{"id":17,"date":"2026-09-15T21:09:58","date_gmt":"2026-09-15T21:09:58","guid":{"rendered":"https:\/\/parkr.dev\/?p=17"},"modified":"2026-09-15T21:09:58","modified_gmt":"2026-09-15T21:09:58","slug":"audio-research-library","status":"publish","type":"post","link":"https:\/\/parkr.dev\/?p=17","title":{"rendered":"Audio Research Library"},"content":{"rendered":"\n<p class=\"wp-block-paragraph\"><br>For a research library, I would separate fundamental DSP techniques from synthesis methods, processor families, perception\/acoustics, implementation technologies, and end-use applications. That prevents topics such as \u201cmastering,\u201d \u201cfilters,\u201d \u201canalog modeling,\u201d and \u201cWASM\u201d from competing at the same organizational level.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Below is a taxonomy broad enough to serve as a long-term canonical index for KahuStack DSP and related audio research.<\/p>\n\n\n\n<h3 class=\"wp-block-heading\">Canonical audio processing and synthesis research domains<\/h3>\n\n\n\n<ol class=\"wp-block-list\">\n<li><strong>Mathematics for Audio DSP<\/strong>\n<ul class=\"wp-block-list\">\n<li>Complex numbers<\/li>\n\n\n\n<li>Linear algebra<\/li>\n\n\n\n<li>Calculus<\/li>\n\n\n\n<li>Differential equations<\/li>\n\n\n\n<li>Difference equations<\/li>\n\n\n\n<li>Probability and statistics<\/li>\n\n\n\n<li>Stochastic processes<\/li>\n\n\n\n<li>Numerical methods<\/li>\n\n\n\n<li>Optimization<\/li>\n\n\n\n<li>Interpolation<\/li>\n\n\n\n<li>Polynomial approximation<\/li>\n\n\n\n<li>Numerical integration<\/li>\n\n\n\n<li>Numerical stability<\/li>\n\n\n\n<li>Floating-point behavior<\/li>\n\n\n\n<li>Fixed-point arithmetic<\/li>\n\n\n\n<li>Error propagation<\/li>\n\n\n\n<li>Dimensional analysis<\/li>\n<\/ul>\n<\/li>\n\n\n\n<li><strong>Signals and Systems<\/strong>\n<ul class=\"wp-block-list\">\n<li>Continuous-time signals<\/li>\n\n\n\n<li>Discrete-time signals<\/li>\n\n\n\n<li>Linear time-invariant systems<\/li>\n\n\n\n<li>Impulse response<\/li>\n\n\n\n<li>Convolution<\/li>\n\n\n\n<li>Correlation<\/li>\n\n\n\n<li>Transfer functions<\/li>\n\n\n\n<li>Difference equations<\/li>\n\n\n\n<li>State-space systems<\/li>\n\n\n\n<li>Causality<\/li>\n\n\n\n<li>Stability<\/li>\n\n\n\n<li>Linearity<\/li>\n\n\n\n<li>Time variance<\/li>\n\n\n\n<li>Feedback systems<\/li>\n\n\n\n<li>Poles and zeros<\/li>\n<\/ul>\n<\/li>\n\n\n\n<li><strong>Audio Units, Quantities, and Coordinate Systems<\/strong>\n<ul class=\"wp-block-list\">\n<li>Samples<\/li>\n\n\n\n<li>Frames<\/li>\n\n\n\n<li>Seconds<\/li>\n\n\n\n<li>Hertz<\/li>\n\n\n\n<li>Radians<\/li>\n\n\n\n<li>Phase<\/li>\n\n\n\n<li>Beats<\/li>\n\n\n\n<li>Bars<\/li>\n\n\n\n<li>PPQ\/ticks<\/li>\n\n\n\n<li>BPM<\/li>\n\n\n\n<li>Amplitude<\/li>\n\n\n\n<li>Linear gain<\/li>\n\n\n\n<li>Decibels<\/li>\n\n\n\n<li>Power<\/li>\n\n\n\n<li>Energy<\/li>\n\n\n\n<li>Loudness<\/li>\n\n\n\n<li>Q<\/li>\n\n\n\n<li>Bandwidth<\/li>\n\n\n\n<li>Normalized frequency<\/li>\n\n\n\n<li>Sample rate<\/li>\n\n\n\n<li>Channel count<\/li>\n\n\n\n<li>Strongly typed DSP quantities<\/li>\n\n\n\n<li>Timeline coordinates<\/li>\n\n\n\n<li>Musical-time coordinates<\/li>\n\n\n\n<li>Conversion-safe APIs<\/li>\n<\/ul>\n<\/li>\n\n\n\n<li><strong>Sampling Theory<\/strong>\n<ul class=\"wp-block-list\">\n<li>Nyquist-Shannon sampling<\/li>\n\n\n\n<li>Aliasing<\/li>\n\n\n\n<li>Anti-alias filtering<\/li>\n\n\n\n<li>Reconstruction<\/li>\n\n\n\n<li>Quantization<\/li>\n\n\n\n<li>Sample-and-hold<\/li>\n\n\n\n<li>Band limitation<\/li>\n\n\n\n<li>Oversampling<\/li>\n\n\n\n<li>Undersampling<\/li>\n\n\n\n<li>Multirate DSP<\/li>\n\n\n\n<li>Decimation<\/li>\n\n\n\n<li>Interpolation<\/li>\n\n\n\n<li>Sample-rate conversion<\/li>\n\n\n\n<li>Fractional sample delays<\/li>\n<\/ul>\n<\/li>\n\n\n\n<li><strong>Transforms and Frequency-Domain DSP<\/strong>\n<ul class=\"wp-block-list\">\n<li>Fourier transform<\/li>\n\n\n\n<li>DFT<\/li>\n\n\n\n<li>FFT<\/li>\n\n\n\n<li>STFT<\/li>\n\n\n\n<li>Inverse FFT<\/li>\n\n\n\n<li>Window functions<\/li>\n\n\n\n<li>Constant-Q transform<\/li>\n\n\n\n<li>Wavelets<\/li>\n\n\n\n<li>Hilbert transform<\/li>\n\n\n\n<li>Cepstrum<\/li>\n\n\n\n<li>Z-transform<\/li>\n\n\n\n<li>Laplace transform<\/li>\n\n\n\n<li>Phase spectrum<\/li>\n\n\n\n<li>Group delay<\/li>\n\n\n\n<li>Time-frequency representations<\/li>\n<\/ul>\n<\/li>\n\n\n\n<li><strong>Audio Signal Analysis<\/strong>\n<ul class=\"wp-block-list\">\n<li>Waveform analysis<\/li>\n\n\n\n<li>Peak detection<\/li>\n\n\n\n<li>Envelope detection<\/li>\n\n\n\n<li>Zero-crossing analysis<\/li>\n\n\n\n<li>Autocorrelation<\/li>\n\n\n\n<li>Spectral centroid<\/li>\n\n\n\n<li>Spectral spread<\/li>\n\n\n\n<li>Spectral rolloff<\/li>\n\n\n\n<li>Spectral flux<\/li>\n\n\n\n<li>Spectral flatness<\/li>\n\n\n\n<li>Spectral contrast<\/li>\n\n\n\n<li>Harmonicity<\/li>\n\n\n\n<li>Tonality<\/li>\n\n\n\n<li>Noise estimation<\/li>\n\n\n\n<li>Transient detection<\/li>\n\n\n\n<li>Onset detection<\/li>\n<\/ul>\n<\/li>\n\n\n\n<li><strong>Metering and Measurement<\/strong>\n<ul class=\"wp-block-list\">\n<li>Sample peak<\/li>\n\n\n\n<li>True peak<\/li>\n\n\n\n<li>RMS<\/li>\n\n\n\n<li>Mean-square energy<\/li>\n\n\n\n<li>LUFS<\/li>\n\n\n\n<li>Loudness range<\/li>\n\n\n\n<li>Crest factor<\/li>\n\n\n\n<li>Dynamic range<\/li>\n\n\n\n<li>Peak-to-average ratio<\/li>\n\n\n\n<li>VU metering<\/li>\n\n\n\n<li>PPM<\/li>\n\n\n\n<li>K-system metering<\/li>\n\n\n\n<li>Spectrum analysis<\/li>\n\n\n\n<li>Phase correlation<\/li>\n\n\n\n<li>Stereo vectorscopes<\/li>\n\n\n\n<li>Goniometers<\/li>\n\n\n\n<li>Oscilloscopes<\/li>\n\n\n\n<li>THD<\/li>\n\n\n\n<li>THD+N<\/li>\n\n\n\n<li>SNR<\/li>\n\n\n\n<li>SINAD<\/li>\n\n\n\n<li>IMD<\/li>\n\n\n\n<li>Noise floor<\/li>\n<\/ul>\n<\/li>\n\n\n\n<li><strong>Digital Filter Theory<\/strong>\n<ul class=\"wp-block-list\">\n<li>FIR filters<\/li>\n\n\n\n<li>IIR filters<\/li>\n\n\n\n<li>One-pole filters<\/li>\n\n\n\n<li>Biquads<\/li>\n\n\n\n<li>State-variable filters<\/li>\n\n\n\n<li>Ladder filters<\/li>\n\n\n\n<li>Comb filters<\/li>\n\n\n\n<li>Allpass filters<\/li>\n\n\n\n<li>Moving-average filters<\/li>\n\n\n\n<li>Median filters<\/li>\n\n\n\n<li>Savitzky-Golay filters<\/li>\n\n\n\n<li>Polyphase filters<\/li>\n\n\n\n<li>Minimum-phase filters<\/li>\n\n\n\n<li>Linear-phase filters<\/li>\n\n\n\n<li>Mixed-phase filters<\/li>\n<\/ul>\n<\/li>\n\n\n\n<li><strong>Filter Responses and Equalization<\/strong>\n<ul class=\"wp-block-list\">\n<li>Low-pass<\/li>\n\n\n\n<li>High-pass<\/li>\n\n\n\n<li>Band-pass<\/li>\n\n\n\n<li>Band-stop\/notch<\/li>\n\n\n\n<li>Bell\/peak<\/li>\n\n\n\n<li>Low shelf<\/li>\n\n\n\n<li>High shelf<\/li>\n\n\n\n<li>Tilt EQ<\/li>\n\n\n\n<li>Graphic EQ<\/li>\n\n\n\n<li>Parametric EQ<\/li>\n\n\n\n<li>Dynamic EQ<\/li>\n\n\n\n<li>Linear-phase EQ<\/li>\n\n\n\n<li>Minimum-phase EQ<\/li>\n\n\n\n<li>Morphing filters<\/li>\n\n\n\n<li>Formant filters<\/li>\n\n\n\n<li>Crossover filters<\/li>\n<\/ul>\n<\/li>\n\n\n\n<li><strong>Analog Filter and Circuit Modeling<\/strong>\n<ul class=\"wp-block-list\">\n<li>RC\/RLC circuits<\/li>\n\n\n\n<li>Transistor models<\/li>\n\n\n\n<li>Diodes<\/li>\n\n\n\n<li>Op-amps<\/li>\n\n\n\n<li>Vacuum