The music producer's survival guide : chaos, creativity, and career in independent and electronic music by Jackson, Brian M.

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Introduction To Digital Signal Processing : Computer Musically Speaking.

Table of Contents: “…Time-Domain Processes II -- 1 Introduction -- 2 Granular Synthesis -- 2.1 Basic granular synthesis parameters -- 2.2 Asynchronous granular synthesis -- 2.3 Pitch shifting and time stretching/compression -- 2.4 Sound morphing with granular synthesis -- 3 Amplitude Distortion and Waveshaping -- 3.1 Dynamic compressor -- 3.2 Distortion -- 3.3 Dynamic expander -- 3.4 Tape saturation -- 3.5 Waveshaping synthesis -- 4 Some Familiar Time-Domain DSP Effects -- 4.1 Equal power panning -- 4.2 Delays -- 5 Musical Examples -- References and Further Reading -- 4. …”
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Unsupervised Clustering in Mesos by Whitford, Karl

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Designing sound by Farnell, Andy, 1969-

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From Pac-Man to pop music : interactive audio in games and new media

Table of Contents: “…Dynamic range : subtlety and silence in video game sound / Rob Bridgett ; An introduction to granular synthesis in video games / Leonard Paul -- Audio and audience. …”


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Interactive composition : strategies using Ableton Live and Max for Live by Manzo, V. J., Kuhn, Will

Table of Contents: “…Setting Up Mix Groups and Sidechain DuckingForm and Arrangement; On Your Own; 9 Breakbeat/Drum and Bass; Creating a Sampled Loop; Reese Bass; Sub Bass and Advanced Reese; Sampled Sirens and Other Instruments; Buildup Scene; Mixing; Form Considerations; On Your Own; 10 Chiptune; Designing a Custom Chip Instrument; Using the Custom Chip Sounds; Auto-Chords and MIDI Reuse; Sampled Chip Sounds; 8-Bit Drums; Form and Structure; On Your Own; 11 Granular Synthesis; Basic Sampling; Wavetable Synthesis with Simpler; Granular Synthesis with Granulator II; Drums from a Voice; Mixing; On Your Own.…”
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The Music Producer’s Survival Guide, 2nd Edition by Jackson, Brian

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Audio anecdotes III : tools, tips, and techniques for digital audio

Table of Contents: “…Bregman and Wieslaw Woszczyk -- Part 2: Sound Synthesis -- Implementing Real-Time Granular Synthesis / Ross Bencina -- Physical Synthesis of Bowed String Instruments / Stefania Serafin -- Modal Synthesis for Vibrating Objects / Kees van den Doel and Dinesh K. …”


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From Pac-Man to Pop Music : Interactive Audio in Games and New Media. by Collins, Karen

Table of Contents: “…7 The composition-instrument: emergence, improvisation and interaction in games and new mediaPART 4 Techniques and technologies; 8 Dynamic range: subtlety and silence in video game sound; 9 An introduction to granular synthesis in video games; PART 5 Audio and audience; 10 Chip music: low-tech data music sharing; 11 Left in the dark: playing computer games with the sound turned off; 12 Music theory in music games; Selected Annotated Bibliography; Bibliography; Index.…”
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Ways Ahead : Proceedings of the First International Csound Conference. by Heintz, Joachim

Table of Contents: “…The rite of judgmentcsound haiku; continuous flow machines; usage; the csound journal; developing csoundqt; python scripting in csoundqt; composing circumspectral sounds; creating reverb effects using granular synthesis; introducing csound for live; composing with blue; the udo database; education; user-developer round table ii; a personal view on teaching csound; pwgl; quince; csound at hmtm hannover; the csound real-time collection; teaching with csound; collaborative documentation of open source music software; impressions of the first international csound conference.…”
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A NIME Reader Fifteen Years of New Interfaces for Musical Expression

Table of Contents: “…2001: Principles for Designing Computer Music Controllers -- 2001: Problems and Prospects for Intimate Musical Control of Computers -- 2002: The importance of parameter mapping in electronic instrument design -- 2002: Multimodal Interaction in Music Using the Electromyogram and Relative Position Sensing -- 2002: The Plank: Designing a Simple Haptic Controller -- 2003: Contexts of Collaborative Musical Experiences -- 2003: Sonigraphical Instruments: From FMOL to the reacTable* -- 2003: Designing, Playing, and Performing with a Vision-based Mouth Interface -- 2003: OpenSound Control: State of the Art 2003 -- 2004: The Electronic Sitar Controller -- 2004: PebbleBox and CrumbleBag: Tactile Interfaces for Granular Synthesis -- 2004: Toward a Generalized Friction Controller: From the Bowed String to Unusual Musical Instruments -- 2004: On-the-fly Programming: Using Code as an Expressive Musical Instrument -- 2005: Towards a Dimension Space for Musical Devices -- 2005: The Overtone Violin -- 2006: Sensemble: A Wireless, Compact, Multi-User Sensor System for Interactive Dance -- 2006: Mobile Music Technology: Report on an Emerging Community -- 2007: Wireless Sensor Interface and Gesture-Follower for Music Pedagogy -- 2007: Don’t Forget the Laptop: Using Native Input Capabilities for Expressive Musical Control -- 2007: Expression and its Discontents: Toward an Ecology of Musical Creation -- 2007: The Acoustic, the Digital and the Body: A Survey on Musical Instruments -- 2008: Eight Years of Practice on the Hyper-Flute: Technological and Musical Perspectives -- 2009: A History of Hemispherical Speakers at Princeton, Plus a DIY Guide -- 2011: Satellite CCRMA: A Musical Interaction and Sound Synthesis Platform -- 2012: The Fingerphone: a Case Study of Sustainable Instrument Redesign -- 2012: To be inside someone else’s dream: Music for Sleeping & Waking Minds -- 2012: TouchKeys: Capacitive Multi-Touch Sensing on a Physical Keyboard -- 2013: The Web Browser As Synthesizer And Interface -- 2014: To Gesture or Not? …”
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