Learn Music Technology/Audio Recording at Home

Started by Elantric, April 07, 2008, 05:01:51 PM

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admin

https://people.ece.cornell.edu/land/PROJECTS/Koe/index.html


Koé is a high-level, block diagram, data-flow language intended to simulate plug programmable audio gear in a teaching environment. A designer might drag an icon of a sine wave generator into a design area, drag an oscilloscope into the design area, then wire them together by dragging a wire between them. The intention is that real world skills should transfer to/from Koé. A basic set of draggable modules can be combined (with wires) to produce a large range of interesting audio experiments. Basic modules include

sine/triangle/square/noise generators
inputs from sound files and real time sounds from a microphone
outputs to sound files and real time to computer speakers
programmable gain amplifier (4-quadrant multiplier with additive offset)
IIR and FIR filters to support low/high/band pass filters
random number generators for randomizing trials
switches which can be controlled by a human or by the program
modules to compute mathematical functions
modules to build oscilloscopes and spectrograms
modules to allow advanced users to build their own modules
all modules may be given interactive controls.
There is an emphasis in Koé on real time audio. The user is able to directly interact with sounds and modify them as they happen. To faciliate real time interaction and to allow non-specialists to use Koé, there are two views of a program. The first is a design view which might be used by an instructor to design an exercise for students. The second is an interactive view which allows a student to manipulate an interface without necessarily knowing how to design. Below is an example of the design view of a simple program followed by the interactive view. The program is based on two modules which encapsulate a signal generator and a sine/triangle generator. The outputs of the two genrerators are feed to the default front-right and front-left computer speakers and to a two-channel oscilloscope. Imbedded in the modules are all the controls seen on the interactive view. The Scope2ch module is a macromodule or macro which contains serveral basic modules, as seen in the third image below. Many users and designers will never need to design a macro, but it can be a powerful feature.

admin

#32
Parametric EQ  - "Q" Factor calculator
http://www.sengpielaudio.com/calculator-cutoffFrequencies.htm


mos6507

Quote from: admin on January 07, 2020, 08:47:14 PM


The more I listen to Roger Linn the more I respect him.  He really sees the big picture.

Michael Dolan Doubleneck
Les Paul Custom

VG-99
FTP


admin

#35


https://bobbyowsinskiblog.com/2020/02/05/bad-frequency-dwarves/
There are certain frequencies that can definitely ruin the sound of a mix. Get too much of one of them and the result is some unpleasantness that is difficult to describe, but engineers try anyway. We've come up with a lingo that should identify a certain frequency band, but since the names aren't truly universal, sometimes there's some confusion anyway. Enter the 7 Bad Frequency Gremlins.

This was actually inspired by a graphic by Rational Acoustics, the company that brought you the SMAART system for room tuning of live venues. The original name was The 7 Bad System Dwarves, referring the live sound system in a venue, but I've actually taken some liberties by renaming our gremlins so they apply more for recording that live sound.

Those frequency ranges are quite adaptable to the studio though and can readily apply to your next mix. Let's take a look at them.

Tubby – 20Hz to 120Hz – It's not uncommon to add too much of this band, especially below 60Hz in order to get more girth and power in a mix. Too much and you get a tubby gremlin instead.

Muddy – 200Hz to 350Hz – Muffled low end? Chances are it's from too much of this frequency range supplied by the muddy gremlin.

Boxy – 400Hz to 500Hz – If your kick drum sounds like the beater is hitting a cardboard box, the Boxy gremlin is your culprit.

Honky – 650Hz to 750Hz – Is your mix sounding too much like a car horn? You've got an instrument or two with too much of this gremlin.

Barky – 900Hz to 1.2kHz – This is the sound of your mix sounding too much like it's coming out of an old-fashioned megaphone like carnival barkers used to use. Silence this gremlin for sure.

Edgy – 2kHz to 4kHz – Getting ear fatigue from listening to your mix? You've got to put this gremlin in his place to take the edge off a bit.

Sibilant – 6.5kHz to 10kHz – Are the S's of a vocal pinning your ears back? It's time to teach this gremlin to tame down.

All of these frequency ranges have a certain amount of overlap, so don't go by the exact frequencies mentioned. It's just a ballpark range that will give you the sound that you really don't want.






admin

#41
Learn the bidirectional secrets of Passive DI's for re-Amping



admin

#43
Learn about DSP Simulation considerations for emulating Tube Amplifiers

https://www.earlevel.com/main/2017/05/26/guitar-amp-simulation/