Audio Effects: Theory, Implementation and Application
PrefaceAbout the AuthorsAim and Scope of BookIntroduction and FundamentalsUnderstanding Sound and Digital AudioWorking with DecibelsLevel MeasurementsRepresenting and Understanding Digital SignalsRepresenting Complex NumbersFrequency and Time-Frequency RepresentationsAliasingModifying and Processing...
Gespeichert in:
| Beteilige Person: | |
|---|---|
| Format: | Elektronisch E-Book |
| Sprache: | Englisch |
| Veröffentlicht: |
Bosa Roca
Taylor & Francis Group
2014
©2015 |
| Ausgabe: | 1st ed |
| Links: | https://ebookcentral.proquest.com/lib/filmuniversitaet/detail.action?docID=1661903 |
| Zusammenfassung: | PrefaceAbout the AuthorsAim and Scope of BookIntroduction and FundamentalsUnderstanding Sound and Digital AudioWorking with DecibelsLevel MeasurementsRepresenting and Understanding Digital SignalsRepresenting Complex NumbersFrequency and Time-Frequency RepresentationsAliasingModifying and Processing Digital SignalsThe Z Transform and Filter RepresentationDigital Filter ExampleNonlinear and Time-Varying EffectsDelay Line EffectsDelayTheoryBasic DelayDelay with FeedbackOther Delay TypesSlapback DelayMultitap DelayPing-Pong DelayImplementationBasic DelayVariationsDelay Line InterpolationCode ExampleApplicationsVibrato SimulationTheoryInterpolationImplementationLow-Frequency OscillatorParametersCode ExampleApplicationsFlangingTheoryPrinciple of OperationBasic FlangerLow-Frequency OscillatorFlanger with FeedbackStereo FlangingPropertiesCommon ParametersDepth (or Mix)Delay and Sweep WidthSpeed and WaveformFeedback (or Regeneration)Inverted Mode (or Phase)ImplementationBuffer AllocationInterpolationCode ExampleApplicationsResonant PitchesAvoiding Disappearing InstrumentsFlanging versus ChorusChorusTheoryBasic ChorusLow-Frequency OscillatorPitch-Shifting in the ChorusMultivoice ChorusStereo ChorusPropertiesCommon ParametersDepth (or Mix)Delay and Sweep WidthSpeed and WaveformNumber of VoicesOther VariationsSummary: Flanger and Chorus ComparedFilter DesignFilter Construction and TransformationSimple, Prototype Low-Pass FilterHigh-Order Prototype Low-Pass FilterChanging the Gain at the Cutoff FrequencyShifting the Cutoff FrequencyCreating a Shelving FilterInverting the Magnitude ResponseSimple Low-Pass to Band Pass TransformationPopular IIR Filter DesignLow PassHigh PassLow ShelfHigh ShelfGain at BandwidthBand Pass FiltersBand Stop FiltersPeaking and Notch FiltersThe Allpass FilterApplications of Filter FundamentalsExponential Moving Average FilterLoudspeaker CrossoversFilter EffectsEqualizationTheoryTwo-Knob Tone ControlsThree-Knob Tone ControlsPresence ControlLoudness ControlGraphic EqualizersBands in a Graphic EqualizerParametric EqualizersSummaryImplementationGeneral NotesTone Control ArchitectureCalculating Filter CoefficientsPresence and Loudness ArchitectureGraphic Equalizer ArchitectureParametric Equalizer ArchitectureCode ExampleApplicationsGraphic Equalizer ApplicationParametric Equalizer ApplicationWah-WahTheoryBasis in SpeechBasic Wah-WahAuto-WahTremolo-WahOther VariationsImplementationFilter DesignLow-Frequency OscillatorEnvelope FollowerAnalog EmulationPhaserTheoryBasic PhaserLow-Frequency OscillatorPhaser with FeedbackStereo PhaserImplementationAllpass Filter CalculationAlternate ImplementationLFO WaveformAnalog and Digital ImplementationsCommon ParametersCode ExampleAmplitude ModulationTremoloTheoryLow-FrequencyOscillatorPropertiesImplementationAudio Rate and Control RateCode ExampleRing ModulationTheoryModulation in the Frequency DomainPerceptionw-Frequency OscillatorVariationsImplementationCode ExampleApplicationsDynamics ProcessingDynamic Range CompressionTheoryCompressor ControlsSignal PathsThe Gain