دانلود کتاب Designing Audio Effect Plugins in C++. For AAX, AU and VST3 with DSP Theory – طراحی پلاگین های جلوه صوتی در C++. برای AAX، AU و VST3 با تئوری DSP

توضیحات

There are a lot of things to love about teaching at the university levelthe periodicity of the semesters

(even when Hurricane Irma comes for a brief visit), the revival and rebirth as each graduating class

of seniors gives way to a new batch of freshmen, and of course theres summer break. But one of the

coolest parts is the fact that you get to reshape, revitalize, and reinvent your classes every year. You get

a perpetual do-over to fix the mistakes, the off-topic tangents, and the badly timed pop quizzes with

each new school yearand each year on the day of spring graduation, I make a list of the stuff to do

differently the next year.

The day I received my first copy of Designing Audio Effect Plug-Ins in C++ I began a list of the stuff

Id do differently if given another chance to write a second edition. That happened in the fall of 2016

when I met with my Focal Press editor at the Audio Engineering Society (AES) Convention and I

bounced the idea off of her for a new edition that fixed the issues with the first edition.

I wrote Designing Audio Effect Plug-Ins in C++ from a notebook of class notes I had made and used

during the 1990s in the Music Engineering Technology program at the University of Miami. There

were few sources on the practical implementation of audio effects in C++ or digital signal processing

(DSP) assembly. We wrote flangers, choruses, long delays, and even a plucked string model, right out

of those original class notes.

When I put the first book together, the idea was to combine DSP theory and C++ practice to show

how those algorithms could be implemented in code. I used my RackAFX platform and application

programming interface (API) for two reasons: the API was stunningly lightweight and simple to

understand, and it was not tied to any other software. I didnt have to worry about it becoming

obsolete. But some of the readers didnt like the fact that the plugins didnt run in Virtual Studio

Technology (VST) or Audio Unit (AU), and at first I didnt understand that. The book wasnt

supposed to be about those things; it was about the algorithms and the C++. RackAFX was an example

API to use as a conduit to demonstrate the ideas. After all, the other APIs are all basically the same

and do the same exact stuff.

The need to generate plugins for these APIs caused a ripple effect in the RackAFX software and the

original API, now named RAFX1 and gracefully retired. The last versions of RAFX1 could be exported

to AAX (Avid Audio eXtension), AU, and VST2/3 on Windows or MacOS in Microsoft Visual Studio

and Apple Xcode projects, and they ran directly as VST2 and VST3 plugins on Windows 32-bit digital

audio workstations (DAWs). This all came with a price: there was a lot of code dating back to 2004 or

earlier, much of it now considered illegal in C++11. Back then, a lot of programmers didnt use the

std:: library, preferring to hand-code the linked lists and hash tables. In addition, the original RAFX1

was never intended to need to display a custom graphical user interface (GUI). The original API was

written for a consulting project that involved a hardwired DSP chipthere was no GUI required. So

when I approached my Focal Press editor that fall in 2016, I had a new premise to work on: first, the

algorithms should be implemented in C++ objects that are fully portable across all APIs. After all, the

title does say . . . in C++.

Second, and more importantly, the second edition could not be RackAFX-centric, and there needed to

be a platform that anyone could use to write and design plugins on their DAW and operating system of

choice (Windows or MacOS). On top of that, this platform needed to be free from third parties for the

same reasons as beforeno worrying about someone making the product obsolete, and no worrying

about someone deciding to charge fees or royalties for its use. I would have to write that new platform

myself, independently of RackAFX or any software development kit (SDK) or operating system (OS).

So, after saying goodbye to my editor at the AES show, I got on the airplane and began the notes

for what is now called ASPiK (Audio Specific Plugin Kernel). Two years later, the new platform is

complete, along with a new book to show off dozens of algorithms in more than 55 C++ objects for

you to use in your own projects. These objects are written for any API and may easily be used across

platforms and SDKs. If you are already committed to using another framework, like JUCE, you will

see that the C++ objects will snap into any API or frameworkAbstraction 101 as my grad student

Madhur used to say. The book is not about ASPiK (although it is there if you need it) and it doesnt

rely on any platform. Those 55 C++ objects are not ASPiK objects either: they are straight C++ and

ready to rock right out of the box.

