Small Signal Audio Design
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CARBON Carbon – Desktop Vinyl Lathe Recapturing Value in Recorded Music
CARBON Carbon – Desktop Vinyl Lathe Recapturing Value In Recorded Music MFA Advanced Product Design Degree Project Report June 2015 Christopher Wright Canada www.cllw.co TABLE OF CONTENTS Part 1 - Introduction Introduction 06 The Problem With Streaming 08 The Vinyl Revival 10 The Project 12 Part 2 - Research Record Sales Statistics 16 Music Consumption Trends 18 Vinyl Pros and Cons 20 How Records Are Made 22 Vinyl Pressing Prices 24 Mastering Lathes 26 Historical Review 28 Competitive Analysis 30 Abstract Digital Record Experiments 32 Analogous Research 34 Vinyl records have re-emerged as the preferred format for music fans and artists Part 3 - Field Research alike. The problem is that producing vinyl Research Trip - Toronto 38 records is slow and expensive; this makes it Expert Interviews 40 difcult for up-and-coming artists to release User Interviews 44 their music on vinyl. What if you could Extreme User Interview 48 make your own records at home? Part 4 - Analysis Research Analysis 52 User Insights 54 User Needs Analysis 56 Personas 58 Use Environment 62 Special Thanks To: Technology Analysis 64 Product Analysis 66 Anders Smith Thomas Degn Part 5 - Strategy Warren Schierling Design Opportunity 70 George Graves & Lacquer Channel Goals & Wishes 72 Tyler Macdonald Target Market 74 My APD 2 classmates and the UID crew Inspiration & Design Principles 76 Part 6 - Design Process Initial Sketch Exploration 80 Sacrificial Concepts 82 Concept Development 84 Final Direction 94 Part 7 - Result Final Design 98 Features and Details 100 Carbon Cut App 104 Cutter-Head Details 106 Mechanical Design 108 Conclusions & Reflections 112 References 114 PART 1 INTRODUCTION 4 5 INTRODUCTION Personal Interest I have always been a music lover; I began playing in bands when I was 14, and decided in my later teenage years that I would pursue a career in music. -
Gagen, Justin. 2019. Hybrids and Fragments: Music, Genre, Culture and Technology
Gagen, Justin. 2019. Hybrids and Fragments: Music, Genre, Culture and Technology. Doctoral thesis, Goldsmiths, University of London [Thesis] https://research.gold.ac.uk/id/eprint/28228/ The version presented here may differ from the published, performed or presented work. Please go to the persistent GRO record above for more information. If you believe that any material held in the repository infringes copyright law, please contact the Repository Team at Goldsmiths, University of London via the following email address: [email protected]. The item will be removed from the repository while any claim is being investigated. For more information, please contact the GRO team: [email protected] Hybrids and Fragments Music, Genre, Culture and Technology Author Supervisor Justin Mark GAGEN Dr. Christophe RHODES Thesis submitted for the degree of Doctor of Philosophy in Computer Science GOLDSMITHS,UNIVERSITY OF LONDON DEPARTMENT OF COMPUTING November 18, 2019 1 Declaration of Authorship I, Justin Mark Gagen, declare that the work presented in this thesis is entirely my own. Where I have consulted the work of others, this is clearly stated. Signed: Date: November 18, 2019 2 Acknowledgements I would like to thank my supervisors, Dr. Christophe Rhodes and Dr. Dhiraj Murthy. You have both been invaluable! Thanks are due to Prof. Tim Crawford for initiating the Transforming Musicology project, and providing advice at regular intervals. To my Transforming Musicology compatriots, Richard, David, Ben, Gabin, Daniel, Alan, Laurence, Mark, Kevin, Terhi, Carolin, Geraint, Nick, Ken and Frans: my thanks for all of the useful feedback and advice over the course of the project. -
OPEX-1: a High Performance Class a Opamp for Audio
