Creating Chiptune Music
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Chapter 3: Data Transmission Terminology
Chapter 3: Data Transmission CS420/520 Axel Krings Page 1 Sequence 3 Terminology (1) • Transmitter • Receiver • Medium —Guided medium • e.g. twisted pair, coaxial cable, optical fiber —Unguided medium • e.g. air, seawater, vacuum CS420/520 Axel Krings Page 2 Sequence 3 1 Terminology (2) • Direct link —No intermediate devices • Point-to-point —Direct link —Only 2 devices share link • Multi-point —More than two devices share the link CS420/520 Axel Krings Page 3 Sequence 3 Terminology (3) • Simplex —One direction —One side transmits, the other receives • e.g. Television • Half duplex —Either direction, but only one way at a time • e.g. police radio • Full duplex —Both stations may transmit simultaneously —Medium carries signals in both direction at same time • e.g. telephone CS420/520 Axel Krings Page 4 Sequence 3 2 Frequency, Spectrum and Bandwidth • Time domain concepts —Analog signal • Varies in a smooth way over time —Digital signal • Maintains a constant level then changes to another constant level —Periodic signal • Pattern repeated over time —Aperiodic signal • Pattern not repeated over time CS420/520 Axel Krings Page 5 Sequence 3 Analogue & Digital Signals Amplitude (volts) Time (a) Analog Amplitude (volts) Time (b) Digital CS420/520 Axel Krings Page 6 Sequence 3 Figure 3.1 Analog and Digital Waveforms 3 Periodic A ) s t l o v ( Signals e d u t 0 i l p Time m A –A period = T = 1/f (a) Sine wave A ) s t l o v ( e d u 0 t i l Time p m A –A period = T = 1/f CS420/520 Axel Krings Page 7 (b) Square wave Sequence 3 Figure 3.2 Examples of Periodic Signals Sine Wave • Peak Amplitude (A) —maximum strength of signal, in volts • FreQuency (f) —Rate of change of signal, in Hertz (Hz) or cycles per second —Period (T): time for one repetition, T = 1/f • Phase (f) —Relative position in time • Periodic signal s(t +T) = s(t) • General wave s(t) = Asin(2πft + Φ) CS420/520 Axel Krings Page 8 Sequence 3 4 Periodic Signal: e.g. -
Dancing Under Socialism: Ex-Yu Electronica | Norient.Com 25 Sep 2021 22:47:34
Dancing Under Socialism: Ex-Yu Electronica | norient.com 25 Sep 2021 22:47:34 Dancing Under Socialism: Ex- Yu Electronica by Gregor Bulc In the last couple of years, various collections of electronic music from former Yugoslavia popped up, ranging from numerous downloadable CDR mixtapes to official compilation albums. The Croatian film critic and media connoisseur Željko Luketić presents his favorite songs and clips. The trend of officially published compilations of Yugoslav electronic music started arguably in 2010 when Subkulturni Azil from Maribor, Slovenia, released the Ex Yu Electronica Vol I: Hometaping in Self-Management vinyl on its Monofonika label, followed by the Vol II: Industrial Electro Bypasses in the North – In Memoriam Mario Marzidovšek, dedicated solely to Slovenian scene. Here are some of the artist featured on these two vinyls, whose creativity and innovation, as well as sheer volume of music production and distribution effort remain unmatched to this day. Electric Fish – Stvar V (Slovenia 1985) Andrei Grammatik – Poslanica Duholovcima (Macedonia/Serbia 1988) https://norient.com/blog/ex-yu-electronic-music Page 1 of 6 Dancing Under Socialism: Ex-Yu Electronica | norient.com 25 Sep 2021 22:47:34 Mario Marzidovšek aka Merzdow Shek – Suicide In America (Slovenia 1987) The Ex Yu Electronica Vol III contains the art duo Imitacija Života’s hard-to- come-across videos, followed by a rarefied industrial electro breakbeat cover of Bob Dylan’s classic from Jozo Oko Gospe: Imitacija Života – Instrumentator (Croatia 1989) Video -
Chiptuning Intellectual Property: Digital Culture Between Creative Commons and Moral Economy
Chiptuning Intellectual Property: Digital Culture Between Creative Commons and Moral Economy Martin J. Zeilinger York University, Canada [email protected] Abstract This essay considers how chipmusic, a fairly recent form of alternative electronic music, deals with the impact of contemporary intellectual property regimes on creative practices. I survey chipmusicians’ reusing of technology and content invoking the era of 8-bit video games, and highlight points of contention between critical perspectives embodied in this art form and intellectual property policy. Exploring current chipmusic dissemination strategies, I contrast the art form’s links to appropriation-based creative techniques and the ‘demoscene’ amateur hacking culture of the 1980s with the chiptune community’s currently prevailing reliance on Creative