How to Create Delay-Based Audio Effects on a TMS320C6727
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Gemini Chorus User's Guide
Gemini Chorus User’s Guide Welcome Thank you for purchasing the Gemini Chorus. This powerful stereo effects pedal features a collection of meticulously crafted chorus sounds ranging from classic dual-voice sounds to lush quad-voice ensembles. With a simple control set, the Gemini can work in a wide variety of musical settings, and the powerful MIDI and Neuro control options under the hood provide access to a vast array of additional tonal possibilities. The Gemini is housed in a durable, lightweight aluminum housing, packing rack mount power and flexibility into a compact, easy-to-use stompbox. SA242 Gemini Chorus User’s Guide 1 The USB and Neuro ports transform the Gemini from a simple chorus pedal into a powerful multi- effects unit. Using the free Neuro App (iOS and Android), a wide range of additional control parameters and effect types (phaser, flanger, resonator) are accessible. When used together with the Neuro Hub, the Gemini is fully MIDI-controllable and 128 multi-pedal presets, or “scenes,” can be saved for instant recall on the stage or in the studio. The Gemini can also connect directly to a passive expression pedal or the Hot Hand for expressive control of any parameter. The Quick Start guide will help you with the basics. For more in-depth information about the Gemini Chorus, move on to the following sections, starting with Connections. Enjoy! - The Source Audio Team Overview Diverse Chorus Sounds – Choose from traditional chorus tones such as Dual, Classic, and Quad, or delve deeper into unique sounds cooked up in the Source Audio lab. -
Frank Zappa and His Conception of Civilization Phaze Iii
University of Kentucky UKnowledge Theses and Dissertations--Music Music 2018 FRANK ZAPPA AND HIS CONCEPTION OF CIVILIZATION PHAZE III Jeffrey Daniel Jones University of Kentucky, [email protected] Digital Object Identifier: https://doi.org/10.13023/ETD.2018.031 Right click to open a feedback form in a new tab to let us know how this document benefits ou.y Recommended Citation Jones, Jeffrey Daniel, "FRANK ZAPPA AND HIS CONCEPTION OF CIVILIZATION PHAZE III" (2018). Theses and Dissertations--Music. 108. https://uknowledge.uky.edu/music_etds/108 This Doctoral Dissertation is brought to you for free and open access by the Music at UKnowledge. It has been accepted for inclusion in Theses and Dissertations--Music by an authorized administrator of UKnowledge. For more information, please contact [email protected]. STUDENT AGREEMENT: I represent that my thesis or dissertation and abstract are my original work. Proper attribution has been given to all outside sources. I understand that I am solely responsible for obtaining any needed copyright permissions. I have obtained needed written permission statement(s) from the owner(s) of each third-party copyrighted matter to be included in my work, allowing electronic distribution (if such use is not permitted by the fair use doctrine) which will be submitted to UKnowledge as Additional File. I hereby grant to The University of Kentucky and its agents the irrevocable, non-exclusive, and royalty-free license to archive and make accessible my work in whole or in part in all forms of media, now or hereafter known. I agree that the document mentioned above may be made available immediately for worldwide access unless an embargo applies. -
Metaflanger Table of Contents
MetaFlanger Table of Contents Chapter 1 Introduction 2 Chapter 2 Quick Start 3 Flanger effects 5 Chorus effects 5 Producing a phaser effect 5 Chapter 3 More About Flanging 7 Chapter 4 Controls & Displa ys 11 Section 1: Mix, Feedback and Filter controls 11 Section 2: Delay, Rate and Depth controls 14 Section 3: Waveform, Modulation Display and Stereo controls 16 Section 4: Output level 18 Chapter 5 Frequently Asked Questions 19 Chapter 6 Block Diagram 20 Chapter 7.........................................................Tempo Sync in V5.0.............22 MetaFlanger Manual 1 Chapter 1 - Introduction Thanks for buying Waves processors. MetaFlanger is an audio plug-in that can be used to produce a variety of classic tape flanging, vintage phas- er emulation, chorusing, and some unexpected effects. It can emulate traditional analog flangers,fill out a simple sound, create intricate harmonic textures and even generate small rough reverbs and effects. The following pages explain how to use MetaFlanger. MetaFlanger’s Graphic Interface 2 MetaFlanger Manual Chapter 2 - Quick Start For mixing, you can use MetaFlanger as a direct insert and control the amount of flanging with the Mix control. Some applications also offer sends and returns; either way works quite well. 1 When you insert MetaFlanger, it will open with the default settings (click on the Reset button to reload these!). These settings produce a basic classic flanging effect that’s easily tweaked. 2 Preview your audio signal by clicking the Preview button. If you are using a real-time system (such as TDM, VST, or MAS), press ‘play’. You’ll hear the flanged signal. -
Metaflanger User Manual
