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Topic: Audio synthesis

	Audio synthesis - Wikipedia, the free encyclopedia
		Audio synthesis is the art and science of generating audio signals.
		In computer music, digital audio samples are computed and generated according to an algorithm.
		Software algorithms generate digital audio samples, which are converted by a digital to analog converter into time-varying electric voltages, which can be used for amplification and for playback through loudspeakers.
	en.wikipedia.org /wiki/Audio_synthesis (81 words)

	Audio synthesis (Site not responding. Last check: 2007-09-19)
		Software algorithm s generate digital audio sample s, which are converted by an analog to digital converter into time-varying electric voltages, which can be used for amplification and for playback through loudspeaker s.
		Sound, Synthesis and Audio Reproduction An introduction to the physics of sound, sound systems and audio synthesis.
		French speech synthesis LAIPTTS is a high-quality speech synthesis for French.
	www.serebella.com /encyclopedia/article-Audio_synthesis.html (323 words)

	A Real-Time Audio Scheduler for Pentium PCs
		Moreover, synthesis objects are ranked in order of complexity: those whose performance would be most seriously compromised by lowering their octane use are placed at the bottom of the list.
		A set of synthesis parameters, on the other hand, is precisely the run-time interface to a synthesis algorithm, consisting of scalars such as carrier-to-modulator ratios or filter coefficients.
		Synthesis objects of a particular synthesis class are instantiated and commence computing audio samples with arealAddSynth(); this function returns a handle to the new synthesis object.
	www.shout.net /~mhamman/papers/icmc98.htm (2033 words)

	Music 4 Games (Site not responding. Last check: 2007-09-19)
		This new form of audio synthesis changed the timbre of simple waveforms by combining them with modulating frequencies, resulting in more realistic sounding dissonant and percussive tones.
		This technique (known as frequency modulation synthesis, or simply FM synthesis) was patented in 1975, and later licensed exclusively to Yamaha.
		In summary, if you are looking for a large library of high quality FM synthesis samples which were painstakingly sampled at multiple velocities, then this is the library for you.
	www.music4games.net /r_biggagiggas_fm_encyclopedia.html (530 words)

	JSyn - Java Audio Synthesis
		JSyn uses native methods written in 'C' to provide real-time audio synthesis for Java programmers.
		Audio sample playback can be combined with other synthesis and processing units.
		Audio input support for voice recording and processing.
	www.softsynth.com /jsyn (398 words)

	NetSound ICMC96 Paper
		Object-based representations for sound synthesis can be thought of as a series of audio processing building blocks that are threaded into a signal processing network for each class of sound.
		The resulting audio sample data is not stored or transmitted, only the descriptions and the necessary sampled sounds or synthesis data are stored and transmitted by the network server.
		The synthesis template library includes a version of FM synthesis, granular synthesis for sound textures, fof synthesis for voice, karplus-strong/waveguide synthesis for physical modeling, and additive synthesis or phase-vocoder for detailed control over sound resynthesis.
	alumni.media.mit.edu /~mkc/icmc96/icmc96.html (1415 words)

	Sound, synthesis and audio reproduction: Sound synthesis
		Synthesis products are invariably used by people with little technical background and even with such knowledge, people lack interest in tinkering with obscure settings for hours to produce the instrument they want.
		The idea behind FM synthesis is that quite rich and deliciously time‐variable timbres can be created by modulating the frequency of a carrier sine oscillator by another, the modulator.
		However, since the synthesis procedure bears absolutely no resemblance to the formation of sound in nature, the method is poorly suited to general simulation of acoustical instruments.
	www.helsinki.fi /~ssyreeni/dsound/dsound-c-07 (11269 words)

	MPEG-4 Structured Audio
		This is not unusual in the world of audio coding – which depends on such guarantees of decoded quality – but it is rather new in the transmission of audio synthesis.
		As with other ISO audio standards, the particular method of implementation is not specified in the standard (only the input-output function is normative), but the standard has been written with efficient compilation to external DSP chips in mind as the most likely manner.
		Structured audio coding differs from traditional audio coding in that the sound model is not fixed in the protocol (Fig.1), but dynamically described as part of the transmission stream, where it may vary from signal to signal (Fig.
	sound.media.mit.edu /mpeg4/sa-tech.html (2175 words)

