Effect Types and Parameters
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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. -
Neural Modelling of Periodically Modulated Time-Varying Effects
Proceedings of the 23rd International Conference on Digital Audio Effects (DAFx2020),(DAFx-20), Vienna, Vienna, Austria, Austria, September September 8–12, 2020-21 2020 NEURAL MODELLING OF PERIODICALLY MODULATED TIME-VARYING EFFECTS Alec Wright and Vesa Välimäki ∗ Acoustics Lab, Dept. of Signal Processing and Acoustics Aalto University Espoo, Finland [email protected] ABSTRACT In recent years, numerous studies on virtual analog modelling of guitar amplifiers [11, 12, 13, 14, 4, 15] and other nonlinear sys- This paper proposes a grey-box neural network based approach tems [16, 17] using neural networks have been published. Neural to modelling LFO modulated time-varying effects. The neural network modelling of time-varying audio effects has received less network model receives both the unprocessed audio, as well as attention, with the first publications being published over the past the LFO signal, as input. This allows complete control over the year [18, 3]. Whilst Martínez et al. report that accurate emulations model’s LFO frequency and shape. The neural networks are trained of several time-varying effects were achieved, the model utilises using guitar audio, which has to be processed by the target effect bi-directional Long Short Term Memory (LSTM) and is therefore and also annotated with the predicted LFO signal before training. non-causal and unsuitable for real-time applications. A measurement signal based on regularly spaced chirps was used In this paper we present a general approach for real-time mod- to accurately predict the LFO signal. The model architecture has elling of audio effects with parameters that are modulated by a been previously shown to be capable of running in real-time on a Low Frequency Oscillator (LFO) 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. -
Pitch Shifting with the Commercially Available Eventide Eclipse: Intended and Unintended Changes to the Speech Signal
JSLHR Research Note Pitch Shifting With the Commercially Available Eventide Eclipse: Intended and Unintended Changes to the Speech Signal Elizabeth S. Heller Murray,a Ashling A. Lupiani,a Katharine R. Kolin,a Roxanne K. Segina,a and Cara E. Steppa,b,c Purpose: This study details the intended and unintended 5.9% and 21.7% less than expected, based on the portion consequences of pitch shifting with the commercially of shift selected for measurement. The delay between input available Eventide Eclipse. and output signals was an average of 11.1 ms. Trials Method: Ten vocally healthy participants (M = 22.0 years; shifted +100 cents had a longer delay than trials shifted 6 cisgender females, 4 cisgender males) produced a sustained −100 or 0 cents. The first 2 formants (F1, F2) shifted in the /ɑ/, creating an input signal. This input signal was processed direction of the pitch shift, with F1 shifting 6.5% and F2 in near real time by the Eventide Eclipse to create an output shifting 6.0%. signal that was either not shifted (0 cents), shifted +100 cents, Conclusions: The Eventide Eclipse is an accurate pitch- or shifted −100 cents. Shifts occurred either throughout the shifting hardware that can be used to explore voice and entire vocalization or for a 200-ms period after vocal onset. vocal motor control. The pitch-shifting algorithm shifts all Results: Input signals were compared to output signals to frequencies, resulting in a subsequent change in F1 and F2 examine potential changes. Average pitch-shift magnitudes during pitch-shifted trials. Researchers using this device were within 1 cent of the intended pitch shift. -
3-D Audio Using Loudspeakers
3-D Audio Using Loudspeakers William G. Gardner B. S., Computer Science and Engineering, Massachusetts Institute of Technology, 1982 M. S., Media Arts and Sciences, Massachusetts Institute of Technology, 1992 Submitted to the Program in Media Arts and Sciences, School of Architecture and Planning in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy at the Massachusetts Institute of Technology September, 1997 © Massachusetts Institute of Technology, 1997. All Rights Reserved. Author Program in Media Arts and Sciences August 8, 1997 Certified by Barry L. Vercoe Professor of Media Arts and Sciences Massachusetts Institute of Technology Accepted by Stephen A. Benton Chair, Departmental Committee on Graduate Students Program in Media Arts and Sciences Massachusetts Institute of Technology 3-D Audio Using Loudspeakers William G. Gardner Submitted to the Program in Media Arts and Sciences, School of Architecture and Planning on August 8, 1997, in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy. Abstract 3-D audio systems, which can surround a listener with sounds at arbitrary locations, are an important part of immersive interfaces. A new approach is presented for implementing 3-D audio using a pair of conventional loudspeakers. The new idea is to use the tracked position of the listener’s head to optimize the acoustical presentation, and thus produce a much more realistic illusion over a larger listening area than existing loudspeaker 3-D audio systems. By using a remote head tracker, for instance based on computer vision, an immersive audio environment can be created without donning headphones or other equipment. -
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. -
Designing Empowering Vocal and Tangible Interaction
Designing Empowering Vocal and Tangible Interaction Anders-Petter Andersson Birgitta Cappelen Institute of Design Institute of Design AHO, Oslo AHO, Oslo Norway Norway [email protected] [email protected] ABSTRACT on observations in the research project RHYME for the last 2 Our voice and body are important parts of our self-experience, years and on work with families with children and adults with and our communication and relational possibilities. They severe disabilities prior to that. gradually become more important for Interaction Design due to Our approach is multidisciplinary and based on earlier studies increased development of tangible interaction and mobile of voice in resource-oriented Music and Health research and communication. In this paper we present and discuss our work the work on voice by music therapists. Further, more studies with voice and tangible interaction in our ongoing research and design methods in the fields of Tangible Interaction in project RHYME. The goal is to improve health for families, Interaction Design [10], voice recognition and generative sound adults and children with disabilities through use of synthesis in Computer Music [22, 31], and Interactive Music collaborative, musical, tangible media. We build on the use of [1] for interacting persons with layman expertise in everyday voice in Music Therapy and on a humanistic health approach. situations. Our challenge is to design vocal and tangible interactive media Our results point toward empowered participants, who that through use reduce isolation and passivity and increase interact with the vocal and tangible interactive designs [5]. empowerment for the users. We use sound recognition, Observations and interviews show increased communication generative sound synthesis, vibrations and cross-media abilities, social interaction and improved health [29].