StageThe Gain ComputerLevel DetectionRMS DetectorPeak DetectorLevel-Corrected Peak DetectorsImplementationFeedback and Feedforward DesignAn Alternate Digital Feedback CompressorDetector PlacementCode ExampleApplicationArtifactsSummaryNoise Gates and ExpandersTheory and ImplementationApplicationsOverdrive, Distortion, and FuzzTheoryCharacteristic CurveHard and Soft ClippingInput GainSymmetry and RectificationHarmonic DistortionIntermodulation DistortionAnalog EmulationImplementationBasic ImplementationAliasing and OversamplingFilteringCommon ParametersTube Sound DistortionCode ExampleApplicationsExpressivity and Spectral ContentSustainComparison with CompressionThe Phase VocoderPhase Vocoder TheoryOverviewWindowingAnalysis: Fast Fourier TransformInterpreting Frequency Domain DataTarget Phase, Phase Deviation, and Instantaneous FrequencySynthesis: Inverse Fast Fourier TransformOverlap-AddFilterbank Analysis VariantOscillator Bank Reconstruction VariantPhase Vocoder EffectsRobotizationRobotization Code ExampleWhisperizationWhisperization Code ExampleTime ScalingTime-Scaling ResynthesisPitch ShiftingCode ExamplePhase Vocoder ArtifactsSpatial AudioTheoryPanoramaPrecedenceVector Base Amplitude PanningAmbisonicsWave Field SynthesisThe Head-Related Transfer FunctionITD ModelILD ModelImplementationJoint Panorama and PrecedenceAmbisonics and Its Relationship to VBAPImplementation of WFSHRTF CalculationApplicationsTransparent AmplificationSurround SoundSound Reproduction Using HRTFsThe Doppler EffectA Familiar ExampleDerivation of the Doppler EffectSimple Derivation of the Basic Doppler EffectGeneral Derivation of the Doppler EffectSimplifications and ApproximationsImplementationTime-Varying Delay Line ReadsMultiple Write PointersCode ExampleApplicationsReverberationTheorySabine and Norris-Eyring EquationsDirect and Reverberant Sound FieldsImplementationAlgorithmic ReverbSchroeder's ReverberatorMoorer's ReverberatorGenerating Reverberation with the Image Source MethodBackgroundThe Image Source ModelModeling Reflections as Virtual SourcesLocating the Virtual SourcesThe Impulse Response for a Virtual SourceConvolutional ReverbConvolution and Fast ConvolutionBlock-Based ConvolutionPhysical MeaningOther ApproachesApplicationsWhy Use Reverb?Stereo ReverbGated ReverbReverse ReverbCommon ParametersAudio ProductionThe Mixing ConsoleThe Channel SectionThe Master SectionMetering and MonitoringBasic Mixing ConsoleSignal Flow and RoutingInserts for Processors, Auxiliary Sends for EffectsSubgroup and GroupingDigital versus. - AnalogLatencyDigital User Interface DesignSound QualityDo You Need to Decide?Software MixersDigital Audio WorkstationsCommon Fun |
| Umfang: | 1 online resource (362 pages) |
| ISBN: | 9781466560291 |
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| 505 | 0 | |a Front Cover -- Contents -- Preface -- About the Authors -- Chapter -- Introduction and Fundamentals -- Chapter 2: Delay Line Effects -- Chapter 3: Filter Design -- Chapter 4: Filter Effects -- Chapter 5: Amplitude Modulation -- Chapter 6: Dynamics Processing -- Chapter 7: Overdrive, Distortion, and Fuzz -- Chapter 8: The Phase Vocoder -- Chapter 9: Spatial Audio -- Chapter 10: The Doppler Effect -- Chapter 11: Reverberation -- Chapter 12: Audio Production -- Chapter 13: Building Audio Effect Plug-Ins -- References -- Back Cover | |
