[texhax] TOC problems

[Andy Farnell]

Thanks for reponse Lars,

I have discovered something that seems relevant, a correlation between
the main.toc file and the errant behaviour.

The book comprises 4 parts, theory, tools, technique and practicals.

Parts 1-3 are fine. These are very orthodox with sections, subsections
and so forth. They print fine in the TOC.

Part 4 is special, because each chapter follows exactly the same section
structure - Aims, Analysis, Methods, DSP code, Results, Conclusions etc.
Because of this I do not want the sections to show up, so I use 
\section*{} throughout.

I have elected to make the TOC depth to the sections level, which gives
the optimal information but no more. 

The result is that main.toc follows a traditional format 
Part 1
Chapter 1
Section 1
Subsection 1 ...
Section 2 ...

Chapter 2
Section 1 ...

Part 2 ...

(of course only the Parts, Chapters and Sections print in TOC)

all the way up to 

Part 4

but then there are no other entries deeper than chapter, so it continues

Chapter n
Chapter n+1
Chapter n+2 ...

Here is where the problem starts.

Latex doesn't want to split these over a page.

I'm considering some options such as trying to use

\addtocontents{toc}{\protect\newpage} to force a page break.

>From the tocloft manual

"You may get undesired page breaks in the ToC. For example you may have
long multiline section title and in the ToC there is a page break between
the lines. After your document is stable you can use \addtocontents at
appropriate places in the body of the document to adjust the page breaking
in the ToC."

QUESTION:

Is it a fair assumption that the .toc file effectively isolates the
TOC printing from any other prior code that produced it? If so
the problem seems related to the lack of any children to chapters.

Have I found a bug?

Is there a possible remedy like inserting some kind of invisible
child level to chapter in Part 4?

Thankyou for any thoughts,

Andy Farnell

 
::main.toc::

