Design and implement voice user interfaces. This guide to VUI helps you make decisions as you deal with the challenges of moving from a GUI world to mixed-modal interactions with GUI and VUI. The way we interact with devices is changing rapidly and this book gives you a close view across major companies via real-world applications and case studies. Voice User Interface Design provides an explanation of the principles of VUI design. The book covers the design phase, with clear explanations and demonstrations of each design principle through examples of multi-modal interactions (GUI plus VUI) and how they differ from pure VUI. The book also differentiates principles of VUI related to chat-based bot interaction models. By the end of the book you will have a vision of the future, imagining new user-oriented scenarios and new avenues, which until now were untouched. What You'll Learn Implement and adhere to each design principle Understand how VUI differs from other interaction models Work in the current VUI landscape Who This Book Is For Interaction designers, entrepreneurs, tech enthusiasts, thought leaders, and AI enthusiasts interested in the future of user experience/interaction, designing high-quality VUI, and product decision making

Music is much more than listening to audio encoded in some unreadable binary format. It is, instead, an adventure similar to reading a book and entering its world, complete with a story, plot, sound, images, texts, and plenty of related data with, for instance, historical, scientific, literary, and musicological contents. Navigation of this world, such as that of an opera, a jazz suite and jam session, a symphony, a piece from non-Western culture, is possible thanks to the specifications of new standard IEEE 1599, "IEEE Recommended Practice for Defining a Commonly Acceptable Musical Application Using XML," which uses symbols in language XML and music layers to express all its multimedia characteristics. Because of its encompassing features, this standard allows the use of existing audio and video standards, as well as recuperation of material in some old format, the events of which are managed by a single XML file, which is human and machine readable - musical symbols have been read by humans for at least forty centuries.

Anyone wanting to realize a computer application using IEEE 1599 -- music and computer science departments, computer generated music research laboratories (e.g. CCRMA at Stanford, CNMAT at Berkeley, and IRCAM in Paris), music library conservationists, music industry frontrunners (Apple, TDK, Yamaha, Sony), etc. -- will need this first book-length explanation of the new standard as a reference.

The book will include a manual teaching how to encode music with IEEE 1599 as an appendix, plus a CD-R with a video demonstrating the applications described in the text and actual sample applications that the user can load onto his or her PC and experiment with.

Handmade Electronic Music: The Art of Hardware Hacking provides a long-needed, practical, and engaging introduction to the craft of making-as well as creatively cannibalizing-electronic circuits for artistic purposes. With a sense of adventure and no prior knowledge, the reader can subvert the intentions designed into devices such as radios and toys to discover a new sonic world. You will also learn how to make contact microphones, pickups for electromagnetic fields, oscillators, distortion boxes, mixers, and unusual signal processors cheaply and quickly. At a time when computers dominate music production, this book offers a rare glimpse into the core technology of early live electronic music, as well as more recent developments at the hands of emerging artists. This revised and expanded third edition has been updated throughout to reflect recent developments in technology and DIY approaches. New to this edition are chapters contributed by a diverse group of practitioners, addressing the latest developments in technology and creative trends, as well as an extensive companion website that provides media examples, tutorials, and further reading. This edition features: Over 50 new hands-on projects. New chapters and features on topics including soft circuitry, video hacking, neural networks, radio transmitters, Arduino, Raspberry Pi, data hacking, printing your own circuit boards, and the international DIY community A new companion website at www.HandmadeElectronicMusic.com, containing video tutorials, video clips, audio tracks, resource files, and additional chapters with deeper dives into technical concepts and hardware hacking scenes around the world With a hands-on, experimental spirit, Nicolas Collins demystifies the process of crafting your own instruments and enables musicians, composers, artists, and anyone interested in music technology to draw on the creative potential of hardware hacking.

When "Speech and Audio Signal Processing" published in 1999, it stood out from its competition in its breadth of coverage and its accessible, intutiont-based style. This book was aimed at individual students and engineers excited about the broad span of audio processing and curious to understand the available techniques. Since then, with the advent of the iPod in 2001, the field of digital audio and music has exploded, leading to a much greater interest in the technical aspects of audio processing.