	Audio signal processing
		Audio signal processing, sometimes referred to as audio processing or just audio, is the processing of a representation of auditory signals, or sound.
		An analog representation is usually electrical; a voltage level represents the air pressure waveform of the sound.
		The focus in audio signal processing is most typically an analysis of which parts of the signal are audible.
	www.brainyencyclopedia.com /encyclopedia/a/au/audio_signal_processing.html (237 words)

	SAOL in the MPEG
		AudioFX, any audio effect may be described in SAOL and applied to the output of a natural or synthetic audio decoding process (see Figure 7).
		High-quality synthesis may be performed at very low bitrates, down to less than 1 kbps, and the synthetic content may be synchronized with natural sound content and multiplexed into a single program bitstream.
		The Structured Audio components have also been designed to be efficient and useful in fixed-media applications as well, such as a studio environment or composition workstation.
	lsiwww.epfl.ch /saog/forum/SAOL_paper/saol_mpeg.html (1532 words)

	Articles - Frequency modulation synthesis (Site not responding. Last check: 2007-09-19)
		Frequency modulation synthesis (or FM synthesis) is a form of audio synthesis where the timbre of a simple waveform is changed by frequency modulating it with a modulating frequency that is also in the audio range, resulting in a more complex waveform and a different-sounding tone.
		Complex (and proper) FM synthesis using analog oscillators is not generally feasible due to their inherent pitch instability, but FM synthesis (using the frequency stable phase modulation variant) is easy to implement digitally.
		As a result, FM synthesis was the basis of some of the early generations of digital synthesizers from Yamaha, with Yamaha's flagship DX7 synthesizer being ubiquitous throughout the 1980s.
	www.noist.com /articles/FM_synthesis (750 words)

	SoundStage! Audio Synthesis Passion
		I can’t claim that Audio Synthesis had this particular idea in mind when they named the "Passion", but it certainly fits, as it truly excites the passions with it’s exacting performance.
		Audio Synthesis cautions against using wire runs longer than two meters, or with total capacitance in excess of 300pF as this will roll off the treble.
		As for my system, the Audio Alchemy DDE v3.0, with a maximum output level of 3.6 volts, and output impedance of 100 ohms (slightly higher than the recommended 25 ohms, but still within reason) matched nicely with the Passion.
	www.soundstage.com /tm_01.htm (2465 words)

	[No title]
		Audio latency is a critical component of digital audio systems.
		Since `other things' may include storing an audio signal on a disk drive, or putting a display of the signal on the screen, this can be a big problem.
		Audio playback was entirely from memory/real-time computation, not data stored on disk (though disk usage was simulated as part of the system load).
	www.equalarea.com /paul/lal.html (1210 words)

	Linux Audio Blog (Site not responding. Last check: 2007-09-19)
		The Linux Audio Blog was born out of the need for a central place that people interested in Linux Audio Development can watch for news.
		The Linux Audio Blog is powered by Blosxom in combination with John Gruber's excellent Markdown plugin.
		It comes with a synthesis language for creating and playing instruments and a C++ API for those who would like to use it as an object library.
	linuxaudioblog.jawebada.de /software/synthesis (2699 words)

	Spatial Audio Literature
		Most references are drawn from either the Journal of the Acoustical Society of American or the Journal of the Audio Engineering Society of America.
		Blauert (1969) is an often referenced paper detailing median plane experiments that proved that IID and ITD cues were not the only cues that influence localization.
		Begault (1991) examines the challenges of successfully implementing spatial audio technology.
	ccrma-www.stanford.edu /~malcolm/SpatialAudioLiterature.html (886 words)