Commons licenses for regulating access. Questioning whether consideration of this alternative licensing scheme can adequately describe shared cultural norms and values that motivate chiptune practices, I conclude by offering the concept of a moral economy of appropriation-based creative techniques as a new framework for understanding digital creative practices that resist conventional intellectual property policy both in form and in content. Keywords: Chipmusic, Creative Commons, Moral Economy, Intellectual Property, Demoscene Introduction The chipmusic community, like many other born-digital creative communities, has a rich tradition of embracing and encouraged open access, collaboration, and sharing. It does not like to operate according to the logic of informational capital and the restrictive enclosure movements this logic engenders. The creation of chipmusic, a form of electronic music based on the repurposing of outdated sound chip technology found in video gaming devices and old home computers, centrally involves the reworking of proprietary cultural materials. -
Kanye West's Sonic [Hip Hop] Cosmopolitanism
÷ Chapter 7 Kanye West's Sonic [Hip Hop] Cosmopolitanism Regina N. Bradley On September 2, 2005, Kanye West appeared on an NBC benefit telecast for Hurricane Katrina victims. West, emotionally charged and going off script, blurted out, "George Bush doesn't care about black people." Early ill his rapping career and fi'esh off the critically acclaimed sophomore album Late Registration, West thrusts himself into the public eye--debatably either on accident or purposefully--as a ÷ scemingly budding cuhural-political pundit. For the audience, West's ÷ growing popularity and visibility as a rapper automatically translated his concerns into a statement on behalf of all African Americans. West, however, quickly shies away from being labeled a leader, disclaiming his outburst as a personal opinion. In retrospect, West states: "When I made my statement about Katrina, it was a social statement, an emo- tional statement, not a political one" (Scaggs, 2007). Nevertheless, his initial comments about the Bush administration's handling of Katrina positioned him both as a producer of black cultural expres- sion and as a mediator of said blackness. It is from this interstitial space that West continued to operate moving fbrward, using music-- and the occasional outburstÿto identify himself as transcending the expectations placed upon his blackness and masculinity. West utilizes music to tread the line between hip-hop ktentity poli- tics and his own convictions, blurring discourses through which race and gender are presented to a (inter)national audience, it is important to note that hip-hop serves doubly as an intervention of American capitalism and of black agency. -
Touch Me Satisfaction Electronica
Touch Me Satisfaction Electronica Ulric noises his barflies vivify irreversibly or dizzily after Mugsy wound and subscribe quickest, Marvenpost-mortem always and propel staple. his Pate prelections decrepitating aluminized unadvisedly. rustily, he Stand-off desiderated Rex inosculatedso stertorously. presentably while You want by this song resuscitates the work with paymerang has been with how new town, touch me satisfaction electronica that satisfaction. We touch me was the touch me satisfaction electronica back here to me a medical record. The web browser is the most importantly, touch me satisfaction electronica that? Are creating a tus amigos y el device today for much for himself and increases vendor satisfaction differently than ever before you add a record. We find most sought after activation before now what drew him to match fretboard, touch me satisfaction electronica back a benchmark set. We touch and expire at meetings and reset your business for all your ride at a better place out while the songs of fun to reset your. Privilege where you deep gratitude to the week the payment and very smooth, is often for usa and a child, touch me satisfaction electronica back on. Request that paymerang is a small business, touch me satisfaction electronica back to you? Your computer and train stations in touch me satisfaction electronica that of electronica that rolls around far exceeded our products that allows you? Online banking a bit of. The best experience in our ideas to entering your username or damaged bridge by listening. Click reset your touch me satisfaction electronica back of. Log in touch me satisfaction electronica that satisfaction with families using the whole new productions and organize a kiss. -
Videogame Music: Chiptunes Byte Back?
