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USING MICROPHONE ARRAYS to RECONSTRUCT MOVING SOUND SOURCES for AURALIZATION 1 Introduction
USING MICROPHONE ARRAYS TO RECONSTRUCT MOVING SOUND SOURCES FOR AURALIZATION Fanyu Meng, Michael Vorlaender Institute of Technical Acoustics, RWTH Aachen University, Germany {[email protected]) Abstract Microphone arrays are widely used for sound source characterization as well as for moving sound sources. Beamforming is one of the post processing methods to localize sound sources based on microphone array in order to create a color map (the so-called “acoustic camera”). The beamformer response lies on the array pattern, which is influenced by the array shape. Irregular arrays are able to avoid the spatial aliasing which causes grating lobes and degrades array performance to find the spatial positions of sources. With precise characteristics from the beamformer output, the sources can be reconstructed regarding not only spatial distribution but also spectra. Therefore, spectral modeling methods, e.g. spectral modeling synthesis (SMS) can be combined to the previous results to obtain source signals for auralization. In this paper, we design a spiral microphone array to obtain a specific frequency range and resolution. Besides, an unequal-spacing rectangular array is developed as well to compare the performance with the spiral array. Since the second array is separable, Kronecker Array Transform (KAT) can be used to accelerate the beamforming calculation. The beamforming output can be optimized by using deconvolution approach to remove the array response function which is convolved with source signals. With the reconstructed source spectrum generated from the deconvolved beamforming output, the source signal is synthesized separately from tonal and broadband components. Keywords: auralization, synthesizer, microphone arrays, beamforming, SMS PACS no. -
MUSIC PRODUCTION GUIDE Official News Guide from Yamaha & Easy Sounds for Yamaha Music Production Instruments
MUSIC PRODUCTION GUIDE OFFICIAL NEWS GUIDE FROM YAMAHA & EASY SOUNDS FOR YAMAHA MUSIC PRODUCTION INSTRUMENTS 04|2014 SPECIAL EDITION Contents 40th Anniversary Yamaha Synthesizers 3 40 years Yamaha Synthesizers The history 4 40 years Yamaha Synthesizers Timeline 5 40th Anniversary Special Edition MOTIF XF White 23 40th Anniversary Box MOTIF XF 28 40th Anniversary discount coupons 30 40th Anniversary MX promotion plan 31 40TH 40th Anniversary app sales plan 32 ANNIVERSARY Sounds & Goodies 36 YAMAHA Imprint 41 SYNTHESIZERS 40 YEARS OF INSPIRATION YAMAHA CELEBRATES 40 YEARS IN SYNTHESIZER-DESIGN WITH BRANDNEW MOTIF XF IN A STUNNIG WHITE FINISH SARY PRE ER M V IU I M N N B A O X H T 0 4 G N I D U L C N I • FL1024M FLASH MEMORY Since 1974 Yamaha has set new benchmarks in the design of excellent synthesizers and has developed • USB FLASH MEMORY (4GB) innovative tools of creativity. The unique sounds of the legendary SY1, VL1 and DX7 have influenced a INCL. SOUND LIBRARIES: whole variety of musical styles. Yamaha‘s know-how, inspiring technique and the distinctive sounds of a - CHICK’S MARK V - CS-80 40-years-experience are featured in the new MOTIF XF series that is now available in a very stylish - ULTIMATE PIANO COLLECTION white finish. - VINTAGE SYNTHESIZER COLLECTION YAMAHASYNTHSEU YAMAHA.SYNTHESIZERS.EU YAMAHASYNTHESIZEREU EUROPE.YAMAHA.COM MUSIC PRODUCTION GUIDE 04|2014 40TH ANNIVERSARY YAMAHA SYNTHESIZERS In 1974 Yamaha produced its first portable Yamaha synthesizers and workstations were and still are analog synthesizer with the SY-1. The the first choice for professionals and amateurs in the multi- faceted music business. -
Latin American Nimes: Electronic Musical Instruments and Experimental Sound Devices in the Twentieth Century