\contentsline {chapter}{\numberline {1}Introduction}{1}
\contentsline {part}{I\hspace {1em}Theory}{5}
\mbox {}\hrulefill \par
\contentsline {chapter}{\numberline {2}Introduction to theory chapters}{7}
\contentsline {chapter}{\numberline {3}Physical Sound}{9}
\contentsline {section}{\numberline {3.1}Elementary physics}{9}
\contentsline {subsection}{Energy}{9}
\contentsline {subsection}{Force}{9}
\contentsline {subsection}{Work}{9}
\contentsline {subsection}{Systems}{10}
\contentsline {subsection}{Power}{10}
\contentsline {subsection}{Energy sources}{10}
\contentsline {subsection}{Matter and mass}{10}
\contentsline {subsection}{Force, distance and acceleration}{11}
\contentsline {subsection}{Displacement, movement and freedom}{11}
\contentsline {subsection}{Excitation}{12}
\contentsline {section}{\numberline {3.2}Materials}{12}
\contentsline {subsection}{Elasticity and restoration}{13}
\contentsline {subsection}{Density}{14}
\contentsline {subsection}{Plasticity}{15}
\contentsline {subsection}{Structure and strength}{16}
\contentsline {section}{\numberline {3.3}Waves}{17}
\contentsline {subsection}{Wave models}{17}
\contentsline {subsection}{Exchange of forces}{17}
\contentsline {subsection}{Propagation}{18}
\contentsline {subsection}{Wave types}{19}
\contentsline {subsection}{Amplitude}{20}
\contentsline {subsection}{Speed}{20}
\contentsline {subsection}{Group and phase velocity}{21}
\contentsline {subsection}{Wavelength}{22}
\contentsline {subsection}{Frequency and period}{22}
\contentsline {subsection}{Simple wave math}{23}
\contentsline {subsection}{Phase}{23}
\contentsline {subsection}{Superposition and phase cancellation}{23}
\contentsline {section}{\numberline {3.4}Boundaries}{24}
\contentsline {subsection}{Phase of bending waves at solid boundaries}{25}
\contentsline {subsection}{Coupling}{26}
\contentsline {subsection}{Reflection and standing waves}{27}
\contentsline {subsection}{Modes}{28}
\contentsline {subsection}{Visualising sound waves}{29}
\contentsline {subsection}{Shape}{29}
\contentsline {subsection}{Entropy and heat}{30}
\contentsline {subsection}{Loss and Damping}{30}
\contentsline {section}{\numberline {3.5}Analogs}{31}
\contentsline {subsection}{Potential}{31}
\contentsline {subsection}{Energy inlet}{32}
\contentsline {subsection}{Flow}{32}
\contentsline {subsection}{Resistance}{32}
\contentsline {subsection}{Tap or outlet}{33}
\contentsline {subsection}{Capacitance}{33}
\contentsline {subsection}{Example network analogy}{33}
\contentsline {subsection}{Example system analysis}{34}
\contentsline {subsection}{Textbooks}{34}
\contentsline {chapter}{\numberline {4}Oscillations}{37}
\contentsline {section}{\numberline {4.1}Oscillators}{37}
\contentsline {subsection}{Period and frequency}{37}
\contentsline {subsection}{Frequency of a spinning object}{37}
\contentsline {subsection}{Relaxation}{39}
\contentsline {subsection}{Frequency of relaxation systems}{40}
\contentsline {subsection}{Quantisation}{41}
\contentsline {section}{\numberline {4.2}Simple harmonic oscillators}{41}
\contentsline {subsection}{Frequency of a mass on spring}{42}
\contentsline {subsection}{Frequency of a pendulum}{43}
\contentsline {subsection}{Frequency of an LC network}{44}
\contentsline {section}{\numberline {4.3}Complex harmonic oscillators}{45}
\contentsline {subsection}{Oscillation of a string}{46}
\contentsline {subsection}{Oscillation of a bar or rod}{46}
\contentsline {subsection}{Oscillation of cones, membranes, laminas}{48}
\contentsline {section}{\numberline {4.4}Driven oscillations and resonance}{48}
\contentsline {chapter}{\numberline {5}Acoustics}{51}
\contentsline {section}{\numberline {5.1}Acoustic systems}{51}
\contentsline {subsection}{Vibrations in air}{51}
\contentsline {subsection}{Radiation}{52}
\contentsline {subsection}{Radiation patterns}{52}
\contentsline {subsection}{Spherical, cylindrical and planar waves}{53}
\contentsline {section}{\numberline {5.2}Intensity and attenuation}{54}
\contentsline {subsection}{Sound pressure level}{54}
\contentsline {subsection}{Position and correlation}{54}
\contentsline {subsection}{Acoustic sound intensity}{55}
\contentsline {subsection}{Geometric Attenuation}{56}
\contentsline {subsection}{Transmission and absorption}{56}
\contentsline {section}{\numberline {5.3}Other propagation effects}{58}
\contentsline {subsection}{Reflection}{58}
\contentsline {subsection}{Scattering}{58}
\contentsline {subsection}{Dispersion}{59}
\contentsline {subsection}{Refraction}{59}
\contentsline {subsection}{Diffraction}{60}
\contentsline {subsection}{Diffusion}{61}
\contentsline {subsection}{Ground effects}{62}
\contentsline {subsection}{Oblique boundary loss}{62}
\contentsline {subsection}{Wind shear}{62}
\contentsline {subsection}{Aberration}{63}
\contentsline {subsection}{The Doppler effect}{63}
\contentsline {subsection}{Room acoustics}{63}
\contentsline {subsection}{Reverb time}{64}
\contentsline {subsection}{Outdoor acoustics}{65}
\contentsline {section}{\numberline {5.4}Acoustic oscillations}{65}
\contentsline {subsection}{Turbulence}{66}
\contentsline {subsection}{Laminar flow}{66}
\contentsline {subsection}{Chaos and vortices}{66}