2013 OPEX-1: a High Performance Class A Opamp for Audio A low component count Lin topology VFA opamp for audio applications, featuring a matched pair JFET input stage, class A output stage and Two Pole Compensation (TPC). This design features very low distortion: 10V peak into a 600 Ω load is below 1 ppm. The OL UGF is 13 MHz, and the slew rate in excess of 100 V/us. Other than the LSK389C matched JFET pair, the OPEX-1 uses readily available components, and fits on a 6 cm x 4 cm DSTHP PCB. The construction cost for 4-6 pcs is $15 each Andrew C. Russell 9/1/2013 A High Performance Discrete Opamp for Audio Applications OPEX-1: a High Performance Discrete Opamp for Audio Applications. Sometime around 2009 or 2010, I took an LM4562 and biased into class A, then added a discrete class A buffer stage inside the global feedback loop to produce a high performance class A buffer– you can read about it here, and look at the distortion results in Fig.1 below. In the write up, I focused on the fact that IC opamps always feature class AB output stages, and we know that when driving a heavy load (so, 600 Ω or so in the context of this discussion), they will transition into class B, and the result will be harmonics both in the output signal, and on the supply rails. My effort allowed me to swing a 600 Ω load 20V pk-pk at about 2ppm at 20 kHz, and at 2 or 3 V pk-pk, distortion was about 1.5~2ppm - this measurement result in actuality limited by the performance of the AP Sys272 which has a distortion floor of -114 dB ref 1V into 600 Ω (See Fig 1). -
商品コード タイトル Fhcf2501 8 Toct24105 502 Pcca01329 531
商品コード タイトル FHCF2501 8 TOCT24105 502 PCCA01329 531 AVCD-11624 181920 PCCA80017 "03"ゼロサン VICL373 "good luck!" AVCD11815 "HAPPY" COMING CENTURY.20TH CENTURY FOREVER AMCN4770 "Let go" ESCB1592 "nine" WPC27611 "SMILING II" 〜THE BEST OF NORIYUKI MAKIHARA〜 SRCL4888 (初) WPCV10079 11songs(+4) EICP321 1人の女と4人の男 PCCA02551 2GETHER WPCV10103 2souls UMCK1002 4FLUSHER EPCE5149 4th 「いきまっしょい!」 AVCD-32027/B 7 seven ESCB1725 7月7日、晴れ サウンドトラック KSC2314 absolute ego COCA13736 across the rainbow UMCK1139 Akina Nakamori ~歌姫ダブル・ディケイド ESCB1722 amiyumi PCCA01116 Another Season -5番目の季節- Le Couple KTCR1369 Another Tomorrow TFCC89040 Any AVCD-11740 appears AVCD-11805 ARIGATO 30 MILLION COPIES-BEST OF TK WORKS- SRCL-4927 As One TOCT24100 ASKA the BEST Selection 1988-1998 PSCR-5700 AUGUST E,P, AVCD11716 ayu-mi-x AVCD17098 ayu-mi-x 4 + selection Acoustic Orchestra Version AVCD17104-5 ayu-mi-x 4 + selection Non-Stop Mega Mix Version AVCD11798 ayu-mi-x II version JPN AVCD11797 ayu-mi-x II version US+EU JBCJ-1004 BACK BEATs #1 THE BEST Performed by POCH-1674 BALLAD COLLECTION X JAPAN BALLAD COLLECTION BEST VICL60660/1 BALLAD3 -the album of LOVE- WPC78550 Baroque Best AVCT10080 BEAT BALL UPCH1026 beat haze odyssey KOLA061 beatmania IIDX REMIX for 10th Success Anniversary DCTR1002 beauty ebarmony VICL15043 BEGINNING PART2 DAVID DARLINGTON featuring PHCL1020 Believe ESCB2244 Believe the Light XXC1023 BELOVED MDCL1408 Best Flower -B side collection- ESCB2096 BEST LOVE SONG ALBUM ミディアムクロー JBCJ-1028/1029 BEST OF BEST ~All Single Collection~ AVCD11230 BILLIONAIRE BOY MEETS GIRL -
Knowledge Extraction and Representation Learning for Music Recommendation and Classification
Knowledge Extraction and Representation Learning for Music Recommendation and Classification Sergio Oramas Martín TESI DOCTORAL UPF / 2017 Director de la tesi: Dr. Xavier Serra Casals Dept. of Information and Communication Technologies Universitat Pompeu Fabra, Barcelona, Spain Dissertation submitted to the Department of Information and Communication Technologies of Universitat Pompeu Fabra in partial fulfillment of the require- ments for the degree of DOCTOR PER LA UNIVERSITAT POMPEU FABRA Copyright © 2017 by Sergio Oramas Martín Licensed under Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 Music Technology Group (http://mtg.upf.edu), Department of Information and Commu- nication Technologies (http://www.upf.edu/dtic), Universitat Pompeu Fabra (http://www. upf.edu), Barcelona, Spain. iii The doctoral defense was held on ......................... at the Universitat Pompeu Fabra and scored as ........................................................... Dr. Xavier Serra Casals (Thesis Supervisor) Universitat Pompeu Fabra (UPF), Barcelona, Spain Dr. Markus Schedl (Thesis Committee Member) Johannes Kepler University, Linz, Austria Dr. Emilia Gómez (Thesis Committee Member) Universitat Pompeu Fabra (UPF), Barcelona, Spain Dr. Brian Whitman (Thesis Committee Member) Spotify, New York, USA a Olivia y Chiara, la luz en el camino... Acknowledgements First of all, I would like to thank my supervisor, Dr. Xavier Serra, for giving me the opportunity to work in this fantastic environment, the Music Technology Group, and for his wise advises. Also, I want to give special thanks to Paco Gomez for teaching me how to be a researcher. This thesis does not have a specific co-supervisor, but along this journey I have met three great researchers and better persons who have helped me through my PhD and without whom this work would have not been possible, Mohamed Sordo, Vito Claudio Ostuni, and Oriol Nieto. -