Latin American NIMEs: Electronic Musical Instruments and Experimental Sound Devices in the Twentieth Century Martín Matus Lerner Desarrollos Tecnológicos Aplicados a las Artes EUdA, Universidad Nacional de Quilmes Buenos Aires, Argentina [email protected] ABSTRACT 2. EARLY EXPERIENCES During the twentieth century several Latin American nations 2.1 The singing arc in Argentina (such as Argentina, Brazil, Chile, Cuba and Mexico) have In 1900 William du Bois Duddell publishes an article in which originated relevant antecedents in the NIME field. Their describes his experiments with “the singing arc”, one of the first innovative authors have interrelated musical composition, electroacoustic musical instruments. Based on the carbon arc lutherie, electronics and computing. This paper provides a lamp (in common use until the appearance of the electric light panoramic view of their original electronic instruments and bulb), the singing or speaking arc produces a high volume buzz experimental sound practices, as well as a perspective of them which can be modulated by means of a variable resistor or a regarding other inventions around the World. microphone [35]. Its functioning principle is present in later technologies such as plasma loudspeakers and microphones. Author Keywords In 1909 German physicist Emil Bose assumes direction of the Latin America, music and technology history, synthesizer, drawn High School of Physics at the Universidad de La Plata. Within sound, luthería electrónica. two years Bose turns this institution into a first-rate Department of Physics (pioneer in South America). On March 29th 1911 CCS Concepts Bose presents the speaking arc at a science event motivated by the purchase of equipment and scientific instruments from the • Applied computing → Sound and music German company Max Kohl. -
How to Effectively Listen and Enjoy a Classical Music Concert
HOW TO EFFECTIVELY LISTEN AND ENJOY A CLASSICAL MUSIC CONCERT 1. INTRODUCTION Hearing live music is one of the most pleasurable experiences available to human beings. The music sounds great, it feels great, and you get to watch the musicians as they create it. No matter what kind of music you love, try listening to it live. This guide focuses on classical music, a tradition that originated before recordings, radio, and the Internet, back when all music was live music. In those days live human beings performed for other live human beings, with everybody together in the same room. When heard in this way, classical music can have a special excitement. Hearing classical music in a concert can leave you feeling refreshed and energized. It can be fun. It can be romantic. It can be spiritual. It can also scare you to death. Classical music concerts can seem like snobby affairs full of foreign terminology and peculiar behavior. It can be hard to understand what’s going on. It can be hard to know how to act. Not to worry. Concerts are no weirder than any other pastime, and the rules of behavior are much simpler and easier to understand than, say, the stock market, football, or system software upgrades. If you haven’t been to a live concert before, or if you’ve been baffled by concerts, this guide will explain the rigmarole so you can relax and enjoy the music. 2. THE LISTENER'S JOB DESCRIPTION Classical music concerts can seem intimidating. It seems like you have to know a lot. -
MOTIF XF Owner's Manual
MUSIC PRODUCTION SYNTHESIZER Owner’s Manual EN SPECIAL MESSAGE SECTION PRODUCT SAFETY MARKINGS: Yamaha electronic ENVIRONMENTAL ISSUES: Yamaha strives to produce products may have either labels similar to the graphics products that are both user safe and environmentally shown below or molded/stamped facsimiles of these graph- friendly. We sincerely believe that our products and the pro- ics on the enclosure. The explanation of these graphics duction methods used to produce them, meet these goals. In appears on this page. Please observe all cautions indicated keeping with both the letter and the spirit of the law, we on this page and those indicated in the safety instruction sec- want you to be aware of the following: tion. Battery Notice: This product MAY contain a small non- rechargeable battery which (if applicable) is soldered in place. The average life span of this type of battery is approx- CAUTION imately five years. When replacement becomes necessary, RISK OF ELECTRIC SHOCK contact a qualified service representative to perform the DO NOT OPEN replacement. Warning: Do not attempt to recharge, disassemble, or CAUTION: TO REDUCE THE RISK OF ELECTRIC SHOCK. DO NOT REMOVE COVER (OR BACK). incinerate this type of battery. Keep all batteries away from NO USER-SERVICEABLE PARTS INSIDE. children. Dispose of used batteries