UNIVERSITY OF DUBLIN TRINITY COLLEGE
|
|
- Teresa Gallagher
- 6 years ago
- Views:
Transcription
1 UNIVERSITY OF DUBLIN TRINITY COLLEGE FACULTY OF ENGINEERING & SYSTEMS SCIENCES School of Engineering and SCHOOL OF MUSIC Postgraduate Diploma in Music and Media Technologies Hilary Term 31 st January 2005 Printing House Psychoacoustics 1 Dr. D. J. Furlong Please answer Section A (40%) and any 3 questions from Section B (60%)
2 Section A (40%) Q.1 For each of the questions below, please answer True or False with a short accompanying note to clearly explain your answer. (4 marks per question) (vi) (vii) (viii) (ix) (x) Beats occur when two signals with similar frequencies are combined. However, the perception of beats can be altered by adjusting the relative phase of the two signals. Due to the insensitivity of the ear to relative phase, the time differences that might arise from different positioning of multiple microphones around a single instrument will not influence the timbre of a recording generated from a mix of these microphone signals. Fourier analysis provides details of frequency component amplitudes for periodic waveforms. However, application to aperiodic waveforms suffers from limitations in frequency resolution. Perceived loudness of a complex tone is influenced by the frequency of the fundamental. The scale of perceived loudness has a span of approximately 96dB. However, musical dynamics exploit only a fraction of this. The frequency range of musically identifiable pitch extends to approximately 20kHz in normal hearing, but further for some individuals. A tonal complex consisting of equal amplitude 220Hz, 330Hz, and 440Hz tones will be perceived to have identical pitch, but different timbre, to a single pure tone at 220Hz. However, the perceived pitch would be significantly affected by increasing each of the component frequency values by 20Hz. Because the ear is maximally sensitive in the 3-4kHz region, we are much more likely to detect a 5Hz change in frequency in this region as compared to lower or higher spectral regions. Time reversal of a note waveform results in an alteration to the spectrum which manifests as a timbre change. Variations over time in the amplitude characteristic of any individual harmonic component will allow it to be heard out in a tonal complex, and consequently alter the timbre of the tonal complex.
3 Section B (60%) Q.2 Explain, using diagrams, the meaning of Simple Harmonic Motion in the context of acoustical waveforms. How does Simple Harmonic Motion relate to sine waves? Using diagrams, explain clearly the meaning of waveform frequency, amplitude and phase. What is the difference between longitudinal and transverse waveforms? What is meant by waveform wavelength? A waveform has a periodic time of T = sec/cycle. What is its wavelength? A spectrogram is a joint time-frequency representation of a sampled signal waveform. Explain this statement. What is meant by window length in this context? How might window length influence time and/or frequency resolution in spectrogram presentation? Sketch Spectrograms for the following signals: a. Constant amplitude sine wave at 110Hz with duration of 1 sec. b. 1 sec. duration complex tone consisting of sine wave components at 55, 256, and 512Hz, with ramping amplitude increase. c. 1 sec. duration sine wave with fixed amplitude with frequency increase from 110Hz to 220Hz. (8 marks)
4 Q.3 Explain clearly the difference between sound intensity and sound pressure level? If the minimum sound pressure level detectable is given by P 0 = 2 * 10 5 N/m 2 what is the sound pressure level in dbs corresponding to a measured pressure of P 1 = N/m 2? Why does the Weber-Fechner Law imply that loudness perception will be logarithmic? Audio amplifiers often have a Loudness switch. By referring to the Fletcher-Munson curves, explain when such a switch should be used and why? Using diagrams, explain the fundamental principles of dynamic range compression as used in studio production. (6 marks)
5 Q.4 Explain the relationship between waveform frequency and perceived pitch with particular reference to differences between sine wave and complex waveform stimuli. What are the stimulus characteristics required for perception of well defined pitch? What is meant by virtual pitch? Under what circumstances does this phenomenon occur? In what way does virtual pitch relate to Rameau s theory of Fundamental Bass? (vi) Explain what is meant by Just Noticeable Differences (JNDs) for pitch perception. How might JND influence the determination of pitch scales for musical use? How does Pitch categorisation contribute to scale design? Explain the phenomenon of the Shepard-Risset illusion of continuously rising pitch.
6 Q.5 Explain what is meant by the modes of vibration of a physical system. In the case of a vibrating string, why does the position at which the a string is plucked influence the harmonic components that are produced? Why do the modes of vibration of both strings and musical instrument bodies play a significant role in the specification of both steady-state and transient characteristics of musical waveforms? Explain what is meant by modal resonance Q-factor. What is relationship between Q-factor, coupling, and damping in a source-filter modelled system? Give musically relevant examples of high and low Q-factor resonances. What is meant by a formant? Explain how formant characteristics help define the identifiable timbre of a musical instrument as it is played in different registers.