\contentsline {subsection}{Reynolds number}{66}
\contentsline {subsection}{Sounds of turbulence}{67}
\contentsline {subsection}{Pipes}{67}
\contentsline {subsection}{Radiation from pipes and horns}{68}
\contentsline {subsection}{Helmholtz oscillator}{69}
\contentsline {subsection}{Textbooks}{69}
\contentsline {subsection}{Papers}{70}
\contentsline {subsection}{Online resources}{70}
\contentsline {chapter}{\numberline {6}Psychoacoustics}{71}
\contentsline {section}{\numberline {6.1}Perceiving sounds}{71}
\contentsline {subsection}{Ears}{71}
\contentsline {subsection}{Frequency range of human hearing}{72}
\contentsline {subsection}{Non-linearity}{72}
\contentsline {subsection}{Threshold of hearing}{72}
\contentsline {subsection}{Just noticable difference}{73}
\contentsline {subsection}{Localisation}{73}
\contentsline {subsection}{Inter-aural time difference}{73}
\contentsline {subsection}{Inter-aural intensity difference}{74}
\contentsline {subsection}{Head response transfer function}{74}
\contentsline {subsection}{Distance}{74}
\contentsline {subsection}{Source identity}{75}
\contentsline {subsection}{Perception of loudness}{75}
\contentsline {subsection}{Loudness scales and weighting}{75}
\contentsline {subsection}{Duration and loudness}{76}
\contentsline {subsection}{Fatigue}{77}
\contentsline {subsection}{Change of loudness}{77}
\contentsline {subsection}{Perception of frequency}{77}
\contentsline {subsection}{Pure tone discrimination}{77}
\contentsline {subsection}{Critical bands}{77}
\contentsline {subsection}{Ranges}{78}
\contentsline {subsection}{Resolution}{79}
\contentsline {subsection}{Average of close components}{79}
\contentsline {subsection}{Rapid change of amplitude}{79}
\contentsline {subsection}{Phantom fundamentals}{80}
\contentsline {subsection}{Huggins binaural pitch}{80}
\contentsline {subsection}{Bilsen band edge pitch}{80}
\contentsline {subsection}{Perception of spectra}{80}
\contentsline {subsection}{Perception of harmonic and inharmonic spectra}{80}
\contentsline {subsection}{Consonance, harmony and roughness}{81}
\contentsline {subsection}{Brightness, dullness and spectral centroid}{81}
\contentsline {subsection}{Resonance, flatness and formants}{82}
\contentsline {subsection}{Perception of temporal structure}{82}
\contentsline {subsection}{Granularity}{83}
\contentsline {subsection}{Events and flows}{83}
\contentsline {subsection}{Envelopes}{83}
\contentsline {subsection}{Attack}{83}
\contentsline {subsection}{Transient and rise time}{83}
\contentsline {subsection}{Slow attacks}{84}
\contentsline {subsection}{Decay}{84}
\contentsline {subsection}{Sustain}{84}
\contentsline {subsection}{Release}{85}
\contentsline {subsection}{Effort and movement}{85}
\contentsline {subsection}{Precedence and belonging}{85}
\contentsline {subsection}{Gabor limit for duration}{85}
\contentsline {subsection}{Hirsh limit for ordering}{85}
\contentsline {subsection}{Streaming}{85}
\contentsline {subsection}{Streaming by pitch}{86}
\contentsline {subsection}{Van Noorden ambiguity}{86}
\contentsline {subsection}{Spectral and spacial streams}{86}
\contentsline {section}{\numberline {6.2}Sound cognition}{87}
\contentsline {subsection}{Gestalt effects}{87}
\contentsline {subsection}{Discrimination}{87}
\contentsline {subsection}{Scaling}{87}
\contentsline {subsection}{Similarity}{88}
\contentsline {subsection}{Matching}{88}
\contentsline {subsection}{Classification}{89}
\contentsline {subsection}{Identification}{89}
\contentsline {subsection}{Recognition}{89}
\contentsline {subsection}{Attention}{90}
\contentsline {subsection}{Correspondence}{90}
\contentsline {subsection}{Asynchronous sound}{90}
\contentsline {subsection}{Acousmatic sound}{91}
\contentsline {subsection}{The audio-visual contract}{91}
\contentsline {subsection}{Absence}{91}
\contentsline {subsection}{Concurrent masking}{92}
\contentsline {subsection}{Temporal proximity masking}{92}
\contentsline {section}{\numberline {6.3}Auditory scene analysis}{93}
\contentsline {subsection}{Segregation}{93}
\contentsline {subsection}{Schema activation}{93}
\contentsline {subsection}{Primitive features}{94}
\contentsline {subsection}{Harmonicity}{94}
\contentsline {subsection}{Continuity}{94}
\contentsline {subsection}{Momentum}{95}
\contentsline {subsection}{Monotonicity}{95}
\contentsline {subsection}{Temporal correlation}{95}
\contentsline {subsection}{Coherence}{96}
\contentsline {subsection}{The process of scene analysis}{96}
\contentsline {section}{\numberline {6.4}Auditory Memory}{96}
\contentsline {subsection}{Short and long term memory}{97}
\contentsline {subsection}{Auditory pipeline}{97}
\contentsline {subsection}{Verbal and non-verbal memory}{97}
\contentsline {subsection}{Visual augmentation}{97}
\contentsline {section}{\numberline {6.5}Listening strategies}{98}
\contentsline {subsection}{Listening hierarchy}{98}
\contentsline {subsection}{Reflexive}{98}
\contentsline {subsection}{Connotative}{98}
\contentsline {subsection}{Causal}{99}
\contentsline {subsection}{Empathetic}{99}
\contentsline {subsection}{Functional}{99}
\contentsline {subsection}{Semantic}{99}