This "Second Edition" will update and revise the original book to augment it with new material describing both the enabling technologies of digital music distribution (most significantly the MP3) and a range of exciting new research areas in automatic music content processing (such as automatic transcription, music similarity, etc.) that have emerged in the past five years, driven by the digital music revolution.

New chapter topics include: Psychoacoustic Audio Coding, describing MP3 and related audio coding schemes based on psychoacoustic masking of quantization noiseMusic Transcription, including automatically deriving notes, beats, and chords from music signals.Music Information Retrieval, primarily focusing on audio-based genre classification, artist/style identification, and similarity estimation.Audio Source Separation, including multi-microphone beamforming, blind source separation, and the perception-inspired techniques usually referred to as Computational Auditory Scene Analysis (CASA).

David Gibson uses 3D visual representations of sounds in a mix as a tool to explain the dynamics that can be created in a mix. This book provides an in-depth exploration into the aesthetics of what makes a great mix. Gibson's unique approach explains how to map sounds to visuals in order to create a visual framework that can be used to analyze what is going on in any mix. Once you have the framework down, Gibson then uses it to explain the traditions that have be developed over time by great recording engineers for different styles of music and songs. You will come to understand everything that can be done in a mix to create dynamics that affect people in really deep ways. Once you understand what engineers are doing to create the great mixes they do, you can then use this framework to develop your own values as to what you feel is a good mix. Once you have a perspective on what all can be done, you have the power to be truly creative on your own - to create whole new mixing possibilities. It is all about creating art out of technology. This book goes beyond explaining what the equipment does - it explains what to do with the equipment to make the best possible mixes.

Recording Music on Location provides an exceptional collection of information regarding all aspects of recording outside of the studio. Featuring clear explanations on how to achieve professional results, this book is divided into two distinct sections: popular music and classical music. Whether you record in the local rock club, jazz cafe, or in an orchestra hall, Bartlett offers sage advice on each stage of the process of location recording. Packed with hints and tips, this book is a great reference for anyone planning to venture outside of the studio. Audio examples, tracking sheets, weblinks, and downloadable checklists are available on the companion website at www.focalpress.com/cw/bartlett. This edition has been thoroughly updated and includes new sections on iOS devices, USB thumb-drive recorders, and digital consoles with built-in recorders, along with updated specs on recording equipment, software, and hardware. This edition will also show you how to prepare recordings for the web and live audio streaming, and covers spectral analysis, noise reduction, and parallel compression. A new case study will go in depth on classical-music recording.

Learn how to create, produce and perform a whole new way; prepare to unlock the power of Live

In this brand new title for Ableton Live 8 and Suite 8 users, author Keith Robinson details exactly what Abelton Live can deliver. The book is engineered to follow Live's non-linear music environment - the book look and feels like the program Its unique format utilizes the terms and creative features of Live - tabs, keys, pointers, and labels.

Packed with professional testimonials, concepts, definitions, hundreds of tips, tricks and hidden features, Ableton Live 8 and Suite 8 covers the software's nuts and bolts and creative technique to create, produce, perform and make music on the fly.

The accompanying website contains "Live sets" and web pointer information to sync and download as well as interviews, additional hints, tips and video

Long considered one of the key books on the well-informed audio engineer's shelf, Sound System Engineering provides an accurate, complete, and concise tool for all those involved in designing, implementing, and testing sound reinforcement systems. This new fourth edition includes eight new chapters leading the reader through both cutting-edge topics-e.g., IBM's proposed thought-controlled sound system-and solid basics, such as loudspeaker specifications, wave equations, and digital audio. Topics covered include: Psychoacoustics and how the brain processes sound Digital theory Mathematics for audio systems Using the decibel Interfacing electrical and acoustical systems Audio and acoustic measurements Large room and small room acoustics Designing for acoustic gain Designing for speech intelligibility Wave equations Microphones Loudspeakers, loudspeaker arrays, and loudspeaker directivity Power ratings for amplifiers and loudspeakers Computer-aided system design Signal delay, signal synchronization, and signal processing Sound system equalization Packed with numerous illustrations and useful appendices, this is a concentrated capsule of industry standards and knowledge that spans the complete range of sound systems, from the simplest all-analog paging systems to the largest multi-purpose digital systems.