MetaFlanger Table of Contents Chapter 1 Introduction 2 Chapter 2 Quick Start 3 Flanger effects 5 Chorus effects 5 Producing a phaser effect 5 Chapter 3 More About Flanging 7 Chapter 4 Controls & Displa ys 11 Section 1: Mix, Feedback and Filter controls 11 Section 2: Delay, Rate and Depth controls 14 Section 3: Waveform, Modulation Display and Stereo controls 16 Section 4: Output level 18 Section 5: WaveSystem Toolbar 18 Chapter 5 Frequently Asked Questions 19 Chapter 6 Block Diagram 20 Chapter 7.........................................................Tempo Sync in V5.0.............22 MetaFlanger Manual 1 Chapter 1 - Introduction Thanks for buying Waves processors. Thank you for choosing Waves! In order to get the most out of your new Waves plugin, please take a moment to read this user guide. To install software and manage your licenses, you need to have a free Waves account. Sign up at www.waves.com. With a Waves account you can keep track of your products, renew your Waves Update Plan, participate in bonus programs, and keep up to date with important information. We suggest that you become familiar with the Waves Support pages: www.waves.com/support. There are technical articles about installation, troubleshooting, specifications, and more. Plus, you’ll find company contact information and Waves Support news. The following pages explain how to use MetaFlanger. MetaFlanger’s Graphic Interface 2 MetaFlanger Manual Chapter 2 - Quick Start For mixing, you can use MetaFlanger as a direct insert and control the amount of flanging with the Mix control. Some applications also offer sends and returns; either way works quite well. -
Estimation of Direction of Arrival of Acoustic Signals Using Microphone
Time-Delay-Estimate Based Direction-of-Arrival Estimation for Speech in Reverberant Environments by Krishnaraj Varma Thesis submitted to the Faculty of The Bradley Department of Electrical and Computer Engineering Virginia Polytechnic Institute and State University in partial fulfillment of the requirements for the degree of Master of Science in Electrical Engineering APPROVED Dr. A. A. (Louis) Beex, Chairman Dr. Ira Jacobs Dr. Douglas K. Lindner October 2002 Blacksburg, VA KEYWORDS: Microphone array processing, Beamformer, MUSIC, GCC, PHAT, SRP-PHAT, TDE, Least squares estimate © 2002 by Krishnaraj Varma Time-Delay-Estimate Based Direction-of-Arrival Estimation for Speech in Reverberant Environments by Krishnaraj Varma Dr. A. A. (Louis) Beex, Chairman The Bradley Department of Electrical and Computer Engineering (Abstract) Time delay estimation (TDE)-based algorithms for estimation of direction of arrival (DOA) have been most popular for use with speech signals. This is due to their simplicity and low computational requirements. Though other algorithms, like the steered response power with phase transform (SRP-PHAT), are available that perform better than TDE based algorithms, the huge computational load required for this algorithm makes it unsuitable for applications that require fast refresh rates using short frames. In addition, the estimation errors that do occur with SRP-PHAT tend to be large. This kind of performance is unsuitable for an application such as video camera steering, which is much less tolerant to large errors than it is to small errors. We propose an improved TDE-based DOA estimation algorithm called time delay selection (TIDES) based on either minimizing the weighted least squares error (MWLSE) or minimizing the time delay separation (MWTDS). -
TA-1VP Vocal Processor
D01141720C TA-1VP Vocal Processor OWNER'S MANUAL IMPORTANT SAFETY PRECAUTIONS ªª For European Customers CE Marking Information a) Applicable electromagnetic environment: E4 b) Peak inrush current: 5 A CAUTION: TO REDUCE THE RISK OF ELECTRIC SHOCK, DO NOT REMOVE COVER (OR BACK). NO USER- Disposal of electrical and electronic equipment SERVICEABLE PARTS INSIDE. REFER SERVICING TO (a) All electrical and electronic equipment should be QUALIFIED SERVICE PERSONNEL. disposed of separately from the municipal waste stream via collection facilities designated by the government or local authorities. The lightning flash with arrowhead symbol, within equilateral triangle, is intended to (b) By disposing of electrical and electronic equipment alert the user to the presence of uninsulated correctly, you will help save valuable resources and “dangerous voltage” within the product’s prevent any potential negative effects on human enclosure that may be of sufficient health and the environment. magnitude to constitute a risk of electric (c) Improper disposal of waste electrical and electronic shock to persons. equipment can have serious effects on the The exclamation point within an equilateral environment and human health because of the triangle is intended to alert the user to presence of hazardous substances in the equipment. the presence of important operating and (d) The Waste Electrical and Electronic Equipment (WEEE) maintenance (servicing) instructions in the literature accompanying the appliance. symbol, which shows a wheeled bin that has been crossed out, indicates that electrical and electronic equipment must be collected and disposed of WARNING: TO PREVENT FIRE OR SHOCK separately from household waste. HAZARD, DO NOT EXPOSE THIS APPLIANCE TO RAIN OR MOISTURE. -