promptly and as regu- REFER SERVICING TO QUALIFIED SERVICE PERSONNEL. lated by applicable laws. Note: In some areas, the servicer is required by law to return the defective parts. However, you do have the option of having the servicer dispose of these parts for you. The exclamation point within the equi- Disposal Notice: Should this product become damaged lateral triangle is intended to alert the beyond repair, or for some reason its useful life is consid- user to the presence of important operat- ered to be at an end, please observe all local, state, and fed- ing and maintenance (servicing) instruc- eral regulations that relate to the disposal of products that tions in the literature accompanying the contain lead, batteries, plastics, etc. -
S5.3 Series - 12 Channel Wireless System
The Worlds Finest Wireles Systems Wireless Catalog S5.3 Series - 12 Channel Wireless System The S5.3 Series is widely used by semi professional and professionals in theater, concerts and broadcasting thanks to it’s easy to use and reliable performance. Enabling up to 12 simultaneous channels to run at once, the S5.3 Series boasts an exceptional performance/cost ratio for venues of any size. 12 Channels Up to 12 channels can run simultaneously UHF Dual Conversion Receiver Fully synthesized UHF dual conversion receiver Long Battery Life A single AA battery gives up to 10 hours of quality performance with a range of up to 100 meters S5.3 Series 12 Channel Wireless System S5.3-RX Receiver True diversity operation Power Consumption 300 mA (13V DC) Space Diversity (true diversity) Up to 640 selectable frequencies Diversity System Audio Output Line: -22dB / Mic: 62dB USB based computer monitoring Antenna Phantom 9V DC, 30 mA (max) Frequency scan function Power Integral tone grip/noise and signal Receiving Sensitivity 0 bD V or less(12dB SINAD) strength mute circuit for protection Squelch Sensitivity 6-36dB μV variable against external interference S/N Ratio Over 110dB (A-weighted) Simple programming of transmitter with Harmonic Distortion Under 1% (typical) built-in Infra-red data link Frequency Response 50Hz-20kHz, +3dB Dimensions 210(W) x 46(H) x 210(D) mm (8.3” x 1.8” x Clear and intuitive LCD displays 8.3”) excluding antenna Professional metal enclosure Weight 1.3kg (2.87lbs) S5.3 Series Kits Dynamic Handheld Mic Set Lavaliere Microphone Set S5.3-HD=S5.3-RX+S5.3-HDX S5.3-L=S5.3-RX+S5.3-BTX+Lavaliere Mic Condenser Handheld Mic Set S5.3-HC=S5.3-RX+S5.3-HCX S5.3 Series S5.3-HDX (Dynamic) 12 Channel Wireless System S5.3-HCX (Condenser) Handheld Transmitter Simple programming of transmitter with built-in infra-red data link Frequency and Power lock facility Single AA transmitter battery life of approx 10 hours. -
Microkorg Owner's Manual
E 2 ii Precautions Data handling Location THE FCC REGULATION WARNING (for U.S.A.) Unexpected malfunctions can result in the loss of memory Using the unit in the following locations can result in a This equipment has been tested and found to comply with the contents. Please be sure to save important data on an external malfunction. limits for a Class B digital device, pursuant to Part 15 of the data filer (storage device). Korg cannot accept any responsibility • In direct sunlight FCC Rules. These limits are designed to provide reasonable for any loss or damage which you may incur as a result of data • Locations of extreme temperature or humidity protection against harmful interference in a residential loss. • Excessively dusty or dirty locations installation. This equipment generates, uses, and can radiate • Locations of excessive vibration radio frequency energy and, if not installed and used in • Close to magnetic fields accordance with the instructions, may cause harmful interference to radio communications. However, there is no Printing conventions in this manual Power supply guarantee that interference will not occur in a particular Please connect the designated AC adapter to an AC outlet of installation. If this equipment does cause harmful interference Knobs and keys printed in BOLD TYPE. the correct voltage. Do not connect it to an AC outlet of to radio or television reception, which can be determined by Knobs and keys on the panel of the microKORG are printed in voltage other than that for which your unit is intended. turning the equipment off and on, the user is encouraged to BOLD TYPE. -