Best-selling recording guide from one of our most well-regarded authors, accessible for students, professionals and amateurs alike Updated second edition with new content on cutting-edge technologies, as well as new voices from a more diverse group of producers Accompanied by author-hosted online resources, including 300+ audio examples, free backing tracks and further reading

The digital turn has created new opportunities for scholars across disciplines to use sound in their scholarship. This volume's contributors provide a blueprint for making sound central to research, teaching, and dissemination. They show how digital sound studies has the potential to transform silent, text-centric cultures of communication in the humanities into rich, multisensory experiences that are more inclusive of diverse knowledges and abilities. Drawing on multiple disciplines-including rhetoric and composition, performance studies, anthropology, history, and information science-the contributors to Digital Sound Studies bring digital humanities and sound studies into productive conversation while probing the assumptions behind the use of digital tools and technologies in academic life. In so doing, they explore how sonic experience might transform our scholarly networks, writing processes, research methodologies, pedagogies, and knowledges of the archive. As they demonstrate, incorporating sound into scholarship is thus not only feasible but urgently necessary. Contributors. Myron M. Beasley, Regina N. Bradley, Steph Ceraso, Tanya Clement, Rebecca Dowd Geoffroy-Schwinden, W. F. Umi Hsu, Michael J. Kramer, Mary Caton Lingold, Darren Mueller, Richard Cullen Rath, Liana M. Silva, Jonathan Sterne, Jennifer Stoever, Jonathan W. Stone, Joanna Swafford, Aaron Trammell, Whitney Trettien

Mastering in Music is a cutting-edge edited collection that offers twenty perspectives on the contexts and process of mastering. This book collects the perspectives of both academics and professionals to discuss recent developments in the field, such as mastering for VR and high resolution mastering, alongside crucial perspectives on fundamental skills, such as the business of mastering, equipment design and audio processing. Including a range of detailed case studies and interviews, Mastering in Music offers a comprehensive overview of the foremost hot topics affecting the industry, making it key reading for students and professionals engaged in music production.

Sound Synthesis and Sampling' provides a comprehensive introduction to the underlying principles and practical techniques applied to both commercial and research sound synthesizers. This new edition has been updated throughout to reflect current needs and practices- revised and placed in a modern context, providing a guide to the theory of sound and sampling in the context of software and hardware that enables sound making. For the revised edition emphasis is on expanding explanations of software and computers, new sections include techniques for making sound physically, sections within analog and digital electronics. Martin Russ is well known and the book praised for its highly readable and non-mathematical approach making the subject accessible to readers starting out on computer music courses or those working in a studio.
* Explains the theory of sound and sampling to allow readers to really understand the different types of synthesis and sound making
* Covers all the latest technology and techniques in music production and sound design enabling the reader to get to grips with the current shape of computer technology and music composition
* Includes glossary and jargon buster for quick reference and grasp of vocabulary

Cloud-Based Music Production: Samples, Synthesis, and Hip-Hop presents a discussion on cloud-based music-making procedures and the musical competencies required to make hip-hop beats. By investigating how hip-hop producers make music using cloud-based music production libraries, this book reveals how those services impact music production en masse. Cloud-Based Music Production takes the reader through the creation of hip-hop beats from start to finish - from selecting samples and synthesizer presets to foundational mixing practices - and includes analysis and discussion of how various samples and synthesizers work together within an arrangement. Through case studies and online audio examples, Shelvock explains how music producers directly modify the sonic characteristics of hip-hop sounds to suit their tastes and elucidates the psychoacoustic and perceptual impact of these aesthetically nuanced music production tasks. Cloud-Based Music Production will be of interest to musicians, producers, mixers and engineers and also provides essential supplementary reading for music technology courses.

To create their own voice "skills," users need to learn some new device toolkits, the basics of Voice UI design, and some emerging best practices for building and deploying on these diverse platforms. Voice Applications for Alexa and Google Assistant guides readers in the exciting world of designing, building, and implementing voice-based applications for Amazon Alexa or Google Assistant! They learn how to build their own "skills"-the voice app term for actions the device can perform-from scratch. Key Features * Designing a voice interaction model * Fulfilling skills via a serverless platform like AWS Lambda * Connecting a skill to a database Audience Written for JavaScript developers interested in building voice-enabled applications. No prior experience required! Author Bio Dustin A. Coates is a web developer and web development instructor. He has taught hundreds of students online and offline at General Assembly. Dustin also developed popular courses for OneMonth.com and the European non-profit Konexio, which teaches refugees how to code.