\contentsline {subsection}{Critical}{100}
\contentsline {subsection}{Reduced}{100}
\contentsline {subsection}{Analytic listening}{100}
\contentsline {subsection}{Component analysis}{100}
\contentsline {subsection}{Signal listening}{100}
\contentsline {subsection}{Engaged}{101}
\contentsline {section}{\numberline {6.6}Physiological responses to sound}{101}
\contentsline {subsection}{Stapedius reflex}{101}
\contentsline {subsection}{Startle response}{102}
\contentsline {subsection}{Orientation response}{102}
\contentsline {subsection}{Ecstatic response}{102}
\contentsline {subsection}{Stress responses}{102}
\contentsline {subsection}{Binaural beat entrainment}{103}
\contentsline {subsection}{Psycho-theraputical applications and Art}{103}
\contentsline {subsection}{Cross-modal perception}{103}
\contentsline {section}{\numberline {6.7}Sound, Language and knowledge}{104}
\contentsline {subsection}{Imagining sound}{104}
\contentsline {subsection}{Talking about sound}{104}
\contentsline {subsection}{Noun descriptions}{104}
\contentsline {subsection}{Adjective and adjunctive descriptions}{105}
\contentsline {subsection}{Gerund verb descriptions}{105}
\contentsline {subsection}{Onomatopoeia and alliteration}{105}
\contentsline {subsection}{Reference points}{105}
\contentsline {subsection}{Procedural knowledge}{106}
\contentsline {subsection}{Declarative domain knowledge}{106}
\contentsline {subsection}{Imperative knowledge}{106}
\contentsline {subsection}{Poetic knowledge}{106}
\contentsline {subsection}{Categorical knowledge}{106}
\contentsline {subsection}{Weak cultural domain knowledge}{107}
\contentsline {subsection}{Strong cultural domain knowledge}{107}
\contentsline {subsection}{Exercise 1 - Perception}{107}
\contentsline {subsection}{Exercise 2 - Language}{107}
\contentsline {subsection}{Exercise 3 - Knowledge and communication}{107}
\contentsline {subsection}{Books}{108}
\contentsline {subsection}{Papers}{108}
\contentsline {subsection}{Online resources}{110}
\contentsline {chapter}{\numberline {7}Digital Signals}{111}
\contentsline {section}{\numberline {7.1}Signals}{111}
\contentsline {subsection}{Transducers}{111}
\contentsline {subsection}{Electronic, continuous signals}{111}
\contentsline {subsection}{Sound transducers}{111}
\contentsline {subsection}{Information}{111}
\contentsline {subsection}{Representing signals}{112}
\contentsline {subsection}{Digital encoding}{113}
\contentsline {subsection}{Digital to analog conversion}{113}
\contentsline {subsection}{Analog to digital conversion}{114}
\contentsline {subsection}{Digital signal processing}{114}
\contentsline {subsection}{Floating point normalised form}{115}
\contentsline {subsection}{Smoothing samples}{116}
\contentsline {section}{\numberline {7.2}Graphs}{116}
\contentsline {subsection}{Spectrums}{116}
\contentsline {subsection}{Spectrograms}{118}
\contentsline {subsection}{Waterfall plots}{118}
\contentsline {section}{\numberline {7.3}Generating digital waveforms}{119}
\contentsline {subsection}{Generating samples}{119}
\contentsline {subsection}{Buffering}{120}
\contentsline {subsection}{The sound of zero (silence)}{120}
\contentsline {subsection}{The sound of one (constants)}{121}
\contentsline {subsection}{Moving signals}{122}
\contentsline {subsection}{Sinusoidal waves}{123}
\contentsline {subsection}{Complex harmonic motion}{125}
\contentsline {subsection}{Randomly moving signals}{126}
\contentsline {subsection}{Suddenly moving signals}{127}
\contentsline {subsection}{Slowly moving signals}{130}
\contentsline {subsection}{Signal programming abstraction}{131}
\contentsline {subsection}{A Csound snippet}{131}
\contentsline {subsection}{A CLM snippet}{132}
\contentsline {subsection}{Papers}{132}
\contentsline {subsection}{Books}{133}
\contentsline {subsection}{Online resources}{133}
\contentsline {part}{II\hspace {1em}Tools}{135}
\mbox {}\hrulefill \par
\contentsline {chapter}{\numberline {8}Tools introduction}{137}
\contentsline {section}{\numberline {8.1}You will need:}{137}
\contentsline {section}{\numberline {8.2}Tools for sound design}{137}
\contentsline {section}{\numberline {8.3}Supporting tools}{138}
\contentsline {chapter}{\numberline {9}Starting with Pure Data}{139}
\contentsline {section}{\numberline {9.1}Pure Data}{139}
\contentsline {subsection}{Installing and running Pure Data}{140}
\contentsline {subsection}{Testing Pure Data}{140}
\contentsline {section}{\numberline {9.2}How does Pure Data work?}{141}
\contentsline {subsection}{Objects}{141}
\contentsline {subsection}{Connections}{142}
\contentsline {subsection}{Data}{142}
\contentsline {subsection}{Patches}{142}
\contentsline {subsection}{A deeper look at Pd}{143}
\contentsline {subsection}{Pure Data software architecture}{143}
\contentsline {subsection}{Your first patch}{143}
\contentsline {subsection}{Creating a canvas}{143}
\contentsline {subsection}{New object placement}{144}
\contentsline {subsection}{Edit mode and wiring}{145}
\contentsline {subsection}{Initial parameters}{145}
\contentsline {subsection}{Modifying objects}{146}
\contentsline {subsection}{Number input and output}{146}
\contentsline {subsection}{Toggling edit mode}{146}
