Home

Resumé

Technical Articles

Unpublished Articles

Music

Boat Anchors

Contact/Products/Links

Resumé Page

Below is my full resume. It includes all my published papers to date. I did not include the patent numbers, since those are easy enough to find. Some of the papers listed here are available for download in PDF format. In addition to these, there are some unpublished manuscripts available for download.
James A

 

 

 

James A. Moorer

 

 

BORN:       November 25 1945

 

EDUCATION:

                  S.B. (Electrical Engineering) MIT 1967

                  S.B. (Applied Mathematics) MIT 1968

                  Ph.D. (Computer Science) Stanford University, 1975

 

PROFESSIONAL EXPERIENCE:

         2001-Present: Adobe Systems, Inc.

Senior Computer Scientist with the DVD Team in the Digital Video Group.

 

         1987-2001: Sonic Solutions.

Senior Founder and Director of Advanced Development. Personally wrote much of the SonicSystem™. Designed the original hardware DSP platform. Developed the advanced DSP algorithms for the NoNOISE  process of restoration of vintage recordings for CD remastering. Over 50,000 CDs have been released using the NoNOISE  process to date.

 

         1996-Present: Private Consulting.

Provided consultation for Young Chang in defending a patentent infringement suit from Lucent Technologies concerning patent 4,201,105 by Harold G. Alles.

 

         1987: Consulting at NeXT, Inc..

Assisted in the planning and development of the DSP software for the original NeXT computer. Wrote the DSP routines for real-time sample-rate conversion.

 

         1980-1987: Lucasfilm DroidWorks.

Vice-President of Research and Development. Designed and led the SoundDroid project. Developed the ASP, a large-scale digital signal processor. Only one prototype was ever built. Programed a number of DSP algorithms that were used in major motion picture features. Sounds processed by the ASP were used in "Return of the Jedi", "Indiana Jones and the Temple of Doom", and others.

 

         1977-1979: IRCAM (Paris, France).

Scientific Advisor and researcher. Developed and installed hardware and software for music analysis and synthesis. Developed advanced high-quality speech analysis and synthesis techniques which were used for the musical accompaniment to the Béjart Ballet. Developed techniques for realistic artificial reverberation.

 

         1975-1977: CCRMA, Stanford University.

Co-director and Co-Founder of the Stanford Center for Computer Research in Music and Acoustics. Developed advanced DSP techniques for analysis and synthesis of musical sounds.

 

         1968-1972: Artificial Intelligence Project, Stanford University.

Head of systems programming for the project.

 

 

PUBLICATIONS:

Music and Computer Composition, Communications of the ACM, Volume 15, Number 2, 1972

 

The Heterodyne Filter as a Tool for Analysis of Transient Waveforms. Stanford Artificial Intelligence Laboratory Memo 208, July 1973

 

The Optimum Comb Method of Pitch Period Analysis of Continuous Digitized Speech, IEEE Transactions on Acoustics, Speech and Signal Processing, Volume ASSP-22, Number 5, October 1974

 

Computer Simulation of Music Instrument Tones in Reverberant Environment. With J.M. Chowning, J.M. Grey, and L. Rush, CCRMA report STAN-M-1, 1974

 

On the Segmentation and Analysis of Continuous Musical Sound. PhD Dissertation, CCRMA report STAN-M-3, July 1975

 

On the Transcription of Musical Sound by Digital Computer. Second USA-JAPAN Computer Conference, August 1975. Reprinted in the Computer Music Journal, Volume 1, Number 4, November 1977, pp32-38

 

On the Loudness of Complex, Time-Variant Tones.  CCRMA report STAN-M-4, 1975

 

The Synthesis of Complex Audio Spectra by Means of Discrete Summation Formulae.  Journal of the Audio Engineering Society, Volume 24, Number 9, November 1976, pp717-727

 

This work resulted in US Patent 4,215,617 issued in 1976 to Stanford University, currently assigned to Yamaha.

 

Signal Processing Aspects of Computer Music - A Survey.  Invited Paper, Proceedings of the IEEE, Volume 65, Number 8, August 1977, pp1108-1137

 

This paper has been widely reprinted, appears in two anthologies, and has been translated into 6 languages that I know about.

 

Perceptual Evaluation of Synthesized Musical Instrument Tones.  With J.M. Grey. Journal of the Acoustical Society of America, August 1977

 

The Use of the Phase Vocoder in Computer Music Applications.  Journal of the Audio Engineering Society, Volume 26, Numbers 1/2, January/February 1978, pp42-45

 

How Does a Computer Make Music?.  Computer Music Journal, Volume 2, Number 1, July 1978, pp32-37

 

The Digital Coding of High-Quality Musical Sound.  Journal of the Audio Engineering Society, Volume 29, Number 9, September 1979, pp657-666

 

This paper won an AES award.

 

About This Reverberation Business.  Computer Music Journal, Volume 3, Number 2, 1979, pp13-28

 

This paper is widely distributed and quoted and stands today as one of the seminal references on artificial reverberation.