Designer's Master Selection Guide
Selection Guide EIGHTH EDITION Analog/Mixed-Signal Products Designer’s Master Selection Guide August 2002 © 1996, 1997, 1999, 2000, 2001, 2002 Texas Instruments Incorporated IMPORTANT NOTICE Texas Instruments Incorporated and its subsidiaries (TI) reserve the right to make corrections, modifications, enhancements, improvements, and other changes to its products and services at any time and to discontinue any product or service without notice. Customers should obtain the latest relevant information before placing orders and should verify that such information is current and complete. All products are sold subject to TI’s terms and conditions of sale supplied at the time of order acknowledgment. TI warrants performance of its hardware products to the specifications applicable at the time of sale in accordance with TI’s standard warranty. Testing and other quality control techniques are used to the extent TI deems necessary to support this warranty. Except where mandated by government requirements, testing of all parameters of each product is not necessarily performed. TI assumes no liability for applications assistance or customer product design. Customers are responsible for their products and applications using TI components. To minimize the risks associated with customer products and applications, customers should provide adequate design and operating safeguards. TI does not warrant or represent that any license, either express or implied, is granted under any TI patent right, copyright, mask work right, or other TI intellectual property right relating to any combination, machine, or process in which TI products or services are used. Information published by TI regarding third–party products or services does not constitute a license from TI to use such products or services or a warranty or endorsement thereof. -
Multimodal Deep Learning for Music Genre Classification.Transactions of the International Society for Music 7,60,5 Information Retrieval, 1(1), Pp
Oramas, S., et al. (2018). Multimodal Deep Learning for Music Genre Classification. Transactions of the International Society for Music 7,60,5 Information Retrieval, 1(1), pp. 4-21. DOI: https://doi.org/10.5334/tismir.10 RESEARCH Multimodal Deep Learning for Music Genre Classification Sergio Oramas*,‡, Francesco Barbieri†, Oriol Nieto‡ and Xavier Serra* Music genre labels are useful to organize songs, albums, and artists into broader groups that share similar musical characteristics. In this work, an approach to learn and combine multimodal data representations for music genre classification is proposed. Intermediate representations of deep neural networks are learned from audio tracks, text reviews, and cover art images, and further combined for classification. Experiments on single and multi-label genre classification are then carried out, evaluating the effect of the different learned representations and their combinations. Results on both experiments show how the aggregation of learned representations from different modalities improves the accuracy of the classification, suggesting that different modalities embed complementary information. In addition, the learning of a multimodal feature space increases the performance of pure audio representations, which may be specially relevant when the other modalities are available for training, but not at prediction time. Moreover, a proposed approach for dimensionality reduction of target labels yields major improvements in multi-label classification not only in terms of accuracy, but also in terms of the diversity of the predicted genres, which implies a more fine-grained categorization. Finally, a qualitative analysis of the results sheds some light on the behavior of the different modalities on the classification task. Keywords: information retrieval; deep learning; music; multimodal; multi-label classification 1. -
