Practical case studies and sound design secrets from humanoid singing to Klingon phasers

One of the great strengths of computer sound synthesis is its potential for the creation of an infinite variety of instruments and sounds. So far this book has introduced a number of synthesis techniques to explore this potential. Ideally, musicians should master all these techniques, but this is neither practical nor absolutely necessary for the production of good music. In practice, composers have an idea of what is generally possible and then select a few techniques on which to build their own modus operandi. 

When designing synthesis instruments, we should give preference to those techniques that best fit the way we understand the sound phenomena we want to work with. For example, whilst those composers interested in timbral manipulation will be better off working with analysis and resynthesis techniques (Chapter 3), those working with scientific metaphors (e.g. dynamic systems, cellular automata, etc.) would certainly prefer to use granular or statistical synthesis methods (Chapter 5). 

It is impossible to develop a set of definite rules for sound and instrument design, but we can, however, establish some guidelines. These should normally emerge from the study of the work of experienced composers, and, of course, from your own experience. 

This chapter introduces a few case studies of instrument and sound design. It begins with a discussion on the relationship between the sound phenomena and synthesis techniques. Then, an approach to instrument and sound design is outlined. This should by no means be considered as a finite set of rules to be followed strictly, but rather as a reference for the 

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Practical case studies and sound design secrets from humanoid singing to Klingon phasers... 

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