DOCSLIB.ORG

THX 44 and THX 22 DATA SHEET

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
THX 44 and THX 22 DATA SHEET DATA SHEET THX 22 & THX 44 HOME CINEMA EQUALIZERS LEFT CHANNEL RIGHT CHANNEL L U C A S FIL M PWR +6 +6 +6 +6 +6 +6 R +4 +4 +4 +4 +4 +4 +2 +2 1k 3k 10k +2 1k 3k 10k +2 +2 1k 3k 10k +2 1k 3k 10k FREQUENCY FREQUENCY FREQUENCY FREQUENCY THX 22 0 0 0 0 0 0 BANDWIDTH BANDWIDTH BANDWIDTH BANDWIDTH BYPASS -2 -2 -2 -2 0.7 2.1 3.5 0.7 2.1 3.5 0.7 2.1 3.5 0.7 2.1 3.5 -4 -4 -4 -4 -6 -6 -6 -6 -6 -6 80100 125 160 200 250 315 400 500 630 800 LEVEL LEVEL 80100 125 160 200 250 315 400 500 630 800 LEVEL LEVEL 80 100 125 160 200 250 315 400 500 630 800 80 100 125 160 200 250 315 400 500 630 800 80100 125 160200 250 315 400500 630 800 +6 +6 +4 +4 L U C A S FIL M +2 +2 R THX 44 POWER HOME CINEMA EQUALIZER -2 -2 -4 -4 -6 -6 LEFT CHANNEL CENTER CHANNEL RIGHT CHANNEL SUBWOOFER LEVEL FREQUENCY LEVEL FREQUENCY LEVEL FREQUENCY LEVEL FREQUENCY FREQUENCY LEVEL FREQUENCY LEVEL FREQUENCY LEVEL FREQUENCY +4 +4 +4 +4 +4 +4 +6 +6 +2 +2 +2 +2 +2 +2 +3 +3 1k 3k 10k 1k 3k 10k 1k 3k 10k 1k 3k 10k 1k 3k 10k 1k 3k 10k 20 50 80 20 50 80 BYPASS 0 0 0 0 0 0 0 0 -2 0.7 2.1 3.5 -2 0.7 2.1 3.5 -2 0.7 2.1 3.5 -2 0.7 2.1 3.5 -2 0.7 2.1 3.5 -2 0.7 2.1 3.5 -3 0.5 1.5 2.5 -3 0.5 1.5 2.5 -4 -4 -4 -4 -4 -4 -6 -6 BANDWIDTH BANDWIDTH BANDWIDTH BANDWIDTH BANDWIDTH BANDWIDTH BANDWIDTH BANDWIDTH General Description Room Control. The THX 22 and Not just THX. Traditional surround Subwoofer Channel. The THX 44 THX 44 provide exact equalization sound systems also benefit from the also has a specially designed 2-band controls for use in correcting room THX 44 and THX 22. Though they parametric channel to smooth out the response problems—a critical step in meet THX certification requirements, extreme low end. recreating the home theater listening these equalizers are ideal for any home Stereo applications. In-wall experience. theater application. Multiple channel speakers often carry a reputation for not All rooms differ, and all rooms equalization compensates for poor room sounding as good as box designs. display acoustical problems of some acoustics and help to “timbre match” Equalizers can greatly improve the sort. These anomalies distract from the speakers. This is really important when response of in-walls by removing the enjoyment of the true home theater using different center or surround peaks caused by various wall construc- experience. Recording studios equalize speaker models than the left and right. tions, allowing the different channels to their playback, and the same procedure These equalizers are applicable in plain match room response better for a more at home yields an uncolored, transparent stereo, Dolby Pro-Logic, THX, Dolby transparent sound. sound, as heard in the studio. These Digital, DTS, or any multichannel Anywhere in the home where equalizers are also one of the quietest system. For 5.1 systems, use the remote speakers are used, regardless of available at any price. After alignment, THX 44 for the front channels and the brand or type, equalization makes a pressing the BYPASS switch reveals THX 22 for the surround channels. difference between sounding good and the before and after. The clarity is Main Channels. The THX 44 has sounding great. obvious. three equalizer Channels for Left, Setup and Alignment. The