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Producing an a Cappella CD and Development of a Pitch Detection Program
A Guide to Producing An A Cappella CD and Development of a Pitch Detection Program A Senior Project submitted in partial fulfillment of requirements for the Bachelor of Arts Degree in Liberal Arts and Engineering Studies By Jacob Ray Stringfellow Liberal Arts and Engineering Studies Department College of Engineering California Polytechnic State University San Luis Obispo Spring Quarter, 2012 Abstract An in-depth look at the steps required to produce a CD for an a cappella group. From what microphone and preamplifiers to use, to what steps to take during the editing, mixing, and mastering processes. Finished with a look at pitch detection algorithms and how they work, and a little bit of experimentation with my own algorithm and program. 1. Introduction We live in a world that is filled with music. This music comes in different varieties ranging from hip-hop and rap to country and classical. One genre of music that seems to be on the rise now a day is that of a cappella, or singing without instruments. With shows such as America’s Got Talent showcasing collegiate a cappella groups, and shows like the Sing Off that focus on a cappella singing, it seems that collegiate a cappella groups are reaching a peak in popularity. With a cappella groups being formed, and music being performed, there is also a rising demand to record their music. This presents an interesting challenge. Getting your a cappella group’s song recorded professionally can be costly, and on college student budgets it can be hard to afford. That being said, I suggest that there is a solution to this problem. -
Sound FX Unlocking the Creative Potential of Recording Studio Effects
Sound FX Unlocking the Creative Potential of Recording Studio Effects Alexander U. Case AMSTERDAM • BOSTON • HEIDELBERG • LONDON NEW YORK • OXFORD • PARIS • SAN DIEGO SAN FRANCISCO • SINGAPORE • SYDNEY • TOKYO Focal Press is an Imprint of Elsevier FFM-K52032.inddM-K52032.indd iiiiii 55/30/2007/30/2007 110:25:100:25:10 AAMM FFM-K52032.inddM-K52032.indd iivv 55/30/2007/30/2007 110:25:100:25:10 AAMM For Dolores and Joe who taught me how to learn and showed me I could teach. FFM-K52032.inddM-K52032.indd v 55/30/2007/30/2007 110:25:100:25:10 AAMM FFM-K52032.inddM-K52032.indd vvii 55/30/2007/30/2007 110:25:100:25:10 AAMM Contents Acknowledgements xv Introduction xix Section 1: Sound — Signals, Systems, and Sensation 1 Chapter 1: Audio Waveform 3 1.1 Medium 3 1.2 Amplitude versus Time 4 1.2.1 Amplitude Confusions 6 1.2.2 Time Implications 8 1.3 Amplitude versus Distance 9 1.4 Amplitude versus Frequency 10 1.5 Complex Waves 12 1.5.1 Square Waves 15 1.5.2 Sawtooth Waves 16 1.5.3 Triangle Waves 19 1.6 Decibel 19 1.6.1 Logarithm 21 1.6.2 Ratios 24 1.6.3 References 29 1.6.4 Zero Decibels 31 1.6.5 Negative Decibels 32 1.7 Dynamic Range 32 1.8 Sound Misconceptions 35 1.8.1 Mistaking the Message for the Medium 35 1.8.2 Don’t Picture These Sketches 35 Chapter 2: Signal Flow 39 2.1 Types of Sessions 39 2.1.1 Basics 40 2.1.2 Overdubs 42 2.1.3 Mixdown 45 2.1.4 Live to Two 46 2.2 Console Signal Flow 47 2.2.1 Channel Path 48 vii FFM-K52032.inddM-K52032.indd vviiii 55/30/2007/30/2007 110:25:100:25:10 AAMM Contents 2.2.2 Monitor Path 48 2.2.3 Split Console -
The Frequency Element: Using the Equalizer