Optical Turntable As an Interface for Musical Performance
Optical Turntable as an Interface for Musical Performance Nikita Pashenkov A.B. Architecture & Urban Planning Princeton University, June 1998 Submitted to the Program in Media Arts and Sciences, School of Architecture and Planning, in partial fulfillment of the requirements for the degree of Master of Science in Media Arts and Sciences at the Massachusetts Institute of Technology June 2002 @ Massachusetts Institute of Technology All rights reserved MASSACHUSETTS INSTITUTE OF TECHNOLOGY JUN 2 7 2002 LIBRARIES ROTCH I|I Author: Nikita Pashenkov Program in Media Arts and Sciences May 24, 2002 Certified by: John Maeda Associate Professor of Design and Computation Thesis Supervisor Accepted by: Dr. Andew B. Lippman Chair, Departmental Committee on Graduate Studies Program | w | in Media Arts and Sciences Optical Turntable as an Interface for Musical Performance Nikita Pashenkov Submitted to the Program in Media Arts and Sciences, School of Architecture and Planning, on May 24, 2002, in partial fulfillment of the requirements for the degree of Master of Science in Media Arts and Sciences Abstract This thesis proposes a model of creative activity on the computer incorporating the elements of programming, graphics, sound generation, and physical interaction. An interface for manipulating these elements is suggested, based on the concept of a disk-jockey turntable as a performance instrument. A system is developed around this idea, enabling optical pickup of visual informa- tion from physical media as input to processes on the computer. Software architecture(s) are discussed and examples are implemented, illustrating the potential uses of the interface for the purpose of creative expression in the virtual domain. -
Music Production Guide
MUSIC PRODUCTION GUIDE OFFICIAL NEWS GUIDE FROM YAMAHA & EASY SOUNDS FOR YAMAHA MUSIC PRODUCTION INSTRUMENTS 01|2016 Contents MONTAGE Music In Motion 2 reface YC 19 DTX-News from NAMM 2016 24 Sounds & Goodies 27 MUSIC IN MOTION Imprint 44 MUSIC PRODUCTION GUIDE 01|2016 MUSIC IN MOTION The time has come. Yamaha's new The name MONTAGE represents a completely new synthesizer flagship is here: MONTAGE. generation of Yamaha Music Synthesizers, that we want to bring you closer with this document. Welcome to the new era in synthesizers from the company that brought you the It starts with a list of features that is made up of official industry-changing DX and the hugely marketing texts and our supplements. popular MOTIF. This is followed by detailed chapters about the major new Building on the legacy of these two iconic features of MONTAGE. keyboards, the Yamaha Montage sets the next milestone for synthesizers with SOPHISTICATED DYNAMIC sophisticated dynamic control, massive CONTROL sound creation and streamlined workflow Music is expression. MONTAGE adds a new level of all combined in a powerful keyboard expression with the Motion Control Synthesis Engine. designed to inspire your creativity. This engine allows a variety of methods to interact with If you liked the DX and MOTIF, get ready to and channel your creativity into finding your own unique love MONTAGE. sound. YAMAHA.COM 2 MUSIC PRODUCTION GUIDE 01|2016 MOTION CONTROL SYNTHESIS ENGINE The Motion Control Synthesis Engine unifies and controls two iconic Sound Engines: AWM2 (high-quality waveform and synthesis) and FM-X (modern, pure Frequency Modulation synthesis.) These two engines can be freely zoned or layered across eight Parts in a single MONTAGE Performance. -
THE COMPLETE SYNTHESIZER: a Comprehensive Guide by David Crombie (1984)
