History: Fiction or Science? (Chronology, No. 1)

Book Description

Recorded history is a finely-woven magic fabric of intricate lies about events predating the sixteenth century. There is not a single piece of evidence that can be reliably and independently traced back earlier than the eleventh century. This book details events that are substantiated by hard facts and logic, and validated by new astronomical research and statistical analysis of ancient sources.

Customer Reviews:

Calculations are only as good as your numbers.......2007-08-03

Yes, we can all agree that mainstream history is nearly 100% BS due to politics, economics, ego, problems with dating techniques, and various conspiracies. Agreed. But, I've been researching the distinct possibility that human history (in terms of civilizations) are much more ancient than we've been told, so coming across this book was very interesting to me. I wondered how Fomenko could be wrong (if at all) because he is very persuasive in his presentations. Then it dawned on me. If at previous times in prehistory, due to the various catastrophies that are well documented (comets, asteroids, planetary disruptions, plasma discharge, pole reversals, etc) the Earth was in a different position in relation to the sun, different tilt on its axis, different orbit, different rotation (in terms of velocity and DIRECTION), and the continents were in different positions, then would this not cause the ancients to see the sky (constellations) differently? In other words, is Fomenko making erronious assumptions about the physics of the Earth in pre-history, which then corrupt his data with regards to dating the relevant astrology? The last event to seriously disrupt our planet occured roughly 3500 years ago, according to other good researchers, so is it possible Fomenko has been confused by this? The vastly different physics of our planet in the not so distant past may explain this confusion, which is not to say the "mainstream" version of history is correct; on the contrary. I am not an expert in these fields, but wanted to see if this idea could spark discussion.

Pants on fire?.......2007-07-19

Will people ever read before spamming? Yes, Jesuits could not rewrite world history alone, they had help. Anyway, Dr Prof Acad A.Fomenko does not point to jesuits as the driving force of world wide history manipulation in published volumes 1,2,3;, actually he barely mentions the poor devils. Check it with 'Search inside' feature, please. China is rarely mentioned either, in fact, Dr Fomenko is completely eurocentric. Right, his theory contradicts all mainstream schools of history, because in their actual state they are all built on blatantly erroneus chronology. You don't need a mysterious cabal (conspiracy) to falsify history, the falsification is its modus operandi. It is inherent to history(ians) to falsify (distort) events, as it is inherent to humans to boast as it is inherent to power (authority) to legimize itself by referrring to glorious past made to its own order. Dr Prof Fomenko and team have identified scores of instances of such manipulation in Russian, European, etc.. history, and delivered valid statistical proof thereof. His own 'reconstruction' is completely another story. Forget c14 as a valid method of dating. W.Libby has initially discovered a brilliant method of INDEPENDENT dating. Too bad, c14 method has become a joke after a forced marrige with dendrochronology with consensual chronological scale inbuilt. Radiocarbon method can't stand blind tests, but is so very productive as a rubberstamp.

Accepted History & Chronology Must Be Changed. .......2007-04-09

There is no doubt that history as most know it is a sham, & institution's version of History both University & Church is fradulent & inaccurate. Everything was established with an agenda, The real "Dark Ages" are now when we have access to incredible amounts of information past authorities & more important 'common folk' didn't have but our institutions & educators are slow to evolve because of what has ignorantly & arrogantly been taught for too long. This is on many subjects not just Chronology.

For anyone to question "Why would a Mathematician have anything credible to say of History?" The answer is from Dr. Fomenko's preface in the book: "It would be worthwhile to remind the reader that in the XVI-XVII century Chronology was considered to be a subdivision of Mathematics." These volumes could possibly be some of the most important works to date & should be read by everyone with an interest in History, especially professors & educators who have a duty to the public. I have read both books & must say that 'Chronology 1' has some very eye opening & revolutionary information. Even if these volumes are part true the implications are profound & opens the doors to further investigations & questions which must be done. I speak several different lanquages & must say the logic Dr. Fomenko uses with "inflection" of words & words being read from left to right in one region & right to left in another then written backwards, the removal of vowels & get down to basics of words, or different cities & locations having the same name etc. is correct. Vowel usage has always been optional & varied, actually complicating linquistics & study. The first thing one has to understand is that words never had a fixed spelling in history like we do now, the spelling of words was mutable & regional, as well as names & titles of people were vast, varied & changed, NOTHING WAS FIXED or understood linear. Matters of Life & Death as well as financial profiteering yesterday & today were & are made with ignorant, illogical & conspiratorial views of history & reality, it's time people get closer to the Truth & society collectively grow up.