tubes<\/li>\n\n\n\n<li>Transformers<\/li>\n\n\n\n<li>OTA filters<\/li>\n\n\n\n<li>Moog ladders<\/li>\n\n\n\n<li>Sallen-Key filters<\/li>\n\n\n\n<li>State-variable analog circuits<\/li>\n\n\n\n<li>Zero-delay feedback<\/li>\n\n\n\n<li>Virtual analog modeling<\/li>\n\n\n\n<li>Wave digital filters<\/li>\n\n\n\n<li>Modified nodal analysis<\/li>\n\n\n\n<li>SPICE-derived modeling<\/li>\n<\/ul>\n<\/li>\n\n\n\n<li><strong>Dynamics Processing<\/strong>\n<ul class=\"wp-block-list\">\n<li>Compressors<\/li>\n\n\n\n<li>Limiters<\/li>\n\n\n\n<li>Expanders<\/li>\n\n\n\n<li>Gates<\/li>\n\n\n\n<li>Levelers<\/li>\n\n\n\n<li>AGC<\/li>\n\n\n\n<li>Upward compression<\/li>\n\n\n\n<li>Downward compression<\/li>\n\n\n\n<li>Upward expansion<\/li>\n\n\n\n<li>Downward expansion<\/li>\n\n\n\n<li>Multiband dynamics<\/li>\n\n\n\n<li>Spectral dynamics<\/li>\n\n\n\n<li>Dynamic EQ<\/li>\n\n\n\n<li>De-essing<\/li>\n\n\n\n<li>Transient shaping<\/li>\n\n\n\n<li>Envelope shaping<\/li>\n\n\n\n<li>Sidechain processing<\/li>\n\n\n\n<li>Lookahead<\/li>\n\n\n\n<li>Program-dependent dynamics<\/li>\n<\/ul>\n<\/li>\n\n\n\n<li><strong>Nonlinear DSP<\/strong>\n<ul class=\"wp-block-list\">\n<li>Soft clipping<\/li>\n\n\n\n<li>Hard clipping<\/li>\n\n\n\n<li>Waveshaping<\/li>\n\n\n\n<li>Saturation<\/li>\n\n\n\n<li>Distortion<\/li>\n\n\n\n<li>Overdrive<\/li>\n\n\n\n<li>Fuzz<\/li>\n\n\n\n<li>Wavefolding<\/li>\n\n\n\n<li>Rectification<\/li>\n\n\n\n<li>Hysteresis<\/li>\n\n\n\n<li>Polynomial nonlinearities<\/li>\n\n\n\n<li>Chebyshev shaping<\/li>\n\n\n\n<li>Dynamic nonlinearities<\/li>\n\n\n\n<li>Memory nonlinearities<\/li>\n\n\n\n<li>Antiderivative anti-aliasing<\/li>\n\n\n\n<li>ADAA<\/li>\n\n\n\n<li>Nonlinear oversampling<\/li>\n<\/ul>\n<\/li>\n\n\n\n<li><strong>Analog Coloration and Emulation<\/strong>\n<ul class=\"wp-block-list\">\n<li>Tape<\/li>\n\n\n\n<li>Tube<\/li>\n\n\n\n<li>Transformer<\/li>\n\n\n\n<li>Console<\/li>\n\n\n\n<li>Preamp<\/li>\n\n\n\n<li>Amplifier<\/li>\n\n\n\n<li>Guitar amplifier<\/li>\n\n\n\n<li>Speaker\/cabinet<\/li>\n\n\n\n<li>Vinyl<\/li>\n\n\n\n<li>Cassette<\/li>\n\n\n\n<li>Wow and flutter<\/li>\n\n\n\n<li>Bias<\/li>\n\n\n\n<li>Hysteresis<\/li>\n\n\n\n<li>Crosstalk<\/li>\n\n\n\n<li>Analog noise<\/li>\n\n\n\n<li>Component tolerances<\/li>\n\n\n\n<li>Power-supply behavior<\/li>\n<\/ul>\n<\/li>\n\n\n\n<li><strong>Delay-Based Processing<\/strong>\n<ul class=\"wp-block-list\">\n<li>Simple delay<\/li>\n\n\n\n<li>Fractional delay<\/li>\n\n\n\n<li>Feedback delay<\/li>\n\n\n\n<li>Multitap delay<\/li>\n\n\n\n<li>Ping-pong delay<\/li>\n\n\n\n<li>Stereo delay<\/li>\n\n\n\n<li>Modulated delay<\/li>\n\n\n\n<li>Tape delay<\/li>\n\n\n\n<li>BBD delay<\/li>\n\n\n\n<li>Diffusion<\/li>\n\n\n\n<li>Comb structures<\/li>\n\n\n\n<li>Allpass structures<\/li>\n\n\n\n<li>Delay networks<\/li>\n<\/ul>\n<\/li>\n\n\n\n<li><strong>Reverberation<\/strong>\n<ul class=\"wp-block-list\">\n<li>Algorithmic reverb<\/li>\n\n\n\n<li>Schroeder reverbs<\/li>\n\n\n\n<li>Feedback delay networks<\/li>\n\n\n\n<li>Nested allpass reverbs<\/li>\n\n\n\n<li>Plate modeling<\/li>\n\n\n\n<li>Spring modeling<\/li>\n\n\n\n<li>Room modeling<\/li>\n\n\n\n<li>Hall modeling<\/li>\n\n\n\n<li>Convolution reverb<\/li>\n\n\n\n<li>Hybrid reverb<\/li>\n\n\n\n<li>Early reflections<\/li>\n\n\n\n<li>Late reverberation<\/li>\n\n\n\n<li>Diffusion<\/li>\n\n\n\n<li>Reverb modulation<\/li>\n\n\n\n<li>Decay-frequency shaping<\/li>\n<\/ul>\n<\/li>\n\n\n\n<li><strong>Modulation Effects<\/strong>\n<ul class=\"wp-block-list\">\n<li>Chorus<\/li>\n\n\n\n<li>Flanger<\/li>\n\n\n\n<li>Phaser<\/li>\n\n\n\n<li>Tremolo<\/li>\n\n\n\n<li>Vibrato<\/li>\n\n\n\n<li>Rotary speaker<\/li>\n\n\n\n<li>Leslie simulation<\/li>\n\n\n\n<li>Auto-pan<\/li>\n\n\n\n<li>Ensemble<\/li>\n\n\n\n<li>Frequency shifting<\/li>\n\n\n\n<li>Ring modulation<\/li>\n\n\n\n<li>Amplitude modulation<\/li>\n\n\n\n<li>Doppler effects<\/li>\n<\/ul>\n<\/li>\n\n\n\n<li><strong>Pitch Processing<\/strong>\n<ul class=\"wp-block-list\">\n<li>Pitch detection<\/li>\n\n\n\n<li>Fundamental-frequency estimation<\/li>\n\n\n\n<li>Pitch shifting<\/li>\n\n\n\n<li>Harmonization<\/li>\n\n\n\n<li>Pitch correction<\/li>\n\n\n\n<li>Auto-tuning<\/li>\n\n\n\n<li>Formant preservation<\/li>\n\n\n\n<li>Formant shifting<\/li>\n\n\n\n<li>Octaving<\/li>\n\n\n\n<li>Pitch quantization<\/li>\n\n\n\n<li>Polyphonic pitch manipulation<\/li>\n<\/ul>\n<\/li>\n\n\n\n<li><strong>Time-Scale Processing<\/strong>\n<ul class=\"wp-block-list\">\n<li>Time stretching<\/li>\n\n\n\n<li>Time compression<\/li>\n\n\n\n<li>Resampling<\/li>\n\n\n\n<li>Varispeed<\/li>\n\n\n\n<li>Phase vocoders<\/li>\n\n\n\n<li>WSOLA<\/li>\n\n\n\n<li>PSOLA<\/li>\n\n\n\n<li>Granular stretching<\/li>\n\n\n\n<li>Transient-preserving stretching<\/li>\n\n\n\n<li>Elastic audio<\/li>\n\n\n\n<li>Audio warping<\/li>\n<\/ul>\n<\/li>\n\n\n\n<li><strong>Spectral Processing<\/strong>\n<ul class=\"wp-block-list\">\n<li>Spectral filtering<\/li>\n\n\n\n<li>Spectral gating<\/li>\n\n\n\n<li>Spectral compression<\/li>\n\n\n\n<li>Spectral denoising<\/li>\n\n\n\n<li>Spectral freezing<\/li>\n\n\n\n<li>Spectral morphing<\/li>\n\n\n\n<li>Spectral blurring<\/li>\n\n\n\n<li>Spectral masking<\/li>\n\n\n\n<li>Spectral transplantation<\/li>\n\n\n\n<li>Spectral resynthesis<\/li>\n\n\n\n<li>Spectral delay<\/li>\n\n\n\n<li>Bin manipulation<\/li>\n\n\n\n<li>Partial tracking<\/li>\n\n\n\n<li>Sinusoidal modeling<\/li>\n<\/ul>\n<\/li>\n\n\n\n<li><strong>Audio Restoration<\/strong>\n<ul class=\"wp-block-list\">\n<li>Noise reduction<\/li>\n\n\n\n<li>Hum removal<\/li>\n\n\n\n<li>Click removal<\/li>\n\n\n\n<li>Crackle removal<\/li>\n\n\n\n<li>Declip<\/li>\n\n\n\n<li>Dereverb<\/li>\n\n\n\n<li>Deconvolution<\/li>\n\n\n\n<li>Deplosive<\/li>\n\n\n\n<li>Debreath<\/li>\n\n\n\n<li>De-essing<\/li>\n\n\n\n<li>Wind-noise reduction<\/li>\n\n\n\n<li>Dialogue enhancement<\/li>\n\n\n\n<li>Artifact repair<\/li>\n\n\n\n<li>Spectral repair<\/li>\n<\/ul>\n<\/li>\n\n\n\n<li><strong>Oscillator Theory<\/strong>\n<ul class=\"wp-block-list\">\n<li>Sinusoidal oscillators<\/li>\n\n\n\n<li>Recursive oscillators<\/li>\n\n\n\n<li>Sawtooth<\/li>\n\n\n\n<li>Square<\/li>\n\n\n\n<li>Triangle<\/li>\n\n\n\n<li>Pulse<\/li>\n\n\n\n<li>Variable pulse width<\/li>\n\n\n\n<li>Noise generators<\/li>\n\n\n\n<li>Chaotic oscillators<\/li>\n\n\n\n<li>Supersaws<\/li>\n\n\n\n<li>Bandlimited oscillators<\/li>\n\n\n\n<li>PolyBLEP<\/li>\n\n\n\n<li>MinBLEP<\/li>\n\n\n\n<li>BLIT<\/li>\n\n\n\n<li>Wavetable oscillators<\/li>\n\n\n\n<li>Phase accumulators<\/li>\n\n\n\n<li>Oscillator synchronization<\/li>\n<\/ul>\n<\/li>\n\n\n\n<li><strong>Subtractive Synthesis<\/strong>\n<ul class=\"wp-block-list\">\n<li>Oscillator \u2192 filter \u2192 amplifier architectures<\/li>\n\n\n\n<li>Filter envelopes<\/li>\n\n\n\n<li>Amplifier envelopes<\/li>\n\n\n\n<li>Modulation routing<\/li>\n\n\n\n<li>Voice architectures<\/li>\n\n\n\n<li>Classic analog synthesis<\/li>\n\n\n\n<li>Virtual analog synthesis<\/li>\n<\/ul>\n<\/li>\n\n\n\n<li><strong>Additive Synthesis<\/strong>\n<ul class=\"wp-block-list\">\n<li>Harmonic synthesis<\/li>\n\n\n\n<li>Inharmonic partials<\/li>\n\n\n\n<li>Partial envelopes<\/li>\n\n\n\n<li>Sinusoidal