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Audio Geek Zine

Audio Geek Zine
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Reactive Music MusicTech Technology feature: Noise annoys! - PSNEurope Dr Annie Jamieson (pictured, below) is a postdoctoral researcher at the School of Philosophy, Religion and History of Science at the University of Leeds, whose research into hearing risk and its history focuses specifically on the live music industry. She also conducts regular seminars on the subject, the latest of which was part of the educational programme at PLASA Focus Leeds. Do you feel that the level of awareness of potential for hearing damage is better in pro-audio now than, say, ten years ago? Certainly, in terms of press and social media coverage it seems to have increased in the last year or two following some highly-publicised concerns about MIHD (Music-Induced Hearing Damage) in young people through sustained headphone use. In late 2014 I carried out an online survey of 230 audio professionals; the vast majority (some 98%) are aware of the risk, though almost 20% still never use hearing protection. What should their first action be if they do suspect hearing loss or damage?

D-type Flip Flop Counter or Delay Flip-flop But in order to prevent this from happening an inverter can be connected between the “SET” and the “RESET” inputs to produce another type of flip flop circuit known as a Data Latch, Delay flip flop, D-type Bistable, D-type Flip Flop or just simply a D Flip Flop as it is more generally called. The D Flip Flop is by far the most important of the clocked flip-flops as it ensures that ensures that inputs S and R are never equal to one at the same time. The D-type flip flop are constructed from a gated SR flip-flop with an inverter added between the S and the R inputs to allow for a single D (data) input. Then this single data input, labelled D, is used in place of the “set” signal, and the inverter is used to generate the complementary “reset” input thereby making a level-sensitive D-type flip-flop from a level-sensitive RS-latch as now S = D and R = not D as shown. D-type Flip-Flop Circuit Thus this single input is called the “DATA” input. Truth Table for the D-type Flip Flop 4-bit Data Latch

Synthtopia Will Prentice: We need £40m to preserve our unique recorded collection, which, as these five clips show, represents an irreplaceable part of our national heritage Sound recordings have long been an underappreciated part of our national heritage, probably because you can’t see them like a painting or a manuscript. To appreciate their value and meaning you have to play them back and listen to them. But collecting sounds is important. The experience of listening to them is as close to time travel as we’ve ever come. From the rare or iconic to the ephemeral and everyday, recordings give a living picture of the world changing around us. This is urgent: these recordings go back to the late-19th century, and many of the formats on which the sounds were originally captured – such as reel-to-reel, wax cylinders and cassette tapes – are disappearing from production, while some of the older materials themselves are decaying. We estimate that we have just 15 years before substantial parts of this heritage become unlistenable and are lost for all time. If we were to continue digitising the collection at the current rate, it would take 48 years to complete.

Interfacing with a DAC (Digital/Analog Converter) for Sound Synthesis with the Netduino In previous two posts, I created a midi interface for the Netduino. For kicks, here's what it looks like soldered rather than on the breadboard (and beside it, a shot of the disaster my desk has become during this project. There's actually a Commodore 128 in the rubble to the right): Gladly, I've since cleaned that up. :) The two posts covering the MIDI interface are: When tackling something new, I try and individually prototype the key parts. The next new thing in the Netduino Synthesizer project, is to interface to a 12 bit DAC (Digital to Analog Converter) via a chip-to-chip protocol known as SPI. About SPI When you interface with a chip using parallel communications, you typically have to have one digital I/O pin dedicated to each I/O pin on the other chip. There are several chip-to-chip protocols that help you get past that. About the DAC If you want to output samples of audio, you need a way to convert digital samples to a continuous analog waveform used to drive the speakers. Circuit

Home Studio Corner Have you ever tried to get a nine month old dressed? It’s almost impossible. As you may recall, my wife and I have a three year old boy and twin nine month old girls. It has been a few years since I had to dress a toddler, and it can be so frustrating. The most frustrating part? I remember when my son Owen was able to put his arms through the armholes for the first time without incident. A lot of us are like toddlers when it comes to working in the studio. However, there are some things you don’t know how to do. That’s okay. Those things can be learned. That is why I created my VIP membership. As a member you’ll learn things like: * how to program MIDI drums * how to mix drums * how to record background vocals * how to mix a song in 15 minutes * how to record a great sounding guitar/vocal track …and much more. To get started and to finally put an end to some of that frustration head over to www.HomeStudioCorner.com/VIP Joe Gilder Home Studio Corner P.S.

