Tools, Parts, Kits for DIY'ers - Curious Inventor Geddes on Waveguides Another point that I think needs to be understood is the impotance of CD, Constant Directivity. We must consider that without CD we cannot have a flat power response and a flat axial response. Most reserchers agree that the power response is very important for tone coloration while the direct response tends to be the major factor in imaging. In a polar diagram, the axial response respresents a very small portion of the radiated sound field, its a small disk at the center, but the off axis points represent every greater areas - anuluses (sp?) For these reasons the power response and the polar responses must be smooth and flat even if the axial response is not. Now in a small room the situation is even more constrained. In my years of research I have only ever found one way to get CD and narrow directivity at the same time and that is with a horn. The solution, that I have found, is a waveguide, with a foam plug. Thats all for now.
musicdsp The Perfect Mix: with notes on Mastering Audio There are many ways to get your songs to final form. What matters is not how you get there, but that you do get there. Lets pretend you are enrolled in one of the world's fine universities and you are writing a Master's Thesis. This is not just "any" piece of drudge paperwork, but the culmination of you education. You know you have to write in excellent form, have to watch out for tiny grammatical imperfections, and make sure substance and style flows well. In short, you have to rewrite and edit, a lot. Every mix is different. Step one is always to calibrate the mixer however you can. Note: If you don't have meters on every channel then you have to use the main meters on the mixer for this. Match the following instruments when soloed in place to the db markers on your mixing desk or your mixdown deck or software. Kick drum 0db Eq to taste. Tip: If using a live drummer, you need to stop the kick drum from resonating too much. Snare -2 db eq to taste in the frequencies above 4khz.
Zaph|Audio Solution-VS1063 - MP3 / OGG / AAC / WMA / FLAC / G.711 / G.722 Audio Codec Circuit VS1063 is the newest VLSI Solution's MP3 slave processor family. As a first in VLSI's over decade long history of creating innovative audio IC products, VS1063 is as much aimed at encoding as it is at decoding audio. The VS1063 IC can encode an unforeseen multitude of audio formats, from MP3 and Ogg Vorbis to G.711 u-law, G.711 A-law, G.722 and 16-bit PCM. The proprietary MP3 encoder and Ogg Vorbis encoder have been carefully tuned for highest possible audio fidelity for high-quality audio streaming or recording. VS1063 can play back MP2, MP3, WMA, OGG, LC-AAC, HE-AAC, FLAC, IMA, G.711 u-law, G.711 a-law, G.722 and WAV PCM formats, making it very suitable for hi-fi audio playback and streaming applications. VS1063 also offers a full-duplex codec mode with optional Acoustic Echo Cancellation. VS1063 provides many built-in sound effects, including a bass enhancer and treble control, a 5-band equalizer, a speed shifter and VLSI Solution's proprietary EarSpeaker room processing.
Guitar Effects Generator Using DSP By: Alex Czubak and Gorav Raheja Advisor: Dr. Thomas L. Stewart Abstract This project deals with the creation of sound effects through manipulation of an audio signal from a guitar. Project Documents Functional Description - Description and preliminary high-order block diagram Functional Requirements - Requirements for the project and its components Project Proposal - Proposal and scope of the project Proposal Presentation Slides - Presentation of the project proposal Guitar Effects Processor Using DSP – Project Update - Update of Project with up-to-date schedule Final Project Presentation - Presentation of the overall project Project Paper - Paper of overall project Alex Gorav MOV00033.MPG - Real-time implementation of Delay MOV00034.MPG - Real-time implementation of Distortion "Uncertainty could be the guiding light" - from "Zooropa" by U2
Mixing in Stereo: Adding Width and Depth to Your Recordings When it comes to discussing the fine art of mixing music, I tend to approach the subject with some trepidation. After all, compared to many of the topics I’ve written about, this one is rife with subjectivity — one person’s idea of a great sounding mix may be another’s sonic nightmare. And what works for one genre of music will be decidedly wrong for another. But all those variables aside, there are at least a few general theories, tips, and tricks that apply to most mix projects. So while the idea here is not to give a step-by-step tutorial on two-track mixing, hopefully we can cover at least a few concepts that are useful for everyone. In a good stereo mix, each instrument needs clarity, balance, separation, and its own space in the stereo field. The Concept At its most basic, mixing in stereo means mixing for the human brain and physiology. But in the real world, much of the process of creating a stereo mix is far from organic or natural. What Makes a Good Mix? It Starts at the Source
2A & DIY