modeling<\/li>\n\n\n\n<li>Additive resynthesis<\/li>\n\n\n\n<li>Spectral additive synthesis<\/li>\n\n\n\n<li>Morphing harmonic structures<\/li>\n<\/ul>\n<\/li>\n\n\n\n<li><strong>Wavetable Synthesis<\/strong>\n<ul class=\"wp-block-list\">\n<li>Wavetable construction<\/li>\n\n\n\n<li>Frame interpolation<\/li>\n\n\n\n<li>Mipmapping<\/li>\n\n\n\n<li>Bandlimited tables<\/li>\n\n\n\n<li>Frame morphing<\/li>\n\n\n\n<li>Spectral wavetable generation<\/li>\n\n\n\n<li>Wave scanning<\/li>\n\n\n\n<li>Wavetable warping<\/li>\n\n\n\n<li>Serum-style processing<\/li>\n\n\n\n<li>Multidimensional wavetables<\/li>\n<\/ul>\n<\/li>\n\n\n\n<li><strong>FM, PM, and Phase-Based Synthesis<\/strong>\n<ul class=\"wp-block-list\">\n<li>Frequency modulation<\/li>\n\n\n\n<li>Phase modulation<\/li>\n\n\n\n<li>Linear FM<\/li>\n\n\n\n<li>Exponential FM<\/li>\n\n\n\n<li>Through-zero FM<\/li>\n\n\n\n<li>Operator architectures<\/li>\n\n\n\n<li>DX-style algorithms<\/li>\n\n\n\n<li>Feedback FM<\/li>\n\n\n\n<li>Phase distortion<\/li>\n\n\n\n<li>Phase shaping<\/li>\n\n\n\n<li>Cross modulation<\/li>\n<\/ul>\n<\/li>\n\n\n\n<li><strong>Amplitude and Ring-Modulation Synthesis<\/strong>\n<ul class=\"wp-block-list\">\n<li>AM synthesis<\/li>\n\n\n\n<li>Ring modulation<\/li>\n\n\n\n<li>Sideband synthesis<\/li>\n\n\n\n<li>Balanced modulation<\/li>\n\n\n\n<li>Cross modulation<\/li>\n\n\n\n<li>Tremolo-rate modulation versus audio-rate modulation<\/li>\n<\/ul>\n<\/li>\n\n\n\n<li><strong>Waveshaping and Wavefolding Synthesis<\/strong>\n<ul class=\"wp-block-list\">\n<li>Transfer-function synthesis<\/li>\n\n\n\n<li>Polynomial synthesis<\/li>\n\n\n\n<li>Chebyshev synthesis<\/li>\n\n\n\n<li>Wavefolding<\/li>\n\n\n\n<li>Phase shaping<\/li>\n\n\n\n<li>Nonlinear oscillator feedback<\/li>\n\n\n\n<li>Dynamic waveshaping<\/li>\n<\/ul>\n<\/li>\n\n\n\n<li><strong>Granular Synthesis<\/strong>\n<ul class=\"wp-block-list\">\n<li>Grains<\/li>\n\n\n\n<li>Grain clouds<\/li>\n\n\n\n<li>Grain scheduling<\/li>\n\n\n\n<li>Microsound<\/li>\n\n\n\n<li>Granular sampling<\/li>\n\n\n\n<li>Granular time stretching<\/li>\n\n\n\n<li>Granular pitch shifting<\/li>\n\n\n\n<li>Granular spectral processing<\/li>\n\n\n\n<li>Synchronous\/asynchronous granular synthesis<\/li>\n<\/ul>\n<\/li>\n\n\n\n<li><strong>Sampling and Sample-Based Synthesis<\/strong>\n<ul class=\"wp-block-list\">\n<li>Sampling<\/li>\n\n\n\n<li>Multisampling<\/li>\n\n\n\n<li>Round robin<\/li>\n\n\n\n<li>Velocity layers<\/li>\n\n\n\n<li>Key mapping<\/li>\n\n\n\n<li>Sample looping<\/li>\n\n\n\n<li>Crossfade looping<\/li>\n\n\n\n<li>Slice playback<\/li>\n\n\n\n<li>Drum sampling<\/li>\n\n\n\n<li>Rompler architectures<\/li>\n\n\n\n<li>Sample interpolation<\/li>\n\n\n\n<li>Streaming samplers<\/li>\n<\/ul>\n<\/li>\n\n\n\n<li><strong>Physical Modeling Synthesis<\/strong>\n<ul class=\"wp-block-list\">\n<li>Digital waveguides<\/li>\n\n\n\n<li>Karplus-Strong<\/li>\n\n\n\n<li>Strings<\/li>\n\n\n\n<li>Tubes<\/li>\n\n\n\n<li>Pipes<\/li>\n\n\n\n<li>Membranes<\/li>\n\n\n\n<li>Plates<\/li>\n\n\n\n<li>Bars<\/li>\n\n\n\n<li>Modal synthesis<\/li>\n\n\n\n<li>Resonator banks<\/li>\n\n\n\n<li>Mass-spring systems<\/li>\n\n\n\n<li>Finite difference methods<\/li>\n\n\n\n<li>Exciter\/resonator architectures<\/li>\n\n\n\n<li>Bowed\/plucked\/blown systems<\/li>\n<\/ul>\n<\/li>\n\n\n\n<li><strong>Modal and Resonator Synthesis<\/strong>\n<ul class=\"wp-block-list\">\n<li>Modal decomposition<\/li>\n\n\n\n<li>Resonant modes<\/li>\n\n\n\n<li>Tuned resonators<\/li>\n\n\n\n<li>Inharmonic resonators<\/li>\n\n\n\n<li>Exciters<\/li>\n\n\n\n<li>Sympathetic resonance<\/li>\n\n\n\n<li>Body modeling<\/li>\n\n\n\n<li>Resonator networks<\/li>\n<\/ul>\n<\/li>\n\n\n\n<li><strong>Spectral and Resynthesis Techniques<\/strong>\n<ul class=\"wp-block-list\">\n<li>Analysis\/resynthesis<\/li>\n\n\n\n<li>Sinusoidal resynthesis<\/li>\n\n\n\n<li>Harmonic-plus-noise models<\/li>\n\n\n\n<li>Spectral modeling synthesis<\/li>\n\n\n\n<li>Partial tracking<\/li>\n\n\n\n<li>Vocoders<\/li>\n\n\n\n<li>Cross-synthesis<\/li>\n\n\n\n<li>Morphing<\/li>\n\n\n\n<li>Spectral envelopes<\/li>\n<\/ul>\n<\/li>\n\n\n\n<li><strong>Formant and Vocal Synthesis<\/strong>\n<ul class=\"wp-block-list\">\n<li>Source-filter models<\/li>\n\n\n\n<li>Formant synthesis<\/li>\n\n\n\n<li>Vocal tract modeling<\/li>\n\n\n\n<li>Glottal-source models<\/li>\n\n\n\n<li>Vowel synthesis<\/li>\n\n\n\n<li>Choir synthesis<\/li>\n\n\n\n<li>Vocoding<\/li>\n\n\n\n<li>LPC<\/li>\n\n\n\n<li>Singing synthesis<\/li>\n<\/ul>\n<\/li>\n\n\n\n<li><strong>Vector, Morphing, and Multidimensional Synthesis<\/strong>\n<ul class=\"wp-block-list\">\n<li>Vector synthesis<\/li>\n\n\n\n<li>XY synthesis<\/li>\n\n\n\n<li>Timbre interpolation<\/li>\n\n\n\n<li>Multidimensional parameter spaces<\/li>\n\n\n\n<li>Morphing oscillators<\/li>\n\n\n\n<li>Crossfading<\/li>\n\n\n\n<li>Topological timbre spaces<\/li>\n<\/ul>\n<\/li>\n\n\n\n<li><strong>Algorithmic and Generative Synthesis<\/strong>\n<ul class=\"wp-block-list\">\n<li>Procedural sound<\/li>\n\n\n\n<li>Generative patches<\/li>\n\n\n\n<li>Stochastic synthesis<\/li>\n\n\n\n<li>Cellular automata<\/li>\n\n\n\n<li>Chaotic systems<\/li>\n\n\n\n<li>Rule-based generation<\/li>\n\n\n\n<li>Algorithmic composition<\/li>\n\n\n\n<li>Probabilistic modulation<\/li>\n<\/ul>\n<\/li>\n\n\n\n<li><strong>Neural and Machine-Learned Synthesis<\/strong>\n<ul class=\"wp-block-list\">\n<li>Neural audio synthesis<\/li>\n\n\n\n<li>Neural vocoders<\/li>\n\n\n\n<li>Diffusion audio<\/li>\n\n\n\n<li>Autoregressive audio<\/li>\n\n\n\n<li>GAN synthesis<\/li>\n\n\n\n<li>Neural wavetables<\/li>\n\n\n\n<li>Neural physical models<\/li>\n\n\n\n<li>Timbre transfer<\/li>\n\n\n\n<li>Voice conversion<\/li>\n\n\n\n<li>Generative audio models<\/li>\n<\/ul>\n<\/li>\n\n\n\n<li><strong>Modulation Systems<\/strong>\n<ul class=\"wp-block-list\">\n<li>LFOs<\/li>\n\n\n\n<li>Envelopes<\/li>\n\n\n\n<li>ADSR<\/li>\n\n\n\n<li>Multistage envelopes<\/li>\n\n\n\n<li>Looping envelopes<\/li>\n\n\n\n<li>Function generators<\/li>\n\n\n\n<li>Step sequencers<\/li>\n\n\n\n<li>Random modulators<\/li>\n\n\n\n<li>Sample-and-hold<\/li>\n\n\n\n<li>Chaos generators<\/li>\n\n\n\n<li>Envelope followers<\/li>\n\n\n\n<li>Key tracking<\/li>\n\n\n\n<li>Velocity<\/li>\n\n\n\n<li>Aftertouch<\/li>\n\n\n\n<li>Macros<\/li>\n\n\n\n<li>Modulation matrices<\/li>\n\n\n\n<li>Modulating modulators<\/li>\n<\/ul>\n<\/li>\n\n\n\n<li><strong>Parameter Control and Smoothing<\/strong>\n<ul class=\"wp-block-list\">\n<li>Parameter ramps<\/li>\n\n\n\n<li>Slew limiting<\/li>\n\n\n\n<li>One-pole smoothing<\/li>\n\n\n\n<li>Exponential smoothing<\/li>\n\n\n\n<li>Linear smoothing<\/li>\n\n\n\n<li>Logarithmic parameter spaces<\/li>\n\n\n\n<li>Zipper-noise prevention<\/li>\n\n\n\n<li>Click-free switching<\/li>\n\n\n\n<li>Crossfades<\/li>\n\n\n\n<li>State transitions<\/li>\n\n\n\n<li>Automation interpolation<\/li>\n<\/ul>\n<\/li>\n\n\n\n<li><strong>Polyphony and Voice Architecture<\/strong>\n<ul class=\"wp-block-list\">\n<li>Voice allocation<\/li>\n\n\n\n<li>Voice stealing<\/li>\n\n\n\n<li>Legato<\/li>\n\n\n\n<li>Retriggering<\/li>\n\n\n\n<li>Mono modes<\/li>\n\n\n\n<li>Polyphonic