Very Interesting.......2007-03-07

It is a good proposal and I believe it will mature into something even better in the future. I think it deserves to be read.

History as Science Fiction.......2007-01-10

Anatoly Fomenko has written a very intriguing book, full of pictures, charts, and computer 'proof' of his thesis: backwards of AD900 we don't really know what happened or when. Between AD900 and AD1600 there is more certainty, but there is still a lot of fuzzy ground, and things don't get reliable until we get past the 1600's where the printing press made it very difficult for the perpetrators of this timeline manipulation to change anything that had been committed to print. The Dark Ages did not happen. Books were burned for a reason. One organization has doubled the actual length of its existence by expanding the real chronology. Read why.

I had always wondered why Christ died about AD33 and yet men waited until the 11th century to form the Knights Templar, the Cathars, etc and go after the Holy Land by force. Why the 1000 year gap? Turns out there wasn't more than a 10-12 year gap and he proves it using astronomy. This also implies that the planet is not as old as we have been told, and current Christian and other creationist scientists are already championing that idea without being aware of Fomenko's book. The two groups, creationist scientists and the Russian mathematical analysts corroborate each other. Fascinating.

Of course, all this flies in the face of what we have been told traditionally is the 'proper' chronology of western civilization, and most readers will experience 'cognitive dissonance' in reading this book. It means that our history going backwards from AD1600 becomes progressively more incorrect and unreliable until it cannot be trusted at all... in the space of 700-800 years.

Naturally, the curious, open-minded reader will want to know WHO did this, WHY, and did any of the events we think of as really ancient ever happen?
Dr. Fomenko is a respected scientist/mathematician at Moscow State University who has already answered these questions to the satisfaction of his initially skeptical colleagues. Most of them are now believers, a few still refuse to believe (the usual diehards), and of course the western press has ignored Fomenko's work -- for obvious reasons when you read the book. The ones who perpetrated this chronology ruse have a lot to answer for. They are still with us. That's why this book is a well-kept secret.

I gave the book a 4-star rating because I was unable to check out some of his claims; those I checked were as he said. But if even 1/3 of his claims are true, this punches a big hole in what we think is our history, the meaning of western civilization, our educational process (for repeating the ruse as gospel), and the trustworthiness of the organization that perpetrated this ruse, well-intentioned or not.

This book relates to current research into a Young Earth paradigm, to John Keel's discoveries about our planet, and Fr Malachi Martin's insights (in his now out-of-print books). We are indeed sheep who are manipulated and kept ignorant -- for a reason. While knowing what these men have to say may be the "booby prize" (as in: 'what can you do with this knowledge?'), it will provide interesting reading. Didn't someone say: "...and the Truth will set you free."?? For you to judge if this book contains the truth.

Acoustics and Psychoacoustics, Third Edition

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Acoustics and Psychoacoustics, Third Edition
David Howard , and Jamie Angus
Manufacturer: Focal Press
ProductGroup: Book
Binding: Paperback

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ASIN: 0240519957

Book Description

Acoustics and Psychoacoustics is ideal for students of music technology, sound recording, traditional music and acoustics, as well as engineers studying audio, multimedia and communications systems. Gain a practical understanding of how real musical sounds behave and are perceived in real spaces with this accessible and interesting read.

This third edition offers a CD of audio examples, crucial for a clear understanding of the concepts discussed.

Visit the book's supporting website at http://books.elsevier.com/0240519957 for additional resources such as:
* Questions and exercises to test your knowledge
* Web links for further resources and research
* Audio clips
* Calculation facilities (eg. adding decibel values and converting between frequency ratio and cents/semitones)
This website can also be reached via www.focalpress.com

* A broad-ranging introduction to acoustics and psychoacoustics
* Gain a practical understanding of the subject with this highly accessible guide
* For a clear understanding of the concepts discussed follow the accompanying CD of audio examples

Concert Sound and Lighting Systems, Third Edition

Average customer rating:

Technicaly Inacurate
Good, but dated.
Concert Sound and Lighting Systems

Concert Sound and Lighting Systems, Third Edition
John Vasey
Manufacturer: Focal Press
ProductGroup: Book
Binding: Paperback

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ASIN: 0240803647

Book Description

Concert Sound and Lighting Systems provides comprehensive coverage of equipment and setup procedures for touring concert systems. The new edition will cover the new equipment now available and discuss other venues where the skills and technology are being used.

