Automatic Conversion of Pop Music Into Chiptunes for 8-Bit Pixel Art
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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. -
Theory, Experience and Affect in Contemporary Electronic Music Trans
Trans. Revista Transcultural de Música E-ISSN: 1697-0101 [email protected] Sociedad de Etnomusicología España Strachan, Robert Uncanny Space: Theory, Experience and Affect in Contemporary Electronic Music Trans. Revista Transcultural de Música, núm. 14, 2010, pp. 1-10 Sociedad de Etnomusicología Barcelona, España Available in: http://www.redalyc.org/articulo.oa?id=82220947010 How to cite Complete issue Scientific Information System More information about this article Network of Scientific Journals from Latin America, the Caribbean, Spain and Portugal Journal's homepage in redalyc.org Non-profit academic project, developed under the open access initiative TRANS - Revista Transcultural de Música - Transcultural Music Revie... http://www.sibetrans.com/trans/a14/uncanny-space-theory-experience-... Home PRESENTACIÓN EQUIPO EDITORIAL INFORMACIÓN PARA LOS AUTORES CÓMO CITAR TRANS INDEXACIÓN CONTACTO Última publicación Números publicados < Volver TRANS 14 (2010) Convocatoria para artículos: Uncanny Space: Theory, Experience and Affect in Contemporary Electronic Music Explorar TRANS: Por Número > Robert Strachan Por Artículo > Por Autor > Abstract This article draws upon the author’s experiences of promoting an music event featuring three prominent European electronic musicians (Alva Noto, Vladislav Delay and Donnacha Costello) to examine the tensions between the theorisation of electronic music and the way it is experienced. Combining empirical analysis of the event itself and frequency analysis of the music used within it, the article works towards a theoretical framework that seeks to account for the social and physical contexts of listening. It suggests that affect engendered by the physical intersection of sound with the body provides a key way of understanding Share | experience, creativity and culture within contemporary electronic music. -
Introduction to Computer Music Week 1
Introduction to Computer Music Week 1 Instructor: Prof. Roger B. Dannenberg Topics Discussed: Sound, Nyquist, SAL, Lisp and Control Constructs 1 Introduction Computers in all forms – desktops, laptops, mobile phones – are used to store and play music. Perhaps less obvious is the fact that music is now recorded and edited almost exclusively with computers, and computers are also used to generate sounds either by manipulating short audio clips called samples or by direct computation. In the late 1950s, engineers began to turn the theory of sampling into practice, turning sound into bits and bytes and then back into sound. These analog-to-digital converters, capable of turning one second’s worth of sound into thousands of numbers made it possible to transform the acoustic waves that we hear as sound into long sequences of numbers, which were then stored in computer memories. The numbers could then be turned back into the original sound. The ability to simply record a sound had been known for quite some time. The major advance of digital representations of sound was that now sound could be manipulated very easily, just as a chunk of data. Advantages of employing computer music and digital audio are: 1. There are no limits to the range of sounds that a computer can help explore. In principle, any sound can be represented digitally, and therefore any sound can be created. 2. Computers bring precision. The process to compute or change a sound can be repeated exactly, and small incremental changes can be specified in detail. Computers facilitate microscopic changes in sounds enabling us to producing desirable sounds. -
(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. -
Computer Music
THE OXFORD HANDBOOK OF COMPUTER MUSIC Edited by ROGER T. DEAN OXFORD UNIVERSITY PRESS OXFORD UNIVERSITY PRESS Oxford University Press, Inc., publishes works that further Oxford University's objective of excellence in research, scholarship, and education. Oxford New York Auckland Cape Town Dar es Salaam Hong Kong Karachi Kuala Lumpur Madrid Melbourne Mexico City Nairobi New Delhi Shanghai Taipei Toronto With offices in Argentina Austria Brazil Chile Czech Republic France Greece Guatemala Hungary Italy Japan Poland Portugal Singapore South Korea Switzerland Thailand Turkey Ukraine Vietnam Copyright © 2009 by Oxford University Press, Inc. First published as an Oxford University Press paperback ion Published by Oxford University Press, Inc. 198 Madison Avenue, New York, New York 10016 www.oup.com Oxford is a registered trademark of Oxford University Press All rights 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, photocopying, recording, or otherwise, without the prior permission of Oxford University Press. Library of Congress Cataloging-in-Publication Data The Oxford handbook of computer music / edited by Roger T. Dean. p. cm. Includes bibliographical references and index. ISBN 978-0-19-979103-0 (alk. paper) i. Computer music—History and criticism. I. Dean, R. T. MI T 1.80.09 1009 i 1008046594 789.99 OXF tin Printed in the United Stares of America on acid-free paper CHAPTER 12 SENSOR-BASED MUSICAL INSTRUMENTS AND INTERACTIVE MUSIC ATAU TANAKA MUSICIANS, composers, and instrument builders have been fascinated by the expres- sive potential of electrical and electronic technologies since the advent of electricity itself. -
