Gödel Encoding of Chamber Music and Functional 8-Bit Audio Synthesis
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Moogerfooger® MF-107 Freqbox™
Understanding and Using your moogerfooger® MF-107 FreqBox™ TABLE OF CONTENTS Introduction.................................................2 Getting Started Right Away!.......................4 Basic Applications......................................6 FreqBox Theory........................................10 FreqBox Functions....................................16 Advanced Applications.............................21 Technical Information...............................24 Limited Warranty......................................25 MF-107 Specifications..............................26 1 Welcome to the world of moogerfooger® Analog Effects Modules. Your Model MF-107 FreqBox™ is a rugged, professional-quality instrument, designed to be equally at home on stage or in the studio. Its great sound comes from the state-of-the- art analog circuitry, designed and built by the folks at Moog Music in Asheville, NC. Your MF-107 FreqBox is a direct descendent of the original modular Moog® synthesizers. It contains several complete modular synth functions: a voltage-controlled oscillator (VCO) with variable waveshape, capable of being hard synced and frequency modulated by the audio input, and an envelope follower which allows the dynamics of the input signal to modulate the frequency of the VCO. In addition the amplitude of the VCO is controlled by the dynamics of the input signal, and the VCO can be mixed with the audio input. All performance parameters are voltage-controllable, which means that you can use expression pedals, MIDI-to-CV converter, or any other source of control voltages to 'play' your MF-107. Control voltage outputs mean that the MF-107 can be used with other moogerfoogers or voltage controlled devices like the Minimoog Voyager® or Little Phatty® synthesizers. While you can use it on the floor as a conventional effects box, your MF-107 FreqBox is much more versatile and its sound quality is higher than the single fixed function "stomp boxes" that you may be accustomed to. -
MUSIC NOTES: Exploring Music Listening Data As a Visual Representation of Self
MUSIC NOTES: Exploring Music Listening Data as a Visual Representation of Self Chad Philip Hall A thesis submitted in partial fulfillment of the requirements for the degree of: Master of Design University of Washington 2016 Committee: Kristine Matthews Karen Cheng Linda Norlen Program Authorized to Offer Degree: Art ©Copyright 2016 Chad Philip Hall University of Washington Abstract MUSIC NOTES: Exploring Music Listening Data as a Visual Representation of Self Chad Philip Hall Co-Chairs of the Supervisory Committee: Kristine Matthews, Associate Professor + Chair Division of Design, Visual Communication Design School of Art + Art History + Design Karen Cheng, Professor Division of Design, Visual Communication Design School of Art + Art History + Design Shelves of vinyl records and cassette tapes spark thoughts and mem ories at a quick glance. In the shift to digital formats, we lost physical artifacts but gained data as a rich, but often hidden artifact of our music listening. This project tracked and visualized the music listening habits of eight people over 30 days to explore how this data can serve as a visual representation of self and present new opportunities for reflection. 1 exploring music listening data as MUSIC NOTES a visual representation of self CHAD PHILIP HALL 2 A THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF: master of design university of washington 2016 COMMITTEE: kristine matthews karen cheng linda norlen PROGRAM AUTHORIZED TO OFFER DEGREE: school of art + art history + design, division -
Pulse Width Modulation