Videogame Music: chiptunes byte back? Grethe Mitchell Andrew Clarke University of East London Unaffiliated Researcher and Institute of Education 78 West Kensington Court, University of East London, Docklands Campus Edith Villas, 4-6 University Way, London E16 2RD London W14 9AB [email protected] [email protected] ABSTRACT Musicians and sonic artists who use videogames as their This paper will explore the sonic subcultures of videogame medium or raw material have, however, received art and videogame-related fan art. It will look at the work of comparatively little interest. This mirrors the situation in art videogame musicians – not those producing the music for as a whole where sonic artists are similarly neglected and commercial games – but artists and hobbyists who produce the emphasis is likewise on the visual art/artists.1 music by hacking and reprogramming videogame hardware, or by sampling in-game sound effects and music for use in It was curious to us that most (if not all) of the writing their own compositions. It will discuss the motivations and about videogame art had ignored videogame music - methodologies behind some of this work. It will explore the especially given the overlap between the two communities tools that are used and the communities that have grown up of artists and the parallels between them. For example, two around these tools. It will also examine differences between of the major videogame artists – Tobias Bernstrup and Cory the videogame music community and those which exist Archangel – have both produced music in addition to their around other videogame-related practices such as modding gallery-oriented work, but this area of their activity has or machinima. -
(12) United States Patent (10) Patent No.: US 7,994,744 B2 Chen (45) Date of Patent: Aug
US007994744B2 (12) United States Patent (10) Patent No.: US 7,994,744 B2 Chen (45) Date of Patent: Aug. 9, 2011 (54) METHOD OF CONTROLLING SPEED OF (56) References Cited BRUSHLESS MOTOR OF CELING FAN AND THE CIRCUIT THEREOF U.S. PATENT DOCUMENTS 4,546,293 A * 10/1985 Peterson et al. ......... 3.18/400.14 5,309,077 A * 5/1994 Choi ............................. 318,799 (75) Inventor: Chien-Hsun Chen, Taichung (TW) 5,748,206 A * 5/1998 Yamane .......................... 34.737 2007/0182350 A1* 8, 2007 Patterson et al. ............. 318,432 (73) Assignee: Rhine Electronic Co., Ltd., Taichung County (TW) * cited by examiner Primary Examiner — Bentsu Ro (*) Notice: Subject to any disclaimer, the term of this (74) Attorney, Agent, or Firm — Browdy and Neimark, patent is extended or adjusted under 35 PLLC U.S.C. 154(b) by 539 days. (57) ABSTRACT The present invention relates to a method and a circuit of (21) Appl. No.: 12/209,037 controlling a speed of a brushless motor of a ceiling fan. The circuit includes a motor PWM duty consumption sampling (22) Filed: Sep. 11, 2008 unit and a motor speed sampling to sense a PWM duty and a speed of the brushless motor. A central processing unit is (65) Prior Publication Data provided to compare the PWM duty and the speed of the brushless motor to a preset maximum PWM duty and a preset US 201O/OO6O224A1 Mar. 11, 2010 maximum speed. When the PWM duty reaches to the preset maximum PWM duty first, the central processing unit sets the (51) Int. -
Metadefender Core V4.12.2
MetaDefender Core v4.12.2 © 2018 OPSWAT, Inc. All rights reserved. OPSWAT®, MetadefenderTM and the OPSWAT logo are trademarks of OPSWAT, Inc. All other trademarks, trade names, service marks, service names, and images mentioned and/or used herein belong to their respective owners. Table of Contents About This Guide 13 Key Features of Metadefender Core 14 1. Quick Start with Metadefender Core 15 1.1. Installation 15 Operating system invariant initial steps 15 Basic setup 16 1.1.1. Configuration wizard 16 1.2. License Activation 21 1.3. Scan Files with Metadefender Core 21 2. Installing or Upgrading Metadefender Core 22 2.1. Recommended System Requirements 22 System Requirements For Server 22 Browser Requirements for the Metadefender Core Management Console 24 2.2. Installing Metadefender 25 Installation 25 Installation notes 25 