This new edition incorporates the continuing developments in concert sound and lighting systems maintaining the premise that the reader has had no previous experience. The practical how-to illustrations teach the reader about the equipment, and this thoroughly updated edition will include new equipment such as radio microphones, in-ear monitoring, digital audio products and digital lighting products. The author also discusses new venues outside the
traditional concert touring environment and applies the skills and technology to such diverse events as product launches, theatrical arena spectaculars and outdoor stadium productions. In addition to an introductory section on touring concerts, there are sections on sound systems and lighting systems and an explanation of how all the parts fit together to create a professional, safe, efficient show.

Includes 100 photographs and drawings illustrating the equipment and its proper use
Electrical formulas and wiring information with a special section on safety
Sample production checklists

Customer Reviews:

Technicaly Inacurate.......2007-08-20

This book contains many errors. In one chapter the book discusses PZM microphones. It refers to an image of an SM-57 microphone. This is incorrect.

Another section of the book discusses Phantom power and says that the power travels down both balanced audio lines and states that they are pins 1 and 2 of an XLR. Again this is incorrect. Phantom power travels down pins 2 and 3 which are the real balanced audio lines.

This book states to always allow for 4 amps per power amplifier. This is a wild statement when he does not know what power amplifier the reader is planning on using. Many amplifiers can use more then this amount and could be a disaster to anyone who only supplies 4 amps to each amplifier.

Author also states that the speed of sound increases with heat and humidity and then says that the actually speed depends on atmospheric pressure and air density. Humidity has little to nothing to do with the speed, but rather the absorption of acoustical energy.

I do not recommend this book for anyone! There is very little useful information and far too much inaccurate information. Many chapters consist of one to two pages which have only a couple of paragraphs on each. These are major topics and should have a lot more coverage in the book. Images are all in black and white and many are hard to make out what they are of. Author does not cover digital information as he should.

Good, but dated........2007-03-08

Overall this book gives a good overview into the field of concert lighting and sound. Much of the equipment talked about in this book is no longer in use in the field. The book does not include any talk about fiber optic cables, which are becoming a standard. I would only suggest this book to a younger reader that just wants a feel for the field.

Concert Sound and Lighting Systems.......2000-03-08

This book contains very general information on the basic steps and equipment required for a concert. It is very basic and provides very little technical information.

Average customer rating:

Still could be helpful
From the Father of the Mark II

Music, Physics and Engineering
Harry F. Olson
Manufacturer: Dover Publications
ProductGroup: Book
Binding: Paperback

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ASIN: 0486217698

Book Description

This extraordinarily comprehensive text, requiring no special background in physics, math or music, discusses the nature of sound waves, musical instruments, musical notation, acoustic materials, elements of sound reproduction systems — from the telephone to stereo sound systems — and electronic music. "Very thorough, and full of well-presented facts." — Musical Times. Includes 376 figures.

Customer Reviews:

Still could be helpful.......2003-07-13

Although this book was first published over 50 years ago, there are still many parts of it that can still be read profitably, due mostly to the fact that musical theory and the physics of musical instruments does not change with time. I read the book years ago to get some ideas for physics demonstrations in the classroom, and it was of great assistance in that regard. Those readers who intend to specialize in musical engineering would still find it a useful supplement to more modern treatments. The audio CD of course was not known at the time of publication, nor even the 8-track tape, but the development of both of these technologies was dependent on what came before them, and so a perusal of this book will allow insight into more contemporary technologies. The book also is one of the first to emphasize the psychological factors that must be taken into account when developing a technology for sound reproduction. The author in fact emphasizes the need for paying attention to the psychological factors in the preface to the second edition of the book. With the incredible advances in sound reproduction that have taken place since this book was written, one can appreciate his comments even more. One can only give thanks to the ingenuity of the sound and musical engineers both in the author's time and now for giving the listener an incredibly rich and satisfying auditory experience.

From the Father of the Mark II.......2000-05-10

The science of musical sound has evolved a great deal since 1966 when the second edition of 'Music, Physics and Engineering' was first published. However, this historical work can be of value to musical engineers even in today's fast changing technological world.

