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Common Tape Manipulation Techniques and How They Relate to Modern Electronic Music
Common Tape Manipulation Techniques and How They Relate to Modern Electronic Music Matthew A. Bardin Experimental Music & Digital Media Center for Computation & Technology Louisiana State University Baton Rouge, Louisiana 70803 [email protected] ABSTRACT the 'play head' was utilized to reverse the process and gen- The purpose of this paper is to provide a historical context erate the output's audio signal [8]. Looking at figure 1, from to some of the common schools of thought in regards to museumofmagneticsoundrecording.org (Accessed: 03/20/2020), tape composition present in the later half of the 20th cen- the locations of the heads can be noticed beneath the rect- tury. Following this, the author then discusses a variety of angular protective cover showing the machine's model in the more common techniques utilized to create these and the middle of the hardware. Previous to the development other styles of music in detail as well as provides examples of the reel-to-reel machine, electronic music was only achiev- of various tracks in order to show each technique in process. able through live performances on instruments such as the In the following sections, the author then discusses some of Theremin and other early predecessors to the modern syn- the limitations of tape composition technologies and prac- thesizer. [11, p. 173] tices. Finally, the author puts the concepts discussed into a modern historical context by comparing the aspects of tape composition of the 20th century discussed previous to the composition done in Digital Audio recording and manipu- lation practices of the 21st century. Author Keywords tape, manipulation, history, hardware, software, music, ex- amples, analog, digital 1. -
ARTIFICIAL REVERBERATION Ainnol
ARTIFICIAL REVERBERATION Ainnol Lilisuliani Ahmad Rasidi (SID : 430566949) Digital Audio Systems, DESC9115, Semester 1 2014 Graduate Program in Audio and Acoustics Faculty of Architecture, Design and Planning, The University of Sydney -------------------------------------------------------------------------------------------------------------------------------------- 1.0 Abstract Digital reverberation is an audio effect that is very common in musical production. It can be used to enhance recorded sounds that often sounds “dry” and “flat”. The principal idea of artificial reverberation was initiated by Manfred Schroeder in the 1960’s. Since then, many artificial reverb algorithms have been created. This review will look into two types of reverberation, convolution and algorithm based reverberation, focusing on Schroeder’s delay network algorithm and the applications of artificial reverberation in many areas. 2.0 Introduction Sound is a mechanical energy that travels through air at the speed of about 344 m/s. The speed varies upon the properties of air it travels, mostly due to the change of temperature and sometimes due to the humidity. In an enclosed space, this longitudinal waves of sound would reduce its amplitude the further it travels from the source until it reaches a surface. Depending upon the characteristic of the surface, some of the energy of the sound will be absorbed while some shall be reflected back into space. The reflected sound will bounce again as it meets other surface or obstacles, hence creating a complex pattern of reflection. Reverberation is the term we use for the collection of reflected sounds from the surfaces in an enclosed space. It is measured by reverberation time, which is perceived as the time for the sound to die away 60 decibels after the sound sources ceases (Sabine, 1972) . -
Recording and Amplifying of the Accordion in Practice of Other Accordion Players, and Two Recordings: D
CA1004 Degree Project, Master, Classical Music, 30 credits 2019 Degree of Master in Music Department of Classical music Supervisor: Erik Lanninger Examiner: Jan-Olof Gullö Milan Řehák Recording and amplifying of the accordion What is the best way to capture the sound of the acoustic accordion? SOUNDING PART.zip - Sounding part of the thesis: D. Scarlatti - Sonata D minor K 141, V. Trojan - The Collapsed Cathedral SOUND SAMPLES.zip – Sound samples Declaration I declare that this thesis has been solely the result of my own work. Milan Řehák 2 Abstract In this thesis I discuss, analyse and intend to answer the question: What is the best way to capture the sound of the acoustic accordion? It was my desire to explore this theme that led me to this research, and I believe that this question is important to many other accordionists as well. From the very beginning, I wanted the thesis to be not only an academic material but also that it can be used as an instruction manual, which could serve accordionists and others who are interested in this subject, to delve deeper into it, understand it and hopefully get answers to their questions about this subject. The thesis contains five main chapters: Amplifying of the accordion at live events, Processing of the accordion sound, Recording of the accordion in a studio - the specifics of recording of the accordion, Specific recording solutions and Examples of recording and amplifying of the accordion in practice of other accordion players, and two recordings: D. Scarlatti - Sonata D minor K 141, V. Trojan - The Collasped Cathedral. -
