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Designing Software Synthesizer Plug-Ins in C++: For RackAFX, VST3, and Audio Units, by Will Pirkle
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Bridging the gap from theory to programming, Designing Software Synthesizer Plug-Ins in C++ For RackAFX, VST3 and Audio Units contains complete code for designing and implementing software synthesizers for both Windows and Mac platforms. You will learn synthesizer operation, starting with the underlying theory of each synthesizer component, and moving on to the theory of how these components combine to form fully working musical instruments that function on a variety of target digital audio workstations (DAWs). Containing some of the latest advances in theory and algorithm development, this book contains information that has never been published in textbook form, including several unique algorithms of the author’s own design.
The book is broken into three parts: plug-in programming, theory and design of the central synthesizer components of oscillators, envelope generators, and filters, and the design and implementation of six complete polyphonic software synthesizer musical instruments, which can be played in real time. The instruments implement advanced concepts including a user-programmable modulation matrix. The final chapter shows you the theory and code for a suite of delay effects to augment your synthesizers, introducing you to audio effect processing.
The companion website, www.focalpress.com/cw/pirkle, gives you access to free software to guide you through the application of concepts discussed in the book, and code for both Windows and Mac platforms. In addition to the software, it features bonus projects, application notes, and video tutorials. A reader forum, monitored by the author, gives you the opportunity for questions and information exchange.
- Sales Rank: #529014 in eBooks
- Published on: 2014-10-30
- Released on: 2014-10-30
- Format: Kindle eBook
About the Author
Will Pirkle is an Assistant Professor of Music Engineering Technology at the University of Miami Frost School of Music and is the author of Designing Audio Effects Plug-Ins in C++. He teaches classes in C++ Audio Programming, Signal Processing and Audio Synthesis Theory, and Mobile App Programming. In addition to ten years of teaching at the University of Miami, Mr. Pirkle has twenty years of experience in the audio industry working and consulting for such names as Korg Research and Development, SiriusXM Radio, Diamond Multimedia, Gibson Musical Instruments, and National Semiconductor Corporation. An avid guitarist and studio owner, Mr. Pirkle still seeks projects that combine all his skills. www.willpirkle.com
Most helpful customer reviews
8 of 9 people found the following review helpful.
My favorite computer programming book of all time!
By duck cover
As the title suggest, this book is about writing Software Synthesizers in C++, so this really implies that this book is not for the weak hearted only from reading the title. So far for the other review, only giving it 3 stars, it's completely useless and has absolutely nothing to do with what this book is about in the first place, and does not assess the quality of the writings in any way.
This book is a god send for me, I have been waiting for this for many years! I am only half through so far (will update this review after I have worked it through) but I can already tell that this is a total quality product as it does not often happen with computer books. I would even go as far as to say that it is stroke of genius. Let me explain.
I am "flitring" with DSP since years, but without a deep academic background, I always faced some hurdles that were very difficult to overcome. First there is the math, and then if you want to do stuff like synthesizers containing a plethora of different objects acting together to form a quite complex network. Sure, all the information found in this book can be found elsewhere online (if you are willing to dig hard enough and bang your head against the wall for many months), but how it is present here in a concise manner is almost too good to be true. You get in depth and current information on how it is done the right way. Oscillator design, filters, envelopes, all explained with cross-references to all the great synthesizers made in the last few decades. Many a nice detail of the history can be found in the texts, e.g. i didn't know that Dave Smith was involved in designed Korgs Wavestation.
Will Pirkle deserves an Oscar just for RackAFX alone, the Windows IDE he designed originally for his students in his DSP classes, an incredible useful tool for learning and experimenting. But now with taking it to the next level, including the two most important plugin-platforms VST3 and AudioUnit, that's the real stroke of genius of this book and sets it apart from everything else currently available.
I find working through his book enormously pleasurable, Wills writing style is on a great level and has a good flow, I would love to go to his DSP classes. Also for a first edition, this book is extremely well edited, there are almost no typos. Check the errata on his page, it is ridiculously short for such a technical book, this fact alone speaks volumes.
This is already my favorite programming book of all time. It is like it was specially written for me. Therefore, I would love to congratulate everybody who was involved in the process of publishing it, this hard work should be rewarded to the fullest.
4 of 4 people found the following review helpful.
Best book you can find on this topic but not as accessible as it could have been
By Per Nyblom
This is a very advanced book about designing software synthesizers that mimic existing hardware synths.
Since synthesizer design books are really rare, this is a great addition. It contains a lot more info than the other synth book I own: "BasicSynth".
However, the author seems to be moving more towards research than teaching, which makes this synth book a lot less accessible than BasicSynth and his previous book "Designing Audio Effect Plug-Ins in C++".