Chapter 7 The Frequency Element: Using The Equalizer Even though an engineer has every intention of making his recording sound as big and as clear as possible during tracking and overdubs, it often happens that the frequency range of some (or even all) of the tracks are somewhat limited when it comes time to mix. This can be due to the tracks being recorded in a different studio where different monitors or signal path was used, the sound of the instruments themselves, or the taste of the artist or producer. When it comes to the mix, it’s up to the mixing engineer to extend the frequency range of those tracks if it’s appropriate. In the quest to make things sound bigger, fatter, brighter, and clearer, the equalizer is the chief tool used by most mixers, but perhaps more than any other audio tool, it’s how it’s used that separates the average engineer from the master. “I tend to like things to sound sort of natural, but I don’t care what it takes to make it sound like that. Some people get a very preconceived set of notions that you can’t do this or you can’t do that, but as Bruce Swedien said to me, he doesn’t care if you have to turn the knob around backwards; if it sounds good, it is good. Assuming that you have a reference point that you can trust, of course.” —Allen Sides “I find that the more that I mix, the less I actually EQ, but I’m not afraid to bring up a Pultec and whack it up to +10 if something needs it.” —Joe Chiccarelli The Goals Of Equalization While we may not think about it when we’re doing it, there are three primary goals when equalizing: To make an instrument sound clearer and more defined. -
City of Tucson Special Event Application D
TUCSON ARIZONA, U.S.A. 2017 IFEA WORLD FESTIVAL & EVENT CITY AWARD PRESENTATION TUCSON ARIZONA, U.S.A. 2017 IFEA WORLD FESTIVAL & EVENT CITY AWARD PRESENTATION Table of Contents 1. Introduction 2. Letter from Tucson Mayor Jonathan Rothschild 3. Section 1: Community Overview ............................................ 1 4. Section 2: Community Festivals and Events ................................. 28 5. Section 3: City/Governmental Community Support of Festivals and Events ....... 54 6. Section 4: Non-Governmental Community Support of Festivals and Events ....... 70 7. Section 5: Leveraging ‘Community Capital’ Created by Festivals and Events ...... 90 8. Section 6: Extra Credit . 108 9. Exhibits A. Recent Awards and Accolades for Tucson B. Additional Festivals and Events Venues C. City of Tucson Special Event Application D. City of Tucson Permitted Festivals and Events FY2017 E. Visit Tucson PR & Communications 10. Special Thanks INTRODUCTION Known unofficially for decades as the Old Pueblo, Tucson is building on its vibrant multicultural heritage to create a more urban, yet uniquely Southwestern-style future. The rest of the nation is taking notice that Tucson is on the upswing—a high quality of life, economic opportunity, lots to do and experience, and a happening dining, arts, entertainment, and local events scene. Tucson is being increasingly recognized for its livability, vitality, and cool factor. Tucson is a place like none other. Surrounded by five mountain ranges—the highest reaching more than 9,000 feet in elevation – and home to giant saguaro and other rare cacti in the heart of the living Sonoran Desert, Tucson enjoys an average 350 days of sunshine each year. Tucson hosts eclectic festivals and events year-round, most of them one-of-a-kind and home- grown, celebrating the region’s history and culture, visual and performing arts, a unique food heritage—Tucson is the first American city to be named a City of Gastronomy by UNESCO— local music, outdoor recreation, nature, science and technology, spectator sports, cycling and running. -
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). -
21065L Audio Tutorial