7 Q.6 The investigation of timbre in the late 20 th century has lead to a reevaluation of the physical parameters which contribute to timbre recognition. The understanding of timbre which has emerged from these investigations has contributed greatly to the efficient digital synthesis of musical timbres. Discuss this statement with reference to: a. The Classical conception of timbre; b. Problems relating to the Classical conception arising from observations of note transients and formant characteristics; c. Identification of significant dimensions of timbre using multidimensional scaling techniques; (6 marks) d. The concepts of timbre space and timbre morphing. e. Effective simplifications of timbre representation for resynthesis;
Simple Harmonic Motion: What is a Sound Spectrum?
Simple Harmonic Motion: What is a Sound Spectrum? A sound spectrum displays the different frequencies present in a sound. Most sounds are made up of a complicated mixture of vibrations. (There is an introduction
More informationMusical Acoustics Lecture 15 Pitch & Frequency (Psycho-Acoustics)
1 Musical Acoustics Lecture 15 Pitch & Frequency (Psycho-Acoustics) Pitch Pitch is a subjective characteristic of sound Some listeners even assign pitch differently depending upon whether the sound was
More informationCTP 431 Music and Audio Computing. Basic Acoustics. Graduate School of Culture Technology (GSCT) Juhan Nam
CTP 431 Music and Audio Computing Basic Acoustics Graduate School of Culture Technology (GSCT) Juhan Nam 1 Outlines What is sound? Generation Propagation Reception Sound properties Loudness Pitch Timbre
More informationPitch. The perceptual correlate of frequency: the perceptual dimension along which sounds can be ordered from low to high.
Pitch The perceptual correlate of frequency: the perceptual dimension along which sounds can be ordered from low to high. 1 The bottom line Pitch perception involves the integration of spectral (place)
More informationWe realize that this is really small, if we consider that the atmospheric pressure 2 is
PART 2 Sound Pressure Sound Pressure Levels (SPLs) Sound consists of pressure waves. Thus, a way to quantify sound is to state the amount of pressure 1 it exertsrelatively to a pressure level of reference.
More informationI. LISTENING. For most people, sound is background only. To the sound designer/producer, sound is everything.!tc 243 2
To use sound properly, and fully realize its power, we need to do the following: (1) listen (2) understand basics of sound and hearing (3) understand sound's fundamental effects on human communication
More informationUsing the new psychoacoustic tonality analyses Tonality (Hearing Model) 1
02/18 Using the new psychoacoustic tonality analyses 1 As of ArtemiS SUITE 9.2, a very important new fully psychoacoustic approach to the measurement of tonalities is now available., based on the Hearing
More informationCTP431- Music and Audio Computing Musical Acoustics. Graduate School of Culture Technology KAIST Juhan Nam
CTP431- Music and Audio Computing Musical Acoustics Graduate School of Culture Technology KAIST Juhan Nam 1 Outlines What is sound? Physical view Psychoacoustic view Sound generation Wave equation Wave
More informationPSYCHOACOUSTICS & THE GRAMMAR OF AUDIO (By Steve Donofrio NATF)
PSYCHOACOUSTICS & THE GRAMMAR OF AUDIO (By Steve Donofrio NATF) "The reason I got into playing and producing music was its power to travel great distances and have an emotional impact on people" Quincey
More informationPitch Perception and Grouping. HST.723 Neural Coding and Perception of Sound
Pitch Perception and Grouping HST.723 Neural Coding and Perception of Sound Pitch Perception. I. Pure Tones The pitch of a pure tone is strongly related to the tone s frequency, although there are small
More informationTempo and Beat Analysis
Advanced Course Computer Science Music Processing Summer Term 2010 Meinard Müller, Peter Grosche Saarland University and MPI Informatik meinard@mpi-inf.mpg.de Tempo and Beat Analysis Musical Properties:
More informationAnalysis, Synthesis, and Perception of Musical Sounds
Analysis, Synthesis, and Perception of Musical Sounds The Sound of Music James W. Beauchamp Editor University of Illinois at Urbana, USA 4y Springer Contents Preface Acknowledgments vii xv 1. Analysis
More information2. AN INTROSPECTION OF THE MORPHING PROCESS
1. INTRODUCTION Voice morphing means the transition of one speech signal into another. Like image morphing, speech morphing aims to preserve the shared characteristics of the starting and final signals,
More information2018 Fall CTP431: Music and Audio Computing Fundamentals of Musical Acoustics
2018 Fall CTP431: Music and Audio Computing Fundamentals of Musical Acoustics Graduate School of Culture Technology, KAIST Juhan Nam Outlines Introduction to musical tones Musical tone generation - String
More informationDigital audio and computer music. COS 116, Spring 2012 Guest lecture: Rebecca Fiebrink
Digital audio and computer music COS 116, Spring 2012 Guest lecture: Rebecca Fiebrink Overview 1. Physics & perception of sound & music 2. Representations of music 3. Analyzing music with computers 4.
