Mercurial > hg > sound_recording_production
changeset 14:9c506c312cdd
Mixing Delay Lecture done
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--- a/Lectures/Lec7 - Mixing Delay/Lec7 - Mixing Delay.log Sun Nov 03 14:01:06 2013 +0000 +++ b/Lectures/Lec7 - Mixing Delay/Lec7 - Mixing Delay.log Mon Nov 04 09:03:12 2013 +0000 @@ -1,4 +1,4 @@ -This is pdfTeX, Version 3.1415926-1.40.11 (TeX Live 2010) (format=pdflatex 2011.4.27) 8 OCT 2013 16:53 +This is pdfTeX, Version 3.1415926-1.40.11 (TeX Live 2010) (format=pdflatex 2011.4.27) 4 NOV 2013 08:33 entering extended mode \write18 enabled. file:line:error style messages enabled. @@ -773,7 +773,7 @@ Package hyperref Warning: Token not allowed in a PDF string (PDFDocEncoding): (hyperref) removing `\\' on input line 20. -No file "Lec7 - Mixing Delay".aux. +(./Lec7 - Mixing Delay.aux) \openout1 = `"Lec7 - Mixing Delay.aux"'. LaTeX Font Info: Checking defaults for OML/cmm/m/it on input line 36. @@ -791,6 +791,7 @@ LaTeX Font Info: Checking defaults for PD1/pdf/m/n on input line 36. LaTeX Font Info: ... okay on input line 36. 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Package epstopdf Info: Output file is already uptodate. -<Figures/roomreflections1-eps-converted-to.pdf, id=189, 449.68pt x 338.26375pt> +<Figures/roomreflections1-eps-converted-to.pdf, id=271, 449.68pt x 338.26375pt> File: Figures/roomreflections1-eps-converted-to.pdf Graphic file (type pdf) <use Figures/roomreflections1-eps-converted-to.pdf> -Overfull \vbox (21.65895pt too high) detected at line 142 +Overfull \vbox (21.65895pt too high) detected at line 190 [] -[16 +[20 <./Figures/roomreflections1-eps-converted-to.pdf>] Package epstopdf Info: Source file: <Figures/roomreflections2.eps> @@ -1022,16 +1049,16 @@ (epstopdf) size: 7316 bytes (epstopdf) Command: <epstopdf --outfile=Figures/roomreflections2-ep s-converted-to.pdf Figures/roomreflections2.eps> -(epstopdf) \includegraphics on input line 149. +(epstopdf) \includegraphics on input line 197. Package epstopdf Info: Output file is already uptodate. -<Figures/roomreflections2-eps-converted-to.pdf, id=204, 449.68pt x 338.26375pt> +<Figures/roomreflections2-eps-converted-to.pdf, id=287, 449.68pt x 338.26375pt> File: Figures/roomreflections2-eps-converted-to.pdf Graphic file (type pdf) <use Figures/roomreflections2-eps-converted-to.pdf> -Overfull \vbox (21.65895pt too high) detected at line 149 +Overfull \vbox (21.65895pt too high) detected at line 197 [] -[17 +[21 <./Figures/roomreflections2-eps-converted-to.pdf>] Package epstopdf Info: Source file: <Figures/roomreflections3.eps> @@ -1043,16 +1070,16 @@ (epstopdf) size: 7498 bytes (epstopdf) Command: <epstopdf --outfile=Figures/roomreflections3-ep s-converted-to.pdf Figures/roomreflections3.eps> -(epstopdf) \includegraphics on input line 156. +(epstopdf) \includegraphics on input line 204. Package epstopdf Info: Output file is already uptodate. -<Figures/roomreflections3-eps-converted-to.pdf, id=219, 449.68pt x 338.26375pt> +<Figures/roomreflections3-eps-converted-to.pdf, id=302, 449.68pt x 338.26375pt> File: Figures/roomreflections3-eps-converted-to.pdf Graphic file (type pdf) <use Figures/roomreflections3-eps-converted-to.pdf> -Overfull \vbox (21.65895pt too high) detected at line 156 +Overfull \vbox (21.65895pt too high) detected at line 204 [] -[18 +[22 <./Figures/roomreflections3-eps-converted-to.pdf>] Package epstopdf Info: Source file: <Figures/roomreflections4.eps> @@ -1064,16 +1091,16 @@ (epstopdf) size: 7282 bytes (epstopdf) Command: <epstopdf --outfile=Figures/roomreflections4-ep s-converted-to.pdf Figures/roomreflections4.eps> -(epstopdf) \includegraphics on input line 163. +(epstopdf) \includegraphics on input line 211. Package epstopdf Info: Output file is already uptodate. -<Figures/roomreflections4-eps-converted-to.pdf, id=234, 449.68pt x 338.26375pt> +<Figures/roomreflections4-eps-converted-to.pdf, id=317, 449.68pt x 338.26375pt> File: Figures/roomreflections4-eps-converted-to.pdf Graphic file (type pdf) <use Figures/roomreflections4-eps-converted-to.pdf> -Overfull \vbox (21.65895pt too high) detected at line 163 +Overfull \vbox (21.65895pt too high) detected at line 211 [] -[19 +[23 <./Figures/roomreflections4-eps-converted-to.pdf>] Package epstopdf Info: Source file: <Figures/roomreflections5.eps> @@ -1085,16 +1112,16 @@ (epstopdf) size: 8221 bytes (epstopdf) Command: <epstopdf --outfile=Figures/roomreflections5-ep s-converted-to.pdf Figures/roomreflections5.eps> -(epstopdf) \includegraphics on input line 170. +(epstopdf) \includegraphics on input line 218. 