THX 44 First in Home Cinema. Rane Center, and Right. The THX 22 has two and THX 22 install between the developed the first equalizer designed equalizer Channels, and may be used preamp/controller and the power specifically for Home THX audio for the Left and Right Surrounds or as a amplifiers. Setting the controls to THX 1 systems. Rane equalizers are found in dedicated stereo equalizer. Each section standards requires temporary use of a /3- many of the finest recording studios and features an 11-band 1/3-octave graphic octave analyzer with averaging. Consult film dubbing stages around the world. section for low to mid frequency the “Home THX Audio System Room This same circuit design is available for corrections, plus a 2-band parametric Equalization Manual” available from home theater playback. equalizer for high frequencies. the THX or Rane websites. Once set up, all controls are hidden away behind the included security panel. A low-noise power supply and attachable 19" rack mounting ears are Features also provided. • 11 Bands of 1/3-Octave Graphic Equalization 80 Hz to 800 Hz, per Channel • 2 Bands of Parametric Equalization, sweepable 1 kHz to 10 kHz Centers, per Channel • THX 44 features Left, Center and Right Channels and a 2-Band Parametric Subwoofer Channel • THX 22 features Left and Right Channels; Usable for Surround Channels or Stereo Applications • Security cover, rack ears, and low-noise UL/cUL/CE approved power supply included Data Sheet-1 THX 22 & THX 44 HOME CINEMA EQUALIZERS Pnarameter Stpecificatio Lsimi Usnit Conditions/Comment Gsraphic Equalizer Sections: THX 44 = Left, Right, & Center Channel THX 22 = Left & Right Channels .g.........Bands (z11) 1/3-Octave ISO Spacin From 80 Hz to 800 H .Q.........Type Ignterpolating Constant- Smooth combinin .3.........Accuracy %yCenter frequenc .0.........Travel 2mmtPositive grounded center deten .6.........Range ±50B.2 d Parametric Equalizer Sections: .z.........Frequency Range 1 kHz-10 kH LR&C (THX 44); L&R (THX 22) 2)0 Hz-80 Hz Subwoofer (THX 44 .).........Bandwidth Range 0.7-3.5 octaves (Q=2.0-0.33 LR&C (THX 44); L&R (THX 22) 0).5-2.5 octaves (Q=3.0-0.5) Subwoofer (THX 44 .4.........Amplitude Range ±50B.2 d)LR&C (THX 44 ±56 0B.2 d)Subwoofer (THX 44); L&R (THX 22 Inputs: Type Active unbalanced RCA Phono & DB-25 connectors (THX 44); RCA only (THX 22) .k.........Impedance 1%0 1 Ω .5.........Maximum Level 31r4. dkB 11 Volts pea Outputs: Type Active unbalanced RCA Phono & DB-25 connectors (THX 44); RCA only (THX 22) .0.........Impedance 5%1 Ω .k.........Maximum Level +34.5 > = 2 Ω 1rdkB 11 Volts pea Fzrequency Response 220 Hz-20 kH +B0/-. d)LR&C (THX 44), L&R (THX 22 G)roup Delay L°inear (Minimum Phase ±z5 20-20 kH T1HD+Noise 05.00 .%000 1 kHz, +27.5 dBr (5 V peak ) S0ignal-to-Noise 11B2 dtre 5 V pk; A-wtg; input short; fla -1r92.5 dtB A-wtg; input short, fla -1r90.5 dtB 20 kHz BW; input short, fla -1r84.5 dtB A-wtg; input short, full boos -1r87.5 dtB A-wtg; input short, full cu D7ynamic Range 11B2 d)Max out/noise floor (+34.5 dBr/-92.5 dBr C0hannel Separation 9nmBi dd20-20 kHz BP, undriven inputs shorte Unit: Agency Listing .t.........120 VAC model Celass 2 Equipmen National Electrical Cod UtL / CSA Exempt Class 2 equipmen .C.........230 VAC model CCE-EM EMC directive 89/336/EE CE-Safety Exempt per Art. 1 of LVD 73/23/EEC Power Supply: Agency Listing Class 2 equipment .L.........120 VAC model U1File no. E8826 C8SA File no. LR5894 .C.........230 VAC model CCE-EM EMC Directive 89/336/EE CCE-Safety LV Directive 73/23/EE .S.........100 VAC model Byuilt to JI Japan onl Ppower Supply: Input 1%8 VAC w/center ta 1s0 V1rm Model RS .0.........Current 7x5 mAa myrms current from remote suppl T)HX 44 Unit: Size 3).5"H x 19"W x 8.5"D (2U (8.9 cm x 48.3 cm x 21.6 cm 17 3/8" wide w/o rack ears (44.2 cm wide without rack ears) .b.........Weight 8)l (3.6 kg T)HX 22 Unit: Size 1).75"H x 19"W x 8.5"D (1U (4.4 cm x 48.3 cm x 21.6 cm 17 3/8" wide w/o rack ears (44.2 cm wide without rack ears) .b.........Weight 5)l (2.3 kg S"hipping: Size 4).25" x 20.3" x 13.75 (11 cm x 52 cm x 35 cm .b.........THX 44 Weight 1)3 l (5.9 kg .b.........THX 22 Weight 8)l (3.6 kg Note: 0 dBr=150 mVrms=Home THX Equalizer Reference Level Data Sheet-2 THX 22 & THX 44 HOME CINEMA EQUALIZERS THX 22 Block Diagram 11-BAND 2-BAND LEFT OUT GRAPHIC (1/3 OCT) PARAMETRIC LEFT IN 80-800 Hz 1k-10 kHz ±6 dB ±6 dB 0.7-3.5 OCT 11-BAND 2-BAND RIGHT OUT GRAPHIC (1/3 OCT) PARAMETRIC RIGHT IN 80-800 Hz 1k-10 kHz ±6 dB ±6 dB 0.7-3.5 OCT BYPASS THX 44 Block Diagram 11-BAND 2-BAND LEFT OUT GRAPHIC (1/3 OCT) PARAMETRIC LEFT IN 80-800 Hz 1k-10 kHz ±4 dB ±6 dB 0.7-3.5 OCT 11-BAND 2-BAND CENTER OUT GRAPHIC (1/3 OCT) PARAMETRIC INPUT DB-25* CENTER IN OUTPUT DB-25* 80-800 Hz 1k-10 kHz ±4 dB ±6 dB 0.7-3.5 OCT *SEE REAR 11-BAND 2-BAND RIGHT OUT PANEL FOR PIN CONNECTIONS GRAPHIC (1/3 OCT) PARAMETRIC RIGHT IN 80-800 Hz 1k-10 kHz ±4 dB ±6 dB 0.7-3.5 OCT 2-BAND SUBWOOFER OUT PARAMETRIC SUBWOOFER IN 20-80 Hz ±6 dB 0.5-2.5 OCT BYPASS THX is a registered trademark of THX, Ltd.
Load more

Recommended publications
  • THX Room EQ Manual
    Home THX Equalization Manual Rev. 1.5 Home THX Audio System Room Equalization Manual Rev. 1.5 This document is Copyright 1995 by Lucasfilm Ltd THX and Home THX are Registered Trademarks of Lucasfilm Ltd Dolby Stereo, Dolby Pro Logic, and Dolby AC-3 are trademarks of Dolby Laboratories Licensing Corporation 1 Home THX Equalization Manual Rev. 1.5 Table of Contents Introduction and Background: Why Room Equalization? ..................................... 3 Test Equipment Requirements ........................................................................... 4-5 The Home THX Equalizer ....................................................................................... 5 Equalization Procedures ................................................................................... 5-22 Section 1: EQ Procedure Using the THX R-2 Audio Analyzer ............................ 6-13 1.1 - 1.3 Test Equipment Set-Up ................................................................... 6-9 1.4 - 1.7 LCR Equalization ......................................................................... 10-11 1.8 - 1.10 Subwoofer Equalization ............................................................... 11-13 1.11 Listening Tests ................................................................................. 13 Section 2: EQ Procedure Using a Conventional RTA ...................................... 14-21 2.1 - 2.3 Test Equipment Set-Up ................................................................ 14-17 2.4 - 2.6 LCR Equalization ........................................................................