expression<\/li>\n\n\n\n<li>Unison<\/li>\n\n\n\n<li>Detuning<\/li>\n\n\n\n<li>Stereo spread<\/li>\n\n\n\n<li>Voice randomization<\/li>\n\n\n\n<li>Per-voice modulation<\/li>\n\n\n\n<li>Note priority<\/li>\n<\/ul>\n<\/li>\n\n\n\n<li><strong>Tuning and Musical Pitch Systems<\/strong>\n<ul class=\"wp-block-list\">\n<li>Equal temperament<\/li>\n\n\n\n<li>Just intonation<\/li>\n\n\n\n<li>Pythagorean tuning<\/li>\n\n\n\n<li>Microtonality<\/li>\n\n\n\n<li>Scala<\/li>\n\n\n\n<li>MTS<\/li>\n\n\n\n<li>MTS-ESP<\/li>\n\n\n\n<li>Adaptive tuning<\/li>\n\n\n\n<li>Pitch-class systems<\/li>\n<\/ul>\n<\/li>\n\n\n\n<li><strong>Musical Time and Transport<\/strong>\n<ul class=\"wp-block-list\">\n<li>Tempo<\/li>\n\n\n\n<li>BPM<\/li>\n\n\n\n<li>Beats<\/li>\n\n\n\n<li>Bars<\/li>\n\n\n\n<li>Time signatures<\/li>\n\n\n\n<li>PPQ<\/li>\n\n\n\n<li>Musical clocks<\/li>\n\n\n\n<li>Tempo maps<\/li>\n\n\n\n<li>Transport<\/li>\n\n\n\n<li>Loop regions<\/li>\n\n\n\n<li>Quantization<\/li>\n\n\n\n<li>Groove<\/li>\n\n\n\n<li>Swing<\/li>\n\n\n\n<li>Sample \u2194 time \u2194 beat conversions<\/li>\n\n\n\n<li>Host synchronization<\/li>\n<\/ul>\n<\/li>\n\n\n\n<li><strong>MIDI and Musical Control<\/strong>\n<ul class=\"wp-block-list\">\n<li>MIDI 1.0<\/li>\n\n\n\n<li>MIDI 2.0<\/li>\n\n\n\n<li>MPE<\/li>\n\n\n\n<li>Note expression<\/li>\n\n\n\n<li>NRPN<\/li>\n\n\n\n<li>Pitch bend<\/li>\n\n\n\n<li>MIDI clock<\/li>\n\n\n\n<li>MIDI transport<\/li>\n\n\n\n<li>OSC<\/li>\n\n\n\n<li>CV\/gate<\/li>\n\n\n\n<li>Automation<\/li>\n\n\n\n<li>Controller mapping<\/li>\n<\/ul>\n<\/li>\n\n\n\n<li><strong>Stereo Processing<\/strong>\n<ul class=\"wp-block-list\">\n<li>Pan laws<\/li>\n\n\n\n<li>Balance<\/li>\n\n\n\n<li>Width<\/li>\n\n\n\n<li>Mid\/Side<\/li>\n\n\n\n<li>Stereo rotation<\/li>\n\n\n\n<li>Haas effect<\/li>\n\n\n\n<li>Decorrelators<\/li>\n\n\n\n<li>Stereo enhancement<\/li>\n\n\n\n<li>Stereo-to-mono compatibility<\/li>\n\n\n\n<li>Channel correlation<\/li>\n\n\n\n<li>Stereo field manipulation<\/li>\n<\/ul>\n<\/li>\n\n\n\n<li><strong>Spatial Audio<\/strong>\n<ul class=\"wp-block-list\">\n<li>Binaural audio<\/li>\n\n\n\n<li>HRTF<\/li>\n\n\n\n<li>HRIR<\/li>\n\n\n\n<li>ITD<\/li>\n\n\n\n<li>ILD<\/li>\n\n\n\n<li>Head tracking<\/li>\n\n\n\n<li>Ambisonics<\/li>\n\n\n\n<li>Higher-order Ambisonics<\/li>\n\n\n\n<li>VBAP<\/li>\n\n\n\n<li>Wave-field synthesis<\/li>\n\n\n\n<li>Object-based audio<\/li>\n\n\n\n<li>Dolby Atmos<\/li>\n\n\n\n<li>MPEG-H<\/li>\n\n\n\n<li>Distance modeling<\/li>\n\n\n\n<li>Occlusion<\/li>\n\n\n\n<li>Doppler<\/li>\n\n\n\n<li>Room spatialization<\/li>\n<\/ul>\n<\/li>\n\n\n\n<li><strong>Psychoacoustics<\/strong>\n<ul class=\"wp-block-list\">\n<li>Auditory masking<\/li>\n\n\n\n<li>Critical bands<\/li>\n\n\n\n<li>Bark scale<\/li>\n\n\n\n<li>ERB scale<\/li>\n\n\n\n<li>Mel scale<\/li>\n\n\n\n<li>Equal-loudness contours<\/li>\n\n\n\n<li>Loudness perception<\/li>\n\n\n\n<li>Pitch perception<\/li>\n\n\n\n<li>Timbre perception<\/li>\n\n\n\n<li>Temporal masking<\/li>\n\n\n\n<li>Precedence\/Haas effect<\/li>\n\n\n\n<li>Localization<\/li>\n\n\n\n<li>Auditory scene analysis<\/li>\n\n\n\n<li>Roughness<\/li>\n\n\n\n<li>Sharpness<\/li>\n\n\n\n<li>Tonality<\/li>\n\n\n\n<li>Perceptual thresholds<\/li>\n<\/ul>\n<\/li>\n\n\n\n<li><strong>Acoustics<\/strong>\n<ul class=\"wp-block-list\">\n<li>Wave propagation<\/li>\n\n\n\n<li>Reflection<\/li>\n\n\n\n<li>Refraction<\/li>\n\n\n\n<li>Diffraction<\/li>\n\n\n\n<li>Absorption<\/li>\n\n\n\n<li>Standing waves<\/li>\n\n\n\n<li>Resonance<\/li>\n\n\n\n<li>Room modes<\/li>\n\n\n\n<li>Reverberation time<\/li>\n\n\n\n<li>Sabine\/Eyring models<\/li>\n\n\n\n<li>Acoustic impedance<\/li>\n\n\n\n<li>Boundary conditions<\/li>\n<\/ul>\n<\/li>\n\n\n\n<li><strong>Room Acoustics and Acoustic Measurement<\/strong>\n<ul class=\"wp-block-list\">\n<li>Impulse-response measurement<\/li>\n\n\n\n<li>Swept sine measurement<\/li>\n\n\n\n<li>MLS measurement<\/li>\n\n\n\n<li>RT60<\/li>\n\n\n\n<li>EDT<\/li>\n\n\n\n<li>C50\/C80<\/li>\n\n\n\n<li>Room correction<\/li>\n\n\n\n<li>Speaker measurement<\/li>\n\n\n\n<li>Phase measurement<\/li>\n\n\n\n<li>Group-delay measurement<\/li>\n\n\n\n<li>Acoustic treatment<\/li>\n<\/ul>\n<\/li>\n\n\n\n<li><strong>Electroacoustics and Transducers<\/strong>\n<ul class=\"wp-block-list\">\n<li>Microphones<\/li>\n\n\n\n<li>Loudspeakers<\/li>\n\n\n\n<li>Headphones<\/li>\n\n\n\n<li>Drivers<\/li>\n\n\n\n<li>Crossovers<\/li>\n\n\n\n<li>Directivity<\/li>\n\n\n\n<li>Polar patterns<\/li>\n\n\n\n<li>Cabinet design<\/li>\n\n\n\n<li>Transducer distortion<\/li>\n\n\n\n<li>Frequency response<\/li>\n\n\n\n<li>Impedance<\/li>\n<\/ul>\n<\/li>\n\n\n\n<li><strong>Convolution and Impulse Responses<\/strong>\n<ul class=\"wp-block-list\">\n<li>Direct convolution<\/li>\n\n\n\n<li>FFT convolution<\/li>\n\n\n\n<li>Partitioned convolution<\/li>\n\n\n\n<li>Zero-latency convolution<\/li>\n\n\n\n<li>IR capture<\/li>\n\n\n\n<li>Room IRs<\/li>\n\n\n\n<li>Cabinet IRs<\/li>\n\n\n\n<li>Hardware IRs<\/li>\n\n\n\n<li>Dynamic convolution<\/li>\n\n\n\n<li>Time-varying convolution<\/li>\n<\/ul>\n<\/li>\n\n\n\n<li><strong>Audio Separation and Extraction<\/strong>\n<ul class=\"wp-block-list\">\n<li>Source separation<\/li>\n\n\n\n<li>Stem separation<\/li>\n\n\n\n<li>Vocal isolation<\/li>\n\n\n\n<li>Instrument separation<\/li>\n\n\n\n<li>Blind source separation<\/li>\n\n\n\n<li>ICA<\/li>\n\n\n\n<li>NMF<\/li>\n\n\n\n<li>Neural separation<\/li>\n\n\n\n<li>Dialogue isolation<\/li>\n\n\n\n<li>Center extraction<\/li>\n<\/ul>\n<\/li>\n\n\n\n<li><strong>Speech and Voice Processing<\/strong>\n<ul class=\"wp-block-list\">\n<li>Speech enhancement<\/li>\n\n\n\n<li>Speech synthesis<\/li>\n\n\n\n<li>Text-to-speech<\/li>\n\n\n\n<li>Voice conversion<\/li>\n\n\n\n<li>Speaker identification<\/li>\n\n\n\n<li>Speech recognition<\/li>\n\n\n\n<li>Dereverberation<\/li>\n\n\n\n<li>Noise suppression<\/li>\n\n\n\n<li>Echo cancellation<\/li>\n\n\n\n<li>Beamforming<\/li>\n\n\n\n<li>Voice activity detection<\/li>\n<\/ul>\n<\/li>\n\n\n\n<li><strong>Music Information Retrieval<\/strong>\n<ul class=\"wp-block-list\">\n<li>Pitch tracking<\/li>\n\n\n\n<li>Chord recognition<\/li>\n\n\n\n<li>Key detection<\/li>\n\n\n\n<li>Tempo detection<\/li>\n\n\n\n<li>Beat tracking<\/li>\n\n\n\n<li>Meter detection<\/li>\n\n\n\n<li>Music transcription<\/li>\n\n\n\n<li>Instrument recognition<\/li>\n\n\n\n<li>Genre classification<\/li>\n\n\n\n<li>Audio similarity<\/li>\n\n\n\n<li>Music embeddings<\/li>\n\n\n\n<li>Structural segmentation<\/li>\n<\/ul>\n<\/li>\n\n\n\n<li><strong>Machine Learning for Audio<\/strong>\n<ul class=\"wp-block-list\">\n<li>Classification<\/li>\n\n\n\n<li>Regression<\/li>\n\n\n\n<li>Embeddings<\/li>\n\n\n\n<li>Transformers<\/li>\n\n\n\n<li>CNNs<\/li>\n\n\n\n<li>RNNs<\/li>\n\n\n\n<li>Diffusion models<\/li>\n\n\n\n<li>Self-supervised audio models<\/li>\n\n\n\n<li>Neural DSP<\/li>\n\n\n\n<li>Differentiable DSP<\/li>\n\n\n\n<li>Parameter estimation<\/li>\n\n\n\n<li>Automatic mixing<\/li>\n\n\n\n<li>Intelligent mastering<\/li>\n\n\n\n<li>Audio restoration<\/li>\n\n\n\n<li>Source separation<\/li>\n<\/ul>\n<\/li>\n\n\n\n<li><strong>Audio Coding and