Leathan Wilkey has been hired to make a ransom exchange.
He has the cash, a car, and a phone so the kidnappers can direct him to the location of the exchange for the seven-year-old boy. But it soon becomes clear that there are two groups demanding the ransom, and they can’t both have the kid.
And when Leathan finds the cash that he's been given might not be what the kidnappers are expecting, he questions whether he's the bag man or if he's been sent to draw fire.
Bullets fly and Leathan ducks. When he looks up, he's the only one who's concerned that a stray piece of lead might hit the kid.
Simon Cann is the author of the Boniface, Montbretia Armstrong, and Leathan Wilkey books.
In addition to his fiction, Simon has written a range of music-related and business-related books, including the How to Make a Noise series, the most widely ready series about synthesizer sound programming, and Made it in China, about entrepreneurs building businesses in China. He has also worked as a ghostwriter on a number of books.
Before turning full-time to writing, Simon worked as a management consultant, where his clients included aeronautical, pharmaceutical, defense, financial services, chemical, entertainment, and broadcasting companies.
He lives in London.
If you want to know more about Simon, his books, and what he's up to, then check out his website: simoncann.com
The technique starts with a simple wave—usually a sine wave—which is then modulated by another wave. The interaction between the two (or more) waves creates and shapes the sound over time.
FM synthesis offers an infinite range of possibilities and permutations: it is this range of choices which gives the broad array of tonal nuances that are available with FM.
How to Make a Noise: Frequency Modulation Synthesis shows you how to create a broad, detailed, highly nuanced range of controllable tones. These principles can then be applied to any synthesizer with frequency modulation capabilities.
As well as offering the facility to recreate the sound of real instruments with a high degree of sonic fidelity, sample-based synthesis also allows real sounds to be used as the basis for new sounds. These sounds can then be manipulated and mangled to create unimagined sounds with genuine complexity and depth.
How to Make a Noise: Sample-Based Synthesis looks at how to create and control sounds--both realistic recreations of real instrument and creative warped tones--and the tools and techniques that are available to help shape your sounds.
Analog synthesis works by taking a sound source and shaping it with a filter. This is a simple but powerful technique which allows you to create the warm, rich, energetic, and commanding sounds, and with some care you will find tones with detail, complexity, and delicacy.
You will have heard these techniques used on many recordings and will immediately recognize the sounds they produce. After reading the book you will be able to create and control these classic sounds when you apply the techniques to hardware or software synthesizers.