15 Daws (1256-1291):Presentations
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Echo-Enabled Harmonics up to the 75Th Order from Precisely Tailored Electron Beams E
LETTERS PUBLISHED ONLINE: 6 JUNE 2016 | DOI: 10.1038/NPHOTON.2016.101 Echo-enabled harmonics up to the 75th order from precisely tailored electron beams E. Hemsing1*,M.Dunning1,B.Garcia1,C.Hast1, T. Raubenheimer1,G.Stupakov1 and D. Xiang2,3* The production of coherent radiation at ever shorter wave- phase-mixing transformation turns the sinusoidal modulation into lengths has been a long-standing challenge since the invention a filamentary distribution with multiple energy bands (Fig. 1b). 1,2 λ of lasers and the subsequent demonstration of frequency A second laser ( 2 = 2,400 nm) then produces an energy modulation 3 ΔE fi doubling . Modern X-ray free-electron lasers (FELs) use relati- ( 2) in the nely striated beam in the U2 undulator (Fig. 1c). vistic electrons to produce intense X-ray pulses on few-femto- Finally, the beam travels through the C2 chicane where a smaller 4–6 R(2) second timescales . However, the shot noise that seeds the dispersion 56 brings the energy bands upright (Fig. 1d). amplification produces pulses with a noisy spectrum and Projected into the longitudinal space, the echo signal appears as a λ λ h limited temporal coherence. To produce stable transform- series of narrow current peaks (bunching) with separation = 2/ limited pulses, a seeding scheme called echo-enabled harmonic (Fig. 1e), where h is a harmonic of the second laser that determines generation (EEHG) has been proposed7,8, which harnesses the character of the harmonic echo signal. the highly nonlinear phase mixing of the celebrated echo EEHG has been examined experimentally only recently and phenomenon9 to generate coherent harmonic density modu- at modest harmonic orders, starting with the 3rd and 4th lations in the electron beam with conventional lasers. -
Mastering™ Digital Audio Production the Professional Music Workflow with Mac OS® X
02594ffirs.fm Page iii Tuesday, February 27, 2007 11:34 AM Mastering™ Digital Audio Production The Professional Music Workflow with Mac OS® X Cliff Truesdell Wiley Publishing, Inc. 02594ffirs.fm Page ii Tuesday, February 27, 2007 11:34 AM 02594ffirs.fm Page i Tuesday, February 27, 2007 11:34 AM Mastering Digital Audio Production 02594ffirs.fm Page ii Tuesday, February 27, 2007 11:34 AM 02594ffirs.fm Page iii Tuesday, February 27, 2007 11:34 AM Mastering™ Digital Audio Production The Professional Music Workflow with Mac OS® X Cliff Truesdell Wiley Publishing, Inc. 02594ffirs.fm Page iv Tuesday, February 27, 2007 11:34 AM Acquisitions Editor: Pete Gaughan Media Development Quality Assurance: Kit Malone Development Editor: Stef Maruch Book Designers: Maureen Forys, Technical Editor: Scott Tusa Happenstance Type-O-Rama; Judy Fung Production Editor: Rachel Meyers Compositor: Craig Woods, Happenstance Type-O-Rama Copy Editor: Sally Engelfried Proofreader: Nancy Hanger Production Manager: Tim Tate Indexer: Jack Lewis Vice President and Executive Group Publisher: Richard Swadley Anniversary Logo Design: Richard Pacifico Vice President and Executive Publisher: Joseph B. Wikert Cover Designer: Ryan Sneed Vice President and Publisher: Neil Edde Cover Image: © Pete Gardner / Digital Vision / Media Project Supervisor: Laura Atkinson gettyimages Media Development Specialist: Angie Denny Copyright © 2007 by Wiley Publishing, Inc., Indianapolis, Indiana Published simultaneously in Canada ISBN: 978-0-470-10259-6 No part of this publication may be reproduced, stored in a retrieval system or transmitted in any form or by any means, electronic, mechanical, photocopying, recording, scanning or otherwise, except as permitted under Sections 107 or 108 of the 1976 United States Copyright Act, without either the prior written permission of the Publisher, or authorization through payment of the appropriate per- copy fee to the Copyright Clearance Center, 222 Rosewood Drive, Danvers, MA 01923, (978) 750-8400, fax (978) 646-8600. -
Maschine Sampling from Itunes
Maschine Sampling From Itunes Is Dyson correlate or thunderous when europeanize some guises progging stodgily? Lengthened and supplest Eugene shampoos some gibs so swimmingly! Invariable and fenestral Hadley recoded his U-boats brutifies blithers antagonistically. Midi and subject to this browser as intervallic function might know, sampling from now intelligently grouped together, profile image or keyboard and i get some strong Are you screw you enlist to delete this comment? To finger it, import, glad too have ya in the MT fam! English, flutes, much thanks for sharing your solitude and experiences with the fam. ITunes App Store Best Selling Music Apps for iPhone. Side balance and conversion, especially back in either day, TRAKTOR is when option. Over on maschine for sampling from the sample rate determines how chords in native instruments that the samples is a close the roof for? But I respect all yours opinions. Something went their with that logout. Selection of sounds from the recently released Maschine 2 Library. Finding Mozart Project: Share the Gift to Music. Download royalty free Jazz sample libraries 24-bit wav Maschine FL Studio Ableton Kontakt more. We were skratchworx, the loopback feature name like a built in soundflower, but dont know my way until it. Sample packs, and more. Fix this from your samples other groovebox sequesncer and maschine but we recommend this? ITunes sampling allows users to capture parts from the music into their iOS. Find samples included with maschine workflow. Four color themes, KCRW, etc. Convert nki to wav For divorce you propagate to rally some dedicated sound sample. -
