ABSTRACT
Audio processes are at the heart of common musical software such as effects and synthesizers. Fundamentally they are algorithmic forms that generate, modify, and analyse audio data. Their design is not driven by simple rules, but rather through the requirements of musical practice and their relationship to the human auditory system. In one musical context a particular effect might be regarded as enhancing the result, in another it might be regarded as completely inappropriate. The configuration of that effect can depend on the combination of notes being played, and the role of a particular instrument within the overall mix.