Cloud-Based Music Production: Samples, Synthesis, and Hip-Hop presents a discussion on cloud-based music-making procedures and the musical competencies required to make hip-hop beats. By investigating how hip-hop producers make music using cloud-based music production libraries, this book reveals how those services impact music production en masse. Cloud-Based Music Production takes the reader through the creation of hip-hop beats from start to finish - from selecting samples and synthesizer presets to foundational mixing practices - and includes analysis and discussion of how various samples and synthesizers work together within an arrangement. Through case studies and online audio examples, Shelvock explains how music producers directly modify the sonic characteristics of hip-hop sounds to suit their tastes and elucidates the psychoacoustic and perceptual impact of these aesthetically nuanced music production tasks. Cloud-Based Music Production will be of interest to musicians, producers, mixers and engineers and also provides essential supplementary reading for music technology courses.

Speech and language technologies continue to grow in importance as they are used to create natural and efficient interfaces between people and machines, and to automatically transcribe, extract, analyze, and route information from high-volume streams of spoken and written information.

The workshops on Mathematical Foundations of Speech Processing and Natural Language Modeling were held in the Fall of 2000 at the University of Minnesota's NSF-sponsored Institute for Mathematics and Its Applications, as part of a "Mathematics in Multimedia" year-long program. Each workshop brought together researchers in the respective technologies on the one hand, and mathematicians and statisticians on the other hand, for an intensive week of cross-fertilization.

There is a long history of benefit from introducing mathematical techniques and ideas to speech and language technologies. Examples include the source-channel paradigm, hidden Markov models, decision trees, exponential models and formal languages theory. It is likely that new mathematical techniques, or novel applications of existing techniques, will once again prove pivotal for moving the field forward.

This volume consists of original contributions presented by participants during the two workshops. Topics include language modeling, prosody, acoustic-phonetic modeling, and statistical methodology.

Recording Analysis: How the Record Shapes the Song identifies and explains how the sounds imparted by recording processes enhance the artistry and expression of recorded songs. Moylan investigates how the process of recording a song transforms it into a richer experience and articulates how the unique elements of recorded sound provide essential substance and expression to recorded music. This book explores a broad array of records, evaluating the music, lyrics, social context, literary content and meaning, and offers detailed analyses of recording elements as they appear in a wide variety of tracks. Accompanied by a range of online resources, Recording Analysis is an essential read for students and academics, as well as practitioners, in the fields of record production, song-writing and popular music.

Automated Speaking Assessment: Using Language Technologies to Score Spontaneous Speech provides a thorough overview of state-of-the-art automated speech scoring technology as it is currently used at Educational Testing Service (ETS). Its main focus is related to the automated scoring of spontaneous speech elicited by TOEFL iBT Speaking section items, but other applications of speech scoring, such as for more predictable spoken responses or responses provided in a dialogic setting, are also discussed. The book begins with an in-depth overview of the nascent field of automated speech scoring-its history, applications, and challenges-followed by a discussion of psychometric considerations for automated speech scoring. The second and third parts discuss the integral main components of an automated speech scoring system as well as the different types of automatically generated measures extracted by the system features related to evaluate the speaking construct of communicative competence as measured defined by the TOEFL iBT Speaking assessment. Finally, the last part of the book touches on more recent developments, such as providing more detailed feedback on test takers' spoken responses using speech features and scoring of dialogic speech. It concludes with a discussion, summary, and outlook on future developments in this area. Written with minimal technical details for the benefit of non-experts, this book is an ideal resource for graduate students in courses on Language Testing and Assessment as well as teachers and researchers in applied linguistics.