a Using The Low-Cost, High Performance ADSP-21065L Digital Signal Processor For Digital Audio Applications Revision 1.0 - 12/4/98 dB +12 0 -12 Left Right Left EQ Right EQ Pan L R L R L R L R L R L R L R L R 1 2 3 4 5 6 7 8 Mic High Line L R Mid Play Back Bass CNTR 0 0 3 4 Input Gain P F R Master Vol. 1 2 3 4 5 6 7 8 Authors: John Tomarakos Dan Ledger Analog Devices DSP Applications 1 Using The Low Cost, High Performance ADSP-21065L Digital Signal Processor For Digital Audio Applications Dan Ledger and John Tomarakos DSP Applications Group, Analog Devices, Norwood, MA 02062, USA This document examines desirable DSP features to consider for implementation of real time audio applications, and also offers programming techniques to create DSP algorithms found in today's professional and consumer audio equipment. Part One will begin with a discussion of important audio processor-specific characteristics such as speed, cost, data word length, floating-point vs. fixed-point arithmetic, double-precision vs. single-precision data, I/O capabilities, and dynamic range/SNR capabilities. Comparisions between DSP's and audio decoders that are targeted for consumer/professional audio applications will be shown. Part Two will cover example algorithmic building blocks that can be used to implement many DSP audio algorithms using the ADSP-21065L including: Basic audio signal manipulation, filtering/digital parametric equalization, digital audio effects and sound synthesis techniques. TABLE OF CONTENTS 0. INTRODUCTION ................................................................................................................................................................4 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. -
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. -
Musicpress.Pdf
スルッとスキニー&億千米 サンプルセットプレゼント中!! Kiss FM KOBE Event Report あ の『 億 千 米 』が パ ウ ダ ー タ イ プ に な っ て 新 登 場 ! ! 2011.6.4 sat @KOBE 植物性乳酸菌で女性の悩みをサポート 6月4日土曜日。週末の三宮の一角、イル・アルバータ神戸の前には鮮やか な黄色の[yellow tail]のフラッグが立ち並んでいた。そこに訪れるのは、 Kiss FMのイベント応募で選ばれた15組30名のワイン好きキスナー達。 店内に入ると、まず目に入るのは入り口近くに置かれた大きなグラス。しか もこちらには、オレンジジュース10Lに赤ワイン16本を注いだという、な んと本物のカクテルが。向かいのバーカウンター横には、セルフでカクテル を作れるスペースも設置されており、自分好みの味を楽しめるようになっ ている。イベントのMCを務めるのは、ワイン好きとしても知られるサウン ド ク ル ー ・ R I B E K A 。こ の 日 の コ ン セ プ ト“ ワ イ ン を 気 軽 に 楽 し む ”た め に 用意されたオリジナルカクテルが紹介される。 グレープフルーツを合わせ、酸味とその美しい青色が見た目にも爽やかな ブルーバブルス。イチゴとオレンジの香りにヨーグルト、 薄いピンク色が女性にも喜ばれそうなピンクテイル。カ シスとコーラによってジュースのように飲みやすいレッド テイル。そんなワインカクテルにぴったりな、イル・アル バータ特製の料理も次々と運ばれ、参加者達は舌鼓を打 お米の乳酸菌を、発酵技術で増やしました。 ちつつワインをゆったりと楽しんだ。 玄米食が苦手な人も思わずにっこりの美味しさです。 この日スペシャルトークゲストとして登場したのはmihimaru GTの 二人。告知なしで目の前に現れたシークレットアーティストに、会場 の歓声が上がる。芦屋出身で、神戸もよく訪れていたというヴォーカ ルhiroko。テーブルに置かれた3種類のカクテルを飲みながら「めっ ち ゃ 美 味 し い ! 」と 関 西 弁 で 嬉 し そ う に 微 笑 ん だ 。R I B E K A が「 ガ ン ガン飲んではるんですけど」と笑う通り、「美味しくて全部飲み干し たい!」と観客を和ませる良い飲みっぷりを披露。新曲『マスターピー Kiss MUSIC PRESS読者限定 ス』の作成秘話や、ソロ活動を経てこれからのmihimaru GTについ てカクテルpartyならではの親しみある雰囲気で語ってくれた。 サ ン プル セットプレ ゼ ント !! 次に登場したのは、ライブゲストのザッハトルテ。ジャズを中心と 下記よりご応募いただいた皆様の中から『スルッとスキ し た 多 ジ ャン ル の 楽 曲 を ア コ ー デ ィ オ ン・ギ タ ー・チ ェ ロ と い う 変 ニー!』3gスティック×5本と億千米25g×2袋を 則的にも思える構成で演奏する彼らだけあって、それぞれの髪型 セットにして300名様にプレゼントいたします! も か な り 個 性 的 。し か し 、一 音 鳴 ら せ ば「 窓 の 外 に 見 え る 三 宮 の 景 色 が 、ま る で パ リ の 街 並 み 」と R I B E K A も 語 る よ う に 、独 特 の 空 気 ■応募方法 感がその場にいる人々の前に作り出される。『素敵な1日』や『それ Kiss FM KOBEのサイトトップページ右側にあるプレゼント パソコン 欄から『スルッとスキニー!&億千米 サンプルセット』を選択、 で も セ ー ヌ は 流 れ る 』な -
Casiopea 1979 Full Album Download
casiopea 1979 full album download IsraBox - Music is Life! Casiopea - Best of Casiopea-Alfa Collection (2009) Artist : Casiopea Title : Best of Casiopea-Alfa Collection Year Of Release : 2009 Label : Alfa Records Genre : Jazz, Jazz Fusion Quality : MP3/320 kbps Total Time : 77:28 Total Size : 183 MB(+3%) Casiopea - Jive Jive (2002) [24bit FLAC] Artist : Casiopea Title : Jive Jive Year Of Release : 1983 / 2002 Label : Village Records / Alfa – ALR 28052 / Vinyl, LP Genre : Jazz-Rock, Jazz- Funk, Smooth Jazz, Fusion Quality : FLAC (tracks+.cue,log scans) / FLAC (tracks) 24bit-192kHz Total Time : 38:18 Total Size : 245 Mb / 1.48 Gb. Casiopea - Dramatic (1993) Artist : Casiopea Title : Dramatic Year Of Release : 1993 Label : Alfa Records Genre : Jazz, Fusion Quality : FLAC (tracks+.cue, log) Total Time : 51:04 Total Size : 351 MB. Casiopea - Answers (1994) Artist : Casiopea Title : Answers Year Of Release : 1994 Label : Alfa Genre : Smooth Jazz, Jazz-Funk, Fusion Quality : FLAC (image+.cue, log, Artwork) Total Time : 54:13 Total Size : 356 MB. Casiopea - Material (1999) CD Rip. Artist : Casiopea Title : Material Year Of Release : 1999 Label : Pony Canyon[PCCR-00304] Genre : Jazz, Fusion Quality : FLAC (tracks + .cue,log,scans) Total Time : 49:15 Total Size : 323 MB(+3%) Casiopea - Down Upbeat (1984) Artist : Casiopea Title : Down Upbeat Year Of Release : 1984 Label : Alfa Records Genre : jazz, funk, fusion Quality : APE (image+.cue,log,scans) Total Time : 38:26 Total Size : 228 MB. Casiopea - Main Gate (2001) Artist : Casiopea Title : Main -