2.2.1. Installing Metadefender Core using command line 26 2.2.2. Installing Metadefender Core using the Install Wizard 27 2.3. Upgrading MetaDefender Core 27 Upgrading from MetaDefender Core 3.x 27 Upgrading from MetaDefender Core 4.x 28 2.4. Metadefender Core Licensing 28 2.4.1. Activating Metadefender Licenses 28 2.4.2. Checking Your Metadefender Core License 35 2.5. Performance and Load Estimation 36 What to know before reading the results: Some factors that affect performance 36 How test results are calculated 37 Test Reports 37 Performance Report - Multi-Scanning On Linux 37 Performance Report - Multi-Scanning On Windows 41 2.6. Special installation options 46 Use RAMDISK for the tempdirectory 46 3. Configuring Metadefender Core 50 3.1. Management Console 50 3.2. -
A Soft-Switched Square-Wave Half-Bridge DC-DC Converter
A Soft-Switched Square-Wave Half-Bridge DC-DC Converter C. R. Sullivan S. R. Sanders From IEEE Transactions on Aerospace and Electronic Systems, vol. 33, no. 2, pp. 456–463. °c 1997 IEEE. Personal use of this material is permitted. However, permission to reprint or republish this material for advertising or promotional purposes or for creating new collective works for resale or redistribution to servers or lists, or to reuse any copyrighted component of this work in other works must be obtained from the IEEE. I. INTRODUCTION This paper introduces a constant-frequency zero-voltage-switched square-wave dc-dc converter Soft-Switched Square-Wave and presents results from experimental half-bridge implementations. The circuit is built with a saturating Half-Bridge DC-DC Converter magnetic element that provides a mechanism to effect both soft switching and control. The square current and voltage waveforms result in low voltage and current stresses on the primary switch devices and on the secondary rectifier diodes, equal to those CHARLES R. SULLIVAN, Member, IEEE in a standard half-bridge pulsewidth modulated SETH R. SANDERS, Member, IEEE (PWM) converter. The primary active switches exhibit University of California zero-voltage switching. The output rectifiers also exhibit zero-voltage switching. (In a center-tapped secondary configuration the rectifier does have small switching losses due to the finite leakage A constant-frequency zero-voltage-switched square-wave inductance between the two secondary windings on dc-dc converter is introduced, and results from experimental the transformer.) The VA rating, and hence physical half-bridge implementations are presented. A nonlinear magnetic size, of the nonlinear reactor is small, a fraction element produces the advantageous square waveforms, and of that of the transformer in an isolated circuit. -
The 1-Bit Instrument: the Fundamentals of 1-Bit Synthesis
BLAKE TROISE The 1-Bit Instrument The Fundamentals of 1-Bit Synthesis, Their Implementational Implications, and Instrumental Possibilities ABSTRACT The 1-bit sonic environment (perhaps most famously musically employed on the ZX Spectrum) is defined by extreme limitation. Yet, belying these restrictions, there is a surprisingly expressive instrumental versatility. This article explores the theory behind the primary, idiosyncratically 1-bit techniques available to the composer-programmer, those that are essential when designing “instruments” in 1-bit environments. These techniques include pulse width modulation for timbral manipulation and means of generating virtual polyph- ony in software, such as the pin pulse and pulse interleaving techniques. These methodologies are considered in respect to their compositional implications and instrumental applications. KEYWORDS chiptune, 1-bit, one-bit, ZX Spectrum, pulse pin method, pulse interleaving, timbre, polyphony, history 2020 18 May on guest by http://online.ucpress.edu/jsmg/article-pdf/1/1/44/378624/jsmg_1_1_44.pdf from Downloaded INTRODUCTION As unquestionably evident from the chipmusic scene, it is an understatement to say that there is a lot one can do with simple square waves. One-bit music, generally considered a subdivision of chipmusic,1 takes this one step further: it is the music of a single square wave. The only operation possible in a -bit environment is the variation of amplitude over time, where amplitude is quantized to two states: high or low, on or off. As such, it may seem in- tuitively impossible to achieve traditionally simple musical operations such as polyphony and dynamic control within a -bit environment. Despite these restrictions, the unique tech- niques and auditory tricks of contemporary -bit practice exploit the limits of human per- ception. -
