KEMPER PROFILER Addendum 8.6 Legal Notice
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Preferred Levels for Background Ducking to Produce Esthetically Pleasing Audio for TV with Clear Speech” J
PAPERS M. Torcoli, A. Freke-Morin, J. Paulus, C. Simon, and B. Shirley, “Preferred Levels for Background Ducking to Produce Esthetically Pleasing Audio for TV with Clear Speech” J. Audio Eng. Soc., vol. 67, no. 12, pp. 1003–1011, (2019 December.). DOI: https://doi.org/10.17743/jaes.2019.0052 Preferred Levels for Background Ducking to Produce Esthetically Pleasing Audio for TV with Clear Speech , MATTEO TORCOLI,1 AES Member, ALEX FREKE-MORIN,1 2 AES Associate Member, ([email protected]) ([email protected]) , JOUNI PAULUS1 3, CHRISTIAN SIMON,1 AES Associate Member, AND ([email protected]) ([email protected]) BEN SHIRLEY,2 AES Member ([email protected]) 1Fraunhofer Institute for Integrated Circuits IIS, Erlangen, Germany 2Acoustics Research Centre, University of Salford, UK 3International Audio Laboratories Erlangen, Germany, A joint institution of Universitat¨ Erlangen-Nurnberg¨ and Fraunhofer IIS. In audio production, background ducking facilitates speech intelligibility while allowing the background to fulfill its purpose, e.g., to create ambience, set the mood, or convey seman- tic cues. Technical details for recommended ducking practices are not currently documented in the literature. Hence, we first analyzed common practices found in TV documentaries. Second, a listening test investigated the preferences of 22 normal-hearing participants on the Loudness Difference (LD) between commentary and background during ducking. Highly personal preferences were observed, highlighting the importance of object-based personaliza- tion. Statistically significant difference was found between non-expert and expert listeners. On average, non-experts preferred LDs that were 4 LU higher than the ones preferred by experts. -
Metaflanger Table of Contents
MetaFlanger Table of Contents Chapter 1 Introduction 2 Chapter 2 Quick Start 3 Flanger effects 5 Chorus effects 5 Producing a phaser effect 5 Chapter 3 More About Flanging 7 Chapter 4 Controls & Displa ys 11 Section 1: Mix, Feedback and Filter controls 11 Section 2: Delay, Rate and Depth controls 14 Section 3: Waveform, Modulation Display and Stereo controls 16 Section 4: Output level 18 Chapter 5 Frequently Asked Questions 19 Chapter 6 Block Diagram 20 Chapter 7.........................................................Tempo Sync in V5.0.............22 MetaFlanger Manual 1 Chapter 1 - Introduction Thanks for buying Waves processors. MetaFlanger is an audio plug-in that can be used to produce a variety of classic tape flanging, vintage phas- er emulation, chorusing, and some unexpected effects. It can emulate traditional analog flangers,fill out a simple sound, create intricate harmonic textures and even generate small rough reverbs and effects. The following pages explain how to use MetaFlanger. MetaFlanger’s Graphic Interface 2 MetaFlanger Manual Chapter 2 - Quick Start For mixing, you can use MetaFlanger as a direct insert and control the amount of flanging with the Mix control. Some applications also offer sends and returns; either way works quite well. 1 When you insert MetaFlanger, it will open with the default settings (click on the Reset button to reload these!). These settings produce a basic classic flanging effect that’s easily tweaked. 2 Preview your audio signal by clicking the Preview button. If you are using a real-time system (such as TDM, VST, or MAS), press ‘play’. You’ll hear the flanged signal. -
Neural Modelling of Periodically Modulated Time-Varying Effects
Proceedings of the 23rd International Conference on Digital Audio Effects (DAFx2020),(DAFx-20), Vienna, Vienna, Austria, Austria, September September 8–12, 2020-21 2020 NEURAL MODELLING OF PERIODICALLY MODULATED TIME-VARYING EFFECTS Alec Wright and Vesa Välimäki ∗ Acoustics Lab, Dept. of Signal Processing and Acoustics Aalto University Espoo, Finland [email protected] ABSTRACT In recent years, numerous studies on virtual analog modelling of guitar amplifiers [11, 12, 13, 14, 4, 15] and other nonlinear sys- This paper proposes a grey-box neural network based approach tems [16, 17] using neural networks have been published. Neural to modelling LFO modulated time-varying effects. The neural network modelling of time-varying audio effects has received less network model receives both the unprocessed audio, as well as attention, with the first publications being published over the past the LFO signal, as input. This allows complete control over the year [18, 3]. Whilst Martínez et al. report that accurate emulations model’s LFO frequency and shape. The neural networks are trained of several time-varying effects were achieved, the model utilises using guitar audio, which has to be processed by the target effect bi-directional Long Short Term Memory (LSTM) and is therefore and also annotated with the predicted LFO signal before training. non-causal and unsuitable for real-time applications. A measurement signal based on regularly spaced chirps was used In this paper we present a general approach for real-time mod- to accurately predict the LFO signal. The model architecture has elling of audio effects with parameters that are modulated by a been previously shown to be capable of running in real-time on a Low Frequency Oscillator (LFO) signal. -