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. -
Computer Music Experiences, 1961-1964 James Tenney I. Introduction I Arrived at the Bell Telephone Laboratories in September
Computer Music Experiences, 1961-1964 James Tenney I. Introduction I arrived at the Bell Telephone Laboratories in September, 1961, with the following musical and intellectual baggage: 1. numerous instrumental compositions reflecting the influence of Webern and Varèse; 2. two tape-pieces, produced in the Electronic Music Laboratory at the University of Illinois — both employing familiar, “concrete” sounds, modified in various ways; 3. a long paper (“Meta+Hodos, A Phenomenology of 20th Century Music and an Approach to the Study of Form,” June, 1961), in which a descriptive terminology and certain structural principles were developed, borrowing heavily from Gestalt psychology. The central point of the paper involves the clang, or primary aural Gestalt, and basic laws of perceptual organization of clangs, clang-elements, and sequences (a higher order Gestalt unit consisting of several clangs); 4. a dissatisfaction with all purely synthetic electronic music that I had heard up to that time, particularly with respect to timbre; 2 5. ideas stemming from my studies of acoustics, electronics and — especially — information theory, begun in Lejaren Hiller’s classes at the University of Illinois; and finally 6. a growing interest in the work and ideas of John Cage. I leave in March, 1964, with: 1. six tape compositions of computer-generated sounds — of which all but the first were also composed by means of the computer, and several instrumental pieces whose composition involved the computer in one way or another; 2. a far better understanding of the physical basis of timbre, and a sense of having achieved a significant extension of the range of timbres possible by synthetic means; 3. -
The Oscilloscope and the Function Generator: Some Introductory Exercises for Students in the Advanced Labs
The Oscilloscope and the Function Generator: Some introductory exercises for students in the advanced labs Introduction So many of the experiments in the advanced labs make use of oscilloscopes and function generators that it is useful to learn their general operation. Function generators are signal sources which provide a specifiable voltage applied over a specifiable time, such as a \sine wave" or \triangle wave" signal. These signals are used to control other apparatus to, for example, vary a magnetic field (superconductivity and NMR experiments) send a radioactive source back and forth (M¨ossbauer effect experiment), or act as a timing signal, i.e., \clock" (phase-sensitive detection experiment). Oscilloscopes are a type of signal analyzer|they show the experimenter a picture of the signal, usually in the form of a voltage versus time graph. The user can then study this picture to learn the amplitude, frequency, and overall shape of the signal which may depend on the physics being explored in the experiment. Both function generators and oscilloscopes are highly sophisticated and technologically mature devices. The oldest forms of them date back to the beginnings of electronic engineering, and their modern descendants are often digitally based, multifunction devices costing thousands of dollars. This collection of exercises is intended to get you started on some of the basics of operating 'scopes and generators, but it takes a good deal of experience to learn how to operate them well and take full advantage of their capabilities. Function generator basics Function generators, whether the old analog type or the newer digital type, have a few common features: A way to select a waveform type: sine, square, and triangle are most common, but some will • give ramps, pulses, \noise", or allow you to program a particular arbitrary shape. -
Analyzing Modular Smoothness in Video Game Music