Chapters 18 are about plugins and the various plugin APIs. Instead of trying to re-print complete

code for all of the plugins across all of the APIs (something I wont try again), each API gets its own

Programming Guide chapter. If you look at the Table of Contents you can see that each chapters

section lists are virtually identical. These programming guides are to help you navigate the various

API documentation and sample code. As you move through them, you will start to notice something:

the APIs are all basically the same and do the same exact stuff, only the implementation details are

different. If you are new to plugin programming, you can use the free ASPiK platform. It is completely

self-contained, including a built-in drag-and-drop GUI designer that launches from any plugin window

(AAX, AU, or VST) on any platform (Windows or MacOS). Chapters 6 and 7 cover ASPiK basics, and

how to use RackAFX to generate ASPiK projectsthis is optional, and you dont need RackAFX to

use ASPiK or generate new blank projects. Chapter 8 explains how the C++ book objects are packaged

and how an example plugin GUI parameter list is shown. There are DSP objects for low-level signal

processing chores, effect objects that encapsulate complete effect algorithms and are designed to

interface with a GUI in any plugin framework, and finally an entire library of wave digital filter (WDF)

components and adaptors for generating countless types of digital ladder filters.

Chapters 9 through 22 encompass the DSP theory, effect algorithms, and C++ objects and their use

in audio plugins. Chapters 9 and 10 are the basic DSP theory chapters and remain almost unchanged

from the first edition, as they seemed to be reader favorites. However, Chapter 10 has been beefed up

with the rest of the common biquadratic filter structures, along with a bonus structure in the Homework

section. Chapters 1122 cover everything elseall of the original effects plus new chapters on

modulation, WDF and virtual analog filters, a fantastic new reverb, nonlinear processing, FFTs (fast

Fourier transforms), the phase vocoder, and finishing with sample rate conversion. The effects have all

been re-coded from scratch, and they sound fantastic and professional across the board.

If you look at the flow of the sections of each half of the book in the table of contents, you can see

that there are built-in through lines that run parallel across the chapters. This is most evident by the

ordering and naming of the sections, which repeat in sets, at first along with the various SDKs, and

later around the different DSP and effect objects. You can find the information on setting the plugin

latency for AAX, AU, or VST in the same spot in each chapter. Likewise, once you get the hang of

doing the first few C++ projects, then the rest will be easy because they all follow very consistent

design and coding patterns. Using ASPiK is extremely simple, and there are numerous tutorial videos

at www.willpirkle.com/support/video-tutorials/ to get you started. ASPiK is also very deep, including

very complex GUI and drawing options, GUI zooming, and other topics too advanced for this textall

of this is also documented along with the ASPiK product and at my website as well.

Thanks to Lara Zoble, my Focal Press editor who encouraged me and believed in the premise for

the second edition. In addition, I need to say thanks to all those at the University of Miamis Frost

School of Music whove both supported me and entrusted me with the Music Engineering Technology

program. They include Dean Shelly Berg, Rey Sanchez, and Serona Elton, along with my faculty

colleagues Joe Abbati, Chris Bennett, Dana Salminen and of course my old boss, Ken Pohlmann, who

is now surfing somewhere in north Florida, and having finally attained the higher plane we used

to dream about, is blissfully ignorant of the yearly SACS reports that need filing. Again. Thanks also

to my students who helped greatly with the RackAFX software and helped guide the directions of

my classes all these years. Most recently that would include Madhur Murli, Lucas Pylypczak, Luke

Habermehl, Akhil Singh, Jay Coggin, Hunter Garcia and Sanket Kulkarni, plus many more who also

played a role. I must include a massive shout-out to my former student Alex Zinn, who translated

various parts of the book Digitale Signalverarbeitung by Kammeyer and Kroschelthe original source

of the combined WDF RL, LC and RL models in Chapter 12from German.

As with the original book, I look forward to hearing what youve cooked up in your own plugin labs.

You can find me at www.willpirkle.com. Please send videos and recordings of your plugin audio

madness!