Driverack 260 Owner's Manual-English
DriveRack® Complete Equalization & Loudspeaker Management System 260 Featuring Custom Tunings User Manual ® Table of Contents DriveRack TABLE OF CONTENTS Introduction 4.9 Compressor/Limiter .........................................................33 0.1 Defining the DriveRack 260 System .................................1 4.10 Alignment Delay ............................................................36 0.2 Service Contact Info ..........................................................2 4.11 Input Routing (IN) .........................................................36 0.3 Warranty .............................................................................3 4.12 Output ............................................................................37 Section 1 – Getting Started Section 5 – Utilities/Meters 1.1 Rear Panel Connections ....................................................4 5.1 LCD Contrast/Auto EQ Plot ............................................38 1.2 Front Panel .........................................................................5 5.2 PUP Program/Mute ..........................................................38 1.3 Quick Start .........................................................................6 5.3 ZC Setup ..........................................................................39 5.4 Security .............................................................................41 Section 2 – Editing Functions 5.5 Program List/Program Change ........................................43 5.6 Meters ...............................................................................44 -
Subwoofer Arrays: a Practical Guide
Subwoofer Arrays A Practical Guide VVVeVeeerrrrssssiiiioooonnnn 111 EEElEllleeeeccccttttrrrroooo----VVVVooooiiiicccceeee,,,, BBBuBuuurrrrnnnnssssvvvviiiilllllleeee,,,, MMMiMiiinnnnnneeeessssoooottttaaaa,,,, UUUSUSSSAAAA AAApAppprrrriiiillll,,,, 22202000009999 © Bosch Security Systems Inc. Subwoofer Arrays A Practical Guide Jeff Berryman Rev. 1 / June 7, 2010 TABLE OF CONTENTS 1. Introduction .......................................................................................................................................................1 2. Acoustical Concepts.......................................................................................................................................2 2.1. Wavelength ..........................................................................................................................................2 2.2. Basic Directivity Rule .........................................................................................................................2 2.3. Horizontal-Vertical Independence...................................................................................................3 2.4. Multiple Sources and Lobing ...........................................................................................................3 2.5. Beamforming........................................................................................................................................5 3. Gain Shading....................................................................................................................................................6