Technology Review of Dynamic Range Compression
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UC Riverside UC Riverside Electronic Theses and Dissertations
UC Riverside UC Riverside Electronic Theses and Dissertations Title Sonic Retro-Futures: Musical Nostalgia as Revolution in Post-1960s American Literature, Film and Technoculture Permalink https://escholarship.org/uc/item/65f2825x Author Young, Mark Thomas Publication Date 2015 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California UNIVERSITY OF CALIFORNIA RIVERSIDE Sonic Retro-Futures: Musical Nostalgia as Revolution in Post-1960s American Literature, Film and Technoculture A Dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in English by Mark Thomas Young June 2015 Dissertation Committee: Dr. Sherryl Vint, Chairperson Dr. Steven Gould Axelrod Dr. Tom Lutz Copyright by Mark Thomas Young 2015 The Dissertation of Mark Thomas Young is approved: Committee Chairperson University of California, Riverside ACKNOWLEDGEMENTS As there are many midwives to an “individual” success, I’d like to thank the various mentors, colleagues, organizations, friends, and family members who have supported me through the stages of conception, drafting, revision, and completion of this project. Perhaps the most important influences on my early thinking about this topic came from Paweł Frelik and Larry McCaffery, with whom I shared a rousing desert hike in the foothills of Borrego Springs. After an evening of food, drink, and lively exchange, I had the long-overdue epiphany to channel my training in musical performance more directly into my academic pursuits. The early support, friendship, and collegiality of these two had a tremendously positive effect on the arc of my scholarship; knowing they believed in the project helped me pencil its first sketchy contours—and ultimately see it through to the end. -
Zoom Handy Recorder App Operations Manual (13 MB Pdf)
ver. 2.0 Operation Manual © 2014 ZOOM CORPORATION Copying or reproduction of this document in whole or in part without permission is prohibited. Contents Introduction‥ ‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥ 3 Copyrights‥ ‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥ 3 Main Screen ‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥ 4 Landscape mode (new in ver. 2.0)‥ ‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥ 5 Recording‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥ 6 Pausing recording‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥ 6 Adjusting the recording level‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥ 7 Setting the recording format‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥ 7 Muting the input‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥ 8 Adding recordings (landscape mode only) (new in ver. 2.0)‥ ‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥ 9 Using mid-side recording ( series MS mic only feature)‥ ‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥ 11 Setting mid-side monitoring‥ ‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥ 11 Playback‥ ‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥ 12 Selecting‥and‥playing‥files‥ ‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥ 12 Pausing playback‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥ 13 Playing‥files‥from‥the‥FILE‥screen‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥ 13 Adjusting the playback level‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥ 14 Repeating playback of an interval (new in ver. 2.0) ‥ ‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥ 14 Editing‥and‥deleting‥files‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥ 15 Dividing‥files‥(landscape‥mode‥only)‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥ -
Psychoacoustics Perception of Normal and Impaired Hearing with Audiology Applications Editor-In-Chief for Audiology Brad A
PSYCHOACOUSTICS Perception of Normal and Impaired Hearing with Audiology Applications Editor-in-Chief for Audiology Brad A. Stach, PhD PSYCHOACOUSTICS Perception of Normal and Impaired Hearing with Audiology Applications Jennifer J. Lentz, PhD 5521 Ruffin Road San Diego, CA 92123 e-mail: [email protected] Website: http://www.pluralpublishing.com Copyright © 2020 by Plural Publishing, Inc. Typeset in 11/13 Adobe Garamond by Flanagan’s Publishing Services, Inc. Printed in the United States of America by McNaughton & Gunn, Inc. All rights, including that of translation, reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, recording, or otherwise, including photocopying, recording, taping, Web distribution, or information storage and retrieval systems without the prior written consent of the publisher. For permission to use material from this text, contact us by Telephone: (866) 758-7251 Fax: (888) 758-7255 e-mail: [email protected] Every attempt has been made to contact the copyright holders for material originally printed in another source. If any have been inadvertently overlooked, the publishers will gladly make the necessary arrangements at the first opportunity. Library of Congress Cataloging-in-Publication Data Names: Lentz, Jennifer J., author. Title: Psychoacoustics : perception of normal and impaired hearing with audiology applications / Jennifer J. Lentz. Description: San Diego, CA : Plural Publishing, -
