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| thunderous wind, close waterfall |
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| distant jet, distant thunder, warehouse sliding door |
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| close jet or inside airliner |
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| jet taking off, distant roller coaster |
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| stadium crowd, car on wet road, vacuum cleaner |
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| sizzling grill, escaping steam |
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| tropical rain, water sprinkler, shower |
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| Instrument Fundamentals, High Bass, Low acoustic Guitar, low snare |
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| 1st instrument overtones (instrument boosted, but not naturally) |
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| Mids, nasally, telephoney |
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| brightness, presence, instrument character |
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| brittle, edgy, “rattles my fillings” |
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| “air,” high cymbals, acoustic guitar pick scratch, shakers |
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| MIDI Qualities as compared to Digital Audio |
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Performance Event Data
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Sound Quality Depends on External Sources
Flexible Data Structure
Parts can be individually altered
small storage demands
playback requires synthesizer
limited reproduction of nuances
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| Digital Audio Qualities (as compared to MIDI) |
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| Sampled-sound data Sound Quality inherent in data inflexible data structure parts not easily separated large storage demands playback requires D/A hardware perfect reproduction of nuances |
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| Simple Project Studio Setup |
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Computer goes to MIDI Interface and Audio Interface
Audio goes to mixer (which is connected to the sound module)
MIDI Interface goes to MIDI Controller and to Sound Module |
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| Typical Production Process |
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composition
MIDI sequencing
Record MIDI sequences to digital tracks
add live performance tracks
mix
master
export/encode |
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| Order of History of Music Tech |
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Edison Phonograph
Player Piano
Thermin
Magnetic Tape Recording
LP Record
Moog Commercial Synthesizer
Switched on Back
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| Memory Help Music History |
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| Every Pianist There Made Me Switch Back |
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| Moog Commercial Synthesizer |
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| Direct to Disk Recording*** |
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Higher Quality with no degradation
random access, more efficient production
virtually unlimited tracks
inexpensive, reusable, portable media |
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| Digital Audio Workstation! |
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Direct to Disk Recording***
Graphical Editing Interface
Digital Signal Processing
Share sessions over digital networks
affordable, cost effective recording solution
facilitates integration of visual elements
easy export/ conversion to alternate digital formats |
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Audio
MIDI
Recording/Mixing |
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Digital Samples from 16bit 44kHz up to 24 bit 192 kHz
up to 192 playback tracks, unlimited virtual tracks
digital real editing |
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256 midi tracks
event performance data
external sound modules or internal sound synths |
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| Recording mixing protools spec |
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complete mix control over signal routing, effects processing, dynamic faders, and automation control
store entire session for instant recall
share sessions with other users |
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| changes you make effect other regions on the track |
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| changes you make do not effect other regions on the track |
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| places regions at precise locations |
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| Regions Snap to nearest time increment specified by Grid |
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Audio
MIDI
Auxiliary Input
Instrument
Master Fader |
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| import/ record/ edit of digital audio |
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| import/ record/ edit of MIDI data |
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| used for audio routing, such as effects send or a sub-mix |
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| combines function of MIDI and aux input into single track |
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| controls overall level of the audio tracks |
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| Series of compressions and rarefactions |
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| shape of the sound; from simple sine wave to jagged and complex |
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| height of wave; larger = higher volume |
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| cycles completed per second (hz); higher it is the higher the pitch!