Compression<\/strong>\n<ul class=\"wp-block-list\">\n<li>PCM<\/li>\n\n\n\n<li>Lossless coding<\/li>\n\n\n\n<li>FLAC<\/li>\n\n\n\n<li>ALAC<\/li>\n\n\n\n<li>Lossy perceptual coding<\/li>\n\n\n\n<li>MP3<\/li>\n\n\n\n<li>AAC<\/li>\n\n\n\n<li>Opus<\/li>\n\n\n\n<li>Vorbis<\/li>\n\n\n\n<li>Neural codecs<\/li>\n\n\n\n<li>Bit allocation<\/li>\n\n\n\n<li>Psychoacoustic coding<\/li>\n\n\n\n<li>Entropy coding<\/li>\n<\/ul>\n<\/li>\n\n\n\n<li><strong>Quantization, Dither, and Noise Shaping<\/strong>\n<ul class=\"wp-block-list\">\n<li>Bit depth<\/li>\n\n\n\n<li>Quantization noise<\/li>\n\n\n\n<li>TPDF dither<\/li>\n\n\n\n<li>RPDF dither<\/li>\n\n\n\n<li>Noise-shaped dither<\/li>\n\n\n\n<li>Error feedback<\/li>\n\n\n\n<li>Truncation<\/li>\n\n\n\n<li>Floating-point versus integer PCM<\/li>\n<\/ul>\n<\/li>\n\n\n\n<li><strong>Audio File Formats and Metadata<\/strong>\n<ul class=\"wp-block-list\">\n<li>WAV<\/li>\n\n\n\n<li>RF64<\/li>\n\n\n\n<li>AIFF<\/li>\n\n\n\n<li>CAF<\/li>\n\n\n\n<li>FLAC<\/li>\n\n\n\n<li>MP3<\/li>\n\n\n\n<li>AAC<\/li>\n\n\n\n<li>Ogg<\/li>\n\n\n\n<li>Opus<\/li>\n\n\n\n<li>BWF<\/li>\n\n\n\n<li>ID3<\/li>\n\n\n\n<li>Broadcast metadata<\/li>\n\n\n\n<li>Channel layouts<\/li>\n\n\n\n<li>Sample format conversion<\/li>\n<\/ul>\n<\/li>\n\n\n\n<li><strong>Streaming Audio<\/strong>\n<ul class=\"wp-block-list\">\n<li>Progressive streaming<\/li>\n\n\n\n<li>Adaptive streaming<\/li>\n\n\n\n<li>Chunking<\/li>\n\n\n\n<li>Packetization<\/li>\n\n\n\n<li>Jitter buffers<\/li>\n\n\n\n<li>Network clock synchronization<\/li>\n\n\n\n<li>RTP<\/li>\n\n\n\n<li>WebRTC<\/li>\n\n\n\n<li>Low-latency streaming<\/li>\n\n\n\n<li>Loss concealment<\/li>\n<\/ul>\n<\/li>\n\n\n\n<li><strong>Real-Time Audio Systems<\/strong>\n<ul class=\"wp-block-list\">\n<li>Audio callbacks<\/li>\n\n\n\n<li>Block processing<\/li>\n\n\n\n<li>Buffer sizes<\/li>\n\n\n\n<li>Latency<\/li>\n\n\n\n<li>Real-time safety<\/li>\n\n\n\n<li>Lock-free programming<\/li>\n\n\n\n<li>Wait-free structures<\/li>\n\n\n\n<li>Ring buffers<\/li>\n\n\n\n<li>Thread priorities<\/li>\n\n\n\n<li>Scheduling<\/li>\n\n\n\n<li>Memory allocation<\/li>\n\n\n\n<li>Cache behavior<\/li>\n\n\n\n<li>Denormals<\/li>\n\n\n\n<li>Dropout prevention<\/li>\n<\/ul>\n<\/li>\n\n\n\n<li><strong>DSP Performance Engineering<\/strong>\n<ul class=\"wp-block-list\">\n<li>SIMD<\/li>\n\n\n\n<li>Vectorization<\/li>\n\n\n\n<li>Multithreading<\/li>\n\n\n\n<li>Data-oriented design<\/li>\n\n\n\n<li>Structure-of-arrays<\/li>\n\n\n\n<li>Cache locality<\/li>\n\n\n\n<li>Branch reduction<\/li>\n\n\n\n<li>Loop unrolling<\/li>\n\n\n\n<li>Memory pools<\/li>\n\n\n\n<li>Fixed resource models<\/li>\n\n\n\n<li>Work stealing<\/li>\n\n\n\n<li>Worker systems<\/li>\n\n\n\n<li>Profiling<\/li>\n\n\n\n<li>Benchmarking<\/li>\n<\/ul>\n<\/li>\n\n\n\n<li><strong>Parallel and Heterogeneous Audio Computing<\/strong>\n<ul class=\"wp-block-list\">\n<li>CPU SIMD<\/li>\n\n\n\n<li>GPU audio processing<\/li>\n\n\n\n<li>Compute shaders<\/li>\n\n\n\n<li>WebGPU<\/li>\n\n\n\n<li>DSP chips<\/li>\n\n\n\n<li>FPGA<\/li>\n\n\n\n<li>ARM NEON<\/li>\n\n\n\n<li>AVX<\/li>\n\n\n\n<li>WASM SIMD<\/li>\n\n\n\n<li>Parallel FFT<\/li>\n\n\n\n<li>Distributed processing<\/li>\n<\/ul>\n<\/li>\n\n\n\n<li><strong>Audio Programming Languages and DSP Frameworks<\/strong>\n<ul class=\"wp-block-list\">\n<li>Faust<\/li>\n\n\n\n<li>C<\/li>\n\n\n\n<li>C++<\/li>\n\n\n\n<li>Rust<\/li>\n\n\n\n<li>WebAssembly<\/li>\n\n\n\n<li>JUCE<\/li>\n\n\n\n<li>Web Audio<\/li>\n\n\n\n<li>SuperCollider<\/li>\n\n\n\n<li>Pure Data<\/li>\n\n\n\n<li>Max\/MSP<\/li>\n\n\n\n<li>Csound<\/li>\n\n\n\n<li>SOUL<\/li>\n\n\n\n<li>gen~<\/li>\n\n\n\n<li>MATLAB\/Octave<\/li>\n\n\n\n<li>Python audio tooling<\/li>\n<\/ul>\n<\/li>\n\n\n\n<li><strong>Plugin and Host Architectures<\/strong>\n<ul class=\"wp-block-list\">\n<li>VST3<\/li>\n\n\n\n<li>Audio Unit<\/li>\n\n\n\n<li>CLAP<\/li>\n\n\n\n<li>AAX<\/li>\n\n\n\n<li>LV2<\/li>\n\n\n\n<li>Standalone engines<\/li>\n\n\n\n<li>DAW hosting<\/li>\n\n\n\n<li>Parameter systems<\/li>\n\n\n\n<li>State serialization<\/li>\n\n\n\n<li>Presets<\/li>\n\n\n\n<li>Automation<\/li>\n\n\n\n<li>Plugin latency reporting<\/li>\n\n\n\n<li>Tail reporting<\/li>\n<\/ul>\n<\/li>\n\n\n\n<li><strong>Web Audio and Browser DSP<\/strong>\n<ul class=\"wp-block-list\">\n<li>Web Audio API<\/li>\n\n\n\n<li>AudioWorklet<\/li>\n\n\n\n<li>WebAssembly DSP<\/li>\n\n\n\n<li>SharedArrayBuffer<\/li>\n\n\n\n<li>Web Workers<\/li>\n\n\n\n<li>WASM SIMD<\/li>\n\n\n\n<li>Audio streaming<\/li>\n\n\n\n<li>Browser MIDI<\/li>\n\n\n\n<li>WebCodecs<\/li>\n\n\n\n<li>Browser scheduling<\/li>\n\n\n\n<li>Cross-origin isolation<\/li>\n<\/ul>\n<\/li>\n\n\n\n<li><strong>Embedded and Hardware DSP<\/strong>\n<ul class=\"wp-block-list\">\n<li>DSP processors<\/li>\n\n\n\n<li>Microcontrollers<\/li>\n\n\n\n<li>ARM<\/li>\n\n\n\n<li>FPGA<\/li>\n\n\n\n<li>Fixed-point DSP<\/li>\n\n\n\n<li>ADC<\/li>\n\n\n\n<li>DAC<\/li>\n\n\n\n<li>Clocking<\/li>\n\n\n\n<li>Jitter<\/li>\n\n\n\n<li>DMA<\/li>\n\n\n\n<li>Codec chips<\/li>\n\n\n\n<li>Embedded real-time systems<\/li>\n<\/ul>\n<\/li>\n\n\n\n<li><strong>DSP Graphs and Signal Routing<\/strong>\n<ul class=\"wp-block-list\">\n<li>Signal graphs<\/li>\n\n\n\n<li>Node graphs<\/li>\n\n\n\n<li>Buses<\/li>\n\n\n\n<li>Sends<\/li>\n\n\n\n<li>Returns<\/li>\n\n\n\n<li>Feedback routing<\/li>\n\n\n\n<li>Sidechains<\/li>\n\n\n\n<li>Parallel processing<\/li>\n\n\n\n<li>Serial processing<\/li>\n\n\n\n<li>Dry\/wet routing<\/li>\n\n\n\n<li>Graph scheduling<\/li>\n\n\n\n<li>Graph latency compensation<\/li>\n<\/ul>\n<\/li>\n\n\n\n<li><strong>Audio Engine Architecture<\/strong>\n<ul class=\"wp-block-list\">\n<li>Render graphs<\/li>\n\n\n\n<li>Voice engines<\/li>\n\n\n\n<li>Effect racks<\/li>\n\n\n\n<li>Resource ownership<\/li>\n\n\n\n<li>State management<\/li>\n\n\n\n<li>Parameter systems<\/li>\n\n\n\n<li>Event systems<\/li>\n\n\n\n<li>Sample-accurate automation<\/li>\n\n\n\n<li>Engine\/UI boundaries<\/li>\n\n\n\n<li>Host interfaces<\/li>\n\n\n\n<li>Serialization<\/li>\n<\/ul>\n<\/li>\n\n\n\n<li><strong>Audio UI and Visualization<\/strong>\n<ul class=\"wp-block-list\">\n<li>Waveforms<\/li>\n\n\n\n<li>Oscilloscopes<\/li>\n\n\n\n<li>Spectrograms<\/li>\n\n\n\n<li>Spectrum analyzers<\/li>\n\n\n\n<li>Filter-response displays<\/li>\n\n\n\n<li>Transfer-function displays<\/li>\n\n\n\n<li>Gain-reduction meters<\/li>\n\n\n\n<li>Modulation visualization<\/li>\n\n\n\n<li>Envelope visualization<\/li>\n\n\n\n<li>Wavetable visualization<\/li>\n\n\n\n<li>Spatial visualization<\/li>\n\n\n\n<li>High-refresh-rate rendering<\/li>\n<\/ul>\n<\/li>\n\n\n\n<li><strong>Audio Data Structures and Large-File Processing<\/strong>\n<ul class=\"wp-block-list\">\n<li>Peak pyramids<\/li>\n\n\n\n<li>Waveform summaries<\/li>\n\n\n\n<li>Multiresolution representations<\/li>\n\n\n\n<li>Audio indexing<\/li>\n\n\n\n<li>Range requests<\/li>\n\n\n\n<li>Streaming decoding<\/li>\n\n\n\n<li>Tile caching<\/li>\n\n\n\n<li>Virtualized visualization<\/li>\n\n\n\n<li>Worker-based analysis<\/li>\n\n\n\n<li>Progressive decoding<\/li>\n<\/ul>\n<\/li>\n\n\n\n<li><strong>Testing and DSP Verification<\/strong>\n<ul class=\"wp-block-list\">\n<li>Unit