Moulton Laboratories :: From Stereo to Mono and Back The View from 2005: This is less of a problem now, because there aren’t very many mono radios out there any more, and comparatively few mono TVs. However, good studio craft requires that you at least CHECK to see if you’ve created any truly unacceptable sounds. And, unfortunately, this still happens all too often in live television broadcasts, particularly of sports events. But, why worry? The problem is broadcasting, as manifested by two common items: your basic table radio and your basic television. However, assuming you do want to worry, the mono compatibility problem arises because stereo is an illusion, and the components of that illusion don’t necessarily mix together very well into a single signal. Early Techno-Nerds discussed stereo in terms of A and B instead of Left and Right (don’t ask me why), and I’ve gotten in the habit of using these terms too. So just what is an A-B component? But there’s more. So, A-B and A,-B have some interesting characteristics. Wow. Ben

Making waves – Open Music Labs’ DSP Shield – Arduino – freeRTOS | feilipu There’s a great new Arduino Uno (pre-R3) Shield available from Open Music Labs. Their Audio Codec Shield is an Arduino shield that uses the Wolfson WM8731 codec. It is capable of sampling and reproducing audio up to 88kHz, 24bit stereo, but for use with the Arduino it is practically limited to 44kHz, 16bit stereo. The Audio Codec Shield has 1/8″ stereo input and headphone output jacks, a single pole analogue input aliasing filter, and 2 potentiometer for varying parameters in the program on the fly. The Open Music Labs provides a some libraries and code examples for use with the Arduino IDE, and also with the Maple IDE. I spent quite some time understanding exactly how the WM8731 worked, and what was needed to make it perform, in a RTOS environment. Never the less, the freeRTOS code is useful to provide serial and I2C libraries to set up the board, and possibly to do some other tasks where possible. This is the example code for a single potentiometer. Like this: Like Loading...

RA - Tech A master of sound shows us how he tinkers. The app reconfigures the functionality of Native Instruments iPad DJ app for smaller touchscreens. Mon, 29 Apr 2013 / HerrJordan 2 Comments The veteran producer and engineer talks to Music Radar about his approach to the dark art of audio mastering. Left, right and everywhere in between: RA's Jono Buchanan explains how to find space for your sounds. RA's Jordan Rothlein spent a few days in Frankfurt surveying the sights and sounds at Europe's annual music technology showcase. Thu, 11 Apr 2013 / carlosi 9 Comments RA scribe Kristan J Caryl chats to Hypercolour, Defected, Turbo and more about how to make your music stand out to labels. Wed, 10 Apr 2013 / HerrJordan 6 Comments DJ Tech Tools assembled a few simple tips for minimizing the damage you do to your hearing in the DJ booth. Featuring four channels, an on-board soundcard and new effects controls, the mixer brings features from higher-end DJMs to a lower price point. Previous tech stories

Is it really "just audio?" Matt North reacts to a recent controversial comment regarding TV and radio production, and ponders how sound work is perceived outside the industry. Producer Matt North reacts to a recent controversial comment regarding TV and radio production in Scotland, and ponders how professional sound work is perceived outside the industry. Last month, you may have stumbled upon the online furore caused by an interview with journalist David Torrance, relating to the ongoing debate over the potential production of a BBC ‘Scottish Six’ news programme that would be edited and broadcast from Scotland to its audiences. When asked why a similar service to the one that is currently broadcast on radio cannot be delivered in parallel on TV, Torrance stated that it is because “radio is much easier to deliver because it’s just audio. I firmly believe it wasn’t Torrance’s intention to cause offence or indeed imply what many have taken from the interview. Easier said than done

Dennis DeSantis Compressor control principles A short compendium on digital audio compression techniques. Basic compressor configurations Compression vs. limiting Technically speaking the same principles are used in audio signal limiting and compression processors but just the transfer curves and envelope follower settings are different. In digital implementations limiting processors can be more strict due to look-ahead and clever gain prediction functions which guarantees that no peak information passes the threshold. Sidechain routing The audio signal path on which the gain reduction amount is actually computed is called the sidechain. FF and FB sidechains can be combined or mixed if the delay between them is properly compensated. Sidechain filtering can significantly change the behaviour of the gain reduction processing afterwards. Multichannel compression When compressing more then one channel of audio the handling of the sidechain signal can be even more sophisticated. The envelope follower Distortion and sound Advanced techniques

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