Children hear between 20Hz and 20kHz |
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| 2x the samples per cycle
20 kHz frequency= 40kHz sample rate
higher frequencies require higher sample rates for accurate reproduction (avoids aliasing) |
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discrete snapshots
higher the sample rate= better approximation of original sample |
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| useful dynamic range of music/speech is 40- 105 db = 65 db. |
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| each sample assigned it’s closest amplitude value |
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| 4 bit= 16 different numeric amplitude values |
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8 bit = 48 db
16 bit= 96 db
24 bit = 144 db |
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| Sampling and Bit Depth Tradeoffs |
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Higher sample rate and greater bit depth improve audio quality but at a cost:
Larger sample rate = more data
Higher bit depth = more bits |
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| What does higher sample rates and bit depths equate to |
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larger files and session sizes
greater storage requirements
higher system performance requirements |
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| 1 min of audio storage sizes: |
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| 16bit/48kHz stereo : 11.4 MB
24bit/28kHz stereo : 17 MB |
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| compilation of 16 bit words |
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| 8bit 11khz mono audio file |
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| 8 bit 22khz mono audio file |
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| 16 bit 22khz mono audio file |
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| 16 bit, 44khz, stereo audio file, |
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| 176 KB/sec -> Redbook Audio CD |
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| three types of microphones |
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| dynamic condensor and ribbon |
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rougher response
rugged and reliable
not sensitive to environment
handle high volume w/o distortion
good for guitars/drums/some live vocals
preferred for live events |
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wide, smooth frequency response
detailed sound, especially highs
great low frequency response
sensitive to transients (but you have to be careful)
good for acoustic instruments, studio vocals
delicate
can be mini |
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warm, smooth quality
delicate
good alternative mike to complement condensor mike |
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faders
pan
trim/gain
master fader
aux sends |
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| allows inserting of device directly into signal path |
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| allows sending of signal to external device |
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| allows return of signal from send to mixer |
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conform to visuals, timing restraints
seamless looping or length extension
creates “alt- mixes” without having to go back to mix stage |
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| not an itunes sample!
capture essence of original
get to hook or melody quickly
timing is critical; no room for overshoot
natural beginning/natural ending
maintain energy and momentum to very end |
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| generate signal, usually you can choose the wave type
in a synth |
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| remove unwanted frequencies much like an equalizer (VDF filter in Korg)
in a synth |
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| in a synth
create the attack and release of the sound (VDA- variable digital amplifier) |
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low frequency oscillator
creates vibrato |
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| attack decay sustain release
sound envelope |
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| multiple concurrent voices (notes) |
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| single voice (note) at a time |
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| receives unique data on each channel, allowing it to function as multiple instruments |
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| musical instrument digital interface |
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| communicates performance data between computers, synthesizers, drum machines, controllers, digital mixers, processors, etc
even used for live performance control of multiple instrument settings, external devices, lighting, etc |
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| Devices connected via midi cables |
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| passes midi data to other devices w/o affecting it |
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| How many channels per port? |
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| 16!!! interfaces can have multiple ports |
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note on- note off
velocity
key pressure (after touch)
program change
pitch bend
controllers
song position
sys-ex |
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| Typical MIDI Set Up (begin with keyboard) |
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MIDI Out of piano to MIDI In of sequencer
Out of sequencer to midi in of sound module 1
midi thru of sound module 1 to midi in of sm 2
midi thru of sm 2 to midi in of sm 3
midi thru of sm 3 to midi in of drum machine! |
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| General MIDI or GM is what? |
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| specification for synthesizers which imposes several requirements beyond the more abstract MIDI standard. it attaches certain interpretations to many parameters and control messages which were left unspecified in MIDI, such as defining instrument sounds for each of the 128 program numbers |
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| allows portability of MIDI files across different platforms while retaining fundamental essence of the performance!!! |
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24 voices to be active at the same time
responds to note velocity
support all 16 channels simultaneously
supports polyphony! |
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| To Find how much data a time is in MB? |
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| time * 60sec/min = seconds
seconds * 176 KB/sec (because of 16 44) = KB
1024 KB = 1 MB
KB * (1 MB/ 1024 KB) = Data in MB |
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| coil of wire attached to a diaphragm suspended in a magnetic field
sound vibrates the diaphragm, coil vibrates, generates electric signal |
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thin metal foil/ribbon suspended in a magnetic field
sound waves vibrate ribbon and generate electric signal |
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| how a condensor mic works |