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ترجمه ماشینی :

در مورد تدریس در سطح دانشگاه چیزهای زیادی برای دوست داشتن وجود دارد، تناوب ترم ها (حتی زمانی که طوفان ایرما برای بازدید کوتاهی می آید)، احیای دوباره و تولد دوباره به عنوان هر کلاس فارغ التحصیلی از سالمندان جای خود را به دسته جدیدی از دانشجویان سال اول می دهد. ، و البته تعطیلات تابستانی وجود دارد. اما یکی از جالب‌ترین بخش‌ها این واقعیت است که می‌توانید هر سال کلاس‌های خود را تغییر شکل دهید، احیا کنید و دوباره اختراع کنید. برای رفع اشتباهات، مماس‌های خارج از موضوع، و آزمون‌های پاپ با زمان‌بندی بد با هر سال تحصیلی جدید، یک کار دائمی دریافت می‌کنید و هر سال در روز فارغ‌التحصیلی بهار، فهرستی از کارهایی که باید انجام دهم تهیه می‌کنم. سال بعد متفاوت است روزی که اولین نسخه خود را از طراحی افزونه های جلوه صوتی در C++ دریافت کردم، فهرستی از کارهایی را شروع کردم که اگر فرصتی برای نوشتن نسخه دوم به من داده شود، به روش دیگری انجام می دهم. این اتفاق در پاییز 2016 افتاد، زمانی که من با سردبیر مطبوعاتی کانونی خود در کنفرانس انجمن مهندسی صدا (AES) ملاقات کردم و ایده او را برای یک نسخه جدید که مشکلات نسخه اول را برطرف می کرد، به ذهنم خطور کرد. من طراحی پلاگین های جلوه های صوتی را در C++ از دفترچه یادداشت های کلاسی که در دهه 1990 در برنامه فناوری مهندسی موسیقی در دانشگاه میامی ساخته و استفاده کرده بودم نوشتم. منابع کمی در مورد اجرای عملی جلوه های صوتی در C++ یا مونتاژ پردازش سیگنال دیجیتال (DSP) وجود داشت. ما فلانگرها، گروه های کر، تأخیرهای طولانی و حتی یک مدل رشته های کنده شده را درست خارج از نت های کلاس اصلی نوشتیم. وقتی اولین کتاب را کنار هم گذاشتم، ایده این بود که تئوری DSP و تمرین ++C را با هم ترکیب کنم تا نشان دهم چگونه می توان آن الگوریتم ها را در کد پیاده سازی کرد. من از پلتفرم RackAFX و رابط برنامه نویسی برنامه (API) خود به دو دلیل استفاده کردم: API به طرز خیره کننده ای سبک و قابل درک بود و به هیچ نرم افزار دیگری مرتبط نبود. من نباید نگران منسوخ شدن آن باشم. اما برخی از خوانندگان این واقعیت را دوست نداشتند که پلاگین ها در Virtual Studio Technology (VST) یا Audio Unit (AU) اجرا نمی شدند، و در ابتدا من این را متوجه نشدم. قرار نبود کتاب درباره این چیزها باشد. این در مورد الگوریتم ها و ++C بود. RackAFX یک مثال API برای استفاده به عنوان مجرای برای نشان دادن ایده ها بود. از این گذشته، سایر APIها اساساً یکسان هستند و دقیقاً همان کارها را انجام می دهند. نیاز به تولید پلاگین برای این APIها باعث ایجاد یک افکت امواج در نرم افزار RackAFX و API اصلی شد که اکنون RAFX1 نامیده می شود و به خوبی بازنشسته شده است. آخرین نسخه‌های RAFX1 را می‌توان به AAX (Avid Audio Extension)، AU، و VST2/3 در ویندوز یا MacOS در پروژه‌های Microsoft Visual Studio و Apple Xcode صادر کرد، و آنها مستقیماً به‌عنوان پلاگین VST2 و VST3 در Windows 32- اجرا شدند. بیت دیجیتال ایستگاه های کاری صوتی (DAW). همه اینها با قیمتی همراه بود: کدهای زیادی وجود داشت که به سال 2004 یا قبل از آن بازمی‌گشت، بسیاری از

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