Customer Reviews

The Computer Music Tutorial

5 star:		(18)
4 star:		(3)
3 star:		(1)
2 star:		(0)
1 star:		(1)

 

 

I have had an interest in virtual synths, computer music programs such as csound, MAX/MSP, PD, etc. Although program-specific tutorials were helpful, I had found nothing that discussed sound processing, synthesis techniques (e.g. granular synthesis, additive, vector, etc.) and theoretical underpinning to all modern synthesizer techniques so I could understand what I was doing on a more fundamental level. The computer music tutorial does all that and more. I agree with other reviewers that it is not a "tutorial" in the sense that it doesn't extensively flesh out tips/tricks with particular programs, but it is invaluable for providing insight into an encyclopedia of synthesis techniques in very easy conceptual language (to those with no background in DSP). This book is essential to anyone who is interested in the world of sound manipulation in general, whether its sample-oriented, wiring together virtual modules in programs such as reaktor, sync modular, audiomulch, abox or those in a more programming driven interface such as csound and PD.

I first came across this book at university, when faced with the daunting task of making a software synthesizer for a course project.

The lecturer of the course admitted to me that he had based the course on this book, so naturally I found a copy. After reading it for 5 minutes I ordered a copy, because I knew without a doubt this was the book that would carry me through the rest of my studies. Interestingly, anyone else who has ever seen my copy has gone and bought themselves without much delay!

What the book offers is threefold: 1. A good introduction to MIDI. 2. A broad spectrum of signal processing techinques (including SFX). 3. A fast repository of synthesis ideas.

It even explains the fundamentals of the Fast Fourier Transform optimisation.

A lot of math has been replaced by flow charts, and this is means that it can explain the ideas to a wider range of people (and not just mathematicians).

The real selling point of this book is that it is, ultimately, the best possible mix of scope and depth of the subject of musical synthesis.

At 1234 Pages, it's also good value for money!

This book contains enormous amount of important information for any computer music researcher, composer, programmer. It covers all the computer music related subjects in a very unique manner. The writing is superb. I have learned a lot about Digital audio concepts, Digital mixing, filtering and dozens more issues. With this book, you can start developing a software synth, Audio Effect Plug-In and other computer music related software. You can enhance your knowledge about every aspect of computer generated music and making music with computers. This is a book both for beginners and advanced professionals. A Must !

Don't peruse through this book and let the pictures of people from the 1970's and 1980's working with musical instruments and synthesizers that appear to be assembled from Heathkits scare you away. This book still has vast quantities of information that are very relevant today to the person interested in computer music. In this age of "Garageband", it's just hard to find information on the mathematics of sound synthesis and signal processing as it applies to music in a detailed well-illustrated format. Of course, many people don't need this information nor do they want it - but if you do this is one of several sources that I turn to. It assumes that you know music, but that you do not have a background in mathematics past algebra, and it is wonderful at explaining what goes on mathematically in computer music so that you can turn to a language like CSound and put to work what you learn in this book. I even know some engineering students have had difficulties with certain signals and systems concepts that I refer to this book, and afterwards they are crystal clear.

The first four sections of the book are completely relevant today, and they deal with fundamentals, synthesis, mixing and signal processing, and sound analysis. That is the first 600 pages of the book. Section five, on the musician's interface, is relevant and correct as to history and the basic facts. Many of the instruments used as illustrations no longer exist, but the theory of operation is still employed today. The section does discuss the "Max" software in the context of interactive performance, and Max is still used in various forms. Other systems such as MODE, MacMix, and NoteWriter, are now obsolete. However, even these sections are worthwhile in talking about how such systems work even if these particular systems are defunct.

Section six, on Internals and Interconnections, is probably the section with the most obsolete material, and even then it is not that bad. The sections on MIDI and the internals of digital signal processors are good detailed explanations. DSP hardware and dataflow are especially clearly explained. However, in the chapter on system interconnections, we are in a time gone by as there is much material on how to connect to devices no longer in existence such as the 2-track and 4-track recorder. Section seven is a very short one on psychoacoustics. It is not that it is dated, it is just a very short introduction to the subject. Among the appendices, there is a very useful section on the details of Fourier analysis. This is essential knowledge for the computer musician.

I would still highly recommend this book. Just recognize that a very few sections - and a good number of the photographs of actual equipment - are dated.

Nice book.
Although it may seem outdated, trying to making up one's mind one has to consider a few things:

It's true that synthesis techniques have evolved in a very impressive way during theese 20 years (the book as you may guess has been written during the 80's), but it's also true that many of today's so called "new" synthesis techniques (as some software synthesis companies are fond of saying) are simply the natural evolution of past ones.
Just to give you an example the plugin "melohman" by ohmforce can be viewed as moving wavetable synthesis tool combined with ring modulation and effects like delay filters etc.

On the other hand, some chapters like ones on music equipment or software for algoritmic composition -fields in which technology plays a very important role- do are really outdated.

Cmt is a very complete book, it covers most important fields involved in electronic music composition, as one can see stepping through the index. Explanation of FFT calls for a review of trigonometry and algebra if you didn't studied them well at school, like me for example.

This review must come to an end, so here it is:
If you are/want to become self-taught serious about computer music and you like to make music with softwares like Pure Data or Max/MSP this book is a good place to start. Buy it.
Profund understanding of the possibilities of synthesis techniques or effects design of course requires more specifc scientific/academic readings.

The only thing keeping this book from being /perfect/ bedtime reading is that it's a bit hefty. But so you'll develop strong forearms.

And I can honestly say this is the FIRST book I've ever seen that could serve as the textbook for a year's course on computers and music, just as well as just being an interesting on-one's-own read for the merely curious, like myself.

At points, this book is only detailed enough to just give you a taste of what, say, a given music computer-language looks like, so that in many ways it's /not/ a good reference (but on some subjects it is). It reminds me of an encyclopedia, a good encyclopedia, in this way.

There are hundreds of computer books out there for every application from graphics to databases. If, however, you want some useful information on music applications you may be out of luck. I've found only a few books most of which are skimpy and filled with nothing that I have'nt figured out myself. Then I stumbled across this book and was blown away. It covers every possible angle from the basic elements of sound synthesis to advanced programming. In addition it is quite easy to follow and filled with entertaining history. I would suggest it to anyone who uses their computer to make music.

No one in the music business should be without this book! As the editor-in-chief of Computer Music Journal, Curtis Roads has compiled the ultimate reference.

Musicians will learn to appreciate the interface concepts found in almost all applications today. Engineers are given detailed descriptions of several types of synthesis.

Just a brief note -- this isn't a "tutorial" in the sense that the word has taken on in computer circles in the past few years -- i.e., "here's how to do some simple things without really understanding how you're doing them, because you're too much of a doof to read the real documentation". I say this because I don't want anyone expecting such a thing for computer music to be disappointed by this excellent book -- so don't expect example C code on how to parse MIDI in here!

However, this is a tutorial in the older sense of being a work that aims to instruct you in a particular subject. And that it does very well!

I am just getting started composing/arranging on my computer using MIDI and this book was of very little value to me.

It is intended as a course text book and will be of value to those who are more interested in the engineering, programming & other technical aspects of computer music.

Contains lots of general technical information and appears to be written for those who have a fairly large studio at their disposal such as a audio/computer lab.