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| conductive diaphragm and metal back plate, charged with static electricity
sound waves vibrate diaphragm, varies space between plates, changing capacitance, which can be detected and translated into electric signal |
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| Two types of condensor mic |
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| what if my condensor mic is not working?! *gasp* |
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| requires battery of phantom power (48 volts DC) |
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| a process which combines together two or more pre-existing elements resulting in the formation of something new |
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| what if i want a basic midi/daw set up? |
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| basic daw set up with a cord from the midi controller to audio mixer |
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portability across multiple platforms
small file size
allows for real time control
allows for collaborative composition
facilitates production cycle during early “exploration” phase |
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| Storage Req for 16 bit 44 kHz. (in MB) |
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| Storage Req. for 24 bit 48 kHz (in MB) |
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| Storage Req for 16 bit 96 kHz |
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| Storage Req for 24 bit 192 kHz |
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| Amplitude signal processors |
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| Compressors, Limiters, Expanders, Noise Gates… |
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| Pitch or Frequency signal processors |
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| EQ, Pitch Shifters, Harmonizers |
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| Reverb, Delay, Chorus, Flangers |
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| Compressors are what and what do they do? |
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| an automatic level control
raises low levels, reduces highest
keeps the average level more uniform and consistent
prevents clipping
makes vocals easier to hear
drums sound fatter
bass/guitars, more sustain |
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| ratio of change of input level to output level 2-1 ratio: every 2dB change in input = 1dB change in output |
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| input level (dB) that compression takes effect. Higher threshold, less of signal affected |
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| time this compressor takes to react to input signal
long one- larger peaks may pass before gain reduction
short one- compressor may miss peak |
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| time it takes for compressor to return to unity after signal has past
short one responds well to music dynamics |
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| input allows reduction of hot input signals; output allows for “makeup gain” (making up for gain reduction of compressor) |
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| keeps peak signals from exceeding preset level; compression ratio: 10-1 or higher; fast attack; high threshold |
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| on-off switch that reduces noise during pauses
reduces gain when signal falls below preset threshold |
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| compresses only high midrange frequencies that contain “S” or “T” etc.
mainly used on vox |
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| used to trigger one channel off another
djs use this |
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| process of enhancing desired frequencies and reducing unwanted frequencies
helps mixes to be cleaner, reduce “mud”, give each instrument their place in the audio spectrum
reduce unwanted noises such as hums or room noise |
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| graph looks flat down right |
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| Up left, flat, down right |
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| space adjuster; adds sense of room acoustics, ambience or environment
creates natural environment since most music is experienced in reflective space |
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| Type or Algorithm (reverb parameter) |
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| simulate reverb pattern of specific room |
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| duration of reverb effect |
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| Pre-Delay (reverb parameter) |
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| HF Cut or Damping (reverb parameter) |
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| sets amount of room absorption |
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| Diffusion (reverb parameter) |
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| sets amount of room scattering |
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| ratio of direct sound to reverb sound |
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Delay
Mix
Feedback
Depth and Rate |
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| time between original sound and echo |
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| ratio of original and effected sound |
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| Feedback (echo parameter) |
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| Depth and Rate (echo parameter) |
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| modulation for chorus effect |
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| a short delay time (15 to 35 ms) is modulated causing delayed signal to bend up and down in pitch |
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| Direct and delayed signals are combined with slight, modulating delay (0-20ms) causing phase interference |
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| General Applications for Ableton |
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| live performance, real time triggering of audio clips, sketching out musical ideas for alternate arrangements
warping audio
key triggers |
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monitor mixer
power amps
speakers
listening environment |
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| flat frequency response is desirable
+/- 4dB between 40Hz and 15kHz |
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| total harmonic distortion under 3% (THD) |
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higher is better
High: 93 dB/W/m;
low: 85 dB/W/m |
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| Equilateral triangle with the proper height. |
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| too much power better than too little
distortion: under .05% at full power
short thick conductor (16 gauge or less) cables to connect |
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| single conductor surrounded by a shield; 1/4″ TS- Phone Jack; RCA connector |
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| two conductors surrounded by shield
Rejects hum better, especially over long runs.