 

The 4C Machine.  (with others) Computer Music Journal, Volume 3, Number 3, September 1979, pp16-24

 

Synthesizers I Have Known and Loved.  Computer Music Journal, Volume 5, Number 1, Spring 1981, pp4-12

 

General Spectral Transformations for Digital Filters, IEEE Transactions on Acoustics, Speech and Signal Processing, Volume ASSP-29, Number 5, October 1981, pp1092-1094

 

The Lucasfilm Audio Signal Processor.  Computer Music Journal, Volume 6, Number 3, September 1982, pp22-32

 

The Audio Signal Processor: The Next Step in Digital Audio.  in "Digital Audio", Collected Papers from the AES Premiere Conference, Rye, New York 1982, June 3-6, pp205-214

 

The Manifold Joys of Conformal Mapping: Applications to Digital Filtering in the Studio.  Journal of the Audio Engineering Society, Volume 31, Number 11, November 1983, pp826-841

 

The C programs in the appendix of this paper are used by virtually all the manufacturers of digital filtering hardware for coefficient calculation.

 

Algorithm Design for Real-Time Audio Signal Processing.  Presented at ICASSP 84, printed in the Proceedings of the IEEE International Conference on Acoustics, Speech, and Signal Processing, March 19-21 1984, San Diego, paper 12B.3.1 (IEEE order number CH1945-5/84/0000-0134)

 

A Gate-Array Multiplier for Digital Audio Processing.  with J. Borish, and J. Snell. Presented at the 78th AES convention, May 3-6 1985 at Anaheim, Preprint 2243 (D-8).

 

A Flexible Method for Synchronizing Parameter Updates for Real-Time Audio Signal Processors.  Presented at the 79th AES convention, October 12-16 1985, Preprint Number 2279 (D-11)

 

This work resulted in US Patent 4,497,023 issued in 1986 to Lucasfilm, Ltd..

 

Linear-Phase Bandsplitting: Theory and Applications.  with Mark Berger. Journal of the Audio Engineering Society, Volume 34, Number 3, March 1986, pp143-152

 

This paper describes the mathematical basis of the broadband denoising algorithm.

 

SoundDroid: A New System for Electronic Post-Production of Sound.  J. Borish, with P. Nye, SMPTE Journal, Volume 95, Number 5, May 1986, pp567-571

 

An Optical Disk Recording, Archiving, and Editing device for Digital Audio Signal Processing.  with J. Borish. Presented at the 81st AES convention, November 12-16 1986, Preprint Number 2376 (C-9)

 

The Digital Audio Processing Station: A New Concept in Audio Post-Production.  with C. Abbott, P. Nye, J. Borish, and J. Snell. Journal of the Audio Engineering Society, Volume 34, Number 6, June 1986, pp454-463

 

Hard-Disk Recording and Editing of Digital Audio.  Presented at the 89th AES convention, September 21-25 1990, Preprint Number 3006 (K-6)

 

Whither Dither: Experience with High-Order Dithering Algorithms in the Studio.  with Julia C. Wen. Presented at the 95 AES convention, October 7-10 1993, Preprint Number 3747 (B3-AM-3)

 

Breaking the Sound Barrier: Mastering at 96 kHz and Beyond. Presented at the 101st AES Convention, November 8-11 1996, Preprint Number 4357 (I-2)

 

Music Recording in the Age of Multi-Channel. Presented at the 103rd AES Convention, September 26-29 1997, Preprint Number 4623 (F-5)

 

Towards a Rational Basis for Multichannel Music Recording. (with Jack H. Vad) Presented at the 104th AES Convention, May 16-19 1998

 

48-Bit Integer Processing Beats 32-Bit Floating-Point for Professional Audio Applications. Presented at the 107th AES Convention, September 24-27 1999, Preprint Number 5038 (L-3)

 

 

COMPOSITIONS:

 

We Stopped At Perfect Days.  Stanford, 1977

 

Lions are Growing.  Stanford/IRCAM, 1978

 

This piece appears on an Elektra CD entitled "Digital Domain". Elektra/Asylum Records #9 60303-2

 

THX Logo Theme.  Lucasfilm, Ltd., 1985

 

This piece appears on an Elektra CD entitled "Digital Domain." It is presented before each feature in the more than 3500 THX theaters around the world.

 

AWARDS:

 

         Fellow of the Audio Engineering Society

 

Audio Engineering Society Silver Award for Lifetime Achievement in 1990

 

Audio Engineering Society Paper Award for The Digital Coding of High-Quality Musical Sound

 

Mix Magazine TEC award, film/broadcast sound technology category for DroidWorks:SoundDroid - 1985

 

Mix Magazine TEC award, film/broadcast sound technology category for DroidWorks:SoundDroid - 1986

 

Emmy Award for Technical Achievement (Noise Reduction on Television Broadcast Sound Tracks) for Sonic Solutions/NoNOISE® - 1996 (with Robert J. Doris and Mary C. Sauer)

 

Mix Magazine TEC award, film/broadcast sound technology category for Sonic Solutions/SonicSystem - 1997 (with Robert J. Doris and Mary C. Sauer)

 

Academy of Motion Picture Arts and Sciences Scientific and Engineering Award “. . . for his pioneering work in the design of digital signal processing and its application to audio editing for film”  Presented February 27, 1999.