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. -
Re-20 Om.Pdf
RE-20_e.book 1 ページ 2007年6月8日 金曜日 午後4時32分 Thank you, and congratulations on your choice of the BOSS RE-20 Space Echo. Before using this unit, carefully read the sections entitled: “USING THE UNIT SAFELY” and “IMPORTANT NOTES” (separate sheet). These sections provide important information concerning the proper operation of the unit. Additionally, in order to feel assured that you have gained a good understanding of every feature provided by your new unit, this manual should be read in its entirety. The manual should be saved and kept on hand as a convenient reference. Main Features ● The RE-20 uses COSM technology to faithfully simulate the characteristics of the famed Roland SPACE ECHO RE-201. ● Faithfully reproduces the characteristics of the RE-201, including the echo’s distinctive wow- and flutter-induced wavering and the compressed sound obtained with magnetic saturation. ● The Mode Selector carries on the tradition of the RE-201, offering twelve different reverberation effects through various combinations of the three playback heads and reverb. ● You can set delay times with the TAP input pedal and use an expression pedal (sold separately) for controlling parameters. ● Equipped with a “Virtual Tape Display,” which produces a visual image of a running tape. About COSM (Composite Object Sound Modeling) Composite Object Sound Modeling—or “COSM” for short—is BOSS/Roland’s innovative and powerful technology that’s used to digitally recreate the sound of classic musical instruments and effects. COSM analyzes the many factors that make up the original sound—including its electrical and physical characteristics—and creates a digital model that accurately reproduces the original. -
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) . -
Implementing an M-Fold Wah-Wah Filter in Matlab
“What if we had, not one Wah Wah Filter, not two, but 20?”: Implementing an M-Fold Wah-Wah Filter in Matlab Digital Audio Systems, DESC9115, 2020 Master of Interaction Design & Electronic Arts (Audio and Acoustics) Sydney School of Architecture, Design and Planning, The University of Sydney ABSTRACT An M-fold Wah-Wah filter can be described as an effect where multiple Wah-Wah filters are applied to a signal, each at a certain frequency range. This report describes the implementation of such a filter in Matlab. By using preexisting code on a single state-variable bandpass filter, multiple bandpass filters are implemented across a defined frequency spectrum. The filter is adjustable through a number of variables, these being: the number of bandpass filters (M), the damping factor of each filter, the spectrum for which the filters are applied, as well as the Wah Frequency, i.e. the number of cycles through each bandpass. 1. INTRODUCTION The Wah-Wah filter is commonly used by guitarist to alter the shape and tone of the note(s) they are playing. The effect can be described as the combination of ‘u’ and ‘ah’ sounds created by human voice. The mouth’s shape here going from a small O to a big O. The center frequencies are called “formants”. The Wah-Wah pedal works in a similar manner, the formants shifts creating a “wah” sound. The Wah-Wah filter is a time-varying delay line filter. Each filter has a set of unique characteristics such as the range of frequencies the effect is applied to and its Wah- Frequency, i.e. -
MUSIC- YEAR 9- REMIX– Term 2
MUSIC- YEAR 9- REMIX– Term 2 Music Year 9 - Remix (Builds on from Year 8, Units 1-3,4,6) Students will look to develop their knowledge of the remix. They will develop their understanding of the early historical and cultural context of the remix. Students will learn the main technological characteristics of a remix with a big focus on: Editing, FX and Dynamic processing and track automation. They will develop their skills used in the There will be a strong emphasis on Tempo, Structure and Texture. Students will attempt to create their own Remix using A Capellas of 3 current Dance tracks. The Elements of Music will be further developed within a Remix listening tasks. UNIT INTENT Lesson Intent Vocabulary – Activities/Assessment (to including the Homework/Li Daily metacognitive/learning verb teracy Map Retrieval/Teac h for memory Knowledge Goal WEEK 1 NEW Starter Activity Revise key A CAPELLA Rolling in the Deep Remix listening Recap: Elements of Feeds on from… REMIX vocabulary for music. Develop Students to revisit the Year 8 CONTEXT activity. quiz/listening understanding of what Dance music activity to re- Q&A task. RETRIEVE a remix is and it musical familiarise themselves with the Loops What is a Remix? context. Ostinato basics techniques taught in https://www.youtube.com/watch?v=p Year 8. Students to develop Riff 1. To be able to listen and Editing d0LJmryigY effectively appraise further understanding and Track Automation Reverb several REMIX tracks. implementation of ‘The Equalization (EQ) 2. To use the Elements of elements of Music’ from Years Main music in a listening Audio Software Students to open ‘Remix Ebook’ and context and to use them 7 and 8 in a practical and Instrument creatively. -
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.