Loudness Standards in Broadcasting. Case Study of EBU R-128 Implementation at SWR
Loudness standards in broadcasting. Case study of EBU R-128 implementation at SWR Carbonell Tena, Damià Curs 2015-2016 Director: Enric Giné Guix GRAU EN ENGINYERIA DE SISTEMES AUDIOVISUALS Treball de Fi de Grau Loudness standards in broadcasting. Case study of EBU R-128 implementation at SWR Damià Carbonell Tena TREBALL FI DE GRAU ENGINYERIA DE SISTEMES AUDIOVISUALS ESCOLA SUPERIOR POLITÈCNICA UPF 2016 DIRECTOR DEL TREBALL ENRIC GINÉ GUIX Dedication Für die Familie Schaupp. Mit euch fühle ich mich wie zuhause und ich weiß dass ich eine zweite Familie in Deutschland für immer haben werde. Ohne euch würde diese Arbeit nicht möglich gewesen sein. Vielen Dank! iv Thanks I would like to thank the SWR for being so comprehensive with me and for letting me have this wonderful experience with them. Also for all the help, experience and time given to me. Thanks to all the engineers and technicians in the house, Jürgen Schwarz, Armin Büchele, Reiner Liebrecht, Katrin Koners, Oliver Seiler, Frauke von Mueller- Rick, Patrick Kirsammer, Christian Eickhoff, Detlef Büttner, Andreas Lemke, Klaus Nowacki and Jochen Reß that helped and advised me and a special thanks to Manfred Schwegler who was always ready to help me and to Dieter Gehrlicher for his comprehension. Also to my teacher and adviser Enric Giné for his patience and dedication and to the team of the Secretaria ESUP that answered all the questions asked during the process. Of course to my Catalan and German families for the moral (and economical) support and to Ema Madeira for all the corrections, revisions and love given during my stay far from home. -
EBU R 128 – the EBU Loudness Recommendation
10 things you need to know about... EBU R 128 – the EBU loudness recommendation 1 EBU R 128 is at the core of a true audio revolution: audio levelling based on loudness, not peaks Audio signal normalisation based on peaks has led to more and more dynamic compression and a phenomenon called the ‘Loudness War’. The problem arose because of misuse of the traditional metering method (Quasi Peak Programme Meter – QPPM) and the extended headroom due to digital delivery. Loudness normalisation ends the ‘Loudness War’ and brings audio peace to the audience. 2 ITU-R BS.1770-2 defines the basic measurement, EBU R 128 builds on it and extends it BS.1770-2 is an international standard that describes a method to measure loudness, an inherently subjective impression. It introduces ‘K-weighting’, a simple weighting curve that leads to a good match between subjective impression and objective measurement. EBU R 128 takes BS.1770-2 and extends it with the descriptor Loudness Range and the Target Level: -23 LUFS (Loudness Units referenced to Full Scale). A tolerance of ± 1 LU is generally acceptable. 3 Gating of the measurement is used to achieve better loudness matching of programmes that contain longer periods of silence Longer periods of silence in programmes lead to a lower measured loudness level. After subsequent loudness normalisation such programmes would end up too loud. In BS.1770-2 a relative gate of 10 LU (Loudness Units; 1 LU is equivalent to 1dB) below the ungated loudness level is used to eliminate these low level periods from the measurement. -
Music Is Made up of Many Different Things Called Elements. They Are the “I Feel Like My Kind Building Bricks of Music
SECONDARY/KEY STAGE 3 MUSIC – BUILDING BRICKS 5 MINUTES READING #1 Music is made up of many different things called elements. They are the “I feel like my kind building bricks of music. When you compose a piece of music, you use the of music is a big pot elements of music to build it, just like a builder uses bricks to build a house. If of different spices. the piece of music is to sound right, then you have to use the elements of It’s a soup with all kinds of ingredients music correctly. in it.” - Abigail Washburn What are the Elements of Music? PITCH means the highness or lowness of the sound. Some pieces need high sounds and some need low, deep sounds. Some have sounds that are in the middle. Most pieces use a mixture of pitches. TEMPO means the fastness or slowness of the music. Sometimes this is called the speed or pace of the music. A piece might be at a moderate tempo, or even change its tempo part-way through. DYNAMICS means the loudness or softness of the music. Sometimes this is called the volume. Music often changes volume gradually, and goes from loud to soft or soft to loud. Questions to think about: 1. Think about your DURATION means the length of each sound. Some sounds or notes are long, favourite piece of some are short. Sometimes composers combine long sounds with short music – it could be a song or a piece of sounds to get a good effect. instrumental music. How have the TEXTURE – if all the instruments are playing at once, the texture is thick. -
Timbre Perception
