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Lives in the Balance and Dr. Greene's approach. Legacy products. Sensorlab The STEIM SensorLab was one of the first small, general purpose, sensor to midi interfaces for the prototyping of musical instruments and interactive control systems.

Legacy products

Whether the computer is a central element in an artists work or simply a tool bridging a technological gap, the need for real world input and output is essential. High Tech MIDI Devices. Music Magic USA Accordion and Midi CyberStore - Your source for the Roland FR-7x Accordion. MIDI 9 - Add MIDI to Any Keyboard Instrument. Highly Liquid: DIY MIDI Electronics. DIY MIDI controllers using PIC microcontrollers and Basic Stamps. Introduction By combining a PIC microcontroller or Basic Stamp II with a few passive components it is not difficult to construct your own knob box, trigger box, or other MIDI input device.

DIY MIDI controllers using PIC microcontrollers and Basic Stamps

Isomorphic keyboard. Fig. 1: The Wicki isomorphic keyboard note-layout, invented by Kaspar Wicki in 1896.

Isomorphic keyboard

Examples[edit] Helmholtz's 1863 book On the Sensations of Tone gave several possible layouts. Practical isomorphic keyboards were developed by Bosanquet (1875), Janko (1882), Wicki (1896), Fokker (1951), Erv Wilson (1975–present), Wesley (2001) and Antonio Fernández (2009).[1] Accordions have been built since the 19th century using various isomorphic keyboards, typically with dimensions of semitones and tones. The keyboards of Bosanquet and Erv Wilson are also known as generalized keyboards. The keyboard of Antonio Fernández is also known as Transclado. Invariance[edit] CONTROLLER ZONE. Terpstra Keyboard. Funding a production run for the Second Generation Terpstra Keyboard Prototypes was a community project, meaning the Terpstra is not a commercially available product, and can’t be purchased anywhere.

Terpstra Keyboard

With other words, YOU CAN NOT GET ONE right now. But you can join the pre-order list and as soon as there will be at least twenty orders in place, we’ll run another batch. If commercially available, the keyboard would cost more than $10K USD. We estimate the per unit price for an eventual future production run roughly between 1/3 and 1/4 of the commercial price. Just send us an email using the address contact @ this website, stating how interested you are (want one and have the money, need to save for it, etc.) and whether you’d like to receive the extremely rare updates about this next funding campaign.

Microtonality, Tunings and Modes. There is still a lot of good music waiting to be written in C major. — Arnold Schönberg One of the most liberating aspects about using a computer to compose music is that non-traditional “frequency space” can be explored in different ways without having to address the limitations of physical instruments or human performers.

Microtonality, Tunings and Modes

This sort of experimentation may involve working with raw, untempered Hertz values, just harmonic ratios, microtonal inflections, or “alternate” tuning systems, which we define very broadly to mean any tuning system other than the standard 12-tone equal tempered scale. But working with an expanded frequency space using MIDI synthesizers will quickly expose a strong bias of MIDI towards the popular music tradition and the Western tonal system in general.

MIDI and Microtonal Tuning There are two basic methods for producing microtonal sound on a MIDI synthesizer. Channel Tuning Note by note tuning Equal division tuning Channel Tuning in Common Music. CONTROLLER ZONE. The Sound Reinforcement Handbook: Gary Davis, Ralph Jones: 0073999009644: Books. Church Soundguy: Effective Microphone Strategies That Produce Great Results With Church Choirs. Shure Microflex Low Profile Boundary Microphone - Black; Omnidirectional w/LED - MX395B/O-LED. Shure Microflex Low Profile Boundary Microphone - Black; Omnidirectional w/LED - MX395B/O-LED The Microflex Low Profile Boundary microphone is an ideal table microphone when minimal presence is of high priority.

Shure Microflex Low Profile Boundary Microphone - Black; Omnidirectional w/LED - MX395B/O-LED

Perfect for meeting rooms, these microphones deliver exceptional sound pickup while barely being noticed. Choose from a selection of colors and pickup patterns for customized table installations. Audio-Technica PRO 44 - microphone. Shure MX393/O Microflex Black Omnidirectional Condenser Boundary Microphone - - Acoustical Measurements for the Rest of Us. How to make acoustical measurements without a Ph.D.

- Acoustical Measurements for the Rest of Us

As Lord Kelvin said, “To measure is to know for sure…maybe. The acoustical behavior of the rooms we produce music in is often baffling. To make it worse, acoustical treatments are regularly shrouded in hypespeak (as in “Our Soundsucker® Wall Panels will remove all time smear and clarify the reverberation of all acoustic instruments.”). Often we suspect that something might be wrong with our room, but we don’t know how to find out. When we consider the cost of measurement equipment that acousticians use and the steep learning curve needed to use it, we can easily see why room acoustics remain baffling. Software to analyze and equalize frequency response of entire sound system? Sweeping the Frequencies for Precise EQing - Tuts+ Music & Audio Tutorial.

Exploring the Boundaries – A Close Look at an Invisible Microphone. By Ken Hamberg Boundary microphones as a class are often overlooked – literally.

Exploring the Boundaries – A Close Look at an Invisible Microphone

Flat-lying and inconspicuous by design, they lack the glamorous appearance and prestige of their conventional large-diaphragm counterparts, which are often photographed in the company of the world's best-known and culturally iconic singers, entertainers and public servants. Boundary microphones in fact enjoy a ubiquitous if highly discreet presence in recording studios, concert halls, installations, public address systems, conference and meeting rooms, and houses of worship. Presence (amplification) In an amplifier, a presence control boosts the upper mid-range frequencies to make the sounds of voices and instruments with similar tonal ranges seem more "present".[1] On television production studio's sound desk, there can be several presence controls, for several different, switchable, frequencies.[2] There is a limit to the flexibility of such controls, and they are sometimes insufficient.

Presence (amplification)

If the degree of mis-match between microphones is great, simply increasing presence is not enough, and instead a sound engineer will use a graphic equalizer, sometimes several, each connected to an individual sound channel.[3] Presence controls can also be found on electric guitar amplifiers. The first presence control on a Fender amplifier, for example, appeared in 1954 on the Twin. In 1955 it appeared on the 1/15 Pro-Amp, the 3/10 Bandmaster, the 2/10 Super,[4] and the 4/10 Bassman.[5] The original Fender presence control acted upon the amplifier's negative-feedback loop. Optimum Stereo Signal Recording with the Jecklin Disk. Josephson Engineering Photo of a Jecklin-type disk made by MB Electronics in the mid 1980s.

Optimum Stereo Signal Recording with the Jecklin Disk

Multimedia Audio Course - Microphones and miking techniques - Stereo miking techniques: near coincident microphones - Sound engineering - Audiosonica. Hit 883 times These techniques require two microphones positioned at 16-17 cm apart, which represents the distance between the human ears. In this case, as well as amplitude differences, phase differences between the two signals are also recorded. This on the one hand improves the performance of the stereo-effect, but on the other hand considerably threatens mono-compatibility. Multimedia Audio Course - Microphones and miking techniques - Stereo miking techniques: near coincident microphones - Sound engineering - Audiosonica.