THE COMPLETE SYNTHESIZER: A Comprehensive Guide By David Crombie (1984) Digitized by Neuronick (2001) TABLE OF CONTENTS TABLE OF CONTENTS...........................................................................................................................................2 PREFACE.................................................................................................................................................................5 INTRODUCTION ......................................................................................................................................................5 "WHAT IS A SYNTHESIZER?".............................................................................................................................5 CHAPTER 1: UNDERSTANDING SOUND .............................................................................................................6 WHAT IS SOUND? ...............................................................................................................................................7 THE THREE ELEMENTS OF SOUND .................................................................................................................7 PITCH ...................................................................................................................................................................8 STANDARD TUNING............................................................................................................................................8 THE RESPONSE OF THE HUMAN -
C4 Synth User Guide
C4 Synth User Guide Welcome Thank you for purchasing the C4 Synth. This advanced piece of gear offers all the sound construction tools of a classic Eurorack modular synthesizer and packages them in a compact and easy-to-use effects pedal for guitar and bass. It is essentially a Eurorack modular synth in a box with unprecedented tracking abilities, lightning-fast response, and countless sound options. Out of the box the C4 offers six unique and dynamic synthesizer effects. Connect it to the Neuro Desktop Editor or Neuro Mobile App and unlock this pedal’s true power. Use the Neuro Editors to create your own synth sounds with its classic Eurorack inspired editing interface or simply call up an effect from countless presets created by the Source Audio team or the growing legion of C4 users. Create incredible tones with the C4’s choice of four parallel voices, three oscillator wave shapes, ten-plus envelope followers, twenty-plus modulating filters, distortion, tremolo, pitch shifting, intelligent harmonization, programmable sequencing and more. The pedal comes in a compact and durable brushed aluminum housing with stereo inputs and outputs, a three-position toggle switch, a simple four-knob control surface, and full MIDI functionality via its USB port. The Quick Start guide will help you with the basics. For more in-depth information about the C4 Synth move on to the following sections, starting with Connections. Enjoy! - The Source Audio Team SA249 C4 Synth User Guide 1 Overview Six Preset Positions: Use the C4’s three-position toggle switch and two preset banks to save six easily accessible presets. -
40Th Annual New Music Concert
UPCOMING EVENTS Symphonic Band Concert Guitar Concert Monday, April 17 at 7pm September 20 at 7pm Performing and Media Arts Center, MJC, Recital Hall Main Auditorium David Chapman / [email protected] Erik Maki / [email protected] AUDITIONS: A Very Merry Improv MJC Community Orchestra Concert: Directed by Lynette Borrelli-Glidewell The Wild Wild West and Outer Space Wednesday, October 11 Tuesday, April 18th at 7pm Lynette Borrelli-Glidewell Performing and Media Arts Center, / [email protected] Main Auditorium Anne Martin / [email protected] The Tempest (in Sci~Fi) Directed by Michael Lynch MJC Concert Band October 20, 21, 26, 27, 28 at 7pm Wednesday, April 19 at 7pm October 29 at 2pm Performing and Media Arts Center, Performing and Media Arts Center, Main Auditorium Main Auditorium Erik Maki / [email protected] Voice Recitals MJC Concert Choir & Chamber Singers Monday November 6, 13 at 7pm The British are Coming! MJC, Recital Hall The British are Coming! Cathryn Tortell / [email protected] Friday, April 21st at 7pm Sandra Bengochea / [email protected] Performing and Media Arts Center, Main Auditorium Strings Concert Tickets on Sale Now! Friday, November 17 at 7pm MJC, Recital Hall New Theatre Play Fest Directed by: Michael Lynch Anne Martin / [email protected] May 11, 12, 13, 18, 19, 20 at 7pm Jazz Band Concert Cabaret West Theatre, West Campus Monday, November 20 at 7pm Michael Lynch / [email protected] Performing and Media Arts Center, Off the Beat! Hip Hop Dance Concert Main Auditorium June 14 & 15 at 7pm Erik Maki / [email protected] Performing and