More informationDigital music synthesis using DSP
Digital music synthesis using DSP Rahul Bhat (124074002), Sandeep Bhagwat (123074011), Gaurang Naik (123079009), Shrikant Venkataramani (123079042) DSP Application Assignment, Group No. 4 Department of
More informationPitch Perception. Roger Shepard
Pitch Perception Roger Shepard Pitch Perception Ecological signals are complex not simple sine tones and not always periodic. Just noticeable difference (Fechner) JND, is the minimal physical change detectable
More informationThe Physics Of Sound. Why do we hear what we hear? (Turn on your speakers)
The Physics Of Sound Why do we hear what we hear? (Turn on your speakers) Sound is made when something vibrates. The vibration disturbs the air around it. This makes changes in air pressure. These changes
More informationGetting Started with the LabVIEW Sound and Vibration Toolkit
1 Getting Started with the LabVIEW Sound and Vibration Toolkit This tutorial is designed to introduce you to some of the sound and vibration analysis capabilities in the industry-leading software tool
More informationNote on Posted Slides. Noise and Music. Noise and Music. Pitch. PHY205H1S Physics of Everyday Life Class 15: Musical Sounds
Note on Posted Slides These are the slides that I intended to show in class on Tue. Mar. 11, 2014. They contain important ideas and questions from your reading. Due to time constraints, I was probably
More informationMeasurement of overtone frequencies of a toy piano and perception of its pitch
Measurement of overtone frequencies of a toy piano and perception of its pitch PACS: 43.75.Mn ABSTRACT Akira Nishimura Department of Media and Cultural Studies, Tokyo University of Information Sciences,
More information9.35 Sensation And Perception Spring 2009
MIT OpenCourseWare http://ocw.mit.edu 9.35 Sensation And Perception Spring 29 For information about citing these materials or our Terms of Use, visit: http://ocw.mit.edu/terms. Hearing Kimo Johnson April
More informationDAT335 Music Perception and Cognition Cogswell Polytechnical College Spring Week 6 Class Notes
DAT335 Music Perception and Cognition Cogswell Polytechnical College Spring 2009 Week 6 Class Notes Pitch Perception Introduction Pitch may be described as that attribute of auditory sensation in terms
More informationMultimedia Systems Giorgio Leonardi A.A Lecture 2: A brief history of image and sound recording and storage
Multimedia Systems Giorgio Leonardi A.A.2014-2015 Lecture 2: A brief history of image and sound recording and storage Overview Course page (D.I.R.): https://disit.dir.unipmn.it/course/view.php?id=639 Consulting:
More informationPsychoacoustics. lecturer:
Psychoacoustics lecturer: stephan.werner@tu-ilmenau.de Block Diagram of a Perceptual Audio Encoder loudness critical bands masking: frequency domain time domain binaural cues (overview) Source: Brandenburg,
More informationPHYSICS OF MUSIC. 1.) Charles Taylor, Exploring Music (Music Library ML3805 T )
REFERENCES: 1.) Charles Taylor, Exploring Music (Music Library ML3805 T225 1992) 2.) Juan Roederer, Physics and Psychophysics of Music (Music Library ML3805 R74 1995) 3.) Physics of Sound, writeup in this
More informationOur Perceptions of Music: Why Does the Theme from Jaws Sound Like a Big Scary Shark?
# 26 Our Perceptions of Music: Why Does the Theme from Jaws Sound Like a Big Scary Shark? Dr. Bob Duke & Dr. Eugenia Costa-Giomi October 24, 2003 Produced by and for Hot Science - Cool Talks by the Environmental
More informationPhysics. Approximate Timeline. Students are expected to keep up with class work when absent.