	CMT3046 >> AUDIO ANALYSIS/SYNTHESIS (Site not responding. Last check: 2007-09-19)
		Early synthesisers were analogue, and they work by taking a complex wave form and reducing it through the use of filters (subtractive synthesis).
		This technology is employed in mobile telephony to relay voice data - the voice is broken down into statistical samples, the values of these samples can then be transmitted, and the voice "put back together again" at the destination by reversing the process.
		Traditional setups require many separate pieces of equipment, which in turn need to be connected in the correct manner and also require a degree of skill/ability to use.
	www.madgoose.co.uk /cmt3046/WEEK03/audio_analysis_synth.html (738 words)

	Synthetic and SNHC Audio in MPEG-4 (Site not responding. Last check: 2007-09-19)
		The sampling rate of the orchestra limits the maximum audio frequencies that may be present in the sound, and the control rate limits the speed with which parameters may vary.
		The use of SAOL to transmit audio effects means that MPEG does not have to standardize the "best" artificial reverberation algorithm (for example), but also that content developers do not have to rely on terminal implementors and trust in the quality of the algorithms present in an unknown terminal.
		The Structured Audio toolset provides a single standard to unify the world of algorithmic music synthesis and to drive forward the capabilities of the PC audio platform; the Text-to-Speech Interface provides a greatly needed measure of interoperability between content and text-to-speech systems.
	web.media.mit.edu /~eds/ICJ/icj-scheirer.html (9020 words)

	Dave's Imaginary Sound Space: Speech Synthesis Audio Samples And History
		The creative audio techniques used in the composition of the original Doctor Who theme are part of electronic music history.
		Doctor Who theme music audio files is a collection of theme music variations throughout the history of the series in WAV format.
		The Dr Who Audio and Video FAQ written by Dominic Jackson to explain the survival of many pieces of rare Doctor Who material, either video or audio.
	spaces.msn.com /members/soundblog/Blog/cns!1pXOS7l93k8mqeQ7FlEEmOSQ!535.entry (1565 words)

	Audio Synthesis ADEQ phono stage
		This was introduced as part of series written by Ben Duncan, published in Hi-Fi News and Record Review in October/November 1989 and released as a kit by Audio Synthesis.
		I've heard recently that Audio Synthesis have just released a new phono stage (the first since they discontinued the ADEQ some years ago) called the Passion Phono.
		This is a very different design from ADEQ with totally discrete components and a simpler circuit, which David Heaton of AS tells me is vastly superior to the ADEQ (though he still has the ADEQ in his own system!).
	www.soton.ac.uk /~apm3/diyaudio/ADEQ.html (1272 words)

	Introduction
		MPEG-4 Structured Audio is one of the coding tools in the MPEG-4 International Standard, which was completed in 1998 and is scheduled for approval and publication in mid-1999.
		Algorithmic structured audio is the idea of using a general-purpose software-synthesis language, and parameters to programs written in that language, to represent sound for transmission.
		Multiple notes may use the same algorithm, in which case their data spaces are maintained separately, in the manner of object instances in the object-oriented programming paradigm.
	lsiwww.epfl.ch /saog/forum/AES_paper/background.html (1595 words)

	Amazon.com: Audio Anecdotes: Tools, Tips, and Techniques for Digital Audio: Books (Site not responding. Last check: 2007-09-19)
		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.
		Audio Anecdotes: Tools, Tips, And Techniques For Digital Audio is an anthology of essays by a wide variety of expert authors concerning the exciting field of digital audio, lessons that can be learned from its past, discoveries directly applicable in the present, and anticipation of new changes in the future.
		A highly recommended supplementary educational text for anyone pursuing or involved in a career in the digital audio field, Audio Anecdotes is clearly an excellent addition to career-themed professional libraries as well as audio technology and technical reference shelves.
	www.amazon.com /exec/obidos/tg/detail/-/1568811047?v=glance (1760 words)

	MPEG 4 Structured Audio
		Examples of FM synthesis, physical-modeling synthesis, sampling synthesis, granular synthesis, subtractive synthesis, FOF synthesis, and hybrids of all of these in SAOL.
		The scheduler is the "guts" of the Structured Audio definition.
		This component of Structured Audio is crucial but very dull unless you're a developer who wants to implement a SAOL system.
	www.cs.cf.ac.uk /Dave/Multimedia/node163.html (1138 words)