\contentsline {subsection}{More edit operations}{146}
\contentsline {subsection}{Patch files}{147}
\contentsline {section}{\numberline {9.3}Message data and GUI boxes}{147}
\contentsline {subsection}{Selectors}{148}
\contentsline {subsection}{Bang message}{148}
\contentsline {subsection}{Bang box}{148}
\contentsline {subsection}{Float messages}{148}
\contentsline {subsection}{Number box}{148}
\contentsline {subsection}{Toggle box}{149}
\contentsline {subsection}{Sliders and other numerical GUI elements}{149}
\contentsline {subsection}{General messages}{150}
\contentsline {subsection}{Message box}{150}
\contentsline {subsection}{Symbolic messages}{150}
\contentsline {subsection}{Symbol box}{150}
\contentsline {subsection}{Lists}{150}
\contentsline {subsection}{Pointers}{151}
\contentsline {subsection}{Tables, arrays and graphs}{151}
\contentsline {section}{\numberline {9.4}Getting help with Pure Data}{152}
\contentsline {subsection}{Exercise 1}{152}
\contentsline {subsection}{Exercise 2}{153}
\contentsline {subsection}{Exercise 3}{153}
\contentsline {chapter}{\numberline {10}Using Pure Data}{155}
\contentsline {section}{\numberline {10.1}Basic objects and principles of operation}{155}
\contentsline {subsection}{Hot and cold inlets}{155}
\contentsline {subsection}{Bad evaluation order}{155}
\contentsline {subsection}{Trigger objects}{156}
\contentsline {subsection}{Making cold inlets hot}{156}
\contentsline {subsection}{Float objects}{156}
\contentsline {subsection}{Int objects}{157}
\contentsline {subsection}{Symbol and list objects}{157}
\contentsline {subsection}{Merging message connections}{157}
\contentsline {section}{\numberline {10.2}Working with time and events}{157}
\contentsline {subsection}{Metronome}{157}
\contentsline {subsection}{A counter timebase}{158}
\contentsline {subsection}{Time objects}{158}
\contentsline {subsection}{Select}{159}
\contentsline {section}{\numberline {10.3}Data flow control}{159}
\contentsline {subsection}{Route}{159}
\contentsline {subsection}{Moses}{160}
\contentsline {subsection}{Spigot}{160}
\contentsline {subsection}{Swap}{160}
\contentsline {subsection}{Change}{160}
\contentsline {subsection}{Send and receive objects}{161}
\contentsline {subsection}{Broadcast messages}{161}
\contentsline {subsection}{Special message destinations}{161}
\contentsline {subsection}{Message sequences}{162}
\contentsline {section}{\numberline {10.4}List objects and operations}{162}
\contentsline {subsection}{Packing and unpacking lists}{162}
\contentsline {subsection}{Substitutions}{163}
\contentsline {subsection}{Persistence}{163}
\contentsline {subsection}{List distribution}{164}
\contentsline {subsection}{More advanced list operations}{164}
\contentsline {section}{\numberline {10.5}Input and output}{164}
\contentsline {subsection}{The print object}{165}
\contentsline {subsection}{MIDI}{165}
\contentsline {subsubsection}{Notes in}{165}
\contentsline {subsubsection}{Notes out}{165}
\contentsline {subsubsection}{Continuous controllers}{166}
\contentsline {subsubsection}{MIDI to Frequency}{166}
\contentsline {subsubsection}{Other MIDI objects}{166}
\contentsline {section}{\numberline {10.6}Working with numbers}{167}
\contentsline {subsection}{Arithmetic objects}{167}
\contentsline {subsection}{Trigonometric maths objects}{167}
\contentsline {subsection}{Random numbers}{167}
\contentsline {subsection}{Arithmetic example}{167}
\contentsline {subsection}{Comparative objects}{168}
\contentsline {subsection}{Boolean logical objects}{169}
\contentsline {section}{\numberline {10.7}Common idioms}{169}
\contentsline {subsection}{Constrained counting}{169}
\contentsline {subsection}{Accumulator}{169}
\contentsline {subsection}{Rounding}{170}
\contentsline {subsection}{Scaling}{170}
\contentsline {subsection}{Looping with until}{170}
\contentsline {subsection}{Message complement and inverse}{171}
\contentsline {subsection}{Random selection}{171}
\contentsline {subsection}{Weighted random selection}{171}
\contentsline {subsection}{Delay cascade}{172}
\contentsline {subsection}{Last float and averages}{172}
\contentsline {subsection}{Running maximum (or minimum)}{172}
\contentsline {subsection}{Float lowpass}{172}
\contentsline {chapter}{\numberline {11}Pure Data Audio}{175}
\contentsline {section}{\numberline {11.1}Audio objects}{175}
\contentsline {subsection}{Audio connections}{175}
\contentsline {subsection}{Blocks}{175}
\contentsline {subsection}{Audio object CPU use}{176}
\contentsline {section}{\numberline {11.2}Audio objects and principles}{176}
\contentsline {subsection}{Fanout and merging}{176}
\contentsline {subsection}{Time and resolution}{176}
\contentsline {subsection}{Audio signal block to messages}{177}
\contentsline {subsection}{Sending and receiving audio signals}{177}
\contentsline {subsection}{Audio generators}{177}
\contentsline {subsection}{Audio line objects}{178}
\contentsline {subsection}{Audio input and output}{179}
\contentsline {subsection}{Example: A simple MIDI monosynth}{179}
\contentsline {subsection}{Audio filter objects}{180}
\contentsline {subsection}{Audio arithmetic objects}{180}