    [Show full text]
  • Digital Dialectics: the Paradox of Cinema in a Studio Without Walls', Historical Journal of Film, Radio and Television , Vol
    Scott McQuire, ‘Digital dialectics: the paradox of cinema in a studio without walls', Historical Journal of Film, Radio and Television , vol. 19, no. 3 (1999), pp. 379 – 397. This is an electronic, pre-publication version of an article published in Historical Journal of Film, Radio and Television. Historical Journal of Film, Radio and Television is available online at http://www.informaworld.com/smpp/title~content=g713423963~db=all. Digital dialectics: the paradox of cinema in a studio without walls Scott McQuire There’s a scene in Forrest Gump (Robert Zemeckis, Paramount Pictures; USA, 1994) which encapsulates the novel potential of the digital threshold. The scene itself is nothing spectacular. It involves neither exploding spaceships, marauding dinosaurs, nor even the apocalyptic destruction of a postmodern cityscape. Rather, it depends entirely on what has been made invisible within the image. The scene, in which actor Gary Sinise is shown in hospital after having his legs blown off in battle, is noteworthy partly because of the way that director Robert Zemeckis handles it. Sinise has been clearly established as a full-bodied character in earlier scenes. When we first see him in hospital, he is seated on a bed with the stumps of his legs resting at its edge. The assumption made by most spectators, whether consciously or unconsciously, is that the shot is tricked up; that Sinise’s legs are hidden beneath the bed, concealed by a hole cut through the mattress. This would follow a long line of film practice in faking amputations, inaugurated by the famous stop-motion beheading in the Edison Company’s Death of Mary Queen of Scots (aka The Execution of Mary Stuart, Thomas A.
    [Show full text]
  • Electronic Labyrinth: THX 1138 4EB
    Electronic Labyrinth: THX 1138 4EB By Matthew Holtmeier Considering at least one “Star Wars” film has been released every decade since the 1970’s, this epic science fic- tion franchise likely jumps to mind upon hearing the name George Lucas. Avid filmgoers might think, instead, ‘Industrial Light and Magic,’ which has contributed to the special effects of over 275 feature films since it was founded by Lucas in 1975. Either way, Lucas’s penchant for the creation of fantastic worlds has radi- cally shaped the cinematic landscape of the past 40 years, particularly where big Dan Natchsheim as a character known simply as 1138 attempts budget films are concerned. Like many to escape a dystopian future society. Courtesy Library of filmmakers since the growth of film schools Congress Collection. in the 60’s, he started with a student film, however: “Electronic Labyrinth: THX1138 The Yardbirds, “I know. I know.” As the Gregorian 4EB” (1967). “Electronic Labyrinth” provides a strik- chant of The Yardbirds track begins, the camera ingly different vision of what the cinematic medium is tracks across an extreme close up of electronics capable of, particularly when compared to the mod- equipment, revealing the technocracy of the future. ern fairytales of the “Star Wars” films. It too has a The rest of the film will oscillate between the ‘operators’ science fictional setting, but one without heroes or of this technocracy, and THX 1138’s attempted escape princesses, and instead delves into the dystopian from the smooth, featureless white walls of a com- potential of technology itself. Giving vision to a world pound, presumably a world without desire.
    [Show full text]
  • Ted Costas Press Release
    TED COSTAS, FOUNDER AND PARTNER, SGI QC, TO RECEIVE INTER-SOCIETY’S KEN MASON AWARD Recognizes Contributions to Overall Motion Picture Experience In his current role as Founder/Partner at SGI QC, Ted oversees Domestic and International QC for several of the top studios. SGI has worked on major releases such as Transformers, The Avengers, and recently, Star Wars: The Force Awakens. SGI also helps on innovative engineering projects like the recent 35mm film release of InterStellar, and the 70mm film release of Hateful Eight, with installs and alignments. Ted was the only two-term President in the history of the Inter-Society, serving from 2004 to 2007. While President, Ted successfully worked to increase movie studio participation in the Inter-Society. Ted started the ISEC (Inter-Society Environmental Committee), which instituted both the Film Trailer Recycling Program and 3D Glasses recycling at a time when the 3D glasses were called “disposable.” Yet the most significant committee Ted started while President of the Inter-Society was the ISDCF (Inter-Society Digital Cinema Forum). No other committee or group has done more to “tame the Wild West of Digital Cinema” than the ISDCF and it’s seven years of successful monthly meetings. In 2007, Ted was named on the Sci-Tech Academy Award for the Cyan Dye Track Committee. Ted started his career at Lucasfilm, THX, where he spent fifteen years with the Theatre Alignment Program (TAP). At TAP, Ted started the Academy Award winning TASA Program (Trailer Audio Standards Association), to help limit volume levels in trailers domestically. Ted also oversaw the very first four Digital Cinema installations ever, for Star Wars Episode 1, in Los Angeles and New York.
