Hard-Disk Recording and Editing of Digital Audio. Presented at the 89th AES convention, September 21-25 1990, Preprint Number 3006 (K-6)
Whither Dither: Experience with High-Order Dithering Algorithms in the Studio. with Julia C. Wen. Presented at the 95 AES convention, October 7-10 1993, Preprint Number 3747 (B3-AM-3)
Breaking the Sound Barrier: Mastering at 96 kHz and Beyond. Presented at the 101st AES Convention, November 8-11 1996, Preprint Number 4357 (I-2)
Music Recording in the Age of Multi-Channel. Presented at the 103rd AES Convention, September 26-29 1997, Preprint Number 4623 (F-5)
Towards a Rational Basis for Multichannel Music Recording. (with Jack H. Vad) Presented at the 104th AES Convention, May 16-19 1998
A Native Stereo Editing System for Direct-Stream Digital. (with Ayataka Nishio and Yasuhiro Ogura) Presented at the 104th AES Convention, May 16-19 1998
48-Bit Integer Processing Beats 32-Bit Floating-Point for Professional Audio Applications. Presented at the 107th AES Convention, September 24-27 1999, Preprint Number 5038 (L-3)
For my older papers, I don't have machine-readable copies.
The Synthesis of Complex Audio Spectra by Means of Discrete Summation Formulas Journal of the Audio Engineering Society, Volume 24, Number 9, November 1976, pp717-727. "A new family of economical and versatile synthesis techniques has been discovered, which provide a means of controlling the spectra of audio signals, that has capabilities and control similar to those of Chowning's frequency modulation technique. The advantages of the current methods over frequency modulation synthesis are that the signal can be exactly limited to a specified number of partials, and that 'one-sided' spectra can be conveniently synthesized." That was the abstract of the paper.
Linear-Phase Bandsplitting: Theory and Applications (with Mark Berger)
Presented at the 76th Convention of the Audio Engineering Society, October 8-11, 1984,
New York, Preprint 2132 (session A-1)
"There are a number of applications for banks of bandpass filters in professional audio
studios, both for film and music production. In this paper, we explore digital techniques
for bandsplitting that have the property that the spectrum may be separated into a number
of bands such that when these bands are added back together, the result is a pure delay. There
need be no amplitude or phase distortion other than delay. This allows such applications
as linear-phase graphic equalizers, multi-band noise gates, and many other improvements over
conventional studio equipment. These algorithms have been implemented on a large-scale
audio signal processor and run in real time. They are currently being used in major motion
The Use of the Phase Vocoder in Computer Music Applications Journal of the Audio Engineering Society, Volume 26, Number 1/2, January/February 1978, pp42-45. This paper is one of the first (maybe the absolute first) to show how to use short-term Fourier transform as a method of analyzing and synthesizing musical sound, but with the signal-processing rigor necessary to make the system an identity in the absence of modification. Probably the most ignored contribution, and the one I consider probably the most important, is the technique for unwrapping the time-variant phase. Equation (9) represents a largely foolproof unwrapping method that involves no heuristics. This paper led to much of the subsequent work by Dolson and others who have extended and refined the method for time and frequency modification of high-quality musical sound.
Signal Processing Aspects of Computer Music: A Survey Proceedings of the IEEE, Volume 65, Number 8, August 1977, pp1108-1137. This was an invited paper. Larry Rabiner invited me to write and submit this paper. It still stands as a reasonable survey of signal processing in music. It is interesting that synthesis is so little used today, whereas recording and playback (i.e., sampling) is so common. I guess it's a lot easier. Missing from this paper is any discussion of processing of the signal (aside from analysis). The computation for any interesting processing, except maybe reverberation, was so expensive at that time that we were not able to do much of it.
About This Reverberation Business
Computer Music Journal, Volume 3, Number 2, June 1979. This is a somewhat rambling
random walk through some investigations into room reverberation. I had originally
submitted it to the Journal of the Acoustical Society of America (JASA). I got a
scathing review back that I swear was longer than the paper. The reviewer complained
that it was in "an antequated discursive style." Yeah, that's probably correct.
The reviewer differed with me on several technical points. I thought about it a while
and concluded that the reviewer missed the point and didn't know what he was talking
about, and in at least one area was flat wrong. Rather than try to fight with the
reviewer, I sent it to CMJ, who was quite happy to publish it the way I wrote it.