Physics Approximate Timeline Students are expected to keep up with class work when absent. CHAPTER 15 SOUND Day Plans for the day Assignments for the day 1 15.1 Properties & Detection of Sound Assignment
More informationBBN ANG 141 Foundations of phonology Phonetics 3: Acoustic phonetics 1
BBN ANG 141 Foundations of phonology Phonetics 3: Acoustic phonetics 1 Zoltán Kiss Dept. of English Linguistics, ELTE z. kiss (elte/delg) intro phono 3/acoustics 1 / 49 Introduction z. kiss (elte/delg)
More informationThe Research of Controlling Loudness in the Timbre Subjective Perception Experiment of Sheng
The Research of Controlling Loudness in the Timbre Subjective Perception Experiment of Sheng S. Zhu, P. Ji, W. Kuang and J. Yang Institute of Acoustics, CAS, O.21, Bei-Si-huan-Xi Road, 100190 Beijing,
More informationQuarterly Progress and Status Report. Violin timbre and the picket fence
Dept. for Speech, Music and Hearing Quarterly Progress and Status Report Violin timbre and the picket fence Jansson, E. V. journal: STL-QPSR volume: 31 number: 2-3 year: 1990 pages: 089-095 http://www.speech.kth.se/qpsr
More informationHST 725 Music Perception & Cognition Assignment #1 =================================================================
HST.725 Music Perception and Cognition, Spring 2009 Harvard-MIT Division of Health Sciences and Technology Course Director: Dr. Peter Cariani HST 725 Music Perception & Cognition Assignment #1 =================================================================
More informationLecture 1: What we hear when we hear music
Lecture 1: What we hear when we hear music What is music? What is sound? What makes us find some sounds pleasant (like a guitar chord) and others unpleasant (a chainsaw)? Sound is variation in air pressure.
More informationHARMONIC ANALYSIS OF ACOUSTIC WAVES
Practical No3 HARMONIC ANALYSIS OF ACOUSTIC WAVES Equipment 1. Analog part: spectrum analyzer, acoustic generator, microphone, headphones. 2. Digital part: PC with sound card, microphone and loudspeaker.
More informationMusic Representations
Lecture Music Processing Music Representations Meinard Müller International Audio Laboratories Erlangen meinard.mueller@audiolabs-erlangen.de Book: Fundamentals of Music Processing Meinard Müller Fundamentals
More informationDiamond Cut Productions / Application Notes AN-2
Diamond Cut Productions / Application Notes AN-2 Using DC5 or Live5 Forensics to Measure Sound Card Performance without External Test Equipment Diamond Cuts DC5 and Live5 Forensics offers a broad suite
More informationA Matlab toolbox for. Characterisation Of Recorded Underwater Sound (CHORUS) USER S GUIDE
Centre for Marine Science and Technology A Matlab toolbox for Characterisation Of Recorded Underwater Sound (CHORUS) USER S GUIDE Version 5.0b Prepared for: Centre for Marine Science and Technology Prepared
More informationAdvance Certificate Course In Audio Mixing & Mastering.
Advance Certificate Course In Audio Mixing & Mastering. CODE: SIA-ACMM16 For Whom: Budding Composers/ Music Producers. Assistant Engineers / Producers Working Engineers. Anyone, who has done the basic
More informationThe Tone Height of Multiharmonic Sounds. Introduction
Music-Perception Winter 1990, Vol. 8, No. 2, 203-214 I990 BY THE REGENTS OF THE UNIVERSITY OF CALIFORNIA The Tone Height of Multiharmonic Sounds ROY D. PATTERSON MRC Applied Psychology Unit, Cambridge,
More informationTempo and Beat Tracking
Tutorial Automatisierte Methoden der Musikverarbeitung 47. Jahrestagung der Gesellschaft für Informatik Tempo and Beat Tracking Meinard Müller, Christof Weiss, Stefan Balke International Audio Laboratories
More informationAN ARTISTIC TECHNIQUE FOR AUDIO-TO-VIDEO TRANSLATION ON A MUSIC PERCEPTION STUDY
AN ARTISTIC TECHNIQUE FOR AUDIO-TO-VIDEO TRANSLATION ON A MUSIC PERCEPTION STUDY Eugene Mikyung Kim Department of Music Technology, Korea National University of Arts eugene@u.northwestern.edu ABSTRACT
More informationSound ASSIGNMENT. (i) Only... bodies produce sound. EDULABZ. (ii) Sound needs a... medium for its propagation.