International Journal of Research in Engineering, Science and Management 38 Volume-2, Issue-12, December-2019 www.ijresm.com | ISSN (Online): 2581-5792 Pulse Width Modulation M. Naganetra1, R. Ramya2, D. Rohini3 1,2,3Student, Dept. of Electronics & Communication Engineering, K. S. Institute of Technology, Bengaluru India Abstract: This paper presents pulse width modulation which can 2. Principle be controlled by duty cycle. Pulse width modulation(PWM) is a Pulse width modulation uses a rectangular pulse wave powerful technique for controlling analog circuits with a digital signal. PWM is widely used in different applications, ranging from whose pulse width is modulated resulting in the variation of the measurement and communications to power control and average value of the waveform. If we consider a pulse signal conversions, which transforms the amplitude bounded input f(t), with period T, low value Y-min, high value Y-max and a signals into the pulse width output signal without suffering noise duty cycle D. Average value of the output signal is given by, quantization. The frequency of output signal is usually constant. By controlling analog circuits digitally, system cost and power 1 푇 푦̅= ∫ 푓(푡)푑푡 consumption can be reduced. The PWM signal is still digital 푇 0 because, at any instant of time, the full DC supply will be either fully_ ON or fully _OFF. Given a sufficient bandwidth, any analog 3. PWM generator signals (sine, square, triangle and so on) can be encoded with PWM. Keywords: decrease-duty, duty cycle, increase-duty, PWM (pulse width modulation), RTL view 1. Introduction Pulse width modulation (or pulse duration modulation) is a method of reducing the average power delivered by an electrical Fig. -
How Can You Replicate Real World Signals? Precisely
How can you replicate real world signals? Precisely tç)[UP.)[ 7QQ PSDIBOOFMT FG400 Series t*OUVJUJWFPQFSBUJPOXJUIBw Arbitrary/Function Generator LCD screen t4ZODISPOJ[FVQUPVOJUTUP QSPWJEFVQUPPVUQVU DIBOOFMT t"WBSJFUZPGTXFFQTBOE modulations Bulletin FG400-01EN Features and benefits FG400 Series Features and CFOFýUT &BTJMZHFOFSBUFCBTJD BQQMJDBUJPOTQFDJýDBOEBSCJUSBSZXBWFGPSNT 2 The FG400 Arbitrary/Function Generator provides a wide variety of waveforms as standard and generates signals simply and easily. There are one channel (FG410) and two channel (FG420) models. As the output channels are isolated, an FG400 can also be used in the development of floating circuits. (up to 42 V) Basic waveforms Advanced functions 4JOF DC 4XFFQ.PEVMBUJPO Burst 0.01 μHz to 30 MHz ±10 V/open Frequency sweep "VUP Setting items Oscillation and stop are 4RVBSF start/stop frequency, time, mode automatically repeated with the (continuous, single, gated single), respectively specified wave number. function (one-way/shuttle, linear/ log) 0.01 μHz to 15 MHz, variable duty Pulse 18. Trigger Setting items Oscillation with the specified wave carrier duty, peak duty deviation number is done each time a trigger Output duty is received. the range of carrier duty ±peak duty deviation 0.01 μHz to 15 MHz, variable leading/trailing edge time Ramp ". Gate Setting items Oscillation is done in integer cycles carrier amplitude, modulation depth or half cycles while the gate is on. Output amp. the range of amp./2 × (1 ±mod. 0.01 μHz to 5 MHz, variable symmetry Depth/100) 3 For trouble shooting Arbitrary waveforms (16 bits amplitude resolution) of up to 512 K words per waveform can be generated. 128 waveforms with a total size of 4 M words can be saved to the internal non-volatile memory. -
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. -
Contribution of the Conditioning Stage to the Total Harmonic Distortion in the Parametric Array Loudspeaker