	Audiosynthesis - Home (Site not responding. Last check: 2007-09-19)
		Audio Synthesis are a small team of British Engineers working to produce leading edge audio equipment destined for use by the most discerning audiophiles throughout the world.
		From the legendary DAX range of D/A converters to the revolutionary PASSION series of Vishay Bulk-Foil passive attenuators, all Audio Synthesis products combine minimalist designs with quality execution to re-define the State of the art in Sound Reproduction.
		At Audio Synthesis our design philosophy introduces a number of common threads which are largely responsible for the final sound, these include:
	www.audiosynthesis.co.uk (158 words)

	Analog Box, Realtime Audio Synthesis (Site not responding. Last check: 2007-09-19)
		The floating point 44kHz audio stream provides crystal clear sound and the DSP engine won't drag the CPU down as fast as some other softsynths.
		There is no CPU limit to the number of audio channels in any given circuit.
		If real-time audio is not required, circuit complexity is limited only by your patience and available RAM.
	www.andyware.com /abox (1432 words)

	PortAudio - an Open-Source Cross-Platform Audio API (Site not responding. Last check: 2007-09-19)
		PortAudio is intended to promote the exchange of audio synthesis software between developers on different platforms, and was recently selected as the audio component of a larger PortMusic project that includes MIDI and sound file support.
		News: PortAudio was used to power the example audio programs in a new book published by A K Peters called "Audio Anecdotes I: Tools, Tips, and Techniques for Digital Audio".
		Phil uses PortAudio as the basis for audio I/O in JSyn,a real-time synthesis API for Java and 'C', and the JavaSonics ListenUp Applet.
	www.portaudio.com (214 words)

	MUMT306: Week 9 (Site not responding. Last check: 2007-09-19)
		In an audio synthesis system, the primary "tasks" can be broken down as follows:
		The functions that an API offers for audio and/or communication are typically either blocking or callback-based.
		A blocking function takes or returns data for output or input and does not return until that data is available or can be "consumed" by the underlying hardware.
	www.music.mcgill.ca /~gary/306/week9/rt.html (377 words)

	Audio Synthesis - Donald North Audio
		The Audio Synthesis Passion Ultimate from England is the finest passive preamp available, being the ultimate for sonic clarity, with no active components in the signal path to pollute the delicate audio signal.
		Three mute positions were built into the input selector to minimise the audio path's complexity within the preamp.
		Top quality components including Vishay Bulk Foil resistors and WBT RCA connectors are used throughout and all audio paths are kept to an absolute minimum both in terms of physical size and in the number of components and their associated solder joints.
	www.dnaudio.com /passion_1.htm (977 words)

	PRESS RELEASE Sonic Network Announces Advanced High-Quality Ringtone Engine Availability on Analog Devices SoftFone(R) ... (Site not responding. Last check: 2007-09-19)
		Sonic Network has a heritage in developing digital audio for musical instruments, which has helped it to develop the highest quality audio synthesis technology for the cellular market.
		Sonic Network's Embedded Audio System (EAS) technology is a multi-platform audio synthesis engine for a variety of embedded audio systems and devices such as semiconductors, wireless handsets, PDAs, sound cards, toys, and other consumer devices.
		Embedded Audio Synthesis and EAS are trademarks of Sonic Network, Inc. SoftFone is a registered trademark of Analog Devices, Inc. All other trademarks included herein are the property of their respective owners.
	www.marketwire.com /mw/release_html_b1?release_id=80749 (737 words)

	Digital Audio Synthesis (Site not responding. Last check: 2007-09-19)
		One fertile area for projects lies in the synthesis of musical sounds.
		Most beginning EE students have a keen interest in and knowledge of synthesizers, so the motivation to study this kind of system is high.
		This might be cast as a problem of emulating the sound of a simple musical instrument such as a clarinet.
	www.ece.gatech.edu /research/DSP/courses/ee2200/fie95/listen/node10.html (275 words)

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