The author, Harry F. Olson was staff vice president of the acoustical and electromechanical research department of RCA laboratories. The thorough science reported in this book was perhaps instrumental in the development of the RCA Mark II Electronic Music Synthesizer of the Columbia-Princeton Electronic Music Center.

Chapters such as: Sound Waves, Musical Terminology, Musical Scales, Resonators and Radiators, Musical Instruments, Characteristics of Musical Instruments and Properties of Music have much to teach those with an engineering background about the science of music.

Book Description

Electric guitar players can choose from a library full of guitar books, but comparatively little has been written about the other 50% of the electric guitar: the amplifier. This book takes a giant step toward redressing the balance, providing the first overall view of amp-dom, including: how amps work, profiles of the major manufacturers, 'transistor dinosaurs' and their place in amp history, reissues vs. vintage amps, and troubleshooting. Terms are defined in the margin as they are introduced, and plenty of photos and diagrams illuminate the text.

Customer Reviews:

Hopelessly out of date.......2006-08-13

Not much point in buying this book unless you enjoy living in the past. Far too many musicians like to do that, in fact. There have been so many advances in amplifier technology in the past 13 years that this book can only interest those who collect vintage amps or are just looking for old sound. And there are better resources than this for that.

Besides, any amplification book that neglects brands like Peavey (!!!!), Carvin, Trace Elliot, Hughes&Kettner and Traynor (!!) among others is incomplete. Would you buy a book about the Japanes auto industry if it didn't discuss Honda and Subaru?

I say, keep looking dudes.

Not even one fourth of Rock 'N' Roll.......2005-05-16

Seemed to be more of a book for the author to get out his obsession with amplifiers and a photography hobby. Had some historical significance but missed great opportunities to explain basic electronic significance of different types of amplifiers, including diagrams from involved schematics to simple textbook layouts. Difficult to refer back to as the book lacks both an index and a glossary so the reader is forced to search all over for information. The book lacks a "how-to" guide for selecting an amplifier based on the reader's level of performance/learning, even using 1993 date of publication examples. I could care less about vinyl coverings and the glue to hold them or how different companies in the 1950s started as much as I would like to see explanations about reverb units, parallel and series signals, splitting signals, and how different effects, both pedal and rack type interact with different types of amplifiers. It would also be nice to see the plusses and minuses of different manufacturers' offerings. The book didn't explain a lot of the basics well, including bias.

Ever heard of Peavey.......2003-02-21

Very interesting book, but I've heard that there's a little company in Mississippi that has made a few amps. How can a book about guitar amplifiers leave out one of the largest producers in the industry?

Changing the way you think about guitar tone.......2000-08-26

As the title of this book implies, it is about the role of guitar amplifiers in creating the unique signature sounds that many people instantly associate with various bands and guitarists they've heard over the years. While many musicians and the public tend to focus on the guitar itself in providing a unique sound, amps easily account for half or more of the sound quality and tonality of a performance. This book includes a good technical description of how guitar amps work, what makes them different from other types of amplifiers, and a worthwhile discussion of vintage tube amp tone versus the reissue models now being marketed by various manufacturers. It also has a useful troubleshooting section for dealing with various symptoms of an ailing amp. Perhaps the most interesting part of the book is on the human nature side, providing excellent thumbnail sketches of the various companies and personalities that were involved in pioneering amplifier innovations, such as Jim Marshall and the legendary Leo Fender. The book also deals with the histories and/or products of other companies (including Vox, Ampeg, MESA/Boogie, Roland, Gibson and others), and has lots of photographs and reproductions of old advertising fliers. My only complaint about the book is that it misses the opportunity to give at least a little bit of technical specifications for the amps that are discussed and pictured. As just one example, on page 21 there is a photograph of a Fender Tweed Deluxe that was taken in Tuscon with the caption: "This cinder-block wall art surrounding Tucson's biggest meat packing plant seemed like the logical place to shoot this amp. Musta been the heat." The effort at humor aside, a more useful caption might have been, "This model Tweed Deluxe was manufactured by Fender between 1954 and 1961 and boasted a single 12" Jensen and 15 watts of power." It would have been a mistake for Fliegler to try to provide extensive technical specs on the numerous amps that are pictured throughout the book, but a little more detail in the captions would have been appreciated. I wouldn't want this one narrow criticism to overshadow the value of this entertaining and useful book, which will be of interest to players and collectors alike. The best thing you can say about a book is that it will change the way you think -- and that is exactly what this book will do for the performing guitarist who has underestimated the impact of guitar amplification in providing a unique and personalized sound. As a well known working guitarist and someone who also worked for Marshall, Fliegler has the credentials and experience needed to speak on this subject with a lot of authority.

