Jean-Michel Réveillac – författare

Volume 1 presents successively an introduction followed by 10 chapters and a conclusion: A logistic approachan overview of operations researchThe basics of graph theorycalculating optimal routesDynamic programmingplanning and scheduling with PERT and MPMthe waves of calculations in a networkspanning trees and touringlinear programmingmodeling of road traffic

Volume 2 begins with an introduction and 4 chapters implementing software tools on cases of practical applications and it ends with a conclusion: The various tools used in this volumeOperational research with a spreadsheetDashboards with spreadsheets and pivot tablesScheduling and planning with a project managerThe traffic simulationThe conclusion shows the new features that are expected to emerge on spreadsheets as well as project managers, developments and convergences between traffic simulators and new infrastructure that are emerging on road networks. Annex 1 focuses on the installation Solver in Microsoft Excel and Annex 2 focuses on the installation of the Java Development Kit.

Volume 3 begins with an introduction to which are added four chapters focused on modeling and flow simulation in an environment in 2 or 3 dimensions (2D or 3D). They deal with different cases taken from situations found in the field. A conclusion comes close this third book: The different software used in this third volumeComputer simulation of discrete flowsMixed flow simulationFlows in 3D and the evacuation simulationFlows in 3D for conveying and storageThe conclusion discusses the future developments of the software and their integration into society. At the end of each volume is a bibliography and a list of web links. There is also a glossary explaining some abbreviations, acronyms and some very specific terminology of logistics and operations research.

For decades performers, instrumentalists, composers, technicians and sound engineers continue to manipulate sound material. They are trying with more or less success to create, to innovate, improve, enhance, restore or modify the musical message. The sound of distorted guitar of Jimi Hendrix, Pierre Henry’s concrete music, Pink Flyod’s rock psychedelic, Kraftwerk ‘s electronic music, Daft Punk and rap T-Pain, have let emerge many effects: reverb, compression, distortion, auto-tune, filter, chorus, phasing, etc. The aim of this book is to introduce and explain these effects and sound treatments by addressing their theoretical and practical aspects.

Since 1960, with the advent of musical electronics, composers and musicians have been using ever more sophisticated machines to create sonic material that presents innovation, color and new styles: electro-acoustic, electro, house, techno, etc. music. The music of Pierre Henry, Kraftwerk, Pink Floyd, Daft Punk and many others has introduced new sounds, improbable rhythms and a unique approach to composition and notation. Electronic machines have become essential: they have built and influenced the music of the most recent decades and set the trend for future productions. This book explores the theory and practice related to the different machines which constitute the universe of musical electronics, omitting synthesizers which are treated in other works. Sequencers, drum machines, samplers, groove machines and vocoders from 1960 to today are studied in their historical, physical and theoretical context. More detailed approaches to the Elektron Octatrack sequencer-sampler and the Korg Electribe 2 groove machine are also included.

Capturing, recording and broadcasting the voice is often difficult. Many factors must be taken into account and achieving a true representation is much more complex than one might think. The capture devices such as the position of the singer(s) or narrator(s), the acoustics, atmosphere and equipment are just some of the physical aspects that need to be mastered. Then there is the passage through the analog or digital channel, which disrupts the audio signal, as well as the processes that are often required to enrich, improve or even transform the vocal timbre and tessitura. While in the past these processes were purely material, today digital technologies and software produce surprising results that every professional in recording and broadcasting should know how to master.Recording and Voice Processing 1 addresses some general theoretical concepts. A history of recording and the physiology of the vocal apparatus are detailed in order to give the reader an understanding of the fundamental aspects of the subject. This volume also includes an advanced study of microphones, addressing their characteristics and typologies. The acoustic environment and its treatment are also considered in terms of the location of the sound capture - whether in a home studio, recording studio, live or natural environment - in order to achieve a satisfactory sound recording.

Capturing, recording and broadcasting the voice is often difficult. Many factors must be taken into account and achieving a true representation is much more complex than one might think.The capture devices such as the position of the singer(s) or narrator(s), the acoustics, atmosphere and equipment are just some of the physical aspects that need to be mastered. Then there is the passage through the analog or digital channel, which disrupts the audio signal, as well as the processes that are often required to enrich, improve or even transform the vocal timbre and tessitura. While in the past these processes were purely material, today digital technologies and software produce surprising results that every professional in recording and broadcasting should know how to master.Recording and Voice Processing 2 focuses on live and studio voice recordings. It presents the various pieces of hardware and software necessary for voice recording, and details possible sound channel configurations based on recording location. An actual recording, and its various constraints, is then considered, addressing the pitfalls to avoid and the strategies to use in order to achieve a satisfactory result. Different special effects (vocoder, auto-tune, Melodyne, etc.) that can be used on the voice, whether spoken or sung, are also presented.

Subtractive sound synthesis has been one of the most widely used techniques in electronic music and for many analog synthesizers since the early 1960s.It is based on a simple principle, but its operation remains complex, involving many parameters. It can be enriched by a variety of effects that give the sound its authenticity. It does not just imitate musical instruments, but can also transcribe noises present in natural soundscapes, or generate entirely synthetic sounds.Synthesizers and Subtractive Synthesis 1 presents the theoretical basis of a sound phenomenon, the different types of synthesis, the components that are required and present in synthesizers, the working environment specific to the study of subtractive synthesis, and the hardware and software available.After reading the various chapters of this book, readers will have a clear vision of the tools and actions required to grasp the world of subtractive sound.