Reiss / McPherson Audio Effects

Theory, Implementation and Application
1. Auflage 2014
ISBN: 978-1-4665-6029-1
Verlag: Taylor & Francis
Format: PDF
Kopierschutz: Adobe DRM (»Systemvoraussetzungen)

E-Book, Englisch, 367 Seiten

Audio Effects: Theory, Implementation and Application explores digital audio effects relevant to audio signal processing and music informatics. It supplies fundamental background information on digital signal processing, focusing on audio-specific aspects that constitute the building block on which audio effects are developed. The text integrates theory and practice, relating technical implementation to musical implications. It can be used to gain an understanding of the operation of existing audio effects or to create new ones. In addition to delivering detailed coverage of common (and unusual) audio effects, the book discusses current digital audio standards, most notably VST and AudioUnit. Source code is provided in C/C++ and implemented as audio effect plug-ins with accompanying sound samples. Each section of the book includes study questions, anecdotes from the history of music technology, and examples that offer valuable real-world insight, making this an ideal resource for researchers and for students moving directly into industry.

Zielgruppe

Undergraduate- and graduate-level students, as well as audio and music technology researchers.

Autoren/Hrsg.

Reiss, Joshua D.

McPherson, Andrew

Fachgebiete

• Technische Wissenschaften Energietechnik | Elektrotechnik Elektrotechnik

Inhaltsverzeichnis

Preface

About the Authors

Aim and Scope of Book

Introduction and Fundamentals

Understanding Sound and Digital Audio

Working with Decibels

Level Measurements

Representing and Understanding Digital Signals

Representing Complex Numbers

Frequency and Time-Frequency Representations

Aliasing

Modifying and Processing Digital Signals

The Z Transform and Filter Representation

Digital Filter Example

Nonlinear and Time-Varying Effects

Delay Line Effects

Delay

Theory

Basic Delay

Delay with Feedback

Other Delay Types

Slapback Delay

Multitap Delay

Ping-Pong Delay

Implementation

Basic Delay

Variations

Delay Line Interpolation

Code Example

Applications

Vibrato Simulation

Theory

Interpolation

Implementation

Low-Frequency Oscillator

Parameters

Code Example

Applications

Flanging

Theory

Principle of Operation

Basic Flanger

Low-Frequency Oscillator

Flanger with Feedback

Stereo Flanging

Properties

Common Parameters

Depth (or Mix)

Delay and Sweep Width

Speed and Waveform

Feedback (or Regeneration)

Inverted Mode (or Phase)

Implementation

Buffer Allocation

Interpolation

Code Example

Applications

Resonant Pitches

Avoiding Disappearing Instruments

Flanging versus Chorus

Chorus

Theory

Basic Chorus

Low-Frequency Oscillator

Pitch-Shifting in the Chorus

Multivoice Chorus

Stereo Chorus

Properties

Common Parameters

Depth (or Mix)