Sound ASSIGNMENT 1. Fill in the blank spaces, by choosing the correct words from the list given below : List : loudness, vibrating, music, material, decibel, zero, twenty hertz, reflect, absorb, increases,
More informationSyllabus: PHYS 1300 Introduction to Musical Acoustics Fall 20XX
Syllabus: PHYS 1300 Introduction to Musical Acoustics Fall 20XX Instructor: Professor Alex Weiss Office: 108 Science Hall (Physics Main Office) Hours: Immediately after class Box: 19059 Phone: 817-272-2266
More informationTemporal Envelope and Periodicity Cues on Musical Pitch Discrimination with Acoustic Simulation of Cochlear Implant
Temporal Envelope and Periodicity Cues on Musical Pitch Discrimination with Acoustic Simulation of Cochlear Implant Lichuan Ping 1, 2, Meng Yuan 1, Qinglin Meng 1, 2 and Haihong Feng 1 1 Shanghai Acoustics
More informationS I N E V I B E S FRACTION AUDIO SLICING WORKSTATION
S I N E V I B E S FRACTION AUDIO SLICING WORKSTATION INTRODUCTION Fraction is a plugin for deep on-the-fly remixing and mangling of sound. It features 8x independent slicers which record and repeat short
More informationPitch-Synchronous Spectrogram: Principles and Applications
Pitch-Synchronous Spectrogram: Principles and Applications C. Julian Chen Department of Applied Physics and Applied Mathematics May 24, 2018 Outline The traditional spectrogram Observations with the electroglottograph
More informationLaboratory Assignment 3. Digital Music Synthesis: Beethoven s Fifth Symphony Using MATLAB
Laboratory Assignment 3 Digital Music Synthesis: Beethoven s Fifth Symphony Using MATLAB PURPOSE In this laboratory assignment, you will use MATLAB to synthesize the audio tones that make up a well-known
More informationMusic Representations
Advanced Course Computer Science Music Processing Summer Term 00 Music Representations Meinard Müller Saarland University and MPI Informatik meinard@mpi-inf.mpg.de Music Representations Music Representations
More informationSpectral Sounds Summary
Marco Nicoli colini coli Emmanuel Emma manuel Thibault ma bault ult Spectral Sounds 27 1 Summary Y they listen to music on dozens of devices, but also because a number of them play musical instruments
More informationMusic 170: Wind Instruments
Music 170: Wind Instruments Tamara Smyth, trsmyth@ucsd.edu Department of Music, University of California, San Diego (UCSD) December 4, 27 1 Review Question Question: A 440-Hz sinusoid is traveling in the
More informationMusic 175: Psychoacoustics Spring 2018
Music 175: Psychoacoustics Spring 2018 Tamara Smyth, trsmyth@ucsd.edu Department of Music, University of California, San Diego (UCSD) May 10, 2018 Course Information Teaching Assistant Jennifer S Hsu jsh008@ucsd.edu
More informationNOVEL DESIGNER PLASTIC TRUMPET BELLS FOR BRASS INSTRUMENTS: EXPERIMENTAL COMPARISONS
NOVEL DESIGNER PLASTIC TRUMPET BELLS FOR BRASS INSTRUMENTS: EXPERIMENTAL COMPARISONS Dr. David Gibson Birmingham City University Faculty of Computing, Engineering and the Built Environment Millennium Point,
More informationAPPROXIMATING HARMONIC AMPLITUDE ENVELOPES OF MUSICAL INSTRUMENT SOUNDS WITH PRINCIPAL COMPONENT ANALYSIS. Robert G. Laughlin
APPROXIMATING HARMONIC AMPLITUDE ENVELOPES OF MUSICAL INSTRUMENT SOUNDS WITH PRINCIPAL COMPONENT ANALYSIS Robert G. Laughlin B.Sc. Carleton University 1972 A THESIS SUBMITTED IN PARTIAL FULFILLMENT OF
More informationSOUND LABORATORY LING123: SOUND AND COMMUNICATION
SOUND LABORATORY LING123: SOUND AND COMMUNICATION In this assignment you will be using the Praat program to analyze two recordings: (1) the advertisement call of the North American bullfrog; and (2) the
More informationLOUDNESS EFFECT OF THE DIFFERENT TONES ON THE TIMBRE SUBJECTIVE PERCEPTION EXPERIMENT OF ERHU
The 21 st International Congress on Sound and Vibration 13-17 July, 2014, Beijing/China LOUDNESS EFFECT OF THE DIFFERENT TONES ON THE TIMBRE SUBJECTIVE PERCEPTION EXPERIMENT OF ERHU Siyu Zhu, Peifeng Ji,
More informationConcert halls conveyors of musical expressions
Communication Acoustics: Paper ICA216-465 Concert halls conveyors of musical expressions Tapio Lokki (a) (a) Aalto University, Dept. of Computer Science, Finland, tapio.lokki@aalto.fi Abstract: The first