testing<\/li>\n\n\n\n<li>Property testing<\/li>\n\n\n\n<li>Golden-reference testing<\/li>\n\n\n\n<li>Differential testing<\/li>\n\n\n\n<li>Impulse tests<\/li>\n\n\n\n<li>Step tests<\/li>\n\n\n\n<li>Sweep tests<\/li>\n\n\n\n<li>Null tests<\/li>\n\n\n\n<li>Frequency-response tests<\/li>\n\n\n\n<li>Phase-response tests<\/li>\n\n\n\n<li>THD tests<\/li>\n\n\n\n<li>Aliasing tests<\/li>\n\n\n\n<li>Stability tests<\/li>\n\n\n\n<li>Stress tests<\/li>\n\n\n\n<li>Fuzz testing<\/li>\n<\/ul>\n<\/li>\n\n\n\n<li><strong>Audio Quality Evaluation<\/strong>\n<ul class=\"wp-block-list\">\n<li>AB tests<\/li>\n\n\n\n<li>ABX tests<\/li>\n\n\n\n<li>MUSHRA<\/li>\n\n\n\n<li>Double-blind listening<\/li>\n\n\n\n<li>Preference testing<\/li>\n\n\n\n<li>Objective metrics<\/li>\n\n\n\n<li>Perceptual metrics<\/li>\n\n\n\n<li>Reference matching<\/li>\n\n\n\n<li>Artifact identification<\/li>\n\n\n\n<li>Expert listening<\/li>\n<\/ul>\n<\/li>\n\n\n\n<li><strong>Mixing<\/strong>\n<ul class=\"wp-block-list\">\n<li>Gain staging<\/li>\n\n\n\n<li>Balance<\/li>\n\n\n\n<li>EQ<\/li>\n\n\n\n<li>Compression<\/li>\n\n\n\n<li>Saturation<\/li>\n\n\n\n<li>Panning<\/li>\n\n\n\n<li>Depth<\/li>\n\n\n\n<li>Automation<\/li>\n\n\n\n<li>Bus processing<\/li>\n\n\n\n<li>Parallel processing<\/li>\n\n\n\n<li>Stem processing<\/li>\n\n\n\n<li>Mix translation<\/li>\n<\/ul>\n<\/li>\n\n\n\n<li><strong>Mastering<\/strong>\n<ul class=\"wp-block-list\">\n<li>Loudness<\/li>\n\n\n\n<li>Tonal balance<\/li>\n\n\n\n<li>Dynamics<\/li>\n\n\n\n<li>Limiting<\/li>\n\n\n\n<li>Clipping<\/li>\n\n\n\n<li>Stereo control<\/li>\n\n\n\n<li>Sequencing<\/li>\n\n\n\n<li>Dither<\/li>\n\n\n\n<li>Delivery formats<\/li>\n\n\n\n<li>Streaming normalization<\/li>\n<\/ul>\n<\/li>\n\n\n\n<li><strong>Sound Design<\/strong>\n<ul class=\"wp-block-list\">\n<li>Layering<\/li>\n\n\n\n<li>Foley<\/li>\n\n\n\n<li>Procedural audio<\/li>\n\n\n\n<li>Texture design<\/li>\n\n\n\n<li>Impact design<\/li>\n\n\n\n<li>Transition effects<\/li>\n\n\n\n<li>Environmental sound<\/li>\n\n\n\n<li>Cinematic processing<\/li>\n\n\n\n<li>Synth patch design<\/li>\n<\/ul>\n<\/li>\n\n\n\n<li><strong>Game and Interactive Audio<\/strong>\n<ul class=\"wp-block-list\">\n<li>Adaptive music<\/li>\n\n\n\n<li>Procedural sound<\/li>\n\n\n\n<li>Interactive mixing<\/li>\n\n\n\n<li>Spatialization<\/li>\n\n\n\n<li>Occlusion<\/li>\n\n\n\n<li>Environmental modeling<\/li>\n\n\n\n<li>Middleware<\/li>\n\n\n\n<li>Wwise<\/li>\n\n\n\n<li>FMOD<\/li>\n\n\n\n<li>Game-engine audio<\/li>\n<\/ul>\n<\/li>\n\n\n\n<li><strong>Film, Television, and Broadcast Audio<\/strong>\n<ul class=\"wp-block-list\">\n<li>Dialogue processing<\/li>\n\n\n\n<li>Foley<\/li>\n\n\n\n<li>ADR<\/li>\n\n\n\n<li>Surround mixing<\/li>\n\n\n\n<li>Loudness standards<\/li>\n\n\n\n<li>Broadcast metering<\/li>\n\n\n\n<li>Object audio<\/li>\n\n\n\n<li>Restoration<\/li>\n\n\n\n<li>Production sound<\/li>\n<\/ul>\n<\/li>\n\n\n\n<li><strong>Live Sound and Reinforcement<\/strong>\n<ul class=\"wp-block-list\">\n<li>PA systems<\/li>\n\n\n\n<li>Feedback suppression<\/li>\n\n\n\n<li>Live mixing<\/li>\n\n\n\n<li>System alignment<\/li>\n\n\n\n<li>Crossovers<\/li>\n\n\n\n<li>Delay alignment<\/li>\n\n\n\n<li>Beam steering<\/li>\n\n\n\n<li>Room correction<\/li>\n\n\n\n<li>Monitor mixing<\/li>\n<\/ul>\n<\/li>\n\n\n\n<li><strong>Audio Forensics<\/strong>\n<ul class=\"wp-block-list\">\n<li>Authentication<\/li>\n\n\n\n<li>Enhancement<\/li>\n\n\n\n<li>Noise identification<\/li>\n\n\n\n<li>Source identification<\/li>\n\n\n\n<li>Acoustic localization<\/li>\n\n\n\n<li>Recording analysis<\/li>\n\n\n\n<li>Tamper detection<\/li>\n<\/ul>\n<\/li>\n\n\n\n<li><strong>Assistive and Medical Audio<\/strong>\n<ul class=\"wp-block-list\">\n<li>Hearing aids<\/li>\n\n\n\n<li>Cochlear implants<\/li>\n\n\n\n<li>Hearing compensation<\/li>\n\n\n\n<li>Audiometry<\/li>\n\n\n\n<li>Speech enhancement<\/li>\n\n\n\n<li>Tinnitus research<\/li>\n\n\n\n<li>Accessibility audio<\/li>\n<\/ul>\n<\/li>\n\n\n\n<li><strong>Sonification and Scientific Audio<\/strong>\n<ul class=\"wp-block-list\">\n<li>Data sonification<\/li>\n\n\n\n<li>Auditory displays<\/li>\n\n\n\n<li>Scientific monitoring<\/li>\n\n\n\n<li>Bioacoustics<\/li>\n\n\n\n<li>Seismic sonification<\/li>\n\n\n\n<li>Human-computer interaction<\/li>\n<\/ul>\n<\/li>\n\n\n\n<li><strong>Audio Research Methodology<\/strong>\n<ul class=\"wp-block-list\">\n<li>Literature review<\/li>\n\n\n\n<li>Reproducible DSP experiments<\/li>\n\n\n\n<li>Dataset construction<\/li>\n\n\n\n<li>Benchmark design<\/li>\n\n\n\n<li>Reference implementations<\/li>\n\n\n\n<li>Algorithm comparison<\/li>\n\n\n\n<li>Patent research<\/li>\n\n\n\n<li>Historical DSP research<\/li>\n\n\n\n<li>Reverse engineering<\/li>\n\n\n\n<li>Licensing\/open-source analysis<\/li>\n<\/ul>\n<\/li>\n<\/ol>\n\n\n\n<p class=\"wp-block-paragraph\">A practical repository structure could condense those 80 research domains into about 20 durable top-level folders:<\/p>\n\n\n\n<pre class=\"wp-block-code\"><code>audio-research\/\n\u2502\n\u251c\u2500\u2500 00-foundations\/\n\u2502   \u251c\u2500\u2500 mathematics\/\n\u2502   \u251c\u2500\u2500 signals-systems\/\n\u2502   \u251c\u2500\u2500 sampling-theory\/\n\u2502   \u251c\u2500\u2500 units-and-quantities\/\n\u2502   \u2514\u2500\u2500 numerical-methods\/\n\u2502\n\u251c\u2500\u2500 01-analysis-measurement\/\n\u2502   \u251c\u2500\u2500 signal-analysis\/\n\u2502   \u251c\u2500\u2500 transforms\/\n\u2502   \u251c\u2500\u2500 metering\/\n\u2502   \u2514\u2500\u2500 measurement\/\n\u2502\n\u251c\u2500\u2500 02-filters-eq\/\n\u251c\u2500\u2500 03-dynamics\/\n\u251c\u2500\u2500 04-nonlinear-analog-modeling\/\n\u251c\u2500\u2500 05-delay-reverb\/\n\u251c\u2500\u2500 06-modulation-effects\/\n\u251c\u2500\u2500 07-pitch-time\/\n\u251c\u2500\u2500 08-spectral-processing\/\n\u251c\u2500\u2500 09-restoration-separation\/\n\u2502\n\u251c\u2500\u2500 10-synthesis\/\n\u2502   \u251c\u2500\u2500 oscillators\/\n\u2502   \u251c\u2500\u2500 subtractive\/\n\u2502   \u251c\u2500\u2500 additive\/\n\u2502   \u251c\u2500\u2500 wavetable\/\n\u2502   \u251c\u2500\u2500 fm-pm\/\n\u2502   \u251c\u2500\u2500 phase-distortion\/\n\u2502   \u251c\u2500\u2500 waveshaping-wavefolding\/\n\u2502   \u251c\u2500\u2500 granular\/\n\u2502   \u251c\u2500\u2500 sampling\/\n\u2502   \u251c\u2500\u2500 physical-modeling\/\n\u2502   \u251c\u2500\u2500 modal-resonator\/\n\u2502   \u251c\u2500\u2500 spectral-resynthesis\/\n\u2502   \u251c\u2500\u2500 vocal-formant\/\n\u2502   \u251c\u2500\u2500 vector-morphing\/\n\u2502   \u2514\u2500\u2500 neural-generative\/\n\u2502\n\u251c\u2500\u2500 11-modulation-control\/\n\u2502   \u251c\u2500\u2500 envelopes\/\n\u2502   \u251c\u2500\u2500 lfos\/\n\u2502   \u251c\u2500\u2500 modulation-matrices\/\n\u2502   \u251c\u2500\u2500 parameter-smoothing\/\n\u2502   \u251c\u2500\u2500 polyphony\/\n\u2502   \u251c\u2500\u2500 midi-mpe\/\n\u2502   \u251c\u2500\u2500 tuning\/\n\u2502   \u2514\u2500\u2500 transport-musical-time\/\n\u2502\n\u251c\u2500\u2500 12-spatial-stereo\/\n\u2502   \u251c\u2500\u2500 stereo\/\n\u2502   \u251c\u2500\u2500 binaural\/\n\u2502   \u251c\u2500\u2500 hrtf\/\n\u2502   \u251c\u2500\u2500 