Real Sound Synthesis for Interactive Applications

by Perry R. Cook

Virtual environments such as games and animated and "real" movies require realistic sound effects that can be integrated by computer synthesis. The book emphasizes physical modeling of sound and focuses on real-world interactive sound effects. It is intended for game developers, graphics programmers, developers of virtual reality systems and training simulators, and others who want to learn about computational sound. It is written at an introductory...

• Format: Paperback
• Language: English
• ISBN: 1568811683
• ISBN13: 9781568811680
• Release Date: November 2015
• Publisher: A K PETERS
• Length: 282 Pages
• Weight: 0.95 lbs.
• Dimensions: 0.6" x 5.9" x 8.9"

Customer Reviews

Excellent Book

I very much like this book. Personally I find it very difficult. I do not have a background in programming or math but Perry R Cook seems to allow for this and you can still get a very detailed look at aspects of physical modeling. Bond Graph Method, Modal, Mass Spring Damping, Phase Vocoding and others are all dealt with in both words, math functions, c code and many graphs and illustrations. I do find the book difficult but I keep re-reading various chapters and every time I go back it gets a little clearer. There is a lot in the book and you get different stuff when you back to it.

Real Sound Synthesis/a review

One of the best volumes I've come across in the field of sound synthesis on personal computers. Provides a solid introduction to this field for those who wish to create sound on a PC (as opposed to play back previously- recorded sound).

Excellent book on an under-served subject

This is not a book that introduces and uses signal processing concepts for the sake of itself. Instead, the goal of the book is to create sounds, learn the tools and theory behind creating such sounds, and grasp the essentials of many sophisticated physical modeling concepts in particular. The book is quite thin, but don't let this fool you. The author chose to leave out quite a few details so that this did not turn into another 1000 page treatise on computer music. Thus some basic topics in signals, systems, and filter design are not fleshed out to their fullest extent. To this end, the book has an extensive reference section so that if you are unfamiliar with a particular physics or DSP topic, you can research it yourself. Chapter 1 briefly establishing the fundamentals of digital audio, and includes an introduction to the basics of quantization, compression, and Pulse-Code Modulation (PCM) sampling. Chapter 2 investigates sound synthesis starting with wavetable synthesis. In chapter 3, digital filters are introduced. Included is a concise but clear introduction to Linear Time Invariant (LTI) systems, convolution, Finite Impulse Response (FIR) filters, Infinite Impulse Response (IIR) filters, and Z transforms. The chapter culminates in an introduction to the BiQuad filter. Chapter 4, which deals with modal synthesis, acts as a stepping-stone to the frequency domain, leading to chapter 5's discussion of the Fourier Transform. This chapter examines Discrete Fourier Transform (DFT), fast convolution, and Short Time Fourier Transform (STFT), and ends with examples of applications. Chapters 6, 7, and 8 delve deeper into synthesis/analysis concepts such as Linear Predictive Coding (LPC), spectral modeling, additive/subtractive synthesis, noise signals, and inharmonicity, using the frequency domain techniques learned in previous chapters. You'll hardly turn a page without an accompanying picture or block diagram, a particularly valuable feature of this book. Chapter 9 explores the physical modeling concepts of string vibrations and stiff bars. Modeling algorithms are introduced using basic physics perspectives centered around the familiar string, mass, and damper paradigms first introduced in chapter 4. Here again, rather than bombarding the reader with tons of equations, Mr. Cook explains ideas mainly through diagrams, sound examples, and block diagrams, which is very helpful for the software implementation of algorithms. The ready-to-compile C++ code for this section included on the CD-ROM provide models of a plucked string (Plucked.cpp), a mandolin (Mandolin.cpp), and a bowed string (Bowed.cpp). In Chapter 11, Tubes and Air Cavities, the author introduces more models while leaving detailed mathematical derivations of equations for the appendix. He concludes chapter 11 with "Building and Blowing a Bottle Model", and includes code and sound examples, as usual. Going into chapter 12, more complex, higher dimensional models are introduced, wi

It's a lot more than a cook book

Are you a pretty good C++ programmer? Have you ever wanted to have your computer output sounds like footsteps or musical instruments that (a) sound real and (b) are continuously responsive to the user's control? Did you discover that it was basically impossible to do it by stitching together prerecorded samples, and you couldn't think of any other way to do it?If so, Perry Cook has written just the book you have been looking for. In 250 pages, Cook explains everything, from the basics of digital filtering to the major alternatives for generating sounds: additive and subtractive synthesis, FM synthesis, and -- the real focus of the book -- physical modeling. Not only that, the accompanying CD-ROM includes lots of sound examples and the Synthesis ToolKit -- a pretty much platform-independent set of C++ classes and algorithms for writing your own code.Not everything is perfect. Just as the first version of any program contains some bugs, the first printing of any book that uses mathematics contains some errors. In particular, typos in Appendix A could be very frustrating if this is your first exposure to Fourier analysis. (You might want to check Cook's web site for a promised list of errata and code updates.) And don't let the fact that the book is short, attractively produced, very well organized, unusually clear, and entertainingly written lead you to believe that you can master it in a weekend. Although Cook tries his best to make the underlying mathematics unintimidating, there is no getting around the fact that there are some rather deep concepts from wave physics and signals-and-systems theory behind what he has to say. The good news is that the effort is richly repaid. Not only will you be able to write programs that can generate controllable sounds in real time, but you will develop insight into how physical instruments produce their distinctive sounds, and you will understand the basics of both the standard and the most advanced techniques that have been developed to model them. Highly recommended.

Not just another digital music book....

This book is useful, enlightening, and fun. It covers many cutting-edge topics in lucid fashion, topics that can only be found otherwise in academic journals. The computer code (in the book and on the CD-ROM) is an invaluable resource for the ambitious reader, who can actually try out or modify the techniques. The CD-ROM also provides examples of these new techniques in action. Finally, the author's sense of humor comes through often (this is not a stiff, boring book!). As a "digital-sound-artist" and someone who teaches this stuff at the university level, I highly recommend this book not only to those who want to learn about the most recent work going on in sound synthesis, but to those who want another perspective on more familiar topics (like the basics of PCM, fourier analysis, basic digital filtering, etc....).