More informationCSC475 Music Information Retrieval
CSC475 Music Information Retrieval Monophonic pitch extraction George Tzanetakis University of Victoria 2014 G. Tzanetakis 1 / 32 Table of Contents I 1 Motivation and Terminology 2 Psychacoustics 3 F0
More informationLecture 2 What we hear: Basic dimensions of auditory experience
Harvard-MIT Division of Health Sciences and Technology HST.725: Music Perception and Cognition Prof. Peter Cariani HST 725 Music Perception & Cognition Lecture 2 What we hear: Basic dimensions of auditory
More informationAugust Acoustics and Psychoacoustics Barbara Crowe Music Therapy Director. Notes from BC s copyrighted materials for IHTP
The Physics of Sound and Sound Perception Sound is a word of perception used to report the aural, psychological sensation of physical vibration Vibration is any form of to-and-fro motion To perceive sound
More informationM u s i c T h e o r y f o r S o u n d E n g i n e e r i n g ( 1 1 A )
9 1 6 7 M u s i c T h e o r y f o r S o u n d E n g i n e e r i n g ( 1 1 A ) 30S/30E/30M A Sound Engineering Course 9 1 6 7 : M u s i c T h e o r y f o r S o u n d E n g i n e e r i n g ( 1 1 A ) 3 0
More informationCHAPTER 20.2 SPEECH AND MUSICAL SOUNDS
Source: STANDARD HANDBOOK OF ELECTRONIC ENGINEERING CHAPTER 20.2 SPEECH AND MUSICAL SOUNDS Daniel W. Martin, Ronald M. Aarts SPEECH SOUNDS Speech Level and Spectrum Both the sound-pressure level and the
More informationLab P-6: Synthesis of Sinusoidal Signals A Music Illusion. A k cos.! k t C k / (1)
DSP First, 2e Signal Processing First Lab P-6: Synthesis of Sinusoidal Signals A Music Illusion Pre-Lab: Read the Pre-Lab and do all the exercises in the Pre-Lab section prior to attending lab. Verification:
More informationRobert Alexandru Dobre, Cristian Negrescu
ECAI 2016 - International Conference 8th Edition Electronics, Computers and Artificial Intelligence 30 June -02 July, 2016, Ploiesti, ROMÂNIA Automatic Music Transcription Software Based on Constant Q
More informationTongArk: a Human-Machine Ensemble
TongArk: a Human-Machine Ensemble Prof. Alexey Krasnoskulov, PhD. Department of Sound Engineering and Information Technologies, Piano Department Rostov State Rakhmaninov Conservatoire, Russia e-mail: avk@soundworlds.net
More informationUNIT 1: QUALITIES OF SOUND. DURATION (RHYTHM)
UNIT 1: QUALITIES OF SOUND. DURATION (RHYTHM) 1. SOUND, NOISE AND SILENCE Essentially, music is sound. SOUND is produced when an object vibrates and it is what can be perceived by a living organism through
More informationWelcome to Vibrationdata
Welcome to Vibrationdata Acoustics Shock Vibration Signal Processing February 2004 Newsletter Greetings Feature Articles Speech is perhaps the most important characteristic that distinguishes humans from
More informationADSR AMP. ENVELOPE. Moog Music s Guide To Analog Synthesized Percussion. The First Step COMMON VOLUME ENVELOPES
Moog Music s Guide To Analog Synthesized Percussion Creating tones for reproducing the family of instruments in which sound arises from the striking of materials with sticks, hammers, or the hands. The
More informationCh. 1: Audio/Image/Video Fundamentals Multimedia Systems. School of Electrical Engineering and Computer Science Oregon State University
Ch. 1: Audio/Image/Video Fundamentals Multimedia Systems Prof. Ben Lee School of Electrical Engineering and Computer Science Oregon State University Outline Computer Representation of Audio Quantization
More informationHugo Technology. An introduction into Rob Watts' technology
Hugo Technology An introduction into Rob Watts' technology Copyright Rob Watts 2014 About Rob Watts Audio chip designer both analogue and digital Consultant to silicon chip manufacturers Designer of Chord
More informationDERIVING A TIMBRE SPACE FOR THREE TYPES OF COMPLEX TONES VARYING IN SPECTRAL ROLL-OFF
DERIVING A TIMBRE SPACE FOR THREE TYPES OF COMPLEX TONES VARYING IN SPECTRAL ROLL-OFF William L. Martens 1, Mark Bassett 2 and Ella Manor 3 Faculty of Architecture, Design and Planning University of Sydney,
More informationQuest Chapter 26. Flying bees buzz. What could they be doing that generates sound? What type of wave is sound?