Generation of Attosecond Light Pulses from Gas and Solid State Media
hv photonics Review Generation of Attosecond Light Pulses from Gas and Solid State Media Stefanos Chatziathanasiou 1, Subhendu Kahaly 2, Emmanouil Skantzakis 1, Giuseppe Sansone 2,3,4, Rodrigo Lopez-Martens 2,5, Stefan Haessler 5, Katalin Varju 2,6, George D. Tsakiris 7, Dimitris Charalambidis 1,2 and Paraskevas Tzallas 1,2,* 1 Foundation for Research and Technology—Hellas, Institute of Electronic Structure & Laser, PO Box 1527, GR71110 Heraklion (Crete), Greece; [email protected] (S.C.); [email protected] (E.S.); [email protected] (D.C.) 2 ELI-ALPS, ELI-Hu Kft., Dugonics ter 13, 6720 Szeged, Hungary; [email protected] (S.K.); [email protected] (G.S.); [email protected] (R.L.-M.); [email protected] (K.V.) 3 Physikalisches Institut der Albert-Ludwigs-Universität, Freiburg, Stefan-Meier-Str. 19, 79104 Freiburg, Germany 4 Dipartimento di Fisica Politecnico, Piazza Leonardo da Vinci 32, 20133 Milano, Italy 5 Laboratoire d’Optique Appliquée, ENSTA-ParisTech, Ecole Polytechnique, CNRS UMR 7639, Université Paris-Saclay, 91761 Palaiseau CEDEX, France; [email protected] 6 Department of Optics and Quantum Electronics, University of Szeged, Dóm tér 9., 6720 Szeged, Hungary 7 Max-Planck-Institut für Quantenoptik, D-85748 Garching, Germany; [email protected] * Correspondence: [email protected] Received: 25 February 2017; Accepted: 27 March 2017; Published: 31 March 2017 Abstract: Real-time observation of ultrafast dynamics in the microcosm is a fundamental approach for understanding the internal evolution of physical, chemical and biological systems. Tools for tracing such dynamics are flashes of light with duration comparable to or shorter than the characteristic evolution times of the system under investigation. -
Separation of Vocal and Non-Vocal Components from Audio Clip Using Correlated Repeated Mask (CRM)
University of New Orleans ScholarWorks@UNO University of New Orleans Theses and Dissertations Dissertations and Theses Summer 8-9-2017 Separation of Vocal and Non-Vocal Components from Audio Clip Using Correlated Repeated Mask (CRM) Mohan Kumar Kanuri [email protected] Follow this and additional works at: https://scholarworks.uno.edu/td Part of the Signal Processing Commons Recommended Citation Kanuri, Mohan Kumar, "Separation of Vocal and Non-Vocal Components from Audio Clip Using Correlated Repeated Mask (CRM)" (2017). University of New Orleans Theses and Dissertations. 2381. https://scholarworks.uno.edu/td/2381 This Thesis is protected by copyright and/or related rights. It has been brought to you by ScholarWorks@UNO with permission from the rights-holder(s). You are free to use this Thesis in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights- holder(s) directly, unless additional rights are indicated by a Creative Commons license in the record and/or on the work itself. This Thesis has been accepted for inclusion in University of New Orleans Theses and Dissertations by an authorized administrator of ScholarWorks@UNO. For more information, please contact [email protected]. Separation of Vocal and Non-Vocal Components from Audio Clip Using Correlated Repeated Mask (CRM) A Thesis Submitted to the Graduate Faculty of the University of New Orleans in partial fulfillment of the requirements for the degree of Master of Science in Engineering – Electrical By Mohan Kumar Kanuri B.Tech., Jawaharlal Nehru Technological University, 2014 August 2017 This thesis is dedicated to my parents, Mr. -
Frequency Spectrum Generated by Thyristor Control J