MAX Maximum Groove Mp3, Flac, Wma
MAX Maximum Groove mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Pop Album: Maximum Groove Country: Hong Kong Released: 1999 Style: J-pop, Europop MP3 version RAR size: 1255 mb FLAC version RAR size: 1643 mb WMA version RAR size: 1694 mb Rating: 4.4 Votes: 286 Other Formats: VOX MP3 VQF DXD AUD MOD APE Tracklist Hide Credits Only One Arranged By, Programmed By, Keyboards – Tomoki IshizukaComposed By – Hideaki 1 4:29 KuwabaraElectric Bass – Takeshi TanedaElectric Guitar – Hiroyuki KomagataLyrics By – Yuuko Ebine 閃光 -ひかり- のVeil Alto Saxophone – Yoshinari TakegamiComposed By, Arranged By, Programmed By, 2 5:01 Keyboards – Kiichi YokoyamaLyrics By – Goro MatsuiPercussion – Motoya HamaguchiSynthesizer – Yasuo Kimoto I'm In Love 3 Composed By, Arranged By, Programmed By, Keyboards – Masataka SasamotoLyrics By – 4:24 Hiromi Mori Getting Over 4 Composed By, Arranged By, Programmed By, Keyboards – Kiichi YokoyamaElectric Guitar – 4:59 Junjiro SekiLyrics By – Goro MatsuiSynthesizer – Hirotoku Houki Sunny Holiday 5 Composed By – Jonas Eriksson, Mattias EliassonLyrics By – David Toball, Sandro Cajander, 3:41 TH OlsenLyrics By [Japanese] – Masato OtaProgrammed By, Keyboards – Eiji Isomura Not Alone 6 Arranged By, Programmed By, Keyboards – Jun AbeComposed By – Hideaki 5:12 KuwabaraLyrics By – Goro Matsui Active For The Love 7 Arranged By, Programmed By, Keyboards – Jun AbeComposed By, Electric Bass – Yasushi 4:43 SasamotoElectric Guitar – Kenji Suzuki Lyrics By – Goro Matsui Private Crime 8 Composed By, Arranged By, Programmed By, Keyboards – Masataka -
Headphone Amplifier for Guitar
Daniil Danilov Headphone Amplifier For Guitar Metropolia University of Applied Sciences Bachelor of Engineering Electronics Degree Programme Bachelor’s Thesis 20 April 2020 Author Daniil Danilov Title Headphone Amplifier For Guitar Number of Pages 51 pages + 1 appendices Date 20 April 2020 Degree Bachelor of Engineering Degree Programme Electronics Professional Major Instructors Matti Fischer, Senior lecturer Tommi Otsavaara, Chief Technology Officer The goal of this project was to design an audio amplifier device in the guitar pedal form factor, which will be used for demonstration purposes of the “Darkglass electronics Oy” Ex- hibitor stand on Winter NAMM 2020 convention in Anaheim, USA. The second aim was to learn and understand research, development, and production processes, how from an idea and general prerequisites create a product, which will meet those requirements, and how various nuances affect those processes and final results. The thesis consists of demonstrating device development sequence as well as device circuit analysis from simulations to board measurements. Simulations were made in LTspice soft- ware. Schematics, PCB design and production documents were created in Altium Designer software. Measurements were made using APx515 Audio Analyzer and oscilloscope. As a result, the device was made on time. It met the requirements, and the project is con- sidered as completed. The device is able to produce a maximum output power of 1 Watt, with a THD+N of 1%. Keywords Amplifier, small signals, PCB design, analog electronics, -
Small Signal Audio Design
Small Signal Audio Design Douglas Self AMSTERDAM BOSTON HEIDELBERG LONDON NEW YORK OXFORD PARIS SAN DIEGO SAN FRANCISCO SINGAPORE SYDNEY TOKYO Focal Press is an imprint of Elsevier Focal Press is an imprint of Elsevier The Boulevard, Langford Lane, Kidlington, Oxford, OX5 1GB, UK 30 Corporate Drive, Suite 400, Burlington, MA 01803, USA First published 2010 Copyright ª 2010 Douglas Self. Published by Elsevier Ltd. All rights reserved. The right of Douglas Self to be identified as the author of this work has been asserted in accordance with the Copyright, Designs and Patents Act 1988 No part of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying, recording, or any information storage and retrieval system, without permission in writing from the publisher. Details on how to seek permission, further information about the Publisher’s