\contentsline {subsection}{Trigonometric and math objects}{180}
\contentsline {subsection}{Audio delay objects}{181}
\contentsline {chapter}{\numberline {12}Abstraction}{183}
\contentsline {section}{\numberline {12.1}Subpatches}{183}
\contentsline {subsection}{Copying subpatches}{183}
\contentsline {subsection}{Deep subpatches}{184}
\contentsline {subsection}{Abstractions}{185}
\contentsline {subsection}{Scope and \$0}{185}
\contentsline {section}{\numberline {12.2}Instantiation}{186}
\contentsline {section}{\numberline {12.3}Editing}{187}
\contentsline {section}{\numberline {12.4}Parameters}{187}
\contentsline {section}{\numberline {12.5}Defaults and states}{188}
\contentsline {section}{\numberline {12.6}Common abstraction techniques}{189}
\contentsline {subsection}{Graph On Parent}{189}
\contentsline {subsection}{Using list inputs}{190}
\contentsline {subsubsection}{Packing and unpacking}{190}
\contentsline {subsubsection}{Control normalisation}{191}
\contentsline {subsection}{Summation chains}{191}
\contentsline {subsection}{Routed inputs}{191}
\contentsline {chapter}{\numberline {13}Shaping sound}{193}
\contentsline {section}{\numberline {13.1}Amplitude dependent signal shaping}{193}
\contentsline {subsection}{Simple signal arithmetic}{193}
\contentsline {subsection}{Limits}{195}
\contentsline {subsection}{Wave shaping}{195}
\contentsline {subsection}{Squaring and roots}{197}
\contentsline {subsection}{Curved envelopes}{198}
\contentsline {section}{\numberline {13.2}Periodic functions}{198}
\contentsline {subsection}{Wrapping ranges}{199}
\contentsline {subsection}{Cosine function}{199}
\contentsline {section}{\numberline {13.3}Other functions}{200}
\contentsline {subsection}{Polynomials}{200}
\contentsline {subsection}{Expressions}{200}
\contentsline {section}{\numberline {13.4}Time dependent signal shaping}{201}
\contentsline {subsection}{Delay}{201}
\contentsline {subsection}{Phase cancellation}{202}
\contentsline {subsection}{Filters}{202}
\contentsline {subsection}{User friendly filters}{202}
\contentsline {subsection}{Integration}{203}
\contentsline {subsection}{Differentiation}{204}
\contentsline {subsection}{Textbooks}{205}
\contentsline {subsection}{Papers}{205}
\contentsline {chapter}{\numberline {14}Pure Data essentials}{207}
\contentsline {section}{\numberline {14.1}Channel strip}{207}
\contentsline {subsection}{Signal switch}{207}
\contentsline {subsection}{Simple level control}{207}
\contentsline {subsection}{Using a log law fader}{208}
\contentsline {subsection}{MIDI fader}{208}
\contentsline {subsection}{Mute button and smooth fades}{209}
\contentsline {subsection}{Panning}{209}
\contentsline {subsection}{Simple linear panner}{209}
\contentsline {subsection}{Square root panner}{210}
\contentsline {subsection}{Cosine panner}{210}
\contentsline {subsection}{Crossfader}{211}
\contentsline {subsection}{Demultiplexer}{212}
\contentsline {section}{\numberline {14.2}Audio File Tools}{212}
\contentsline {subsection}{Monophonic sampler}{212}
\contentsline {subsection}{File recorder}{213}
\contentsline {subsection}{Loop player}{214}
\contentsline {section}{\numberline {14.3}Events and sequencing}{214}
\contentsline {subsection}{Timebase}{214}
\contentsline {subsection}{Select sequencer}{215}
\contentsline {subsection}{Partitioning time}{216}
\contentsline {subsection}{Dividing time}{216}
\contentsline {subsection}{Event synchronised LFO}{216}
\contentsline {subsection}{List sequencer}{217}
\contentsline {subsection}{Textfile control}{218}
\contentsline {section}{\numberline {14.4}Effects}{219}
\contentsline {subsection}{Stereo chorus/flanger effect}{219}
\contentsline {subsection}{Simple reverberation}{220}
\contentsline {subsection}{Exercise 1}{221}
\contentsline {subsection}{Exercise 2}{222}
\contentsline {subsection}{Exercise 3}{222}
\contentsline {subsection}{Exercise 4}{222}
\contentsline {subsection}{Online resources}{222}
\contentsline {part}{III\hspace {1em}Technique}{225}
\mbox {}\hrulefill \par
\contentsline {chapter}{\numberline {15}Technique introduction}{227}
\contentsline {section}{\numberline {15.1}Procedural sound technique}{227}
\contentsline {chapter}{\numberline {16}Strategic production}{229}
\contentsline {section}{\numberline {16.1}Working methods}{229}
\contentsline {subsection}{Listen}{229}
\contentsline {subsection}{Stimulate}{229}
\contentsline {subsection}{Use scale}{229}
\contentsline {subsection}{Vary scope}{229}
\contentsline {subsection}{Keep moving}{230}
\contentsline {subsection}{Balance priorities}{230}
\contentsline {subsection}{Reuse and share successful techniques}{230}
\contentsline {subsection}{Create a comfortable working space}{230}
\contentsline {subsection}{Invite input}{230}
\contentsline {section}{\numberline {16.2}SE approaches}{231}
\contentsline {subsection}{Structured approach summary}{231}
\contentsline {subsubsection}{Lifecycle}{231}
\contentsline {subsubsection}{Requirements analysis}{231}
\contentsline {subsubsection}{Research}{232}
\contentsline {subsubsection}{Model building}{232}
\contentsline {subsubsection}{Method analysis}{232}
\contentsline {subsubsection}{Implementation}{233}