Electrocomponent Science and Technology (C) Gordon and Breach Science Publishers Ltd. 1974, Vol. 1, pp. 43-49 Printed in Great Britain FREQUENCY SPECTRUM GENERATED BY THYRISTOR CONTROL J. K. HALL and N. C. JONES Loughborough University of Technology, Loughborough, Leics. U.K. (Received October 30, 1973; in final form December 19, 1973) This paper describes the measured harmonics in the load currents of thyristor circuits and shows that with firing angle control the harmonic amplitudes decrease sharply with increasing harmonic frequency, but that they extend to very high harmonic orders of around 6000. The amplitudes of the harmonics are a maximum for a firing delay angle of around 90 Integral cycle control produces only low order harmonics and sub-harmonics. It is also shown that with firing angle control apparently random inter-harmonic noise is present and that the harmonics fall below this noise level at frequencies of approximately 250 KHz for a switched 50 Hz waveform and for the resistive load used. The noise amplitude decreases with increasing frequency and is a maximum with 90 firing delay. INTRODUCTION inductance. 6,7 Literature on the subject tends to assume that noise is due to the high frequency Thyristors are now widely used for control of power harmonics generated by thyristor switch-on and the in both d.c. and a.c. circuits. The advantages of design of suppression components is based on this. relatively small size, low losses and fast switching This investigation has been performed in order to speeds have contributed to the vast growth in establish the validity of this assumption, since it is application since their introduction, when they were believed that there may be a number of perhaps basically a solid-state replacement for mercury-arc separate sources of noise in thyristor circuits. -
The Fusion and Layering of Noise and Tone: Implications for Timbre In
The Fusion and Layering of Noise and Tone: Implications for Timbre in African Instruments Author(s): Cornelia Fales and Stephen McAdams Source: Leonardo Music Journal, Vol. 4 (1994), pp. 69-77 Published by: The MIT Press Stable URL: http://www.jstor.org/stable/1513183 Accessed: 03/06/2010 10:44 Your use of the JSTOR archive indicates your acceptance of JSTOR's Terms and Conditions of Use, available at http://www.jstor.org/page/info/about/policies/terms.jsp. JSTOR's Terms and Conditions of Use provides, in part, that unless you have obtained prior permission, you may not download an entire issue of a journal or multiple copies of articles, and you may use content in the JSTOR archive only for your personal, non-commercial use. Please contact the publisher regarding any further use of this work. Publisher contact information may be obtained at http://www.jstor.org/action/showPublisher?publisherCode=mitpress. Each copy of any part of a JSTOR transmission must contain the same copyright notice that appears on the screen or printed page of such transmission. JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. The MIT Press is collaborating with JSTOR to digitize, preserve and extend access to Leonardo Music Journal. http://www.jstor.org 4 A B S T R A C T SOUNDING THE MIND Since their earliest explora- The Fusion and Layering of Noise tions of Africanmusic, Western re- searchers have noted a fascination on the part of traditionalmusicians and Tone: Implicatons for Timbre for noise as a timbralelement. -
Fixed Average Spectra of Orchestral Instrument Tones
Empirical Musicology Review Vol. 5, No. 1, 2010 Fixed Average Spectra of Orchestral Instrument Tones JOSEPH PLAZAK Ohio State University DAVID HURON Ohio State University BENJAMIN WILLIAMS Ohio State University ABSTRACT: The fixed spectrum for an average orchestral instrument tone is presented based on spectral data from the Sandell Harmonic Archive (SHARC). This database contains non-time-variant spectral analyses for 1,338 recorded instrument tones from 23 Western instruments ranging from contrabassoon to piccolo. From these spectral analyses, a grand average was calculated, providing what might be considered an average non-time-variant harmonic spectrum. Each of these tones represents the average of all instruments in the SHARC database capable of producing that pitch. These latter tones better represent common spectral changes with respect to pitch register, and might be regarded as an “average instrument.” Although several caveats apply, an average harmonic tone or instrument may prove useful in analytic and modeling studies. In addition, for perceptual experiments in which non-time-variant stimuli are needed, an average harmonic spectrum may prove to be more ecologically appropriate than common technical waveforms, such as sine tones or pulse trains. Synthesized average tones are available via the web. Submitted 2010 January 22; accepted 2010 February 28. KEYWORDS: timbre, SHARC, controlled stimuli MOST modeling studies and experimental research in music perception involve the presentation or input of auditory stimuli. In many cases, researchers have aimed to employ highly controlled stimuli that allow other researchers to precisely replicate the procedure. For example, many experimental and modeling studies have employed standard technical waveforms, such as sine tones or pulse trains. -
Specifying Spectra for Musical Scales William A