ambisonics\/\n\u2502   \u2514\u2500\u2500 object-spatial-audio\/\n\u2502\n\u251c\u2500\u2500 13-acoustics-perception\/\n\u2502   \u251c\u2500\u2500 psychoacoustics\/\n\u2502   \u251c\u2500\u2500 room-acoustics\/\n\u2502   \u251c\u2500\u2500 electroacoustics\/\n\u2502   \u2514\u2500\u2500 transducers\/\n\u2502\n\u251c\u2500\u2500 14-speech-mir-ml\/\n\u2502   \u251c\u2500\u2500 speech\/\n\u2502   \u251c\u2500\u2500 music-information-retrieval\/\n\u2502   \u251c\u2500\u2500 machine-learning\/\n\u2502   \u2514\u2500\u2500 neural-dsp\/\n\u2502\n\u251c\u2500\u2500 15-audio-formats-codecs-streaming\/\n\u2502\n\u251c\u2500\u2500 16-runtime-performance\/\n\u2502   \u251c\u2500\u2500 realtime-audio\/\n\u2502   \u251c\u2500\u2500 simd\/\n\u2502   \u251c\u2500\u2500 threading\/\n\u2502   \u251c\u2500\u2500 memory\/\n\u2502   \u251c\u2500\u2500 wasm\/\n\u2502   \u251c\u2500\u2500 gpu\/\n\u2502   \u2514\u2500\u2500 embedded\/\n\u2502\n\u251c\u2500\u2500 17-engine-platforms\/\n\u2502   \u251c\u2500\u2500 dsp-graphs\/\n\u2502   \u251c\u2500\u2500 audio-engines\/\n\u2502   \u251c\u2500\u2500 plugin-formats\/\n\u2502   \u251c\u2500\u2500 web-audio\/\n\u2502   \u251c\u2500\u2500 faust\/\n\u2502   \u251c\u2500\u2500 rust\/\n\u2502   \u2514\u2500\u2500 juce-native\/\n\u2502\n\u251c\u2500\u2500 18-ui-visualization\/\n\u2502\n\u251c\u2500\u2500 19-validation-quality\/\n\u2502   \u251c\u2500\u2500 automated-testing\/\n\u2502   \u251c\u2500\u2500 measurements\/\n\u2502   \u251c\u2500\u2500 benchmarks\/\n\u2502   \u2514\u2500\u2500 listening-evaluation\/\n\u2502\n\u2514\u2500\u2500 20-applications\/\n    \u251c\u2500\u2500 mixing\/\n    \u251c\u2500\u2500 mastering\/\n    \u251c\u2500\u2500 music-production\/\n    \u251c\u2500\u2500 sound-design\/\n    \u251c\u2500\u2500 game-audio\/\n    \u251c\u2500\u2500 film-broadcast\/\n    \u251c\u2500\u2500 live-sound\/\n    \u251c\u2500\u2500 forensics\/\n    \u251c\u2500\u2500 assistive-audio\/\n    \u2514\u2500\u2500 sonification\/<\/code><\/pre>\n\n\n\n<p class=\"wp-block-paragraph\">I would treat this as the canonical research taxonomy and then use tags for concepts that cut across folders. For example, <code>#aliasing<\/code>, <code>#realtime-safe<\/code>, <code>#simd<\/code>, <code>#zero-delay-feedback<\/code>, <code>#psychoacoustics<\/code>, <code>#faust<\/code>, <code>#rust<\/code>, <code>#wasm<\/code>, <code>#analog-modeling<\/code>, <code>#perceptual<\/code>, <code>#reference-implementation<\/code>, and <code>#production-ready<\/code>. That avoids duplicating the same paper into several folders.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">For your current DSP work, the especially important distinction is between <strong>DSP family<\/strong>, <strong>algorithm<\/strong>, <strong>implementation<\/strong>, and <strong>application<\/strong>. A ladder filter belongs under Filters; zero-delay feedback is an implementation technique; SIMD is an optimization technique; Faust\/Rust\/WASM are implementation technologies; and a synthesizer or mastering processor is an application. Keeping those dimensions separate will make a large research collection considerably easier for both humans and coding agents to navigate.<\/p>\n\n\n\n<hr class=\"wp-block-separator has-alpha-channel-opacity\"\/>\n\n\n\n<p class=\"wp-block-paragraph\">Yes. WordPress is a strong fit for this, especially because your research will be continuously expanded, cross-linked, revised, and browsed by topic rather than treated as a static document library.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">I would avoid structuring it as a conventional blog. Treat WordPress as a research knowledge base.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">A good content model would be:<\/p>\n\n\n\n<ul class=\"wp-block-list\">\n<li><strong>Research Articles<\/strong> \u2014 your substantial writeups, investigations, implementation studies, literature reviews, comparisons, and synthesis reports.<\/li>\n\n\n\n<li><strong>Sources<\/strong> \u2014 papers, books, videos, talks, repositories, patents, standards, documentation, and other primary references.<\/li>\n\n\n\n<li><strong>Algorithms \/ Techniques<\/strong> \u2014 individual concepts such as ZDF, PolyBLEP, ADAA, partitioned convolution, WSOLA, SVF, oversampling, Hilbert transforms, etc.<\/li>\n\n\n\n<li><strong>DSP Modules<\/strong> \u2014 concrete processors such as compressor, ladder filter, chorus, limiter, wavetable oscillator, FDN reverb.<\/li>\n\n\n\n<li><strong>People \/ Organizations<\/strong> \u2014 researchers, developers, companies, universities, projects, and labs when useful.<\/li>\n\n\n\n<li><strong>Glossary<\/strong> \u2014 concise explanations of terminology.<\/li>\n\n\n\n<li><strong>Projects \/ Experiments<\/strong> \u2014 KahuStack DSP implementation experiments, benchmarks, prototypes, and validation work.<\/li>\n<\/ul>\n\n\n\n<p class=\"wp-block-paragraph\">The 20-domain hierarchy from the previous answer would work better as a custom hierarchical taxonomy than as WordPress categories. For example:<\/p>\n\n\n\n<pre class=\"wp-block-code\"><code>Domain\n\u251c\u2500\u2500 Foundations\n\u2502   \u251c\u2500\u2500 Mathematics\n\u2502   \u251c\u2500\u2500 Signals &amp; Systems\n\u2502   \u251c\u2500\u2500 Sampling Theory\n\u2502   \u2514\u2500\u2500 Numerical Methods\n\u2502\n\u251c\u2500\u2500 Filters &amp; EQ\n\u251c\u2500\u2500 Dynamics\n\u251c\u2500\u2500 Nonlinear DSP\n\u251c\u2500\u2500 Delay &amp; Reverb\n\u251c\u2500\u2500 Spectral Processing\n\u251c\u2500\u2500 Synthesis\n\u2502   \u251c\u2500\u2500 Wavetable\n\u2502   \u251c\u2500\u2500 FM \/ PM\n\u2502   \u251c\u2500\u2500 Physical Modeling\n\u2502   \u251c\u2500\u2500 Granular\n\u2502   \u2514\u2500\u2500 ...\n\u2502\n\u251c\u2500\u2500 Spatial Audio\n\u251c\u2500\u2500 Psychoacoustics\n\u251c\u2500\u2500 Real-Time Systems\n\u251c\u2500\u2500 DSP Performance\n\u251c\u2500\u2500 Audio Engines\n\u2514\u2500\u2500 Validation<\/code><\/pre>\n\n\n\n<p class=\"wp-block-paragraph\">Then use separate non-hierarchical taxonomies for properties that cut across domains:<\/p>\n\n\n\n<pre class=\"wp-block-code\"><code>Technique\n    SIMD\n    oversampling\n    interpolation\n    zero-delay feedback\n    convolution\n    feedback\n    modulation\n    resampling\n\nPlatform\n    Rust\n    Faust\n    C++\n    WebAssembly\n    JUCE\n    Web Audio\n\nApplication\n    synthesizer\n    mixing\n    mastering\n    restoration\n    spatial audio\n    game audio\n\nResearch Type\n    academic paper\n    implementation study\n    benchmark\n    source-code analysis\n    tutorial\n    historical research\n    patent\n    standard\n    experiment\n\nStatus\n    inbox\n    reading\n    summarized\n    validated\n    implementation candidate\n    implemented<\/code><\/pre>\n\n\n\n<p class=\"wp-block-paragraph\">That distinction will become extremely valuable. A paper about SIMD optimization of a ladder filter, for example, can have:<\/p>\n\n\n\n<pre class=\"wp-block-code\"><code>Domain: Filters &amp; EQ\nSubdomain: Analog Filter Modeling\n\nTechniques:\n- SIMD\n- Zero-delay feedback\n- Nonlinear processing\n\nPlatforms:\n- Rust\n- WebAssembly\n\nApplications:\n- Synthesizer\n\nResearch Type:\n- Academic paper<\/code><\/pre>\n\n\n\n<p class=\"wp-block-paragraph\">You don&#8217;t have to decide where it belongs in five different folder trees. WordPress handles those dimensions independently.