| 520 | |a PrefaceAbout the AuthorsAim and Scope of BookIntroduction and FundamentalsUnderstanding Sound and Digital AudioWorking with DecibelsLevel MeasurementsRepresenting and Understanding Digital SignalsRepresenting Complex NumbersFrequency and Time-Frequency RepresentationsAliasingModifying and Processing Digital SignalsThe Z Transform and Filter RepresentationDigital Filter ExampleNonlinear and Time-Varying EffectsDelay Line EffectsDelayTheoryBasic DelayDelay with FeedbackOther Delay TypesSlapback DelayMultitap DelayPing-Pong DelayImplementationBasic DelayVariationsDelay Line InterpolationCode ExampleApplicationsVibrato SimulationTheoryInterpolationImplementationLow-Frequency OscillatorParametersCode ExampleApplicationsFlangingTheoryPrinciple of OperationBasic FlangerLow-Frequency OscillatorFlanger with FeedbackStereo FlangingPropertiesCommon ParametersDepth (or Mix)Delay and Sweep WidthSpeed and WaveformFeedback (or Regeneration)Inverted Mode (or Phase)ImplementationBuffer AllocationInterpolationCode ExampleApplicationsResonant PitchesAvoiding Disappearing InstrumentsFlanging versus ChorusChorusTheoryBasic ChorusLow-Frequency OscillatorPitch-Shifting in the ChorusMultivoice ChorusStereo ChorusPropertiesCommon ParametersDepth (or Mix)Delay and Sweep WidthSpeed and WaveformNumber of VoicesOther VariationsSummary: Flanger and Chorus ComparedFilter DesignFilter Construction and TransformationSimple, Prototype Low-Pass FilterHigh-Order Prototype Low-Pass FilterChanging the Gain at the Cutoff FrequencyShifting the Cutoff FrequencyCreating a Shelving FilterInverting the Magnitude ResponseSimple Low-Pass to Band Pass TransformationPopular IIR Filter DesignLow PassHigh PassLow ShelfHigh ShelfGain at BandwidthBand Pass FiltersBand Stop FiltersPeaking and Notch FiltersThe Allpass FilterApplications of Filter FundamentalsExponential Moving Average | ||
| 520 | |a FilterLoudspeaker CrossoversFilter EffectsEqualizationTheoryTwo-Knob Tone ControlsThree-Knob Tone ControlsPresence ControlLoudness ControlGraphic EqualizersBands in a Graphic EqualizerParametric EqualizersSummaryImplementationGeneral NotesTone Control ArchitectureCalculating Filter CoefficientsPresence and Loudness ArchitectureGraphic Equalizer ArchitectureParametric Equalizer ArchitectureCode ExampleApplicationsGraphic Equalizer ApplicationParametric Equalizer ApplicationWah-WahTheoryBasis in SpeechBasic Wah-WahAuto-WahTremolo-WahOther VariationsImplementationFilter DesignLow-Frequency OscillatorEnvelope FollowerAnalog EmulationPhaserTheoryBasic PhaserLow-Frequency OscillatorPhaser with FeedbackStereo PhaserImplementationAllpass Filter CalculationAlternate ImplementationLFO WaveformAnalog and Digital ImplementationsCommon ParametersCode ExampleAmplitude ModulationTremoloTheoryLow-FrequencyOscillatorPropertiesImplementationAudio Rate and Control RateCode ExampleRing ModulationTheoryModulation in the Frequency DomainPerceptionw-Frequency OscillatorVariationsImplementationCode ExampleApplicationsDynamics ProcessingDynamic Range CompressionTheoryCompressor ControlsSignal PathsThe Gain StageThe Gain ComputerLevel DetectionRMS DetectorPeak DetectorLevel-Corrected Peak DetectorsImplementationFeedback and Feedforward DesignAn Alternate Digital Feedback CompressorDetector PlacementCode ExampleApplicationArtifactsSummaryNoise Gates and ExpandersTheory and ImplementationApplicationsOverdrive, Distortion, and FuzzTheoryCharacteristic CurveHard and Soft ClippingInput GainSymmetry and RectificationHarmonic DistortionIntermodulation DistortionAnalog EmulationImplementationBasic ImplementationAliasing and OversamplingFilteringCommon ParametersTube Sound DistortionCode ExampleApplicationsExpressivity and Spectral ContentSustainComparison with CompressionThe Phase | ||