    [Show full text]
  • George Lucas and the Impact Star Wars Had on Modern Society
    George Lucas And The Impact Star Wars Had On Modern Society. By: Rahmon Garcia George Lucas was a very famous director, and made many different films in his time as a director, but his most famous film he ever produced was Star Wars. The effect Star Wars had on modern society was pretty incredible; the way he could create an amazing story from a very abstract idea; If you walked up to any person and asked them if they knew the movie series Star Wars, their answer would definitely be yes. His movies changed our modern society and the way we look at aspects of life. George Walton Lucas Jr. was born May 14 1944, in Modesto, California. In his youth he attended the Southern California University for film. He was the Screenwriter and director of his school project and first major film, THX 1138 4EB, which was his first step on the path to becoming a great director. Although George Lucas was mostly known for being the director of movies such as ‘Star Wars’ and ‘Indiana Jones’, he also made many other films, such as ‘Twice Upon A Time’, ‘The Land Before Time’, ‘Willow’, ‘Strange Magic’, ect. Even though we now think of Star Wars as a great movie series, when it was in the making it was very hard to picture it would turn into such an incredible saga. Ever since George Lucas was in High School, he was obsessed with Car Racing, and would often try to repair or create a new engine for his car, until one day when he was racing he got into a really bad accident and was nearly killed, if it wasn't for his seat which ejected him after his seat belt broke.
    [Show full text]
  • A Nomadology of Inamoramento De Orlando and Star Wars
    Western University Scholarship@Western Electronic Thesis and Dissertation Repository 12-19-2018 2:00 PM Romance, Politics and Minor Art: A Nomadology of Inamoramento de Orlando and Star Wars Andrea Privitera The University of Western Ontario / Università degli studi di Padova Supervisor Boulter, Jonathan The University of Western Ontario Joint Supervisor Baldassarri, Guido University of Padova Graduate Program in Comparative Literature A thesis submitted in partial fulfillment of the equirr ements for the degree in Doctor of Philosophy © Andrea Privitera 2018 Follow this and additional works at: https://ir.lib.uwo.ca/etd Part of the Comparative Literature Commons, Film and Media Studies Commons, Italian Literature Commons, and the Performance Studies Commons Recommended Citation Privitera, Andrea, "Romance, Politics and Minor Art: A Nomadology of Inamoramento de Orlando and Star Wars" (2018). Electronic Thesis and Dissertation Repository. 5921. https://ir.lib.uwo.ca/etd/5921 This Dissertation/Thesis is brought to you for free and open access by Scholarship@Western. It has been accepted for inclusion in Electronic Thesis and Dissertation Repository by an authorized administrator of Scholarship@Western. For more information, please contact [email protected]. Abstracts English While existing theories of romance (in particular, those formulated by Northrop Frye and Fredric Jameson) accurately characterize this literary mode as a highly politicized example of art, this thesis contends that the political nature of romance is broader and more complex than discussed so far. In order to offer a new and comprehensive political theory of romance, this work proposes a comparison between two historically and culturally diverse examples of romance, that is Matteo Maria Boiardo’s chivalric poem Inamoramento de Orlando and George Lucas’ space opera film Star Wars.
    [Show full text]
  • CNN.Com Search
    International Edition | MEMBER SERVICES The Web CNN.com Search Home Page World U.S. Weather Business The Lucas world, pre-'Star Wars' Sports Enter Keywords Politics A return to 'THX 1138' Enter City ALL Law Monday, September 13, 2004 Posted: 10:28 AM EDT (1428 GMT) Technology Science & Space SAN RAFAEL, California (AP) -- In Health his most soothing voice, George Entertainment Lucas has these important Travel messages to share: Work hard. Education Prevent accidents. Increase Special Reports production. Buy more. And most important, be happy. Those mantras come from 1971's "THX 1138," Lucas' comparatively unknown first film, which he reintroduced to audiences with a limited theatrical release Friday, to "THX 1138" was based on a student film be followed by its DVD debut Tuesday. George Lucas made at USC. SERVICES Video In a way, Lucas views this as the true E-mail Newsletters premiere of "THX 1138," a dark sci-fi satire Refinance Rates Just Got Lower Your E-mail Alerts starring Robert Duvall as the title Lock in the lowest rates of the character, struggling to escape a summer. Get up to 4 free refinance CNNtoGO dehumanized society whose inhabitants quotes. Contact Us are mere numbers to a government that www.lowermybills.com SEARCH preaches boundless consumerism and Home Equity Loans-4.25% APR Web CNN.com keeps the population happy through mandatory sedatives. Receive up to 4 free loan quotes from trusted lenders and get the cash you... "It's almost like it's a new movie, because a www.lowermybills.com Search lot of people don't know about it," Lucas told The Associated Press over lunch at his LendingTree.com - Official Site 2,600-acre Skywalker Ranch.