Universidad EAFIT Contribution of the conditioning stage to the Total Harmonic Distortion in the Parametric Array Loudspeaker Andrés Yarce Botero Thesis to apply for the title of Master of Science in Applied Physics Advisor Olga Lucia Quintero. Ph.D. Master of Science in Applied Physics Science school Universidad EAFIT Medellín - Colombia 2017 1 Contents 1 Problem Statement 7 1.1 On sound artistic installations . 8 1.2 Objectives . 12 1.2.1 General Objective . 12 1.2.2 Specific Objectives . 12 1.3 Theoretical background . 13 1.3.1 Physics behind the Parametric Array Loudspeaker . 13 1.3.2 Maths behind of Parametric Array Loudspeakers . 19 1.3.3 About piezoelectric ultrasound transducers . 21 1.3.4 About the health and safety uses of the Parametric Array Loudspeaker Technology . 24 2 Acquisition of Sound from self-demodulation of Ultrasound 26 2.1 Acoustics . 26 2.1.1 Directionality of Sound . 28 2.2 On the non linearity of sound . 30 2.3 On the linearity of sound from ultrasound . 33 3 Signal distortion and modulation schemes 38 3.1 Introduction . 38 3.2 On Total Harmonic Distortion . 40 3.3 Effects on total harmonic distortion: Modulation techniques . 42 3.4 On Pulse Wave Modulation . 46 4 Loudspeaker Modelling by statistical design of experiments. 49 4.1 Characterization Parametric Array Loudspeaker . 51 4.2 Experimental setup . 52 4.2.1 Results of PAL radiation pattern . 53 4.3 Design of experiments . 56 4.3.1 Placket Burmann method . 59 4.3.2 Box Behnken methodology . 62 5 Digital filtering techniques and signal distortion analysis. -
Visual Metaphors on Album Covers: an Analysis Into Graphic Design's
Visual Metaphors on Album Covers: An Analysis into Graphic Design’s Effectiveness at Conveying Music Genres by Vivian Le A THESIS submitted to Oregon State University Honors College in partial fulfillment of the requirements for the degree of Honors Baccalaureate of Science in Accounting and Business Information Systems (Honors Scholar) Presented May 29, 2020 Commencement June 2020 AN ABSTRACT OF THE THESIS OF Vivian Le for the degree of Honors Baccalaureate of Science in Accounting and Business Information Systems presented on May 29, 2020. Title: Visual Metaphors on Album Covers: An Analysis into Graphic Design’s Effectiveness at Conveying Music Genres. Abstract approved:_____________________________________________________ Ryann Reynolds-McIlnay The rise of digital streaming has largely impacted the way the average listener consumes music. Consequentially, while the role of album art has evolved to meet the changes in music technology, it is hard to measure the effect of digital streaming on modern album art. This research seeks to determine whether or not graphic design still plays a role in marketing information about the music, such as its genre, to the consumer. It does so through two studies: 1. A computer visual analysis that measures color dominance of an image, and 2. A mixed-design lab experiment with volunteer participants who attempt to assess the genre of a given album. Findings from the first study show that color scheme models created from album samples cannot be used to predict the genre of an album. Further findings from the second theory show that consumers pay a significant amount of attention to album covers, enough to be able to correctly assess the genre of an album most of the time. -
Pulse Width Modulation with Frequency Changing
Pulse Width Modulation with Frequency Changing Milan Stork, Petr Weissar, and Kamil Kosturik Department of Applied Electronics and Telecommunications/RICE, Faculty of Electrical Engineering, Umiversity of West Bohemia, Czech Republic [email protected], [email protected], [email protected] Abstract generated using a simple oscillator) and a comparator. For the demodulation of the PWM signal the classical concept employs Pulse width modulation (PWM) is widely used in different a simple low pass filter. Another possibility is described in [3, applications. PWM transform the information in the 4]. There the demodulation is made in two steps. First the PWM amplitude of a bounded input signal into the pulse width signal is transformed into a pulse amplitude signal (PAM). As a output signal, without suffering from quantization noise. result we have an equidistant pulse train where the amplitude of The frequency of the output signal is usually constant. In the pulses contains the information. In the second step the PAM this paper the new PWM system