1 Why do flying bees buzz? 1. They have special wings that make sounds. 2. The buzz comes from their heads. They make a buzzing noise to communicate with each other. 3. They move their wings at audible
More informationCymatic: a real-time tactile-controlled physical modelling musical instrument
19 th INTERNATIONAL CONGRESS ON ACOUSTICS MADRID, 2-7 SEPTEMBER 2007 Cymatic: a real-time tactile-controlled physical modelling musical instrument PACS: 43.75.-z Howard, David M; Murphy, Damian T Audio
More informationCM3106 Solutions. Do not turn this page over until instructed to do so by the Senior Invigilator.
CARDIFF UNIVERSITY EXAMINATION PAPER Academic Year: 2013/2014 Examination Period: Examination Paper Number: Examination Paper Title: Duration: Autumn CM3106 Solutions Multimedia 2 hours Do not turn this
More informationInstrument Recognition in Polyphonic Mixtures Using Spectral Envelopes
Instrument Recognition in Polyphonic Mixtures Using Spectral Envelopes hello Jay Biernat Third author University of Rochester University of Rochester Affiliation3 words jbiernat@ur.rochester.edu author3@ismir.edu
More informationLoudness and Sharpness Calculation
10/16 Loudness and Sharpness Calculation Psychoacoustics is the science of the relationship between physical quantities of sound and subjective hearing impressions. To examine these relationships, physical
More informationMath and Music: The Science of Sound
Math and Music: The Science of Sound Gareth E. Roberts Department of Mathematics and Computer Science College of the Holy Cross Worcester, MA Topics in Mathematics: Math and Music MATH 110 Spring 2018
More informationMusic 175: Pitch II. Tamara Smyth, Department of Music, University of California, San Diego (UCSD) June 2, 2015
Music 175: Pitch II Tamara Smyth, trsmyth@ucsd.edu Department of Music, University of California, San Diego (UCSD) June 2, 2015 1 Quantifying Pitch Logarithms We have seen several times so far that what
More informationPhysics and Neurophysiology of Hearing
Physics and Neurophysiology of Hearing H.G. Dosch, Inst. Theor. Phys. Heidelberg I Signal and Percept II The Physics of the Ear III From the Ear to the Cortex IV Electrophysiology Part I: Signal and Percept
More informationA Need for Universal Audio Terminologies and Improved Knowledge Transfer to the Consumer
A Need for Universal Audio Terminologies and Improved Knowledge Transfer to the Consumer Rob Toulson Anglia Ruskin University, Cambridge Conference 8-10 September 2006 Edinburgh University Summary Three
More informationHow to Obtain a Good Stereo Sound Stage in Cars
Page 1 How to Obtain a Good Stereo Sound Stage in Cars Author: Lars-Johan Brännmark, Chief Scientist, Dirac Research First Published: November 2017 Latest Update: November 2017 Designing a sound system
More informationMONITORING AND ANALYSIS OF VIBRATION SIGNAL BASED ON VIRTUAL INSTRUMENTATION
MONITORING AND ANALYSIS OF VIBRATION SIGNAL BASED ON VIRTUAL INSTRUMENTATION Abstract Sunita Mohanta 1, Umesh Chandra Pati 2 Post Graduate Scholar, NIT Rourkela, India 1 Associate Professor, NIT Rourkela,
More informationVibration Measurement and Analysis
Measurement and Analysis Why Analysis Spectrum or Overall Level Filters Linear vs. Log Scaling Amplitude Scales Parameters The Detector/Averager Signal vs. System analysis The Measurement Chain Transducer
More informationChapter 1. Introduction to Digital Signal Processing
Chapter 1 Introduction to Digital Signal Processing 1. Introduction Signal processing is a discipline concerned with the acquisition, representation, manipulation, and transformation of signals required
More informationSound design strategy for enhancing subjective preference of EV interior sound
Sound design strategy for enhancing subjective preference of EV interior sound Doo Young Gwak 1, Kiseop Yoon 2, Yeolwan Seong 3 and Soogab Lee 4 1,2,3 Department of Mechanical and Aerospace Engineering,
More informationWhat do we hope to measure?