expensive; 3pin XLR; 1/4″ TRS (tip ring sleeve) |
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| 1/4″ TRS -> Split 1/4 ” TS |
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| 2 conductor “lamp/zip” cord |
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| digital audio signal over analog video cable with RCA jacks (consumer version) dual channel over single cable |
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| digital audio signal over analog XLR cable (professional version) dual channel over single cable |
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| Standard PC format, now widely used for proaudio. PCM (pulse code modulated), usually 16bit, 44-48khz, but supports higher bit depths and sample rates.
(uncompressed) |
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Audio Interchange File Format; standard Mac audio file format. Slowly being phased out.
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| Sound Designer II; Digidesign proprietary format. 16bit, 44-48khz, mono/stereo, lossless. Formerly the primary sound file format for Mac based PT systems, now not widely used.
(uncompressed) |
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| Also a PCM format but with no header information. Rarely used except for dedicated applications where file format is predetermined.
(uncompressed) |
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| Broadcast Wave Format; developed by European Broadcast Union as a successor to WAV. Used primarily for multi-track TV and Film production in Europe. Allows metadata in header.
(uncompressed) |
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| MPEG Level 1 Layer-3. Variable compression rates, usually 10:1 or higher. Most prevalent internet audio format.
compressed |
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| Windows Media Audio. Comparable to MP3 in quality, used for both streaming and download. Includes DRM (Digital Rights Management) functionality and lossless version
compressed |
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| Real Audio/Real Media. Similar to WMA in quality and function. Once the internet darling, now being eclipsed by AAC/WMA
compressed |
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| Supports different codecs, but AAC most common. Based on Quicktime, adopted by iTunes, high quality and DRM, now one of most widely used formats (MP4/M4A)
compressed |
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| Standard audio file format used on Unix, Sun and Java applications. Can be uncompressed but usually compressed using u-law, a-law, G729
compressed |
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| Linear Pulse Code Modulated. Uncompressed, lossless. Sample rates of 48-96kHz, 16-24 bits. |
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| Dolby Digital Compression Codec |
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| AC3. Lossy, multi-channel digital audio. Output bitrate from 64kbps up to 448kbps, typically 5.1. Used on almost all commercial DVD releases. |
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| MPEG 1 and MPEG 2 Compression Codec |
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| Multichannel, lossy compression, bitrate from 32kpbs to 912kbps, 384 kbps typical. Alternative to AC3 for DVD Video. |
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| MP3- CBR/VBR Compression Codec |
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| Constant Bit Rate, Variable Bit Rate. Proprietary, so requires royalty payments! |
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| Advanced Audio Codec. Part of MPEG2 and MPEG4 spec, generally better quality than MP3. Multichannel support, usually ~320kbps for 5.1. Used in iPod, Sony Playstation, Nintendo Wii, HDTV. |
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| Apple Lossless Compression Codec – Stored in MP4 container (much like AAC), usually with file extension .m4a. Typically 2:1 compression. Files can be decoded with no loss of audio integrity. |
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| Free Lossless Audio Codec – Similar to ALAC but open source and…free. Similar compression ratios. |
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| Ogg-Vorbis. Some say better quality than MP3. Open source, license free, often used by indy or personal sites |
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| Digital Theater System. Optional, multichannel, lossy, compressed format w/ typical data rates of 754kbps up to ~1520kbps for 5.1. Targeted mostly at theater presentations, though compatible with home systems. |
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| Type of compression
average amount of data transferred per unit of time |
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| type of compression
the rate at which a codec’s output data should be consumed is constant; not the most efficient; best for streaming! |
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| type of compression
vary the amount of output data per time segment; allows for higher bit rate (more storage space) to be allocated to the more complex segments of media files while less space is allocated to less complex segments
produces better quality to space ratio than CBR
takes more time to encode, and not always compatible with target playback |
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