| 520 | |a VocoderPhase Vocoder TheoryOverviewWindowingAnalysis: Fast Fourier TransformInterpreting Frequency Domain DataTarget Phase, Phase Deviation, and Instantaneous FrequencySynthesis: Inverse Fast Fourier TransformOverlap-AddFilterbank Analysis VariantOscillator Bank Reconstruction VariantPhase Vocoder EffectsRobotizationRobotization Code ExampleWhisperizationWhisperization Code ExampleTime ScalingTime-Scaling ResynthesisPitch ShiftingCode ExamplePhase Vocoder ArtifactsSpatial AudioTheoryPanoramaPrecedenceVector Base Amplitude PanningAmbisonicsWave Field SynthesisThe Head-Related Transfer FunctionITD ModelILD ModelImplementationJoint Panorama and PrecedenceAmbisonics and Its Relationship to VBAPImplementation of WFSHRTF CalculationApplicationsTransparent AmplificationSurround SoundSound Reproduction Using HRTFsThe Doppler EffectA Familiar ExampleDerivation of the Doppler EffectSimple Derivation of the Basic Doppler EffectGeneral Derivation of the Doppler EffectSimplifications and ApproximationsImplementationTime-Varying Delay Line ReadsMultiple Write PointersCode ExampleApplicationsReverberationTheorySabine and Norris-Eyring EquationsDirect and Reverberant Sound FieldsImplementationAlgorithmic ReverbSchroeder's ReverberatorMoorer's ReverberatorGenerating Reverberation with the Image Source MethodBackgroundThe Image Source ModelModeling Reflections as Virtual SourcesLocating the Virtual SourcesThe Impulse Response for a Virtual SourceConvolutional ReverbConvolution and Fast ConvolutionBlock-Based ConvolutionPhysical MeaningOther ApproachesApplicationsWhy Use Reverb?Stereo ReverbGated ReverbReverse ReverbCommon ParametersAudio ProductionThe Mixing ConsoleThe Channel SectionThe Master SectionMetering and MonitoringBasic Mixing ConsoleSignal Flow and RoutingInserts for Processors, Auxiliary Sends for EffectsSubgroup and GroupingDigital versus. - AnalogLatencyDigital User Interface DesignSound QualityDo You Need to Decide?Software MixersDigital Audio WorkstationsCommon Fun | ||
| 700 | 1 | |a McPherson, Andrew |e Sonstige |4 oth | |
| 943 | 1 | |a oai:aleph.bib-bvb.de:BVB01-034671393 | |
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Datensatz im Suchindex
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| any_adam_object | |
| author | Reiss, Joshua D. |
| author_facet | Reiss, Joshua D. |
| author_role | aut |
| author_sort | Reiss, Joshua D. |
| author_variant | j d r jd jdr |
| building | Verbundindex |
| bvnumber | BV048727212 |
| contents | Front Cover -- Contents -- Preface -- About the Authors -- Chapter -- Introduction and Fundamentals -- Chapter 2: Delay Line Effects -- Chapter 3: Filter Design -- Chapter 4: Filter Effects -- Chapter 5: Amplitude Modulation -- Chapter 6: Dynamics Processing -- Chapter 7: Overdrive, Distortion, and Fuzz -- Chapter 8: The Phase Vocoder -- Chapter 9: Spatial Audio -- Chapter 10: The Doppler Effect -- Chapter 11: Reverberation -- Chapter 12: Audio Production -- Chapter 13: Building Audio Effect Plug-Ins -- References -- Back Cover |
| ctrlnum | (DE-599)BVBBV048727212 |
| edition | 1st ed |
| format | Electronic eBook |
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| id | DE-604.BV048727212 |
| illustrated | Not Illustrated |
| indexdate | 2024-12-20T20:09:29Z |
| institution | BVB |
| isbn | 9781466560291 |
| language | English |
| oai_aleph_id | oai:aleph.bib-bvb.de:BVB01-034671393 |
| open_access_boolean | |
| owner | DE-Po75 |
| owner_facet | DE-Po75 |
| physical | 1 online resource (362 pages) |
| publishDate | 2014 2015 |
| publishDateSearch | 2014 |
| publishDateSort | 2014 |
| publisher | Taylor & Francis Group |
| record_format | marc |