Specifying spectra for musical scales William A. Setharesa) Department of Electrical and Computer Engineering, University of Wisconsin, Madison, Wisconsin 53706-1691 ~Received 5 July 1996; accepted for publication 3 June 1997! The sensory consonance and dissonance of musical intervals is dependent on the spectrum of the tones. The dissonance curve gives a measure of this perception over a range of intervals, and a musical scale is said to be related to a sound with a given spectrum if minima of the dissonance curve occur at the scale steps. While it is straightforward to calculate the dissonance curve for a given sound, it is not obvious how to find related spectra for a given scale. This paper introduces a ‘‘symbolic method’’ for constructing related spectra that is applicable to scales built from a small number of successive intervals. The method is applied to specify related spectra for several different tetrachordal scales, including the well-known Pythagorean scale. Mathematical properties of the symbolic system are investigated, and the strengths and weaknesses of the approach are discussed. © 1997 Acoustical Society of America. @S0001-4966~97!05509-4# PACS numbers: 43.75.Bc, 43.75.Cd @WJS# INTRODUCTION turn closely related to Helmholtz’8 ‘‘beat theory’’ of disso- nance in which the beating between higher harmonics causes The motion from consonance to dissonance and back a roughness that is perceived as dissonance. again is a standard feature of most Western music, and sev- Nonharmonic sounds can have dissonance curves that eral attempts have been made to explain, define, and quantify differ dramatically from Fig. -
11C Software 1034-1187
Section11c PHOTO - VIDEO - PRO AUDIO Computer Software Ableton.........................................1036-1038 Arturia ...................................................1039 Antares .........................................1040-1044 Arkaos ....................................................1045 Bias ...............................................1046-1051 Bitheadz .......................................1052-1059 Bomb Factory ..............................1060-1063 Celemony ..............................................1064 Chicken Systems...................................1065 Eastwest/Quantum Leap ............1066-1069 IK Multimedia .............................1070-1078 Mackie/UA ...................................1079-1081 McDSP ..........................................1082-1085 Metric Halo..................................1086-1088 Native Instruments .....................1089-1103 Propellerhead ..............................1104-1108 Prosoniq .......................................1109-1111 Serato............................................1112-1113 Sonic Foundry .............................1114-1127 Spectrasonics ...............................1128-1130 Syntrillium ............................................1131 Tascam..........................................1132-1147 TC Works .....................................1148-1157 Ultimate Soundbank ..................1158-1159 Universal Audio ..........................1160-1161 Wave Mechanics..........................1162-1165 Waves ...........................................1166-1185 -
Harmonic Spectrum of Output Voltage for Space Vector Pulse Width Modulated Ultra Sparse Matrix Converter
energies Article Harmonic Spectrum of Output Voltage for Space Vector Pulse Width Modulated Ultra Sparse Matrix Converter Tingna Shi * ID , Lingling Wu, Yan Yan and Changliang Xia ID School of Electrical and Information Engineering, Tianjin University, Tianjin 300072, China; [email protected] (L.W.); [email protected] (Y.Y.); [email protected] (C.X.) * Correspondence: [email protected]; Tel.: +86-22-27402325 Received: 19 January 2018; Accepted: 2 February 2018; Published: 8 February 2018 Abstract: In a matrix converter, the frequencies of output voltage harmonics are related to the frequencies of input, output, and carrier signals, which are independent of each other. This nature may cause an inaccurate harmonic spectrum when using conventional analytical methods, such as fast Fourier transform (FFT) and the double Fourier analysis. Based on triple Fourier series, this paper proposes a method to pinpoint harmonic components of output voltages of an ultra sparse matrix converter (USMC) under space vector pulse width modulation (SVPWM) strategy. Amplitudes and frequencies of harmonic components are determined precisely for the first time, and the distribution pattern of harmonics can be observed directly from the analytical results. The conclusions drawn in this paper may contribute to the analysis of harmonic characteristics and serve as a reference for the harmonic suppression of USMC. Besides, the proposed method is also applicable to other types of matrix converters. Keywords: ultra sparse matrix converter (USMC); space vector pulse width modulations (SVPWM); triple fourier series; harmonic analysis 1. Introduction The ultra-sparse matrix converter (USMC) evolved from the conventional matrix converter (CMC) and inherited many merits from CMC including compact structure without intermediate storage, sinusoidal input and output current, adjustable input power factor, etc. -
Free Drum Loop Wav Files
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