Metaflanger User Manual
MetaFlanger Table of Contents Chapter 1 Introduction 2 Chapter 2 Quick Start 3 Flanger effects 5 Chorus effects 5 Producing a phaser effect 5 Chapter 3 More About Flanging 7 Chapter 4 Controls & Displa ys 11 Section 1: Mix, Feedback and Filter controls 11 Section 2: Delay, Rate and Depth controls 14 Section 3: Waveform, Modulation Display and Stereo controls 16 Section 4: Output level 18 Section 5: WaveSystem Toolbar 18 Chapter 5 Frequently Asked Questions 19 Chapter 6 Block Diagram 20 Chapter 7.........................................................Tempo Sync in V5.0.............22 MetaFlanger Manual 1 Chapter 1 - Introduction Thanks for buying Waves processors. Thank you for choosing Waves! In order to get the most out of your new Waves plugin, please take a moment to read this user guide. To install software and manage your licenses, you need to have a free Waves account. Sign up at www.waves.com. With a Waves account you can keep track of your products, renew your Waves Update Plan, participate in bonus programs, and keep up to date with important information. We suggest that you become familiar with the Waves Support pages: www.waves.com/support. There are technical articles about installation, troubleshooting, specifications, and more. Plus, you’ll find company contact information and Waves Support news. The following pages explain how to use MetaFlanger. MetaFlanger’s Graphic Interface 2 MetaFlanger Manual Chapter 2 - Quick Start For mixing, you can use MetaFlanger as a direct insert and control the amount of flanging with the Mix control. Some applications also offer sends and returns; either way works quite well. -
Logview Studio Linux Preparation with Mono
LogView Studio Linux Preparation with Mono 2014 by Dominik Schmidt [email protected] © 2014 Dominik Schmidt / Holger Hemmecke I LogView Studio Table of Contents Part I Linux Prepare 1 1 SSH Co..n..n..e..c..t. ........................................................................................................................ 1 2 Raspbe..r.r.y.. .P..i. ......................................................................................................................... 4 System Prepar..a..t.i.o...n.. ............................................................................................................................................... 5 Mono .......................................................................................................................................................... 6 Install Mono......................................................................................................................................................... 7 Compile Mon..o.. .f.r..o..m.. .T..A...R....................................................................................................................................... 8 Compile Mon..o.. .f.r..o..m.. .G...I.T........................................................................................................................................ 9 Testing ......................................................................................................................................................... 10 3 Cubie.t.r.u..c..k.. ......................................................................................................................... -
Ministudio PERSONAL US-32
D01288520D MiNiSTUDIO PERSONAL US-32 OWNER'S MANUAL IMPORTANT SAFETY PRECAUTIONS This product complies with the European Directives request and the For U.S.A. other Commission Regulations. INFORMATION TO THE USER This equipment has been tested and found to comply with the limits for a Class B digital device, pursuant to Part 15 of the FCC Rules. These limits are designed to provide reasonable protection against harmful inter- ference in a residential installation. This equipment generates, uses, and can radiate radio frequency energy and, if not installed and used in accordance with the instruction manual, may cause harmful interference to radio communications. However, there is no guarantee that interference will not occur in a particular installation. If this equipment does cause harmful interference to radio or television reception, which can be determined by turning the equipment off and on, the user is encouraged to try to correct the interference by one or more of the following Nameplate measures. a) Reorient or relocate the receiving antenna. b) Increase the separation between the equipment and receiver. c) Connect the equipment into an outlet on a circuit different from that to which the receiver is connected. IMPORTANT SAFETY INSTRUCTIONS d) Consult the dealer or an experienced radio/TV 1 Read these instructions. technician for help. 2 Keep these instructions. CAUTION 3 Heed all warnings. Changes or modifications to this equipment not 4 Follow all instructions. expressly approved by TEAC CORPORATION for 5 Do not use this apparatus near water. compliance could void the user’s authority to operate 6 Clean only with dry cloth. -