| spelling | Reiss, Joshua D. Verfasser aut Audio Effects Theory, Implementation and Application 1st ed Bosa Roca Taylor & Francis Group 2014 ©2015 1 online resource (362 pages) txt rdacontent c rdamedia cr rdacarrier Front Cover -- Contents -- Preface -- About the Authors -- Chapter -- Introduction and Fundamentals -- Chapter 2: Delay Line Effects -- Chapter 3: Filter Design -- Chapter 4: Filter Effects -- Chapter 5: Amplitude Modulation -- Chapter 6: Dynamics Processing -- Chapter 7: Overdrive, Distortion, and Fuzz -- Chapter 8: The Phase Vocoder -- Chapter 9: Spatial Audio -- Chapter 10: The Doppler Effect -- Chapter 11: Reverberation -- Chapter 12: Audio Production -- Chapter 13: Building Audio Effect Plug-Ins -- References -- Back Cover PrefaceAbout the AuthorsAim and Scope of BookIntroduction and FundamentalsUnderstanding Sound and Digital AudioWorking with DecibelsLevel MeasurementsRepresenting and Understanding Digital SignalsRepresenting Complex NumbersFrequency and Time-Frequency RepresentationsAliasingModifying and Processing Digital SignalsThe Z Transform and Filter RepresentationDigital Filter ExampleNonlinear and Time-Varying EffectsDelay Line EffectsDelayTheoryBasic DelayDelay with FeedbackOther Delay TypesSlapback DelayMultitap DelayPing-Pong DelayImplementationBasic DelayVariationsDelay Line InterpolationCode ExampleApplicationsVibrato SimulationTheoryInterpolationImplementationLow-Frequency OscillatorParametersCode ExampleApplicationsFlangingTheoryPrinciple of OperationBasic FlangerLow-Frequency OscillatorFlanger with FeedbackStereo FlangingPropertiesCommon ParametersDepth (or Mix)Delay and Sweep WidthSpeed and WaveformFeedback (or Regeneration)Inverted Mode (or Phase)ImplementationBuffer AllocationInterpolationCode ExampleApplicationsResonant PitchesAvoiding Disappearing InstrumentsFlanging versus ChorusChorusTheoryBasic ChorusLow-Frequency OscillatorPitch-Shifting in the ChorusMultivoice ChorusStereo ChorusPropertiesCommon ParametersDepth (or Mix)Delay and Sweep WidthSpeed and WaveformNumber of VoicesOther VariationsSummary: Flanger and Chorus ComparedFilter DesignFilter Construction and TransformationSimple, Prototype Low-Pass FilterHigh-Order Prototype Low-Pass FilterChanging the Gain at the Cutoff FrequencyShifting the Cutoff FrequencyCreating a Shelving FilterInverting the Magnitude ResponseSimple Low-Pass to Band Pass TransformationPopular IIR Filter DesignLow PassHigh PassLow ShelfHigh ShelfGain at BandwidthBand Pass FiltersBand Stop FiltersPeaking and Notch FiltersThe Allpass FilterApplications of Filter FundamentalsExponential Moving Average FilterLoudspeaker CrossoversFilter EffectsEqualizationTheoryTwo-Knob Tone ControlsThree-Knob Tone ControlsPresence ControlLoudness ControlGraphic EqualizersBands in a Graphic EqualizerParametric EqualizersSummaryImplementationGeneral NotesTone Control ArchitectureCalculating Filter CoefficientsPresence and Loudness ArchitectureGraphic Equalizer ArchitectureParametric Equalizer ArchitectureCode ExampleApplicationsGraphic Equalizer ApplicationParametric Equalizer ApplicationWah-WahTheoryBasis in SpeechBasic Wah-WahAuto-WahTremolo-WahOther VariationsImplementationFilter DesignLow-Frequency OscillatorEnvelope FollowerAnalog EmulationPhaserTheoryBasic PhaserLow-Frequency OscillatorPhaser with FeedbackStereo PhaserImplementationAllpass Filter CalculationAlternate ImplementationLFO WaveformAnalog and Digital ImplementationsCommon ParametersCode ExampleAmplitude ModulationTremoloTheoryLow-FrequencyOscillatorPropertiesImplementationAudio Rate and Control RateCode ExampleRing ModulationTheoryModulation in the Frequency DomainPerceptionw-Frequency OscillatorVariationsImplementationCode ExampleApplicationsDynamics ProcessingDynamic Range CompressionTheoryCompressor ControlsSignal PathsThe Gain StageThe Gain ComputerLevel DetectionRMS DetectorPeak DetectorLevel-Corrected Peak DetectorsImplementationFeedback and Feedforward DesignAn Alternate Digital Feedback CompressorDetector PlacementCode ExampleApplicationArtifactsSummaryNoise Gates and ExpandersTheory and ImplementationApplicationsOverdrive, Distortion, and FuzzTheoryCharacteristic