with frequency changing signal is processed with a low pass filter. This reconstructs the (PWMF) is described. In PWMF the pulse width and also original signal waveform. These two step demodulation is frequency is changed, therefore 2 independents information exactly the reverse way to the uniform sampling process. The are simultaneously transmitted, and PWM and frequency main disadvantage is lowpass filter because slow response. The modulation (FM) are simultaneously used. But such system similar (speed limitation) is for FM signal. needs fast demodulator separately for PWM and FM. The In this paper is described new approach for fast circuit for fast demodulation of PWMF signal is also demodulation of PWM signal and also for FM signal. -
Beauty Is in the Eye of the “Produser”: Japan's Virtual Idol Hatsune Miku from Software, to Network, to Stage
BEAUTY IS IN THE EYE OF THE “PRODUSER”: JAPAN'S VIRTUAL IDOL HATSUNE MIKU FROM SOFTWARE, TO NETWORK, Intermittence + Interference POST-SCREEN: TO STAGE ANA MATILDE SOUSA ANA MATILDE SOUSA 117 INTRODUCTION The “virtual idol” dream is not new, but Hatsune Miku — a cybercelebrity origi- nating from Japan who is steadily becoming a worldwide phenomenon — con- stitutes a paradigm shift in this lineage initiated in 1958 by the novelty group of anthropomorphic squirrels Alvin and the Chipmunks. Since then many have followed, from The Archies to Gorillaz and 2.0Pac. In Japan, HoriPro’s “digital kid”, Date Kyoko, pioneered the cyber frontier with her hit single “Love Commu- nication” in 1996 (Wolff, n.d.). While in 2011, the idol supergroup AKB48 pulled an infamous publicity stunt by revealing their new girl, Aimi Eguchi, was a com- puter-generated combination of other group members (Chen, 2011). So what does Miku have that they do not? Despite her apparent similar- ity to fictional characters such as Rei Toei from William Gibson’s Idoru, Miku’s phenomenon has less to do with futuristic prospects of technological singu- larity than with present-day renegotiations of the roles of author, work and fan in Web 2.0 media cultures. By addressing her softwarennetworknstage transformations, this study draws on a rapidly growing scholarship (Hama- saki, Takeda, & Nishimura, 2008; Le, 2013; Conner, 2014; Guga, 2014; Annett, 2015; Leavitt, Knight, & Yoshiba, 2016) to investigate how Miku’s appearance on screen(s) has shaped her construction as a virtual idol through grassroots- corporate “produsage” (Bruns, 2008). MIKU, FROM THE BEGINNING With a visionary name announcing the “First Sound of Future”, Hatsune POST-SCREEN: Intermittence + Interference POST-SCREEN: Miku, created in August 2007 by Sapporo-based company Crypton Future Me- dia, is the most popular avatar of Yamaha’s cutting-edge voice synthesizer VO- CALOID. -
Understanding Power System Harmonics
Harmonics Chapter 1, Introduction April 2012 Understanding Power System Harmonics Prof. Mack Grady Dept. of Electrical & Computer Engineering University of Texas at Austin [email protected], www.ece.utexas.edu/~grady Table of Contents Chapter 1. Introduction Chapter 2. Fourier Series Chapter 3. Definitions Chapter 4. Sources Chapter 5. Effects and Symptoms Chapter 6. Conducting an Investigation Chapter 7. Standards and Solutions Chapter 8. System Matrices and Simulation Procedures Chapter 9. Case Studies Chapter 10. Homework Problems Chapter 11. Acknowledgements Appendix A1. Fourier Spectra Data Appendix A2. PCFLO User Manual Appendix A3. Harmonics Analysis for Industrial Power Systems (HAPS) User Manual and Files 1. Introduction Power systems are designed to operate at frequencies of 50 or 60Hz. However, certain types of loads produce currents and voltages with frequencies that are integer multiples of the 50 or 60 Hz fundamental frequency. These higher frequencies are a form of electrical pollution known as power system harmonics. Power system harmonics are not a new phenomenon. In fact, a text published by Steinmetz in 1916 devotes considerable attention to the study of harmonics in three-phase power systems. In Steinmetz’s day, the main concern was third harmonic currents caused by saturated iron in transformers and machines. He was the first to propose delta connections for blocking third harmonic currents. After Steinmetz’s important discovery, and as improvements were made in transformer and machine design, the harmonics problem was largely solved until the 1930s and 40s. Then, with the advent of rural electrification and telephones, power and telephone circuits were placed on common rights-of-way. -