Ds101 Noise Gate for the 500 Series Rack System
DRAWMER DS101 NOISE GATE FOR THE 500 SERIES RACK SYSTEM CONTENTS Warranty . 2 Safety Consideration . 2 Radio Frequencies Statement . 2 Chapter 1 - Introduction Introduction . 3 Installation . 4 Audio Connection . 4 Typical Connection Guide . 5 Chapter 2 - Control Description The Gate Controls . 6 The Key Filters . 8 Quick Start Guide . 9 Noise Gate Operation . .10 Chapter 3 - General Information If a fault develops. 15 Contacting Drawmer . .15 Specification. 15 Block Diagram. 16 Session Recall Sheet . 17 DRAWMER COPYRIGHT This manual is copyrighted © 2012 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, optical, electronic, recording, or otherwise, without the written permission of Drawmer Electronics Ltd. ONE YEAR LIMITED WARRANTY Drawmer Electronics Ltd., warrants the Drawmer DS101 Noise Gate For the USA to conform substantially to the specifications of this manual for a period of one year from the original date of purchase when used in FEDERAL COMMUNICATIONS COMMISSION RADIO accordance with the specifications detailed in this manual. In the FREQUENCY INTERFERENCE STATEMENT case of a valid warranty claim, your sole and exclusive remedy and This equipment has been tested and found to comply with the limits Drawmer’s entire liability under any theory of liability will be to, at for a Class B digital device, pursuant to Part 15 of the FCC Rules. Drawmer’s discretion, repair or replace the product without charge, These limits are designed to provide reasonable protection against or, if not possible, to refund the purchase price to you. -
DLM8 and DLM12 2000W Powered Loudspeakers with DL2 Digital Mixer
DLM8 and DLM12 2000W Powered Loudspeakers with DL2 Digital Mixer OWNER’S MANUAL Important Safety Instructions 1. Read these instructions. 20. NOTE: This equipment has been tested and found to comply with 2. Keep these instructions. the limits for a Class B digital device, pursuant to part 15 of the FCC 3. Heed all warnings. Rules. These limits are designed to provide reasonable protection 4. Follow all instructions. against harmful interference in a residential installation. This equipment 5. Do not use this apparatus near water. generates, uses, and can radiate radio frequency energy and, if not 6. Clean only with a dry cloth. installed and used in accordance with the instructions, may cause 7. Do not block any ventilation openings. Install in accordance with the manu- harmful interference to radio communications. However, there is no facturer’s instructions. guarantee that interference will not occur in a particular installation. 8. Do not install near any heat sources such as radiators, heat registers, stoves, If this equipment does cause harmful interference to radio or television or other apparatus (including amplifiers) that produce heat. reception, which can be determined by turning the equipment off and on, the user is encouraged to try to correct the interference by one or 9. Do not defeat the safety purpose of the polarized or grounding-type plug. more of the following measures: A polarized plug has two blades with one wider than the other. A grounding- type plug has two blades and a third grounding prong. The wide blade or • Reorient or relocate the receiving antenna. the third prong are provided for your safety. -
User's Manual
USER’S MANUAL G-Force GUITAR EFFECTS PROCESSOR IMPORTANT SAFETY INSTRUCTIONS The lightning flash with an arrowhead symbol The exclamation point within an equilateral triangle within an equilateral triangle, is intended to alert is intended to alert the user to the presence of the user to the presence of uninsulated "dan- important operating and maintenance (servicing) gerous voltage" within the product's enclosure that may instructions in the literature accompanying the product. be of sufficient magnitude to constitute a risk of electric shock to persons. 1 Read these instructions. Warning! 2 Keep these instructions. • To reduce the risk of fire or electrical shock, do not 3 Heed all warnings. expose this equipment to dripping or splashing and 4 Follow all instructions. ensure that no objects filled with liquids, such as vases, 5 Do not use this apparatus near water. are placed on the equipment. 6 Clean only with dry cloth. • This apparatus must be earthed. 7 Do not block any ventilation openings. Install in • Use a three wire grounding type line cord like the one accordance with the manufacturer's instructions. supplied with the product. 8 Do not install near any heat sources such • Be advised that different operating voltages require the as radiators, heat registers, stoves, or other use of different types of line cord and attachment plugs. apparatus (including amplifiers) that produce heat. • Check the voltage in your area and use the 9 Do not defeat the safety purpose of the polarized correct type. See table below: or grounding-type plug. A polarized plug has two blades with one wider than the other. -