CurveHard and Soft ClippingInput GainSymmetry and RectificationHarmonic DistortionIntermodulation DistortionAnalog EmulationImplementationBasic ImplementationAliasing and OversamplingFilteringCommon ParametersTube Sound DistortionCode ExampleApplicationsExpressivity and Spectral ContentSustainComparison with CompressionThe Phase VocoderPhase Vocoder TheoryOverviewWindowingAnalysis: Fast Fourier TransformInterpreting Frequency Domain DataTarget Phase, Phase Deviation, and Instantaneous FrequencySynthesis: Inverse Fast Fourier TransformOverlap-AddFilterbank Analysis VariantOscillator Bank Reconstruction VariantPhase Vocoder EffectsRobotizationRobotization Code ExampleWhisperizationWhisperization Code ExampleTime ScalingTime-Scaling ResynthesisPitch ShiftingCode ExamplePhase Vocoder ArtifactsSpatial AudioTheoryPanoramaPrecedenceVector Base Amplitude PanningAmbisonicsWave Field SynthesisThe Head-Related Transfer FunctionITD ModelILD ModelImplementationJoint Panorama and PrecedenceAmbisonics and Its Relationship to VBAPImplementation of WFSHRTF CalculationApplicationsTransparent AmplificationSurround SoundSound Reproduction Using HRTFsThe Doppler EffectA Familiar ExampleDerivation of the Doppler EffectSimple Derivation of the Basic Doppler EffectGeneral Derivation of the Doppler EffectSimplifications and ApproximationsImplementationTime-Varying Delay Line ReadsMultiple Write PointersCode ExampleApplicationsReverberationTheorySabine and Norris-Eyring EquationsDirect and Reverberant Sound FieldsImplementationAlgorithmic ReverbSchroeder's ReverberatorMoorer's ReverberatorGenerating Reverberation with the Image Source MethodBackgroundThe Image Source ModelModeling Reflections as Virtual SourcesLocating the Virtual SourcesThe Impulse Response for a Virtual SourceConvolutional ReverbConvolution and Fast ConvolutionBlock-Based ConvolutionPhysical MeaningOther ApproachesApplicationsWhy Use Reverb?Stereo ReverbGated ReverbReverse ReverbCommon ParametersAudio ProductionThe Mixing ConsoleThe Channel SectionThe Master SectionMetering and MonitoringBasic Mixing ConsoleSignal Flow and RoutingInserts for Processors, Auxiliary Sends for EffectsSubgroup and GroupingDigital versus. - AnalogLatencyDigital User Interface DesignSound QualityDo You Need to Decide?Software MixersDigital Audio WorkstationsCommon Fun McPherson, Andrew Sonstige oth |
| spellingShingle | Reiss, Joshua D. Audio Effects Theory, Implementation and Application Front Cover -- Contents -- Preface -- About the Authors -- Chapter -- Introduction and Fundamentals -- Chapter 2: Delay Line Effects -- Chapter 3: Filter Design -- Chapter 4: Filter Effects -- Chapter 5: Amplitude Modulation -- Chapter 6: Dynamics Processing -- Chapter 7: Overdrive, Distortion, and Fuzz -- Chapter 8: The Phase Vocoder -- Chapter 9: Spatial Audio -- Chapter 10: The Doppler Effect -- Chapter 11: Reverberation -- Chapter 12: Audio Production -- Chapter 13: Building Audio Effect Plug-Ins -- References -- Back Cover |
| title | Audio Effects Theory, Implementation and Application |
| title_auth | Audio Effects Theory, Implementation and Application |
| title_exact_search | Audio Effects Theory, Implementation and Application |
| title_full | Audio Effects Theory, Implementation and Application |
| title_fullStr | Audio Effects Theory, Implementation and Application |
| title_full_unstemmed | Audio Effects Theory, Implementation and Application |
| title_short | Audio Effects |
| title_sort | audio effects theory implementation and application |
| title_sub | Theory, Implementation and Application |
| work_keys_str_mv | AT reissjoshuad audioeffectstheoryimplementationandapplication AT mcphersonandrew audioeffectstheoryimplementationandapplication |