Impact of excitation and acoustic conditions on the accuracy of directivity measurements, Sebastià V. Amengual Garí Detmold University of Music Erich Thienhaus Institute What do we hope to measure? A:
More informationMaking music with voice. Distinguished lecture, CIRMMT Jan 2009, Copyright Johan Sundberg
Making music with voice MENU: A: The instrument B: Getting heard C: Expressivity The instrument Summary RADIATED SPECTRUM Level Frequency Velum VOCAL TRACT Frequency curve Formants Level Level Frequency
More informationMusic Source Separation
Music Source Separation Hao-Wei Tseng Electrical and Engineering System University of Michigan Ann Arbor, Michigan Email: blakesen@umich.edu Abstract In popular music, a cover version or cover song, or
More informationReal-Time Spectrogram (RTS tm )
Real-Time Spectrogram (RTS tm ) View, edit and measure digital sound files The Real-Time Spectrogram (RTS tm ) displays the time-aligned spectrogram and waveform of a continuous sound file. The RTS can
More informationHidden melody in music playing motion: Music recording using optical motion tracking system
PROCEEDINGS of the 22 nd International Congress on Acoustics General Musical Acoustics: Paper ICA2016-692 Hidden melody in music playing motion: Music recording using optical motion tracking system Min-Ho
More informationJaw Harp: An Acoustic Study. Acoustical Physics of Music Spring 2015 Simon Li
Jaw Harp: An Acoustic Study Acoustical Physics of Music Spring 2015 Simon Li Introduction: The jaw harp, or Jew s trump, is one of the earliest non percussion instruments, dating back to 400 BCE in parts
More informationEE391 Special Report (Spring 2005) Automatic Chord Recognition Using A Summary Autocorrelation Function
EE391 Special Report (Spring 25) Automatic Chord Recognition Using A Summary Autocorrelation Function Advisor: Professor Julius Smith Kyogu Lee Center for Computer Research in Music and Acoustics (CCRMA)
More informationUNIT-3 Part A. 2. What is radio sonde? [ N/D-16]
UNIT-3 Part A 1. What is CFAR loss? [ N/D-16] Constant false alarm rate (CFAR) is a property of threshold or gain control devices that maintain an approximately constant rate of false target detections
More informationONLINE ACTIVITIES FOR MUSIC INFORMATION AND ACOUSTICS EDUCATION AND PSYCHOACOUSTIC DATA COLLECTION
ONLINE ACTIVITIES FOR MUSIC INFORMATION AND ACOUSTICS EDUCATION AND PSYCHOACOUSTIC DATA COLLECTION Travis M. Doll Ray V. Migneco Youngmoo E. Kim Drexel University, Electrical & Computer Engineering {tmd47,rm443,ykim}@drexel.edu
More informationInternational Journal of Computer Architecture and Mobility (ISSN ) Volume 1-Issue 7, May 2013
Carnatic Swara Synthesizer (CSS) Design for different Ragas Shruti Iyengar, Alice N Cheeran Abstract Carnatic music is one of the oldest forms of music and is one of two main sub-genres of Indian Classical
More informationAuthor Index. Absolu, Brandt 165. Montecchio, Nicola 187 Mukherjee, Bhaswati 285 Müllensiefen, Daniel 365. Bay, Mert 93
Author Index Absolu, Brandt 165 Bay, Mert 93 Datta, Ashoke Kumar 285 Dey, Nityananda 285 Doraisamy, Shyamala 391 Downie, J. Stephen 93 Ehmann, Andreas F. 93 Esposito, Roberto 143 Gerhard, David 119 Golzari,
More informationCreative Computing II
Creative Computing II Christophe Rhodes c.rhodes@gold.ac.uk Autumn 2010, Wednesdays: 10:00 12:00: RHB307 & 14:00 16:00: WB316 Winter 2011, TBC The Ear The Ear Outer Ear Outer Ear: pinna: flap of skin;
More informationOutline ip24 ipad app user guide. App release 2.1
Outline ip24 ipad app user guide App release 2.1 Project Management Search project by name, place and description Delete project Order projects by date Order projects by date (reverse order) Order projects
More informationFraction by Sinevibes audio slicing workstation
Fraction by Sinevibes audio slicing workstation INTRODUCTION Fraction is an effect plugin for deep real-time manipulation and re-engineering of sound. It features 8 slicers which record and repeat the
More informationadvanced spectral processing
advanced spectral processing Jordi Janer Music Technology Group Universitat Pompeu Fabra, Barcelona jordi.janer @ upf.edu CDSIM UPF May 2014 hkp://mtg.upf.edu/ Outline 1. IntroducNon to spectral processing
More informationTHE importance of music content analysis for musical
IEEE TRANSACTIONS ON AUDIO, SPEECH, AND LANGUAGE PROCESSING, VOL. 15, NO. 1, JANUARY 2007 333 Drum Sound Recognition for Polyphonic Audio Signals by Adaptation and Matching of Spectrogram Templates With
More information