    [Show full text]
  • "It's Aimed at Kids - the Kid in Everybody": George Lucas, Star Wars and Children's Entertainment by Peter Krämer, University of East Anglia, UK
    "It's aimed at kids - the kid in everybody": George Lucas, Star Wars and Children's Entertainment By Peter Krämer, University of East Anglia, UK When Star Wars was released in May 1977, Time magazine hailed it as "The Year's Best Movie" and characterised the special quality of the film with the statement: "It's aimed at kids - the kid in everybody" (Anon., 1977). Many film scholars, highly critical of the aesthetic and ideological preoccupations of Star Wars and of contemporary Hollywood cinema in general, have elaborated on the second part in Time magazine's formula. They have argued that Star Wars is indeed aimed at "the kid in everybody", that is it invites adult spectators to regress to an earlier phase in their social and psychic development and to indulge in infantile fantasies of omnipotence and oedipal strife as well as nostalgically returning to an earlier period in history (the 1950s) when they were kids and the world around them could be imagined as a better place. For these scholars, much of post-1977 Hollywood cinema is characterised by such infantilisation, regression and nostalgia (see, for example, Wood, 1985). I will return to this ideological critique at the end of this essay. For now, however, I want to address a different set of questions about production and marketing strategies as well as actual audiences: What about the first part of Time magazine's formula? Was Star Wars aimed at children? If it was, how did it try to appeal to them, and did it succeed? I am going to address these questions first of all by looking forward from 1977 to the status Star Wars has achieved in the popular culture of the late 1990s.
    [Show full text]
  • American Auteur Cinema: the Last – Or First – Great Picture Show 37 Thomas Elsaesser
    For many lovers of film, American cinema of the late 1960s and early 1970s – dubbed the New Hollywood – has remained a Golden Age. AND KING HORWATH PICTURE SHOW ELSAESSER, AMERICAN GREAT THE LAST As the old studio system gave way to a new gen- FILMFILM FFILMILM eration of American auteurs, directors such as Monte Hellman, Peter Bogdanovich, Bob Rafel- CULTURE CULTURE son, Martin Scorsese, but also Robert Altman, IN TRANSITION IN TRANSITION James Toback, Terrence Malick and Barbara Loden helped create an independent cinema that gave America a different voice in the world and a dif- ferent vision to itself. The protests against the Vietnam War, the Civil Rights movement and feminism saw the emergence of an entirely dif- ferent political culture, reflected in movies that may not always have been successful with the mass public, but were soon recognized as audacious, creative and off-beat by the critics. Many of the films TheThe have subsequently become classics. The Last Great Picture Show brings together essays by scholars and writers who chart the changing evaluations of this American cinema of the 1970s, some- LaLastst Great Great times referred to as the decade of the lost generation, but now more and more also recognised as the first of several ‘New Hollywoods’, without which the cin- American ema of Francis Coppola, Steven Spiel- American berg, Robert Zemeckis, Tim Burton or Quentin Tarantino could not have come into being. PPictureicture NEWNEW HOLLYWOODHOLLYWOOD ISBN 90-5356-631-7 CINEMACINEMA ININ ShowShow EDITEDEDITED BY BY THETHE
    [Show full text]
  • "Design of the THX Deep Note" — Excerpt from Artful Design
    "Design of the THX Deep Note" excerpt (pp. 176-181) from Artful Design, Chapter 4 "Programability and Sound Design" ARTFUL DESIGNTECHNOLOGY IN SEARCH OF THE SUBLIME A MusiComic Manifesto! 人 GE WANG https://artful.design/ © 2018 by Ge Wang. All rights reserved. the "ORDER + resolution" THX We can i%ustrate the program 3 (and a big CHORD!) graphica$y -- 30 lines To i!ustrate sound synthesis by way of parametric D!P represent the frequencies The target frequencies stack evolution, we are going to recreate one of the of the 30 voices over time. up to a big chord spa&ing NOTE! most recognizable pieces of computer-generated Observe the thr% stages multiple octaves and giving a sound ever designed: The THX D#p Note! the sound goes through! sense of epic resolution and a#ival -- whoa. Designed and progra(ed in 1982 by James Andy M&rer (also a founding member of )RMA), the D#p Note was first introduced 2 "CONVERGENCE" 1800 Hz with the 1983 premier of Return of the Jedi and has b#n heard in countle' THX The voices sm$thly glide toward trailers for movies and video games! their respective target frequencies. Overa%, 30 voices converge on 9 When Andy created the D#p Note, he was an employ# target frequencies in a giant 30-way of Lucasfilm's Computer Division (which not only led to gli"ando, building a sense of 1500 Hz THX but eventua!y Pixar). THX creator TOM Holman intense motion -- "it's ha#ening!" asked Andy to create a sound logo that "Comes out of nowhere and gets rea$y, rea$y big." in 1982, it t"k Andy M"rer 325 lines of C code ru&ing on a specialized hardware and software audio signal proce%or.
