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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. -
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) . -
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]. -
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. -
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. -
Pitch-Shifting Algorithm Design and Applications in Music
DEGREE PROJECT IN ELECTRICAL ENGINEERING, SECOND CYCLE, 30 CREDITS STOCKHOLM, SWEDEN 2019 Pitch-shifting algorithm design and applications in music THÉO ROYER KTH ROYAL INSTITUTE OF TECHNOLOGY SCHOOL OF ELECTRICAL ENGINEERING AND COMPUTER SCIENCE ii Abstract Pitch-shifting lowers or increases the pitch of an audio recording. This technique has been used in recording studios since the 1960s, many Beatles tracks being produced using analog pitch-shifting effects. With the advent of the first digital pitch-shifting hardware in the 1970s, this technique became essential in music production. Nowa- days, it is massively used in popular music for pitch correction or other creative pur- poses. With the improvement of mixing and mastering processes, the recent focus in the audio industry has been placed on the high quality of pitch-shifting tools. As a consequence, current state-of-the-art literature algorithms are often outperformed by the best commercial algorithms. Unfortunately, these commercial algorithms are ”black boxes” which are very complicated to reverse engineer. In this master thesis, state-of-the-art pitch-shifting techniques found in the liter- ature are evaluated, attaching great importance to audio quality on musical signals. Time domain and frequency domain methods are studied and tested on a wide range of audio signals. Two offline implementations of the most promising algorithms are proposed with novel features. Pitch Synchronous Overlap and Add (PSOLA), a sim- ple time domain algorithm, is used to create pitch-shifting, formant-shifting, pitch correction and chorus effects on voice and monophonic signals. Phase vocoder, a more complex frequency domain algorithm, is combined with high quality spec- tral envelope estimation and harmonic-percussive separation to design a polyvalent pitch-shifting and formant-shifting algorithm. -
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. -
Effects List
Effects List Multi-Effects Parameters (MFX1–3, MFX) The multi-effects feature 78 different kinds of effects. Some of the effects consist of two or more different effects connected in series. 67 p. 8 FILTER (10 types) OD->Flg (OVERDRIVE"FLANGER) 68 OD->Dly (OVERDRIVE DELAY) p. 8 01 Equalizer (EQUALIZER) p. 1 " 69 Dist->Cho (DISTORTION CHORUS) p. 8 02 Spectrum (SPECTRUM) p. 2 " 70 Dist->Flg (DISTORTION FLANGER) p. 8 03 Isolator (ISOLATOR) p. 2 " 71 p. 8 04 Low Boost (LOW BOOST) p. 2 Dist->Dly (DISTORTION"DELAY) 05 Super Flt (SUPER FILTER) p. 2 72 Eh->Cho (ENHANCER"CHORUS) p. 8 06 Step Flt (STEP FILTER) p. 2 73 Eh->Flg (ENHANCER"FLANGER) p. 8 07 Enhancer (ENHANCER) p. 2 74 Eh->Dly (ENHANCER"DELAY) p. 8 08 AutoWah (AUTO WAH) p. 2 75 Cho->Dly (CHORUS"DELAY) p. 9 09 Humanizer (HUMANIZER) p. 2 76 Flg->Dly (FLANGER"DELAY) p. 9 10 Sp Sim (SPEAKER SIMULATOR) p. 2 77 Cho->Flg (CHORUS"FLANGER) p. 9 MODULATION (12 types) PIANO (1 type) 11 Phaser (PHASER) p. 3 78 SymReso (SYMPATHETIC RESONANCE) p. 9 12 Step Ph (STEP PHASER) p. 3 13 MltPhaser (MULTI STAGE PHASER) p. 3 14 InfPhaser (INFINITE PHASER) p. 3 15 Ring Mod (RING MODULATOR) p. 3 About Note 16 Step Ring (STEP RING MODULATOR) p. 3 17 Tremolo (TREMOLO) p. 3 Some effect settings (such as Rate or Delay Time) can be specified in 18 Auto Pan (AUTO PAN) p. 3 terms of a note value. The note value for the current setting is 19 Step Pan (STEP PAN) p. -
NASS 2011Seattle Conference Retrospective
NASS Conference Retrospective: Seattle, August 2011 Roger Bailey Reception: Thursday 18 September: We gathered between 4:30 and 6:00 pm in the University of Washington Physics and Astronomy Building to register and meet old friends and welcome newcomers. A total of 51 people participated. Fred had gathered a good collection of sundial-related books and paraphernalia as door prizes. Tickets were used to allow choices to maximize the chance of reward. You could plunk all your allotted tickets on one prize or you could spread your tickets to increase your chances of winning something. Prizes included: a Nocturnal Geocoin; a reproduction Pewter Sundial; Sharon Gibbs’ book Greek and Roman Sundials, Frank Cousins’ book Sundials: The Art & Science of Gnomonics; Christopher St. J. H. Daniel’s Sundials and Gerald Jenkins & Magdalene Bear’s Sundials and Timedials; Mike Cowham’s A Study Of Altitude Dials; Hester Higton’s Sundials: An Illustrated History of Portable Dials; Stephenson, Bolt & Friedman’s The Universe Unveiled; Winthrop W. Dolan’s A Choice of Sundials; a recent reprint of T. Geoffrey W. Henslow’s 1914 Ye Sundial Booke; two Perspex Sundials designed for latitude 40° by Hendrik Hollander; two sets of Sundial Note Cards; laser-engraved wood Differential Dialing Scales developed by Fred Sawyer; and copies of Ramona Maher’s Secret of the Sundial, and Eugenia Desmond’s Shadow At Dunster Hall. The doorprizes were followed by a showing of Gino and Judith Schiavone’s video on the design and construction of the Bowie Portal Sundial. Then Woody Sullivan took us around the building to show his large vertical declining sundial on the southwest wall of the Physics and Astronomy Building. -
MS-100BT Effects List
Effect Types and Parameters © 2012 ZOOM CORPORATION Copying or reproduction of this document in whole or in part without permission is prohibited. Effect Types and Parameters Parameter Parameter range Effect type Effect explanation Flanger This is a jet sound like an ADA Flanger. Knob1 Knob2 Knob3 Depth 0–100 Rate 0–50 Reso -10–10 Page01 Sets the depth of the modulation. Sets the speed of the modulation. Adjusts the intensity of the modulation resonance. PreD 0–50 Mix 0–100 Level 0–150 Page02 Adjusts the amount of effected sound Sets pre-delay time of effect sound. Adjusts the output level. that is mixed with the original sound. Effect screen Parameter explanation Tempo synchronization possible icon Effect Types and Parameters [DYN/FLTR] Comp This compressor in the style of the MXR Dyna Comp. Knob1 Knob2 Knob3 Sense 0–10 Tone 0–10 Level 0–150 Page01 Adjusts the compressor sensitivity. Adjusts the tone. Adjusts the output level. ATTCK Slow, Fast Page02 Sets compressor attack speed to Fast or Slow. RackComp This compressor allows more detailed adjustment than Comp. Knob1 Knob2 Knob3 THRSH 0–50 Ratio 1–10 Level 0–150 Page01 Sets the level that activates the Adjusts the compression ratio. Adjusts the output level. compressor. ATTCK 1–10 Page02 Adjusts the compressor attack rate. M Comp This compressor provides a more natural sound. Knob1 Knob2 Knob3 THRSH 0–50 Ratio 1–10 Level 0–150 Page01 Sets the level that activates the Adjusts the compression ratio. Adjusts the output level. compressor. ATTCK 1–10 Page02 Adjusts the compressor attack rate.