effect 71
3.1. Physical appearance 71
3.1.1. Racks 72
3.1.2. Pedals 74
3.1.3. Software plugins 77
3.2. Audio processing 78
3.3. Conclusion 80
Chapter 4. Filtering Effects 81
4.1. Families of filtering effects 81
4.2. Equalization 84
4.2.1. Frequency bands and ranges 84
4.2.2. Types of equalizer 86
4.2.3. Examples of equalizers 91
4.2.4. Tips for equalizing a mix 94
4.3. Wah-wah 97
4.3.1. History 97
4.3.2. Theory 99
4.3.3. Auto-wah 100
4.3.4. Examples of wah-wah pedals 101
4.4. Crossover 102
4.5. Conclusion 104
Chapter 5. Modulation Effects 105
5.1. Flanger 105
5.1.1. History 105
5.1.2. Theory and parameters 107
5.1.3. Models of flanger 110
5.2. Phaser 111
5.2.1. Examples of phasers 113
5.3. Chorus 115
5.3.1. Examples of chorus 116
5.4. Rotary, univibe or rotovibe. 117
5.4.1. History 118
5.4.2. Theoretical principles 120
5.4.3. Leslie speakers 122
5.4.4. Examples of rotary or univibe pedals 123
5.4.5. Leslie speakers and sound recording 125
5.5. Ring modulation 127
5.5.1. Theoretical principles 127
5.5.2. Examples of ring modul...