Contents About the Author
2 THE SERIOUS GUITARIST | EsseNtiaL BOOK OF Gear CONTENTS About the Author ..................................................... 3 2000 and Beyond ............................................38 Part 3: The Technical Stuff ..................................82 Introduction .............................................................. 4 Amp Modeling ...............................................39 The Science of Sound .....................................82 Guitar Apps ...................................................39 Vibrations........................................................82 Part 1: The History of Guitar Gear ...................... 5 8- and 9-String Guitars ...............................39 Amplitude and Types of Waves .................82 The1930s ............................................................. 5 Guitar-Based Video Games ......................40 Overtones (Harmonics) ..............................82 The First Electric Guitars .............................. 5 Look, Ma, No Amp! ......................................40 Modulation .....................................................83 The First Amplifiers ........................................ 6 Fractal Audio Systems Axe-FX II ..............40 The Order of Effects ....................................83 Early 7-String Guitar ...................................... 8 Looking Ahead ..............................................41 Understanding Guitar Amps ..........................84 Early Talk Box .................................................. 8 Tube Amps .....................................................84 -
User Guide Multi Processor FX
MPX 1 Multi Processor FX User Guide Unpacking and Inspection After unpacking the MPX 1, save all packing materials in case you ever need to ship the unit. Thoroughly inspect the unit and packing materials for signs of damage. Report any shipment damage to the carrier at once; report equipment malfunction to your dealer. Precautions Save these instructions for later use. Follow all instructions and warnings marked on the unit. Always use with the correct line voltage. Refer to the manufacturer's operating instructions for power requirements. Be advised that different operating voltages may require the use of a different line cord and/or attachment plug. Do not install the unit in an unventilated rack, or directly above heat producing equipment such as power amplifiers. Observe the maximum ambient operating temperature listed in the product specification. Slots and openings on the case are provided for ventilation; to ensure reliable operation and prevent it from overheating, these openings must not be blocked or covered. Never push objects of any kind through any of the ventilation slots. Never spill a liquid of any kind on the unit. This product is equipped with a 3-wire grounding type plug. This is a safety feature and should not be defeated. Never attach audio power amplifier outputs directly to any of the unit's connectors. To prevent shock or fire hazard, do not expose the unit to rain or moisture, or operate it where it will be exposed to water. Do not attempt to operate the unit if it has been dropped, damaged, exposed to liquids, or if it exhibits a distinct change in performance indicating the need for service. -
Products of Interest
Products of Interest Neat Microphones Bee Range 134 dB (at 2.5K ohms) and a maxi- and the Bumblebee for US$ 199. mum SPL of 140 dB (at 2.5K ohms and Contact: Neat Microphones; Web The new Bee range from Neat Mi- 0.5 percent total harmonic distortion neatmic.com. crophones includes condenser mi- [THD]). The signal-to-noise ratio is crophones with large and medium 89 dB (A weighted). It measures 216 × diaphragms, as well as a desktop USB 76 mm and weighs 785 g. Shure MOTIV Microphone Range microphone. The King Bee is a large The Worker Bee is a similar but diaphragm condenser microphone lower cost microphone with a smaller Shure has released a new range of digi- with Class A discrete electronics, 25-mm capsule. It offers the user tal microphones that connect directly designed for high-sensitivity and a frequency response of 20 Hz to to computers, laptops, and iOS de- low-noise recording (see Figure 1). It 20 kHz. The dynamic range and SPL vices (see Figure 2). Among this range features a 34-mm center-terminated, are slightly higher at 135.5 dB and is the MV88, a digital stereo con- gold-sputtered condenser capsule 145 dB, respectively. The signal-to- denser microphone for iOS devices, with external polarization. The polar noise ratio for this microphone is which connects directly using the pattern is cardioid. The microphone 79 dB (A weighted). It measures 152 × Lightning connector. It is mounted offers a frequency response of 16 Hz 76 mm and weighs 446 g. -
ENERGY EFFICIENCY in RESIDENTIAL BUILDINGS in MOZAMBIQUE Measurements and Simulations