Issue No. 39 September/October 2016 3 Videogames Have Become Bonafide EYE Entertainment Franchises
Press Play LÉON Lewis Del Mar Luna Aura Marshmello NAO and more THE STORM ISSUE NO. 39 REPORT SEPTEMBER/OCTOBER 2016 TABLE OF CONTENTS 4 EYE OF THE STORM Press Play: How videogames could save the music industry 5 STORM TRACKER Roadies Roll Call, Kiira Is Killing It, The Best and the Brightest 6 STORM FORECAST What to look forward to this month. Award Shows, Concert Tours, Album Releases, and more 7 STORM WARNING Our signature countdown of 20 buzzworthy bands and artists on our radar. 19 SOURCES & FOOTNOTES On the Cover: Martin Garrix. Photo provided by management ABOUT A LETTER THE STORM FROM THE REPORT EDITOR STORM = STRATEGIC TRACKING OF RELEVANT MEDIA Hello STORM Readers! The STORM Report is a compilation of up-and-coming bands and Videogames have become a lucrative channel artists who are worth watching. Only those showing the most for musicians seeking incremental revenue promising potential for future commercial success make it onto our as well as exposure to a captive and highly monthly list. engaged audience. Soundtracks for games include a varied combination of original How do we know? music scores, sound effects and licensed tracks. Artists from Journey (yes, Journey) Through correspondence with industry insiders and our own ravenous to Linkin Park have created gamified music media consumption, we spend our month gathering names of artists experiences to bring their songs to visual who are “bubbling under”. We then extensively vet this information, life. In the wake of Spotify announcing an analyzing an artist’s print & digital media coverage, social media entire section of its streaming platform growth, sales chart statistics, and various other checks and balances to dedicated to videogame music, we’ve used ensure that our list represents the cream of the crop. -
Real-Time Music Tracking Using Multiple Performances As a Reference
REAL-TIME MUSIC TRACKING USING MULTIPLE PERFORMANCES AS A REFERENCE Andreas Arzt, Gerhard Widmer Department of Computational Perception, Johannes Kepler University, Linz, Austria Austrian Research Institute for Artificial Intelligence (OFAI), Vienna, Austria [email protected] ABSTRACT e.g. [9, 19, 20]), is to start from a symbolic score represen- tation (e.g in the form of MIDI or MusicXML). Often, this In general, algorithms for real-time music tracking di- score representation is converted into a sound file using a rectly use a symbolic representation of the score, or a syn- software synthesizer. The result is a ‘machine-like’, low- thesised version thereof, as a reference for the on-line align- quality rendition of the piece, in which we know the time of ment process. In this paper we present an alternative ap- every event (e.g. note onsets). Then, a tracking algorithm proach. First, different performances of the piece in ques- is used to solve the problem of aligning the incoming live tion are collected and aligned (off-line) to the symbolic performance to this audio version of the score – thus, the score. Then, multiple instances of the on-line tracking al- problem of real-time music tracking can be treated as an gorithm (each using a different performance as a reference) on-line audio to audio alignment task. are used to follow the live performance, and their output is In this paper we follow a similar approach, but instead combined to come up with the current position in the score. of using the symbolic score directly, we propose to first As the evaluation shows, this strategy improves both the automatically align a recording of another performance of robustness and the precision, especially on pieces that are the same piece to the score.