Delay and Sweep Width

Speed and Waveform

Number of Voices

Other Variations

Summary: Flanger and Chorus Compared

Filter Design

Filter Construction and Transformation

Simple, Prototype Low-Pass Filter

High-Order Prototype Low-Pass Filter

Changing the Gain at the Cutoff Frequency

Shifting the Cutoff Frequency

Creating a Shelving Filter

Inverting the Magnitude Response

Simple Low-Pass to Band Pass Transformation

Popular IIR Filter Design

Low Pass

High Pass

Low Shelf

High Shelf

Gain at Bandwidth

Band Pass Filters

Band Stop Filters

Peaking and Notch Filters

The Allpass Filter

Applications of Filter Fundamentals

Exponential Moving Average Filter

Loudspeaker Crossovers

Filter Effects

Equalization

Theory

Two-Knob Tone Controls

Three-Knob Tone Controls

Presence Control

Loudness Control

Graphic Equalizers

Bands in a Graphic Equalizer

Parametric Equalizers

Summary

Implementation

General Notes

Tone Control Architecture

Calculating Filter Coefficients

Presence and Loudness Architecture

Graphic Equalizer Architecture

Parametric Equalizer Architecture

Code Example

Applications

Graphic Equalizer Application

Parametric Equalizer Application

Wah-Wah

Theory

Basis in Speech

Basic Wah-Wah

Auto-Wah

Tremolo-Wah

Other Variations

Implementation

Filter Design

Low-Frequency Oscillator

Envelope Follower

Analog Emulation

Phaser

Theory

Basic Phaser

Low-Frequency Oscillator

Phaser with Feedback

Stereo Phaser

Implementation

Allpass Filter Calculation

Alternate Implementation

LFO Waveform

Analog and Digital Implementations

Common Parameters

Code Example

Amplitude Modulation

Tremolo

Theory

Low-Frequency

Oscillator

Properties

Implementation

Audio Rate and Control Rate

Code Example

Ring Modulation

Theory

Modulation in the Frequency Domain

Perception

w-Frequency Oscillator

Variations

Implementation

Code Example

Applications

Dynamics Processing

Dynamic Range Compression

Theory

Compressor Controls

Signal Paths

The Gain Stage

The Gain Computer

Level Detection

RMS Detector

Peak Detector

Level-Corrected Peak Detectors

Implementation

Feedback and Feedforward Design

An Alternate Digital Feedback Compressor

Detector Placement

Code Example

Application

Artifacts

Summary

Noise Gates and Expanders

Theory and Implementation

Applications

Overdrive, Distortion, and Fuzz

Theory

Characteristic Curve

Hard and Soft Clipping

Input Gain

Symmetry and Rectification

Harmonic Distortion

Intermodulation Distortion

Analog Emulation

Implementation

Basic Implementation

Aliasing and Oversampling

Filtering

Common Parameters

Tube Sound Distortion

Code Example

Applications

Expressivity and Spectral Content

Sustain

Comparison with Compression

The Phase Vocoder

Phase Vocoder Theory

Overview

Windowing

Analysis: Fast Fourier Transform

Interpreting Frequency Domain Data

Target Phase, Phase Deviation, and Instantaneous Frequency

Synthesis: Inverse Fast Fourier Transform

Overlap-Add

Filterbank Analysis Variant

Oscillator Bank Reconstruction Variant

Phase Vocoder Effects

Robotization

Robotization Code Example

Whisperization

Whisperization Code Example

Time Scaling

Time-Scaling Resynthesis

Pitch Shifting

Code Example

Phase Vocoder Artifacts

Spatial Audio

Theory

Panorama

Precedence

Vector Base Amplitude Panning

Ambisonics

Wave Field Synthesis

The Head-Related Transfer Function

ITD Model

ILD Model

Implementation

Joint Panorama and Precedence

Ambisonics and Its Relationship to VBAP

Implementation of WFS

HRTF Calculation

Applications

Transparent Amplification

Surround Sound

Sound Reproduction Using HRTFs

The Doppler Effect

A Familiar Example

Derivation of the Doppler Effect

Simple Derivation of the Basic Doppler Effect

General Derivation of the Doppler Effect

Simplifications and Approximations

Implementation

Time-Varying Delay Line Reads

Multiple Write Pointers

Code Example

Applications

Reverberation

Theory

Sabine and Norris–Eyring Equations

Direct and Reverberant Sound Fields

Implementation

Algorithmic Reverb

Schroeder’s Reverberator

Moorer’s Reverberator

Generating Reverberation with the Image Source Method

Background

The Image Source Model

Modeling Reflections as Virtual Sources

Locating the Virtual Sources

The Impulse Response for a Virtual Source

Convolutional Reverb

Convolution and Fast Convolution

Block-Based Convolution

Physical Meaning

Other Approaches

Applications

Why Use Reverb?

Stereo Reverb

Gated Reverb

Reverse Reverb

Common Parameters

Audio Production

The Mixing Console

The Channel Section

The Master Section

Metering and Monitoring

Basic Mixing Console

Signal Flow and Routing

Inserts for Processors, Auxiliary Sends for Effects

Subgroup and Grouping

Digital versus Analog

Latency

Digital User Interface Design

Sound Quality

Do You Need to Decide?

Software Mixers

Digital Audio Workstations

Common Functionality of Computer-Based DAWs

MIDI and Sequencers

Audio Effect Ordering

Noise Gates

Compressors and Noise Gates

Compression and EQ

Reverb and Flanger

Reverb and Vibrato

Delay Line Effects

Distortion

Order Summary

Combinations of Audio Effects

Parallel Effects and Parallel Compression

Sidechaining

Ducking

De-Esser Sidechain Compression for Mastering

Multiband Compression

Dynamic Equalization

Combining LFOs with Other Effects

Discussion

Building Audio Effect Plug-Ins

Plug-In Basics

Programming Language

Plug-In Properties

The JUCE Framework

Theory of Operation

Callback Function

Managing Parameters

Initialization and Cleanup

Preserving State

Example: Building a Delay Effect in JUCE

Required Software

Creating a New Plug-In in JUCE

Opening Example Plug-Ins

File Overview

PluginProcessor.h

Declaration and Methods

Variables

PluginProcessor.cpp

Audio Callback

Initialization

Managing Parameters

Cleanup

PluginEditor.h

PluginEditor.cpp

Initialization

Managing Parameters

Resizing

Cleanup

Summary

Advanced Topics

Efficiency Considerations

Thread Safety

Conclusion

References

Index

Über Autor(innen)

Joshua D. Reiss, Ph.D, is a senior lecturer with the Centre for Digital Music in the School of Electronic Engineering and Computer Science at Queen Mary University of London. He has bachelor’s degrees in both physics and mathematics, and earned his Ph.D in physics from the Georgia Institute of Technology. He is a member of the Board of Governors of the Audio Engineering Society, and co-founder of the company MixGenius. Dr. Reiss has published more than 100 scientific papers and serves on several steering and technical committees. He has investigated music retrieval systems, time scaling and pitch shifting techniques, polyphonic music transcription, loudspeaker design, automatic mixing for live sound, and digital audio effects. His primary focus of research, which ties together many of the above topics, is on the use of state-of-the-art signal processing techniques for professional sound engineering.

Andrew P. McPherson, Ph.D, joined Queen Mary University of London as a lecturer in the Centre for Digital Music in September 2011. He holds a Ph.D in music composition from the University of Pennsylvania and an M.Eng in electrical engineering from the Massachusetts Institute of Technology. Prior to joining Queen Mary, he was a postdoc in the Music Entertainment Technology Laboratory at Drexel University, supported by a Computing Innovation Fellowship from the Computing Research Association and the National Science Foundation (NSF). Dr. McPherson’s current research topics include electronic augmentation of the acoustic piano, new musical applications of multi-touch sensing, quantitative studies of expressive performance technique, and embedded audio processing systems. He remains active as a composer of orchestral, chamber, and electronic music, with performances across the United States, Canada, and the UK at venues including the Tanglewood and Aspen music festivals.