    [Show full text]
  • PDF Download George Lucas a Life 1St Edition
    GEORGE LUCAS A LIFE 1ST EDITION PDF, EPUB, EBOOK Brian Jay Jones | 9780316257442 | | | | | George Lucas A Life 1st edition PDF Book Lucas's colleagues and competitors offer tantalizing glimpses into his life. I've always wanted to know more, and I received this as a gift for Christmas. Apr 08, Liz Dee rated it it was amazing. No turning back. It's an inter Despite his being one of the most famous film-makers on the planet, I really didn't know much about George Lucas prior to reading this biography. He penned many a proposal and turned out a blockbuster hit in American Graffiti , though it was anything but guaranteed. Sign in to Purchase Instantly. Related Reads. I liked that this wasn't all sunshine and roses. Apr 22, Matt rated it it was amazing Shelves: audiobook. I did take a great deal away from this book and hope to learn more about the man, as Jones has paved the way and offered a few interesting pathways worth following. It offers a "behind the scenes" look at his business life, as well as his personal life. I was sad when this reading ride ended Think about that for second One killer. The book covers everything from Lucas' parents to "Strange Magic," the last movie Lucas produced as of early Jones' Lucas is the same introvert familiar to Star Wars fans, but also a loving father and a helpless romantic. Now, the author of the bestselling biography Jim Henson delivers a long-awaited, revelatory look into the life and times of the man who created Luke Skywalker, Han Solo, and Indiana Jones.
    [Show full text]
  • An Interview with James A. Moorer, Pt.1
    0 More Next Blog» Create Blog Sign In Original Sound Effects Libraries Home SFX Libraries iOS App Contact Discography Tuesday, February 17, 2009 Feed Subscription An interview with James A. Moorer, pt.1 by Matteo Milani, U.S.O. Project, February 2009 Follow by Email Matteo Milani had the pleasure of interviewing James A. Moorer, an internationally- Email address... Submit known figure in digital audio and computer music, with over 40 technical publications and four patents to his credit. He personally designed and wrote much of the advanced DSP algorithms for the Sonic Solutions "NoNOISE" process which is used to restore vintage recordings for CD remastering. Follow @USOlibraries 2,014 followers Between 1980 and 1987, while Vice-President of Research and Development at Lucasfilm's The Droid Works, he designed the Audio Signal Processor (ASP) which was used in the production of sound tracks for Return of the Jedi, Indiana Jones and Find us on Facebook the Temple of Doom, and others. Between 1977 and 1979, he was a researcher and the Scientific Advisor to IRCAM in Unidentified Sound Object Paris. Like In the mid-seventies he was Co-Director and Co-Founder of the Stanford Center for Computer Research in Music and Acoustics. He received his PhD in Computer Science from Stanford University in 1975. In 1991, he won the Audio Engineering Society Silver award for lifetime achievement. In 1996, he won an Emmy Award for Technical Achievement with his partners, Robert J. Doris and Mary C. Sauer for Sonic Solutions "NoNOISE" for Noise Reduction on Television Broadcast Sound Tracks.
    [Show full text]