Highly recommended to all music lovers........1998-03-06

Ritchie Fliegler cuts right to the heart of Rock & Rock. That "sound." He describes the efforts of many to capture that sound. In this digital crazy world, it is refreshing to read about those who spend a life's effort trying to create a totally subjective, analog product that cannot be graphed, charted, or placed into another database. When that "sound" is heard---the amplifier's designer knows he's onto something very good. It's that simple. Yet, not an easy task. Fliegler's writing is unpretentious. He has a pure love of the amplifier's role in Rock & Roll. This helps to emphasize the luck and persistence needed by these amplifier designers. It's nice to read about people dedicated to their jobs. Not for money or power, but for the passionate pursuit of an elusive goal. I highly recommend this book. You do not need to be a musician nut to enjoy it. It reveals just how important that "sound" was to the history of Rock, as the Rock groups, themselves.

Sound Synthesis and Sampling (Music Technology Series)

Average customer rating:

good but could be more mathematical
Hopelessly and uselessly academic
EXCELLENT - couldn't put it down
yesterday today tomorrow
Dense and far-reaching material - excellent resource

Sound Synthesis and Sampling (Music Technology Series)
Martin Russ
Manufacturer: Focal Press
ProductGroup: Book
Binding: Paperback

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ASIN: 0240514297

Book Description

Sound Synthesis and Sampling is all about the principles of electronic musical instruments. It provides a comprehensive introduction to all the most common forms of analog and digital sound synthesis, as well as covering many of the less commonly encountered techniques used in research and academia.

Written in an almost entirely non-mathematical fashion, and extensively illustrated with clear diagrams, this book will make an ideal reference for students of music technology, audio engineering and acoustics, as well as for enthusiasts, musicians, engineers and multimedia specialists.

Questions are provided at the ends of chapters for revision purposes, and a substantial glossary explains a wide range of related terms. Time-lines show key events in the history of synthesis and examples are given of commercial products that employ the technology described.

Learn the underlying principles and practical techniques of synthesis and sampling
Information is designed in layers and with a non-mathematical approach, so to be accessible to students at all levels
Questions are provided at the end of each chapter to aid learning/teaching

Customer Reviews:

good but could be more mathematical .......2005-08-31

I like this book 'bout being very concise and detailed about the various synthesis processes, but a bit more mathemtics could get some of my curiosities fulfilled. The theory is excellent and understanding the different synthesis types is a breeze; the flowcharts are intuitive and diagrams are detailed. I love the presentation of each topic, and the humour of the author while reading it. A great starting point for music technology enthusiasts but no advice on programming synths or using advanced software like reaktor, so it could be more expansive on some perfomance and programming areas. Overall great reading value.

Hopelessly and uselessly academic.......2004-12-08

I was disappointed by this book. It is 100% theory and history of synthesis, written in a typical pedantic British style of writing (sorry, Brits) with 0% actual practical content. It's a mix of a bit of synthesis history with a bit of acoustics describing how these things make sound. But it seems to miss the point, and one could learn more just by playing a synthesiser for an hour than learning this book from cover to cover. If you're investingating this book with an eye towards learning how to program synths or better understand them, I think you'll be disappointed. It spends a lot of time discussing the pioneers (DX7, etc.) but doesn't even mention some of the most important synths of the day (Waldorf, Virus) and there's only a brief mention of softwaresynths (Reaktor, Reason) and none of softsamplers (Unity, Giga, etc.)) I think this book misses the mark; it fills your head with facts and figures but doesn't give you much that's actually useful. Sorry fellas.

EXCELLENT - couldn't put it down.......2003-05-10

A friend gave me the loan of this book when I asked some questions about synthesis. I read it twice before I reluctantly gave it back. After that I order my own copy from amazon. I really love this book. It is so well written. Enjoyable and informative. There is no maths and everything is explained in a simple fashion. I would like to see a series written by these two authors going into further detail on each of the types of snthesis covered.
I'd thoroughly advise it to anyone especially Music Technology students or Computer Music students.

yesterday today tomorrow.......2002-11-09

I got into computer music with Sonar and using only software synthesizers I opened up a whole new universe of sound. This book will help you on your way. A little history not much math but a lot of help. If you intend to follow this path give this book a read!