To fully understand this book, you'll need to study or already know about analog filters and the role of the Laplace transform for handling such dynamical, continuous systems. Some info about converting analog filters to digital is available in "Designing Audio Effect Plug-Ins in C++" but that book doesn't cover analog filters.
The code that comes with the book is of high quality. It contains the right level of abstractions for teaching this topic.
It is pretty amazing that the author is able demonstrate how to write synthesizer plugins for three different APIs (VST, AU and RackAFX).
I think that the book should have included more info about code optimization since that is very important for software synths. Maybe an appendix (or online chapter) demonstrating how to make it run faster by avoiding deep call stacks, using table lookups for expensive functions, strategies for making a much faster modulation matrix and possibly some hints how to run a profiler on a system like this.
To summarize, this book contains a lot of useful info about how to design software synths. It is the best and most detailed I've found, but it could have been a lot more accessible and also a bit more practical.
0 of 0 people found the following review helpful.
In-Depth Multi-API Approach / Very Well-Structured
By frankp93
I received a free item to review.
This isn’t like those game programming/graphics books from years back where you could just ‘play with the executables’ and skip the explanations and theory (I suppose that’s possible if you’re good enough to simply build it all and let it rip - but I think that defeats the purpose).
The real value in ‘Developing Software Synthesizers Plug-Ins in C++’ is not simply getting the six synths to run with your choice of plug-in container and platform. It’s understanding what Pirkle has to say about software synth design, component details, and recognizing similarities across common plug-in APIs well-enough to customize and extend the designs, or use them as jump-off points for your own.
Depending on your DSP background I’d recommend Polmann’s ‘Principles of Digital Audio’ – as Pirkle does in the very useful bibliographies at the end of each chapter. I still have my second edition of Polmann and, while it’s been updated several times, the fundamentals remain the same and I think it’s one of the more readable DSP books out there that doesn’t drown you in math.
And speaking of math, Pirkle doesn’t drown you here either – although as he states it’s impossible to avoid it completely – even the dreaded C word - calculus. But fear not, to his credit, Pirkle keeps it all very readable and interesting.
And that’s true across the board: While the book is ambitious it will reward those willing to put in the time. There’s quite a lot of discussion of DSP, MIDI and synth theory but Pirkle doesn’t presume much expertise or even advanced knowledge and the writing is very clean and straightforward.
The C++ code is what I’d call early-intermediate level: you should understand pointers, classes and basic OO design, type coercion and casting to work with floating point values. There’s no use of libraries such as Boost, ATL, or of templates in general.
If you focused on Windows you should understand DLL architecture and be comfortable working in Visual Studio (the downloaded code was build with 2008 but compiled with 2013 with no problems).
The code focuses more on class framework architecture, including Pirkle’s own RackAFX introduced in his previous book (which makes a useful companion but not absolutely essential) and API usage rather than extensive algorithms, low-level data structures, and memory manipulation. If you’ve coded against Win32 natively or used MFC, and worked with Audio/MIDI libraries and frameworks Pirkle’s syntax and use of Hungarian notation will feel familiar.
If you’re a C programmer with audio programming experience, such as working through ‘The Audio Programming Book’, you should be OK.
Likewise if you have strong Java skills, especially in library/API design, just watch the pointers and keep a C++ reference handy.
I’m not a Mac developer but the additional requirements Pirkle mentions mostly have to do with building GUIs for the synths – this requires knowledge of Objective C and the XCode compiler. Mac is not shortchanged at all in the book – all synths are presented to run on both platforms.
If you have Pirkle’s previous book and are wondering about overlap, know that this one stands on its own with deliberately new implementation ideas and an emphasis on native code – yet it clearly won’t hurt anyone who first explored plug-in writing and audio effects with RackAFX in the earlier book.
Pirkle chooses three ‘container’ APIs on two platforms RackAFX/Windows, VST/Windows and AU/MacOS and illustrates separate and complete implementations of both a ‘training synth’ to teach core synthesis concepts and implementation, as well as six polyphonic synthesizers that utilize a variety of algorithms including an audio sample playback synth, vector synth, and clones of the Yamaha DX100 and the Moog AniMoog Anisotropic Synth iPad app.
A real strength of the book is its structure. Pirkle first presents the Nanosynth as a ‘training synth’, gradually adding components as he covers oscillators, filters and other core synthesizer concepts. The beauty is you’re learning design as you’re building-out the Nanosynth and Pirkle encourages you to think about ‘countless variations’ all along the way.
By the time you get to the six complete synths you understand enough to choose whichever ones spark your curiosity (hint: they all will).
With all the focus here on technology it’s sometimes easy to lose sight of a simple truth: At the end of the day, you’re building musical instruments in software - regardless of how broad your definitions of music and instruments are.
For those of us who take that notion seriously there’s every reason to approach the software craft with the same thoughtfulness and attention to detail as though you were building a violin or a guitar in wood. I happen to work in both and I think that connection is important and worthwhile.
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