\contentsline {subsubsection}{Integration}{233}
\contentsline {subsubsection}{Test and iteration}{233}
\contentsline {subsubsection}{Maintenance}{233}
\contentsline {section}{\numberline {16.3}Requirements analysis process}{233}
\contentsline {subsection}{Consensus of vision}{234}
\contentsline {subsection}{Requirements specification document}{235}
\contentsline {subsection}{Writing requirements specifications}{235}
\contentsline {subsection}{Placeholders and attachment}{235}
\contentsline {subsection}{Target medium}{235}
\contentsline {section}{\numberline {16.4}Research}{236}
\contentsline {subsection}{Papers, books, TV documentaries}{237}
\contentsline {subsection}{Schematics and plans}{237}
\contentsline {subsection}{Analytical, partial recording}{237}
\contentsline {subsection}{Impulses and test excitations}{237}
\contentsline {subsection}{Physical deconstruction}{238}
\contentsline {section}{\numberline {16.5}Creating a model}{238}
\contentsline {subsection}{Model abstraction}{238}
\contentsline {section}{\numberline {16.6}Analysis}{239}
\contentsline {subsection}{Waveform analysis}{239}
\contentsline {subsection}{Spectral analysis}{239}
\contentsline {subsection}{Physical analysis}{240}
\contentsline {subsection}{Operational analysis}{240}
\contentsline {subsection}{Model parameterisation}{240}
\contentsline {section}{\numberline {16.7}Methods}{240}
\contentsline {subsection}{Piecewise}{241}
\contentsline {subsection}{Pure Additive}{241}
\contentsline {subsection}{Mixed additive composites}{242}
\contentsline {subsection}{Wavetables}{242}
\contentsline {subsection}{Subtractive}{242}
\contentsline {subsection}{Non linear}{242}
\contentsline {subsection}{Granular}{243}
\contentsline {subsection}{Physical}{243}
\contentsline {section}{\numberline {16.8}Implementation}{243}
\contentsline {subsection}{Encapsulation}{243}
\contentsline {subsection}{Internal control}{244}
\contentsline {subsection}{Interface}{244}
\contentsline {section}{\numberline {16.9}Parameterisation}{245}
\contentsline {subsection}{Decoupling}{245}
\contentsline {subsection}{Orthogonality and parameter space}{245}
\contentsline {subsection}{Efficiency of parameter space}{246}
\contentsline {subsection}{Factoring/Collapsing}{246}
\contentsline {section}{\numberline {16.10}Practice and psychology}{246}
\contentsline {subsection}{Design cycle}{247}
\contentsline {subsection}{Objectification}{247}
\contentsline {subsection}{Expediency}{247}
\contentsline {subsection}{Flow}{248}
\contentsline {subsection}{Concentration, familiarity, simplicity}{249}
\contentsline {subsection}{Time and vision}{249}
\contentsline {subsection}{Online resources}{250}
\contentsline {chapter}{\numberline {17}Technique 1 - Summation}{251}
\contentsline {section}{\numberline {17.1}Additive synthesis}{251}
\contentsline {section}{\numberline {17.2}Discrete summation synthesis}{254}
\contentsline {section}{\numberline {17.3}Pre-computation}{256}
\contentsline {chapter}{\numberline {18}Technique 2 - Tables}{259}
\contentsline {section}{\numberline {18.1}Wavetable synthesis}{259}
\contentsline {section}{\numberline {18.2}Practical wavetables}{260}
\contentsline {section}{\numberline {18.3}Vector synthesis}{261}
\contentsline {section}{\numberline {18.4}Wavescanning synthesis}{262}
\contentsline {chapter}{\numberline {19}Technique 3 - Functions}{265}
\contentsline {section}{\numberline {19.1}Waveshaping}{265}
\contentsline {subsection}{Table transfer functions}{265}
\contentsline {section}{\numberline {19.2}Chebyshev polynomials}{266}
\contentsline {chapter}{\numberline {20}Technique 4 - Modulation}{271}
\contentsline {section}{\numberline {20.1}Amplitude modulation}{271}
\contentsline {section}{\numberline {20.2}Adding sidebands}{273}
\contentsline {section}{\numberline {20.3}Cascade AM, with other spectra}{274}
\contentsline {section}{\numberline {20.4}Single sideband modulation}{275}
\contentsline {section}{\numberline {20.5}Frequency modulation}{276}
\contentsline {subsection}{Negative frequencies}{281}
\contentsline {subsection}{Phase modulation}{282}
\contentsline {chapter}{\numberline {21}Technique 5 - Grains}{285}
\contentsline {section}{\numberline {21.1}Granular synthesis}{285}
\contentsline {subsection}{A grain generator}{285}
\contentsline {subsection}{Types of granular synthesis}{287}
\contentsline {subsubsection}{Synchronous granular synthesis and PSOLA}{287}
\contentsline {subsubsection}{Asynchronous granular synthesis}{288}
\contentsline {subsection}{Sound hybridisation}{289}
\contentsline {subsection}{A granular texture source}{289}
\contentsline {section}{\numberline {21.2}Time and pitch alteration}{292}
\contentsline {subsection}{Textbooks}{293}
\contentsline {subsection}{Papers}{293}
\contentsline {chapter}{\numberline {22}Game Audio}{295}
\contentsline {section}{\numberline {22.1}Virtual reality fundamentals}{295}
\contentsline {subsection}{Game Objects}{295}
\contentsline {subsection}{Object methods}{295}
\contentsline {subsection}{Object views}{295}
\contentsline {subsection}{Object behaviours}{296}
\contentsline {subsection}{The players}{296}
\contentsline {subsection}{World geometry}{296}
\contentsline {subsection}{Stages}{297}