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">I would also give every Research Article a standardized set of custom fields:<\/p>\n\n\n\n<pre class=\"wp-block-code\"><code>Title\nAbstract \/ Summary\nResearch Question\nDomain\nSubdomain\nKey Concepts\nPrimary Sources\nRelated Research\nAlgorithms Discussed\nImplementation Relevance\nKahuStack DSP Relevance\nMANA Relevance\nPerformance Considerations\nReal-Time Safety\nReference Implementations\nRepositories\nPapers \/ DOI\nAuthors\nPublication Date\nResearch Date\nConfidence \/ Evidence Level\nImplementation Status\nLast Reviewed<\/code><\/pre>\n\n\n\n<p class=\"wp-block-paragraph\">Then each article itself could use a predictable structure:<\/p>\n\n\n\n<pre class=\"wp-block-code\"><code>Overview\n\nWhy This Matters\n\nBackground\n\nCore Concepts\n\nAlgorithms\n\nImplementation Approaches\n\nPerformance Considerations\n\nReal-Time Audio Considerations\n\nNumerical \/ Audio Quality Considerations\n\nExisting Implementations\n\nResearch Findings\n\nImplications for KahuStack DSP\n\nRecommended Implementation\n\nOpen Questions\n\nReferences\n\nRelated Research<\/code><\/pre>\n\n\n\n<p class=\"wp-block-paragraph\">One feature I would consider especially important is separating <strong>Sources<\/strong> from <strong>Research Articles<\/strong>.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Suppose you watch a Roth Michaels ADC talk, read its slides, inspect a RustAudio implementation, and read three papers. Those are five Source records. Your synthesis of them becomes one Research Article.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Then WordPress can show:<\/p>\n\n\n\n<blockquote class=\"wp-block-quote is-layout-flow wp-block-quote-is-layout-flow\">\n<p class=\"wp-block-paragraph\">Sources used in this research<\/p>\n<\/blockquote>\n\n\n\n<p class=\"wp-block-paragraph\">and each Source page can automatically show:<\/p>\n\n\n\n<blockquote class=\"wp-block-quote is-layout-flow wp-block-quote-is-layout-flow\">\n<p class=\"wp-block-paragraph\">Research that cites this source<\/p>\n<\/blockquote>\n\n\n\n<p class=\"wp-block-paragraph\">That effectively gives you a lightweight citation graph.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">The same idea can work for algorithms. A page for <code>Allpass Filter<\/code>, for example, could automatically aggregate:<\/p>\n\n\n\n<pre class=\"wp-block-code\"><code>Definition\nRelevant research\nRelated papers\nImplementations\nDSP modules using it\nExperiments\nBenchmarks\nRelated concepts:\n    Comb filter\n    Phase response\n    Diffusion\n    FDN\n    Fractional delay<\/code><\/pre>\n\n\n\n<p class=\"wp-block-paragraph\">At that point the site starts behaving less like a blog and more like a small DSP encyclopedia.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">I would also make URLs semantic:<\/p>\n\n\n\n<pre class=\"wp-block-code\"><code>\/research\/zero-delay-feedback-filter-modeling\/\n\n\/sources\/roth-michaels-strongly-typed-units-adc-2025\/\n\n\/algorithms\/polyblep\/\n\n\/algorithms\/state-variable-filter\/\n\n\/modules\/compressor\/\n\n\/people\/julius-o-smith\/\n\n\/domains\/synthesis\/wavetable\/\n\n\/domains\/dsp\/nonlinear\/\n\n\/topics\/oversampling\/<\/code><\/pre>\n\n\n\n<p class=\"wp-block-paragraph\">For your use case, I would probably keep ordinary WordPress <strong>posts<\/strong> for news, progress notes, and informal observations, while the permanent research corpus uses custom post types.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">There is also an important opportunity here for KahuStack DSP development: give every research page an explicit <strong>implementation relationship<\/strong>.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">For example:<\/p>\n\n\n\n<pre class=\"wp-block-code\"><code>Research\n    \u2193 supports\nAlgorithm\n    \u2193 implemented by\nDSP Module\n    \u2193 source location\nKahuStack DSP crate\/module\n    \u2193 validated by\nTest \/ Benchmark<\/code><\/pre>\n\n\n\n<p class=\"wp-block-paragraph\">A page could therefore eventually say:<\/p>\n\n\n\n<pre class=\"wp-block-code\"><code>Implementation Status: Production\n\nKahuStack implementation:\ncrates\/kahustack-filters\/src\/svf.rs\n\nValidation:\n- impulse response\n- sweep response\n- stability\n- modulation stress test\n\nResearch basis:\n- Cytomic SVF paper\n- Zavalishin VA Filter Design\n- implementation experiment KS-EXP-0042<\/code><\/pre>\n\n\n\n<p class=\"wp-block-paragraph\">That would make the website useful not only as a publishing platform, but as the human-readable research layer above the actual DSP repository.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Given the amount of research you&#8217;re accumulating, I think this would be substantially better than maintaining hundreds of unrelated Markdown documents. Markdown can remain the repository-side canonical technical documentation where appropriate, while WordPress becomes the searchable, relational research library and publishing surface.<br><br><\/p>\n","protected":false},"excerpt":{"rendered":"<p>For a research library, I would separate fundamental DSP techniques from synthesis methods, processor families, perception\/acoustics, implementation technologies, and end-use applications. That prevents topics such as \u201cmastering,\u201d \u201cfilters,\u201d \u201canalog modeling,\u201d and \u201cWASM\u201d from competing at the same organizational level. Below is a taxonomy broad enough to serve as a long-term canonical index for KahuStack DSP [&hellip;]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[1],"tags":[],"class_list":["post-17","post","type-post","status-publish","format-standard","hentry","category-uncategorized"],"_links":{"self":[{"href":"https:\/\/parkr.dev\/index.php?rest_route=\/wp\/v2\/posts\/17","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/parkr.dev\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/parkr.dev\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/parkr.dev\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/parkr.dev\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=17"}],"version-history":[{"count":1,"href":"https:\/\/parkr.dev\/index.php?rest_route=\/wp\/v2\/posts\/17\/revisions"}],"predecessor-version":[{"id":18,"href":"https:\/\/parkr.dev\/index.php?rest_route=\/wp\/v2\/posts\/17\/revisions\/18"}],"wp:attachment":[{"href":"https:\/\/parkr.dev\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=17"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/parkr.dev\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=17"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/parkr.dev\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=17"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}