AIR Creative Collection Provides a Comprehensive Set of Digital Signal Processing Tools for Professional Audio Production with Pro Tools
AIR® Creative Collection User Guide English User Guide (English) Chapter 1: Audio Plug-Ins Overview Plug-ins are special-purpose software components that provide additional signal processing and other functionality to Avid® Pro Tools®. These include plug-ins that come with Pro Tools, as well as many other plug-ins that can be added to your system. Additional plug-ins are available both from AIR and third-party developers. See the documentation that came with the plug-in for operational information. AIR Audio Plug-Ins AIR Creative Collection provides a comprehensive set of digital signal processing tools for professional audio production with Pro Tools. Other AIR plug-ins are available for purchase from AIR at www.airmusictech.com. AIR Creative Collection is included with Pro Tools, providing a comprehensive suite of digital signal processing effects that include EQ, dynamics, delay, and other essential audio processing tools. The following sound-processing, effects, and utility plug-ins are included: Chorus Ensemble Fuzz-Wah Multi-Delay Spring Reverb Distortion Filter Gate Kill EQ Non-Linear Reverb Stereo Width Dynamic Delay Flanger Lo-Fi Phaser Talkbox Enhancer Frequency Shifter Multi-Chorus Reverb Vintage Filter The following virtual instrument plug-ins are also included: Boom Drum machine and sequencer DB-33 Tonewheel organ emulator with rotating speaker simulation Mini Grand Acoustic grand piano Structure Free Sample player Vacuum Vacuum tube–modeled monophonic synthesizer Xpand!2 Multitimbral synthesizer and sampler workstation Avid and Pro Tools are trademarks or registered trademarks of Avid Technology, Inc. in the U.S. and other countries. 3 AAX Plug-In Format AAX (Avid Audio Extension) plug-ins provide real-time plug-in processing using host-based ("Native") or DSP-based (Pro Tools HD with Avid HDX hardware accelerated systems only) processing. -
Using Equalization on HF SSB
Using Equalization on HF SSB Bill Leonard NØCU 4/27/2010 1 Topics: •Some Commonly Used Methods for Improving HF SSB Comms •Some key points about speech and hearing •The W2IHY 8 Band Equalizer + Noise Gate •What is it •When to use it •Where to use it •How to use it •What it can, and cannot do 4/27/2010 2 What is “communication”? •Communication Transfer of Information •What is “information transfer”? •CW •Digital comms •SSB Voice Different modes require different •Rag-chew methods to optimize information transfer •Breaking DX pile-ups •FM Voice 4/27/2010 3 What can we do to improve our ability to communicate via HF SSB? Typical communication path Processor Voice Mic EQ Xmtr Rcvr EQ Spkr Ear (Brain) .. .. Typical Why Not Here? Location 4/27/2010 4 Some Commonly Used Methods for Improving HF SSB Comms: 1. Improve received SNR: •Use higher gain antennas •Use higher peak transmitter power •Raise average transmit power (compression) •There is a limit: trade-off between distortion vs. SNR improvement •Some (W2IHY) claim that straight compression can degrade transmit SNR •I question this claim (all limiters exhibit “small signal suppression”) •Compression will increase background noise when no speech signal is present •Use of a Noise Gate should mitigate this problem •“Matched Filter” detection: •“Matching” filters means more than just reducing bandwidth arbitrarily •There is a limit: trade-off between distortion vs. SNR improvement •A 10 Hz filter won’t work very well with a 60 wpm CW signal •Reducing receiver noise figure will not help when atmospheric noise is dominant 4/27/2010 5 Some Commonly Used Methods for Improving HF SSB Comms (continued): 1. -
Synthesizer Parameter Manual
Synthesizer Parameter Manual EN Introduction This manual explains the parameters and technical terms that are used for synthesizers incorporating the Yamaha AWM2 tone generators and the FM-X tone generators. You should use this manual together with the documentation unique to the product. Read the documentation first and use this parameter manual to learn more about parameters and terms that relate to Yamaha synthesizers. We hope that this manual gives you a detailed and comprehensive understanding of Yamaha synthesizers. Information The contents of this manual and the copyrights thereof are under exclusive ownership by Yamaha Corporation. The company names and product names in this manual are the trademarks or registered trademarks of their respective companies. Some functions and parameters in this manual may not be provided in your product. The information in this manual is current as of September 2018. EN Table Of Contents 1 Part Parameters . 4 1-1 Basic Terms . 4 1-1-1 Definitions . 4 1-2 Synthesis Parameters . 7 1-2-1 Oscillator . 7 1-2-2 Pitch . 10 1-2-3 Pitch EG (Pitch Envelope Generator) . 12 1-2-4 Filter Type . 17 1-2-5 Filter . 23 1-2-6 Filter EG (Filter Envelope Generator) . 25 1-2-7 Filter Scale . 29 1-2-8 Amplitude . 30 1-2-9 Amplitude EG (Amplitude Envelope Generator) . 33 1-2-10 Amplitude Scale . 37 1-2-11 LFO (Low-Frequency Oscillator) . 39 1-3 Operational Parameters . 45 1-3-1 General . 45 1-3-2 Part Setting . 45 1-3-3 Portamento . 46 1-3-4 Micro Tuning List . -