permissions policies and our arrangement with organizations such as the Copyright Clearance Center and the Copyright Licensing Agency, can be found at our website: www.elsevier.com/permissions This book and the individual contributions contained in it are protected under copyright by the Publisher (other than as may be noted herein). Notices Knowledge and best practice in this field are constantly changing. As new research and experience broaden our understanding, changes in research methods, professional practices, or medical treatment may become necessary. Practitioners and researchers must always rely on their own experience and knowledge in evaluating and using any information, methods, compounds, or experiments described herein. In using such information or methods they should be mindful of their own safety and the safety of others, including parties for whom they have a professional responsibility. -
Term Paper Rev-5 FINAL Copy Free
An Overview of BiCMOS Analog IC Design M501 Term Paper Stephen H. Lafferty, February, 2007 Some images subject to copyright have been obscured in this copy to comply with copyright law. Contents Introduction .................................................................................................................................... 4 Strengths of Bipolar Junction Transistors (BJT’s) .......................................................................... 5 Noise ......................................................................................................................................... 5 Wideband Noise ..................................................................................................................5 Flicker (1/f) Noise ............................................................................................................... 5 Offset Voltage ........................................................................................................................... 6 Inherent Performance .......................................................................................................... 6 Floating Gate Offset Adjustment ......................................................................................... 7 Bandwidth ................................................................................................................................. 7 Summarizing the Bandwidth Comparison ........................................................................... 9 Transconductance (gm) ............................................................................................................. -
Resistor Testing for Both Excess Noise and Distortion
RESISTOR TEST PROJECT: PART 1- TEST DESIGN Developed with support from: Audio Builders Workshop https://www.audiobuildersworkshop.com/ Rev 3.0 24-Feb-18 Test design Rev 3.0 24-Feb-18 CONTENTS Figures ........................................................................................................................................................................... 3 Summary ........................................................................................................................................................................ 4 The questions ............................................................................................................................................................ 5 Background ................................................................................................................................................................ 5 People ........................................................................................................................................................................ 5 But don’t blame them… ............................................................................................................................................. 6 Component testing ........................................................................................................................................................ 6 Fixture construction......................................................................................................................................................