\contentsline {subsection}{Platforms}{297}
\contentsline {subsection}{Game logic}{297}
\contentsline {subsection}{Actors and relevance}{297}
\contentsline {section}{\numberline {22.2}Samples or procedural audio?}{298}
\contentsline {subsection}{Events vs behaviours}{298}
\contentsline {subsection}{Limitations of sample based audio}{298}
\contentsline {section}{\numberline {22.3}Traditional game audio engine functions}{299}
\contentsline {subsection}{Switching}{299}
\contentsline {subsection}{Sequence and randomisation}{299}
\contentsline {subsection}{Blending}{299}
\contentsline {subsection}{Grouping and buses}{299}
\contentsline {subsection}{Real-time controllers}{299}
\contentsline {subsection}{Localisation}{300}
\contentsline {subsection}{Ambiance}{300}
\contentsline {subsection}{Attenuation and damping}{300}
\contentsline {subsection}{Replication and alignment}{300}
\contentsline {subsection}{Music dialogue and menus}{300}
\contentsline {section}{\numberline {22.4}Procedural audio advantages}{301}
\contentsline {subsection}{Deferred form}{301}
\contentsline {subsection}{Default forms}{301}
\contentsline {subsection}{Variety}{301}
\contentsline {subsection}{Variable cost}{302}
\contentsline {subsection}{Dynamic LOD}{302}
\contentsline {section}{\numberline {22.5}Challenges for new games audio systems}{303}
\contentsline {subsection}{Dynamic graph configuration}{303}
\contentsline {subsection}{Denormal and drift contingencies}{303}
\contentsline {subsection}{Automatic code translation}{304}
\contentsline {subsection}{Embedding a Pd interpreter}{304}
\contentsline {subsection}{Plugins}{304}
\contentsline {subsection}{Cost metrics}{305}
\contentsline {subsection}{Hybrid architectures}{305}
\contentsline {subsection}{Hard sounds}{305}
\contentsline {part}{IV\hspace {1em}Practicals}{307}
\mbox {}\hrulefill \par
\contentsline {chapter}{\numberline {23}Practicals introduction}{309}
\contentsline {chapter}{\bfseries {Practical series - Artificial sounds}}{311}
\contentsline {chapter}{\numberline {24}Pedestrians}{313}
\contentsline {chapter}{\numberline {25}Phone tones}{319}
\contentsline {chapter}{\numberline {26}DTMF Tones}{325}
\contentsline {chapter}{\numberline {27}Alarm generator}{329}
\contentsline {chapter}{\numberline {28}Police}{337}
\contentsline {chapter}{\bfseries {Practical series - Idiophonics}}{347}
\contentsline {chapter}{\numberline {29}Telephone bell}{349}
\contentsline {chapter}{\numberline {30}Bouncing}{365}
\contentsline {chapter}{\numberline {31}Rolling}{369}
\contentsline {chapter}{\numberline {32}Creaking}{377}
\contentsline {chapter}{\numberline {33}Boing}{383}
\contentsline {chapter}{\bfseries {Practical series - Nature}}{389}
\contentsline {chapter}{\numberline {34}Fire}{391}
\contentsline {chapter}{\numberline {35}Bubbles}{401}
\contentsline {chapter}{\numberline {36}Running water}{411}
\contentsline {chapter}{\numberline {37}Pouring}{419}
\contentsline {chapter}{\numberline {38}Rain}{425}
\contentsline {chapter}{\numberline {39}Electricity}{435}
\contentsline {chapter}{\numberline {40}Thunder}{443}
\contentsline {chapter}{\numberline {41}Wind}{455}
\contentsline {chapter}{\bfseries {Practical series - Machines}}{465}
\contentsline {chapter}{\numberline {42}Switches}{467}
\contentsline {chapter}{\numberline {43}Clocks}{473}
\contentsline {chapter}{\numberline {44}Motors}{481}
\contentsline {chapter}{\numberline {45}Cars}{487}
\contentsline {chapter}{\numberline {46}Fans}{497}
\contentsline {chapter}{\numberline {47}Jet engine}{503}
\contentsline {chapter}{\numberline {48}Helicopter}{509}
\contentsline {chapter}{\bfseries {Practical series - Lifeforms}}{525}
\contentsline {chapter}{\numberline {49}Footsteps}{527}
\contentsline {chapter}{\numberline {50}Insects}{537}
\contentsline {chapter}{\numberline {51}Birds}{551}
\contentsline {chapter}{\numberline {52}Mammals}{559}
\contentsline {chapter}{\bfseries {Practical series - Mayhem}}{571}
\contentsline {chapter}{\numberline {53}Guns}{573}
\contentsline {chapter}{\numberline {54}Explosions}{587}
\contentsline {chapter}{\numberline {55}Rocket launcher}{597}
\contentsline {chapter}{\bfseries {Practical series - Sci-Fi}}{607}
\contentsline {chapter}{\numberline {56}Transporter}{611}
\contentsline {chapter}{\numberline {57}R2D2}{617}
\contentsline {chapter}{\numberline {58}Red alert}{623}
\contentsfinish







On Wed, 15 Oct 2008 22:45:00 +0200
Lars Madsen <daleif at imf.au.dk> wrote:

> Andy Farnell wrote:
> > On the last page of my table of contents LaTeX seems to ignore
> > the bottom margin and it all runs off the bottom of the page.
> > 
> > It's as if it's treating the entire last page as a float.
> > 
> > Any thoughts?
> > 
> > I'm using tocloft class to try and improve the look but not
> > having much fun.
> > 
> > Does anyone have a model example for a nice TOC I can play
> > with please?
> > 
> > Cheers,
> > 
> > Andy
> > 
> 
> might be a bit easier for us if you showed a minimal example of your 
> code. What you are describing is not normal.
> 
> /daleif
> _______________________________________________
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