Dense and far-reaching material - excellent resource.......2002-06-22

If you have interest in finding out exactly what's happening with the sound as you twiddle those knobs, this book is an excellent choice. The author does a fine job of presenting an extraordinary amount of material - you will learn real, in-depth background about acoustics and synthesis techniques. I find myself constantly referring to this book when I am in my studio.

Dictionary of Music Production and Engineering Terminology

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Dictionary of Music Production and Engineering Terminology
Wayne Wadhams
Manufacturer: Schirmer Books
ProductGroup: Book
Binding: Hardcover

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ASIN: 002872691X

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Music Engineering, Second Edition
Richard Brice
Manufacturer: Newnes
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ASIN: 0750650400

Book Description

Music Engineering is a hands-on guide to the practical aspects of electric and electronic music. It is both a compelling read and an essential reference guide for anyone using, choosing, designing or studying the technology of modern music. The technology and underpinning science are introduced through the real life demands of playing and recording, and illustrated with references to well known classic recordings to show how a particular effect is obtained thanks to the ingenuity of the engineer as well as the musician. In addition, an accompanying free audio CD contains over 50 specially chosen tracks, provides practical demonstrations of the effects and techniques described in the book.

Written by a music enthusiast and electronic engineer, this book covers the electronics and physics of the subject as well as the more subjective aspects. The second edition includes an updated Digital section including MPEG3 and fact sheets at the end of each chapter to summarise the key electronics and science. AIn addition to instruments and recording technology, this book covers essential kit such as microphones, sequencers, amplifiers and loudspeakers.

Discover the potential of electronics and computers to transform your performances and recordings
Develop an understanding of the engineering behind state of the art instruments, amplifiers and recording equipment
A FREE CD-ROM completes the package with over 50 tracks providing practical demonstrations of the effects and techniques described in the book

Ambiophonics: Beyond Surround Sound to Virtual Sonic Reality

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Ambiophonics: Beyond Surround Sound to Virtual Sonic Reality
Ralph Glasgal , and Keith Yates
Manufacturer: Ambiophonics Institute
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Binding: Paperback

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Analysis, Synthesis, and Perception of Musical Sounds: The Sound of Music (Modern Acoustics and Signal Processing)

Average customer rating:

Excellent book on audio signal processing & musical timbre

Analysis, Synthesis, and Perception of Musical Sounds: The Sound of Music (Modern Acoustics and Signal Processing)

Manufacturer: Springer
ProductGroup: Book
Binding: Hardcover

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ASIN: 0387324968

Book Description

The problems of analyzing and synthesizing musical timbres have been prevalent for over half a century, and a book length exploration of this large and complex subject has been long overdue. Analysis, Synthesis, and Perception of Musical Sounds: Sound of Music consists of eight chapters that span the range from tutorial introduction to advanced research and application to speculative assessment of its various techniques. All of the contributors use a generalized additive sine wave model for describing musical timbre which gives a conceptual unity but is of sufficient utility to be adapted to many different tasks. The authors represent an international community of researchers and teachers in the field of analysis/synthesis/perception, and this book reflects the important trends and interests current in the subject. Due to its breadth, students will find the book a thorough introduction to current thinking and implementation of additive sine wave timbral models. Researchers new to the field will find a canvas of applications with citations to the relevant literature, which will also benefit the teacher searching for an effective syllabus. Due to its scope, Analysis, Synthesis, and Perception of Musical Sounds will become the standard reference in the field and will be seen as the catalyst for exciting research in the years ahead.

Customer Reviews:

Excellent book on audio signal processing & musical timbre.......2007-09-05

Covers both the "classic" techniques and some very recent advances in the analysis, modification and synthesis of musical sounds. The chapters on the psychoacoustics of musical timbre are excellent. I've got virtually every available book in the general area of audio signal processing and musical psychoacoustics, and this one is clearly the best so far. Chapters are contributed by several different authors. They provide both a clear review or summary of each topic and some cutting-edge "goodies" describing recent research and techniques in areas such re-synthesis of transients and noise, frequency tracking, and sound morphing.

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