Analyzing Modular Smoothness in Video Game Music Elizabeth Medina-Gray KEYWORDS: video game music, modular music, smoothness, probability, The Legend of Zelda: The Wind Waker, Portal 2 ABSTRACT: This article provides a detailed method for analyzing smoothness in the seams between musical modules in video games. Video game music is comprised of distinct modules that are triggered during gameplay to yield the real-time soundtracks that accompany players’ diverse experiences with a given game. Smoothness —a quality in which two convergent musical modules fit well together—as well as the opposite quality, disjunction, are integral products of modularity, and each quality can significantly contribute to a game. This article first highlights some modular music structures that are common in video games, and outlines the importance of smoothness and disjunction in video game music. Drawing from sources in the music theory, music perception, and video game music literature (including both scholarship and practical composition guides), this article then introduces a method for analyzing smoothness at modular seams through a particular focus on the musical aspects of meter, timbre, pitch, volume, and abruptness. The method allows for a comprehensive examination of smoothness in both sequential and simultaneous situations, and it includes a probabilistic approach so that an analyst can treat all of the many possible seams that might arise from a single modular system. Select analytical examples from The Legend of Zelda: The Wind Waker and Portal -
Fifty Years of Computer Music: Ideas of the Past Speak to the Future
Fifty Years of Computer Music: Ideas of the Past Speak to the Future John Chowning1 1 CCRMA, Department of Music, Stanford University, Stanford, California 94305 [email protected] Abstract. The use of the computer to analyze and synthesize sound in two early forms, additive and FM synthesis, led to new thoughts about synthesizing sound spectra, tuning and pitch. Detached from their traditional association with the timbre of acoustic instruments, spectra become structured and associated with pitch in ways that are unique to the medium of computer music. 1 Introduction In 1957, just fifty years ago, Max Mathews introduced a wholly new means of mak- ing music. An engineer/scientist at Bell Telephone Laboratories (BTL), Max (with the support of John Pierce, who was director of research) created out of numbers and code the first music to be produced by a digital computer. It is usually the case that a fascination with some aspect of a discipline outside of one’s own will quickly con- clude with an experiment without elaboration. But in Max’s case, it was the begin- ning of a profoundly deep and consequential adventure, one which he modestly in- vited us all to join through his elegantly conceived programs, engendering tendrils that found their way into far-flung disciplines that today, 50 years later, continue to grow without end. From the very beginning Max’s use of the computer for making music was expan- sive. Synthesis, signal processing, analysis, algorithmic composition, psychoacous- tics—all were within his scope and all were expressed and described in great detail in his famous article [1] and the succession of programs MUSIC I-V.1 It is in the nature of the computer medium that detail be elevated at times to the forefront of our thinking, for unlike preceding music technologies, both acoustic and analogue, computers require us to manage detail to accomplish even the most basic steps. -
University of Birmingham from Microsound to Vaporwave
University of Birmingham From Microsound to Vaporwave Born, Georgina; Haworth, Christopher DOI: 10.1093/ml/gcx095 Document Version Peer reviewed version Citation for published version (Harvard): Born, G & Haworth, C 2018, 'From Microsound to Vaporwave: internet-mediated musics, online methods, and genre', Music and Letters, vol. 98, no. 4, pp. 601–647. https://doi.org/10.1093/ml/gcx095 Link to publication on Research at Birmingham portal Publisher Rights Statement: Checked for eligibility: 30/03/2017 This is a pre-copyedited, author-produced version of an article accepted for publication in Music and Letters following peer review. The version of record Georgina Born, Christopher Haworth; From Microsound to Vaporwave: Internet-Mediated Musics, Online Methods, and Genre, Music and Letters, Volume 98, Issue 4, 1 November 2017, Pages 601–647 is available online at: https://doi.org/10.1093/ml/gcx095 General rights Unless a licence is specified above, all rights (including copyright and moral rights) in this document are retained by the authors and/or the copyright holders. The express permission of the copyright holder must be obtained for any use of this material other than for purposes permitted by law. •Users may freely distribute the URL that is used to identify this publication. •Users may download and/or print one copy of the publication from the University of Birmingham research portal for the purpose of private study or non-commercial research. •User may use extracts from the document in line with the concept of ‘fair dealing’ under the Copyright, Designs and Patents Act 1988 (?) •Users may not further distribute the material nor use it for the purposes of commercial gain.