Model 1011 Construction Manual
M O D E L 1 0 1 1 D i s c r e t e V o l t a g e C o n t r o l l e d O s c i l l a t o r Construction & Operation Guide R E V A - F O R P C B V 1 . 1 S L I G H T L Y N A S T Y E L E C T R O N I C S A D E L A I D E , A U S T R A L I A M O D E L 1 0 1 1 D i s c r e t e O s c i l l a t o r S P E C I F I C A T I O N S PHYSICAL FORM FACTOR: Loudest Warning / 4U WIDTH: 3NMW / 75.5mm HEIGHT: 175mm DEPTH: ~40mm from panel front inc. components PCB: 70 x 150mm, Two-Layer Double Sided CONNECTORS: 4mm Banana IDC power connector pinout. ELECTRICAL POWER: +12V, 0V, -12V CONSUMPTION:~40mA +12V Rail, ~30mA -12V Rail CONNECTOR: IDC 10-pin Shrouded Header, Eurorack Standard or MTA-156 4-Pin Header I/O IMPEDANCES: 100K input, 1K output (nominal) MTA-156 power connector pinout. INPUT RANGES (nominal) 1V/OCT: +/- 10V FM: +/- 5V LOG: +/- 5V SYMMETRY: +/- 5V SYNC: +/- 5V (falling-edge trigger) OUTPUT RANGES (nominal) OUTPUT A: +/- 5V OUTPUT B: +/- 5V SUBOCTAVE: +/- 5V Specifications 2 S L I G H T L Y N A S T Y E L E C T R O N I C S A D E L A I D E , A U S T R A L I A M O D E L 1 0 1 1 D i s c r e t e O s c i l l a t o r T A B L E O F C O N T E N T S SPECIFICATIONS Specifications / Power Requirements 2 INTRODUCTION Introduction 4 CIRCUIT OVERVIEW Circuit Overview 5 Exponential Converter 6 Sawtooth Core 8 Triangle / Sine Shapers 10 Pulse / Suboctave Shapers 10 Output Mixers / Amplifiers 12 CHOOSING COMPONENTS Bill Of Materials (BOM) 14 Choosing Components 15 Transistor Matching 16 CONSTRUCTION Construction Overview 18 Physical Assembly 20 CONTROLS Controls 21 CALIBRATION Calibration Overview 22 CV Scale 23 CV Offset 24 High Frequency Compensation 24 Triangle Adjustment 25 REFERENCE PCB Guide - Lower Board 26 PCB Guide - Upper Board 27 This document is best viewed in dual-page mode. -
Top Five Best Top Five Worst
VOLUME 29, ISSUE 6 WWW.BROWARD.EDU/STUDENTLIFE/PUBLICATIONS/OBSERVER/PAGES/DEFAULT November 11, 2014 The Broward College Student Newspaper Campus News BC spotlight Centerspread Opinion Backpage Want More Observer? theobservernews.blogspot.com Best Buddies BC professor Elisa Learn the Determine Bailey Hall has updates on articles, program joins with Albo releases new ins-and-outs of whether or gets biggest Entertainment, Sports and BC to help those in elegy poetry book Black Friday not Internet renovation in much more. need addiction is real history Check Out: ON PAGE 6 ON PAGE 3 ON PAGE 8-9 ON PAGE 14 ON PAGE 16 theobservernews.blogspot.com CAREER CHOICES Top Five Best Top Five Worst Jeetsu Ahuja The field of nursing is a great field to Jennifer Beardslee Radi the demand for psychologists in Staff writer get a degree in, too. Staff Writer America is so low at the time. As a nurse, this is a career is not only According to apa.org, psychology Picking a college major is the first out gratifying to souls, but to pockets as Many college students are trying to go graduates total to an amount of about of many mature decisions that college well. into a career straight after graduation 5,000. students have to start making in life With all of these never heard of because it sounds promising and ideal. In contrast to psychology currently from that point onwards. diseases creeping up these days, However, a couple of new studies being one of the worst majors to So, the decision should be taken the demand for nurses have been reveal that the major that college choose, the U.S.