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build a Ital transposer TIGER .01 Introduced three years ago, our "Tiger .01" is still one of the finest amplifiers available in its power class. This amplifier introduced our 100% complementary circuit which has become a standard feature in many of the better amplifiers. This combined with an output triple produces a circuit that can honestly be rated as having less than .01% IM distortion at any level up to 60 Watts. Relatively low open loop gain and a conservative amount of negative feedback results in clean overload charac teristics and good TIM characteristics. Other features are volt-amp output limiting, plus three fuses and an overheat thermostat. Despite the "budget” price an output meter is standard equipment. Each channel measures 4% x 5 x 14. Four will mount in a stan dard width relay rack for four channel systems. SPECIFICATIONS 60 Watts—4.0 or 8.0 Ohm load Minimum RMS from 20 Hz to 20 KHz with less than .05% Total Harmonic Distortion. IM Distortion .................................................................... less than .01% Damping Factor . ...................... 50 or greater 20 Hz to20,000 Hz. Southwest Technical Products Corp. Hum and N o is e .....................................................................................-90 dB 219 W. Rhapsody, Dept. FM -# 20 7 /B Am plifier (single ch an n e l)..............................$ 1 10.0 0 PPd San Antonio, Texas 78216 # 207/B Amplifier — K it ....................................................$ 77 .50 PPd Would you believe a high quality preamp and control center for less than $75.00?? Well it's true. With a few hours work you can assemble our #198 preamp kit and have a unit equal to, or superior to products costing three, or four times this amount. -
Collider Delay+Reverb User Guide
Collider Delay+Reverb User Guide Welcome Thank you for purchasing the Collider Delay+Reverb. This powerful, yet easy-to-use stereo effects pedal features 12 meticulously crafted delay and reverb engines. Each effect was handpicked from our award winning and highly regarded Nemesis Delay and Ventris Dual Reverb pedals. The Collider’s intuitive control surface makes it easy to mix-and-match any two-engine combination of delay and reverb. Plus, dual footswitches provide individual Engage/Bypass control over each effect in a two- engine combination. The Collider offers an exceptional collection of rich, spacious tones, including realistic reproductions of vintage Analog, Tape, and Oil Can Delays, classic models of Spring and Plate Reverb, natural replications of large and small acoustic spaces, and an intriguing and highly musical selection of “unnatural” tones including Reverse Delay and Shimmer Reverb. The pedal also features dual DSP architecture, 8 user presets (or 128 user presets with MIDI), stereo inputs and outputs, analog dry through, delay tap tempo, reverb hold, full MIDI functionality, external expression capabilities, and extra editing and signal routing options via the Neuro Desktop and Mobile App Editors. We built the Collider Delay+Reverb for supreme sonic exploration. We cannot wait to hear where it takes you. - The Source Audio Team SA263 Collider Delay+Reverb Owner’s Manual 1 Contents Welcome .................................................................................................................................................. -
MPX 1 Presets
MPX 1 Presets The MPX 1 DataBase function can sort the 200 presets into numerical or alphabetical order, show you only those programs that are tagged for specific audio sources (guitars, vocals, etc.), or only those which use specific effects (pitch, chorus, etc.).To select the sorting criteria you want, press Program, then press Options. (The Options LED will blink.) Use either the knob or the < and > buttons to select the sorting option you want. Press Options again to return to Program mode and to re-sort the DataBase. When you return to Program mode, the knob will scroll through the first of the available sub-categories (guitar, vocals, pitch, chorus, etc.) The < and > buttons will jump to the next sorting category. In Program mode, press Value to access Soft Row parameters for each program. Use the < and > buttons to select parameters, and the knob to modify values. Press Value again to exit the Soft Row. If the front panel Tempo LED lights, the program you have loaded can be synchronized to tempo. To set the tempo, press the front panel Tap button twice in time with the beat. (Tempo can also be dialed in as a parameter value, or it can be determined by MIDI Clock.) Be sure to try these effects synchronized with MIDI sequence and drum patterns. If the front panel A or B LED lights, the program you have loaded has parameters patched to the A/B Gide controller. Press the front panel A/B button to glide between the A and B versions of the program.