HST.725 Music Perception and Cognition, Spring 2009 Harvard-MIT Division of Health Sciences and Technology Course Director: Dr. Peter Cariani Timbre perception www.cariani.com Friday, March 13, 2009 overview Roadmap functions of music sound, ear loudness & pitch basic qualities of notes timbre consonance, scales & tuning interactions between notes melody & harmony patterns of pitches time, rhythm, and motion patterns of events grouping, expectation, meaning interpretations music & language Friday, March 13, 2009 Wikipedia on timbre In music, timbre (pronounced /ˈtæm-bər'/, /tɪm.bər/ like tamber, or / ˈtæm(brə)/,[1] from Fr. timbre tɛ̃bʁ) is the quality of a musical note or sound or tone that distinguishes different types of sound production, such as voices or musical instruments. The physical characteristics of sound that mediate the perception of timbre include spectrum and envelope. Timbre is also known in psychoacoustics as tone quality or tone color. For example, timbre is what, with a little practice, people use to distinguish the saxophone from the trumpet in a jazz group, even if both instruments are playing notes at the same pitch and loudness. Timbre has been called a "wastebasket" attribute[2] or category,[3] or "the psychoacoustician's multidimensional wastebasket category for everything that cannot be qualified as pitch or loudness."[4] 3 Friday, March 13, 2009 Timbre ~ sonic texture, tone color Paul Cezanne. "Apples, Peaches, Pears and Grapes." Courtesy of the iBilio.org WebMuseum. Paul Cezanne, Apples, Peaches, Pears, and Grapes c. 1879-80); Oil on canvas, 38.5 x 46.5 cm; The Hermitage, St. Petersburg Friday, March 13, 2009 Timbre ~ sonic texture, tone color "Stilleben" ("Still Life"), by Floris van Dyck, 1613. -
Lumens and Loudness: Projector Noise in a Nutshell
Lumens and loudness: Projector noise in a nutshell Jackhammers tearing up the street outside; the In this white paper, we’re going to take a closer look at projector noise: what causes neighbor’s dog barking at squirrels; the hum of it, how to measure it, and how to keep it to a minimum. the refrigerator: noise is a fixture in our daily Why do projectors make noise? lives, and projectors are no exception. Like many high-tech devices, they depend on cooling There’s more than one source of projector noise, of course, but cooling fans are by systems that remove excess heat before it can far the major offender—and there’s no way around them. Especially projector bulbs cause permanent damage, and these systems give off a lot of heat. This warmth must be continuously removed or the projector will overheat, resulting in serious damage to the system. The fans that keep air unavoidably produce noise. flowing through the projector, removing heat before it can build to dangerous levels, make noise. Fans can’t help but make noise: they are designed to move air, and the movement of air is what makes sound. How much sound they make depends on their construction: the angle of the blades, their size, number and spacing, their surface quality, and the fan’s rotational speed. Moreover, for projector manufacturers it’s also key not to place a fan too close to an air vent or any kind of mesh, or they’ll end up with the siren effect: very annoying high-frequency, pure-tone noise caused by the sudden interruption of the air flow by the vent bars or the mesh wires. -
DP-008EX Owner's Manual
D01175820A DP-008EXDigital Multitrack Recorder OWNER’S MANUAL IMPORTANT SAFETY PRECAUTIONS CAUTION: TO REDUCE THE RISK OF ELECTRIC SHOCK, DO NOT REMOVE COVER (OR BACK). NO USER-SERVICEABLE PARTS INSIDE. REFER SERVICING TO QUALIFIED SERVICE PERSONNEL. The lightning flash with arrowhead symbol, within equilateral triangle, is intended to alert the user to the presence of uninsulated “dangerous voltage” within the product’s enclosure that may be of sufficient magnitude to constitute a risk of electric shock to persons. The exclamation point within an equilateral triangle is intended to alert the user to the presence of important operating and maintenance (servicing) instructions in the literature accompanying the appliance. 8 For U.S.A TO THE USER Declaration of Conformity This equipment has been tested and found to Model Number : DP-008EX comply with the limits for a Class B digital device, Trade Name : TASCAM pursuant to Part 15 of the FCC Rules. These limits are Responsible party : TEAC AMERICA, INC. designed to provide reasonable protection against Address : 7733 Telegraph Road, harmful interference in a residential installation. Montebello, California, U.S.A. This equipment generates, uses, and can radiate radio frequency energy and, if not installed and Telephone number : 1-323-726-0303 used in accordance with the instruction manual, This device complies with Part 15 of the FCC may cause harmful interference to radio commu- Rules. Operation is subject to the following two nications. However, there is no guarantee that inter- conditions: (1) this device may not cause harmful ference will not occur in a particular installation. If interference, and (2) this device must accept any this equipment does cause harmful interference to interference received, including interference that radio or television reception, which can be deter- may cause undesired operation. -