Learning Music Theory with Logic, Max, and Finale is a groundbreaking resource that bridges the gap between music theory teaching and the world of music software programs. Focusing on three key programs-the Digital Audio Workstation (DAW) Logic, the Audio Programming Language (APL) Max, and the music-printing program Finale-this book shows how they can be used together to learn music theory. It provides an introduction to core music theory concepts and shows how to develop programming skills alongside music theory skills. Software tools form an essential part of the modern musical environment; laptop musicians today can harness incredibly powerful tools to create, record, and manipulate sounds. Yet these programs on their own don't provide musicians with an understanding of music notation and structures, while traditional music theory teaching doesn't fully engage with technological capabilities. With clear and practical applications, this book demonstrates how to use DAWs, APLs, and music-printing programs to create interactive resources for learning the mechanics behind how music works. Offering an innovative approach to the learning and teaching of music theory in the context of diverse musical genres, this volume provides game-changing ideas for educators, practicing musicians, and students of music. The author's website at http://www.geoffreykidde.com includes downloadable apps that support this book.

The Art of Producing is the first book to standardize a specific production process for creating a successful music project from start to finish. Learn how to develop a step-by-step process for critiquing all of the musical components that go into creating a highly refined production that works for all styles of music. The book provides a well-rounded perspective on everything that goes into producing, including vital information on how to creatively work with bands, groups and record companies, and offers insight into high level values and secrets that famous producers have developed through years of trial and error. The book covers detailed production techniques for working with today's latest digital technologies including virtual recording, virtual instruments, and MIDI tracking. Take these concepts, adapt them to your own personal style and you will end up with a successful project of the highest attainable quality with the most potential to be become a hit - or just affect people really deeply.

Originally published in 1972 Recording in Social Work looks at how recording has always been claimed as one of the necessary activities of social workers, whatever form of social work they undertake. The book deals systematically with recording, and the theory and practice recording takes, as well as the research projects and small-scale studies which discuss critically certain aspects of the method. The book offers a review of the history of recording, including a critical discussion of the three early texts on the subject. It surveys the literature on purposes of recording and concludes with an analysis of the main issues surrounding recording. The book assesses the present position of theory and practice in social work recording and suggests both ways in which the subject can be developed and the wider context.

PRO TOOLS 10 ADVANCED MUSIC PRODUCTION TECHNIQUES is the official Avid Learning Series Expert Level guide to the advanced operation of Pro Tools in a professional music production environment. It includes technical insight into both Pro Tools HD and HDX hardware and software, common workflows, and advanced editing and mixing topics. The materials on the supplemental DVD--sample sessions and source files used in the book's many exercises and projects--help to reinforce the skills being learned. Whether you're learning on your own or pursuing formal Pro Tools certification through an Avid Learning Partner, PRO TOOLS 10 ADVANCED MUSIC PRODUCTION TECHNIQUES will help you achieve expert-level mastery of Pro Tools. PRO TOOLS 10 ADVANCED MUSIC PRODUCTION TECHNIQUES (Course 310M) is part of the Avid Learning Series. This course leads to expert-level certification. To find more books on Pro Tools, Media Composer, Sibelius, or any other Avid product, visit www.courseptr.com/avid.

Drawing on decades of experience, Beep to Boom: The Development of Advanced Runtime Sound Systems for Games and Extended Reality is a rigorous, comprehensive guide to interactive audio runtime systems. Packed with practical examples and insights, the book explains each component of these complex geometries of sound. Using practical, lowest-common-denominator techniques, Goodwin covers soundfield creation across a range of platforms from phones to VR gaming consoles. Whether creating an audio system from scratch or building on existing frameworks, the book also explains costs, benefits and priorities. In the dynamic simulated world of games and extended reality, interactive audio can now consider every intricacy of real-world sound. This book explains how and why to tame it enjoyably.

Clearly technology has added a "voice" to music, but how does that voice affect the traditional human craftsmanship of music? In other words, can the music created still be called one's own? In Strange Sounds, Timothy Taylor addresses the anxieties provoked by technology's role in music composition since World War II. In this accessible and comprehensive study, Taylor discusses the nature of technology, its use in making music, and the inevitable fears of losing one's agency further with the new digital technologies being developed. From the early tape music of France and the "space age pop" of 1950s America to the numerous electronic dance music genres of today that detour into "illegal" activities like those argued in lawsuits over the sampling of traditional folk music, and the trance club scenes in cities like New York and London that have become synonymous with the drug ecstasy, technology has irrevocably penetrated the production and consumption of contemporary music.