Report TABK-1027 BZ info: TABK-1027 GABRIEL AUZIANE Rygg: 13,22 = 187 sidor Setup (bxh): 369,22 x 252 Upplaga: 120 Mellanblad: grå and Simulations ENERGY EFFICIENCY IN RESIDENTIAL BUI DINGS MOZAMBIQUE - Measurements Färgsidor: ingen begränsn. ENERGY EFFICIENCY IN RESIDENTIAL BUILDINGS IN MOZAMBIQUE Measurements and Simulations GABRIEL AUZIANE Building Doctoral Thesis Science DEPARTMENT OF CONSTRUCTION SCIENCES DIVISION OF BUILDING SCIENCE ISRN LUTVDG/TABK--15/1027--SE (1-176) | ISSN 1103-4467 ISBN 978-91-7623-159-3 (print) | ISBN 978-91-7623-160-9 (pdf) DOCTORAL THESIS ENERGY EFFICIENCY IN RESIDENTIAL BUILDINGS IN MOZAMBIQUE Measurements and Simulations GABRIEL AUZIANE Copyright © Gabriel Auziane 2015. Printed by Media-Tryck LU, Lund, Sweden, April 2015 (Pl). For information, address: Division of Building Science, LTH, Lund University, Box 118, SE-221 00 Lund, Sweden. Homepage: http://www.bkl.lth.se Acknowledgements I am deeply thankful to my main supervisors, Professor Bertil Fredlund and Associate Professor Susanne Heyden, my co-supervisors Dr. Kurt Källblad, Dr. Daniel Baloi, and the former Head of the Department of Construction Sciences, Professor Göran Sandberg and Professor Anne Landin for offering me the possibility of working in this project and also for support, encouragement, inspiration and patience over the years, without their help and advice this thesis work would never have been successful. Furthermore, I would like to thank the Head of the Division of Structural Mechanics, Professor Erik Serrano and Professors Jesper Arfvidsson and Petter Wallentén, for their supervision of the work and great help in the overall process of this research. I thank Asdi/SAREC for this research receiving financial support through Lund University and Eduardo Mondlane University under the coordination of Prof. -
A History of Audio Effects
applied sciences Review A History of Audio Effects Thomas Wilmering 1,∗ , David Moffat 2 , Alessia Milo 1 and Mark B. Sandler 1 1 Centre for Digital Music, Queen Mary University of London, London E1 4NS, UK; [email protected] (A.M.); [email protected] (M.B.S.) 2 Interdisciplinary Centre for Computer Music Research, University of Plymouth, Plymouth PL4 8AA, UK; [email protected] * Correspondence: [email protected] Received: 16 December 2019; Accepted: 13 January 2020; Published: 22 January 2020 Abstract: Audio effects are an essential tool that the field of music production relies upon. The ability to intentionally manipulate and modify a piece of sound has opened up considerable opportunities for music making. The evolution of technology has often driven new audio tools and effects, from early architectural acoustics through electromechanical and electronic devices to the digitisation of music production studios. Throughout time, music has constantly borrowed ideas and technological advancements from all other fields and contributed back to the innovative technology. This is defined as transsectorial innovation and fundamentally underpins the technological developments of audio effects. The development and evolution of audio effect technology is discussed, highlighting major technical breakthroughs and the impact of available audio effects. Keywords: audio effects; history; transsectorial innovation; technology; audio processing; music production 1. Introduction In this article, we describe the history of audio effects with regards to musical composition (music performance and production). We define audio effects as the controlled transformation of a sound typically based on some control parameters. As such, the term sound transformation can be considered synonymous with audio effect. -
Practical Migration to Linux on System Z
Front cover Practical Migration to Linux on System z Overview and migration methodology Migration analysis Hands-on migration case study Lydia Parziale Joseph Apuzzo Saulo Augusto M Martins da Silva Louis Henderson Manoj Srinivasan Pattabhiraman Richard Sewell ibm.com/redbooks International Technical Support Organization Practical Migration to Linux on System z October 2009 SG24-7727-00 Note: Before using this information and the product it supports, read the information in “Notices” on page xi. First Edition (October 2009) This edition applies to z/VM Version 5.3 and Version 5.4, Novell SUSE Linux Enterprise Server Version 10 and Version 11, and Red Hat Enterprise Linux Version 5.3. © Copyright International Business Machines Corporation 2009. All rights reserved. Note to U.S. Government Users Restricted Rights -- Use, duplication or disclosure restricted by GSA ADP Schedule Contract with IBM Corp. Contents Notices . xi Trademarks . xii Preface . xv The team who wrote this book . xv Become a published author . xviii Comments welcome. xviii Part 1. Overview and migration methodology . 1 Chapter 1. Migration considerations . 3 1.1 Reason to migrate systems. 4 1.1.1 How green is your data center . 4 1.1.2 The IBM Big Green server consolidation . 7 1.2 Benefits of migrating to Linux on System z . 7 1.3 Reasons to select Linux on System z . 9 1.3.1 System z strengths . 10 1.3.2 Value of Linux on System z. 12 1.3.3 Choosing workloads to migrate to IBM System z . 13 1.4 z/VM virtualization for Linux on IBM System z .