Psychoacoustics and Its Benefit for the Soundscape
ACTA ACUSTICA UNITED WITH ACUSTICA Vol. 92 (2006) 1 – 1 Psychoacoustics and its Benefit for the Soundscape Approach Klaus Genuit, André Fiebig HEAD acoustics GmbH, Ebertstr. 30a, 52134 Herzogenrath, Germany. [klaus.genuit][andre.fiebig]@head- acoustics.de Summary The increase of complaints about environmental noise shows the unchanged necessity of researching this subject. By only relying on sound pressure levels averaged over long time periods and by suppressing all aspects of quality, the specific acoustic properties of environmental noise situations cannot be identified. Because annoyance caused by environmental noise has a broader linkage with various acoustical properties such as frequency spectrum, duration, impulsive, tonal and low-frequency components, etc. than only with SPL [1]. In many cases these acoustical properties affect the quality of life. The human cognitive signal processing pays attention to further factors than only to the averaged intensity of the acoustical stimulus. Therefore, it appears inevitable to use further hearing-related parameters to improve the description and evaluation of environmental noise. A first step regarding the adequate description of environmental noise would be the extended application of existing measurement tools, as for example level meter with variable integration time and third octave analyzer, which offer valuable clues to disturbing patterns. Moreover, the use of psychoacoustics will allow the improved capturing of soundscape qualities. PACS no. 43.50.Qp, 43.50.Sr, 43.50.Rq 1. Introduction disturbances and unpleasantness of environmental noise, a negative feeling evoked by sound. However, annoyance is The meaning of soundscape is constantly transformed and sensitive to subjectivity, thus the social and cultural back- modified. -
Masterflow DC2476
MasMasttererffloloww DC2476 DIGITAL MASTERING PROCESSOR COPYRIGHT This manual is copyrighted 8 2001 by Drawmer Electronics, Ltd. With all rights reserved. Under copyright laws, no part of this publication may be reproduced, transmitted, stored in a retrieval system or translated into any language in any form by any means, mechanical, opti- cal, electronic, recording, or otherwise, without the written permission of Drawmer Electronics Ltd ONE YEAR LIMITED WARRANTY THIS WARRANTY IS IN LIEU OF ALL WARRANTIES, Drawmer Electronics Ltd., warrants the Drawmer DC2476 Dig- WHETHER ORAL OR WRITTEN, EXPRESSED, IMPLIED OR ital audio processor to conform substantially to the specifica- STATUTORY. DRAWMER MAKES NO OTHER WARRANTY tions of this manual for a period of one year from the original EITHER EXPRESS OR IMPLIED, INCLUDING, WITHOUT date of purchase when used in accordance with the specifica- LIMITATION, ANY IMPLIED WARRANTIES OF tions detailed in this manual. In the case of a valid warranty MERCHANTABILITY, FITNESS FOR A PARTICULAR PUR- claim, your sole and exclusive remedy and Drawmer’s entire li- POSE, OR NON-INFRINGEMENT. PURCHASER’S SOLE AND ability under any theory of liability will be to, at Drawmer=s discre- EXCLUSIVE REMEDY UNDER THIS WARRANTY SHALL BE tion, repair or replace the product without charge, or, if not possi- REPAIR OR REPLACEMENT AS SPECIFIED HEREIN. ble, to refund the purchase price to you. This warranty is not trans- ferable. It applies only to the original purchaser of the product. IN NO EVENT WILL DRAWMER ELECTRONICS LTD. BE LI- ABLE FOR ANY DIRECT, INDIRECT, SPECIAL, INCIDENTAL For warranty service please call your local Drawmer dealer. -
Commercial Music Record Producer
PUBLISHED: JUNE, 2010 (REV 11/11) FOR OFFICE USE ONLY: AA = 1234 C-ACH = 3234 COMMERCIAL MUSIC RECORD PRODUCER LONG BEACH CITY COLLEGE Curriculum Guide for Academic Year of 2010-2011 Associate in Arts and/or Certificate of Achievement and/or Certificate of Accomplishment ALL INFORMATION CONTAINED HEREIN IS SUBJECT TO CHANGE WITHOUT NOTICE. For possible updates to this guide please refer to the following website: http://osca.lbcc.edu CAREER OPPORTUNITIES Students prepare for pre-production techniques; studio environment using state-of-the-art equipment, and post- production. This Certificate of Achievement will prepare students for entry-level positions as a record producer in fields such as: recording studio, mastering, foley, music video, television, film, theater, and multi-media. This Associate Degree will prepare students for career advancement once a certificate has been earned. Appropriate course selection will also facilitate transfer to a four-year college or university music performance program. DEPARTMENTAL ADMISSION REQUIREMENTS None. For more departmental information call (562) 938-4309. In Completed REQUIRED COURSES FOR SPECIALITY UNITS Progress Grade MUSIC 60AD Pro Tools (Digital Audio Recording/Edit) 2:2 MUSIC 61AD Music Mastering 1 MUSIC 65AD Advanced-Pro Recording Techniques 2 † MUSIC 66AD Studio Mixdown Techniques 2:2 MUSIC 68 Basic Audio Theory 2 MUSIC 75A - B The Music Business 1 † MUSIC 86AD Record Production (Fundamentals) 2 MUSIC 93AD Record Production (Using MIDI) 2 MUSIC 94 Beginning Recording Techniques 2 † MUSIC