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Package epstopdf Info: Output file is already uptodate. -<Figures/roomreflections7-eps-converted-to.pdf, id=281, 449.68pt x 338.26375pt> +<Figures/roomreflections7-eps-converted-to.pdf, id=363, 449.68pt x 338.26375pt> File: Figures/roomreflections7-eps-converted-to.pdf Graphic file (type pdf) <use Figures/roomreflections7-eps-converted-to.pdf> -Overfull \vbox (21.65895pt too high) detected at line 184 +Overfull \vbox (21.65895pt too high) detected at line 232 [] -[22 +[26 <./Figures/roomreflections7-eps-converted-to.pdf>] Package epstopdf Info: Source file: <Figures/roomreflections8.eps> @@ -1148,38 +1175,53 @@ (epstopdf) size: 16006 bytes (epstopdf) Command: <epstopdf --outfile=Figures/roomreflections8-ep s-converted-to.pdf Figures/roomreflections8.eps> -(epstopdf) \includegraphics on input line 191. +(epstopdf) \includegraphics on input line 239. 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--- a/Lectures/Lec7 - Mixing Delay/Lec7 - Mixing Delay.nav Sun Nov 03 14:01:06 2013 +0000 +++ b/Lectures/Lec7 - Mixing Delay/Lec7 - Mixing Delay.nav Mon Nov 04 09:03:12 2013 +0000 @@ -65,8 +65,14 @@ \headcommand {\beamer@framepages {30}{30}} \headcommand {\slideentry {1}{1}{31}{31/31}{ Mixing: Delay Effects}{0}} \headcommand {\beamer@framepages {31}{31}} -\headcommand {\beamer@partpages {1}{31}} -\headcommand {\beamer@subsectionpages {1}{31}} -\headcommand {\beamer@sectionpages {1}{31}} -\headcommand {\beamer@documentpages {31}} -\headcommand {\def \inserttotalframenumber {31}} +\headcommand {\slideentry {1}{1}{32}{32/32}{ Mixing: Delay Effects}{0}} +\headcommand {\beamer@framepages {32}{32}} +\headcommand {\slideentry {1}{1}{33}{33/33}{ Mixing: Delay Effects}{0}} +\headcommand {\beamer@framepages {33}{33}} +\headcommand {\slideentry {1}{1}{34}{34/34}{ Mixing: Delay Effects}{0}} +\headcommand {\beamer@framepages {34}{34}} +\headcommand {\beamer@partpages {1}{34}} +\headcommand {\beamer@subsectionpages {1}{34}} +\headcommand {\beamer@sectionpages {1}{34}} +\headcommand {\beamer@documentpages {34}} +\headcommand {\def \inserttotalframenumber {34}}
--- a/Lectures/Lec7 - Mixing Delay/Lec7 - Mixing Delay.tex Sun Nov 03 14:01:06 2013 +0000 +++ b/Lectures/Lec7 - Mixing Delay/Lec7 - Mixing Delay.tex Mon Nov 04 09:03:12 2013 +0000 @@ -47,8 +47,8 @@ \item Delay based effects send copies of the original signal to which a time delay and various other processing has been applied. \item Delay based effects have a number of uses. \begin{itemize}\itemsep6pt + \item As tools to add interest to a song, e.g. echo, chorus, flanger. \item As equalisation filters. - \item As tools to add interest to a song, e.g. echo, chorus, flanger. \item To simulate room acoustic effects, e.g. reverberation. \end{itemize} \end{itemize} @@ -72,49 +72,97 @@ \end{center} \end{frame} -\separator{Equalisation} +\separator{Echo / Flanger / Chorus} \begin{frame} - \frametitle{Digital Equalisation Filter} + \frametitle{Echo} \begin{itemize}\itemsep8pt - \item Digital equalisation filters are either: - \vspace{.1cm} - \begin{itemize} - \item Feedforward only ({\bf F}inite {\bf I}mpulse {\bf R}esponse filter). - \item Feedforward and feedback ({\bf I}nfinite {\bf I}mpulse {\bf R}esponse filter). - \end{itemize} - \item {\bf FIR} filters generally have more delay paths. - \item {\bf IIR} filters can be unstable (e.g. like acoustic feedback). - \item Parametric EQs tend to use {\bf IIR} filters. + \item A single forward delay loop, with a delay time long enough for delayed version to be perceived as separate sounds, i.e. as echoes. + \item A feedback loop may be added to sustain the echo. + \item The delayed versions can be processes to change their, e.g. gain, equalisation etc. + \item More complex delay effects combine multiple echoes. \end{itemize} \end{frame} \begin{frame} - \frametitle{Low Pass FIR Filter} + \frametitle{Phasor, Flanger and Chorus} + \begin{itemize}\itemsep6pt + \item A single forward loop, with a delay time is short enough for original and delayed versions to be perceived as one entity, i.e. deliberate comb filter! + \item Parameters of the processor are varied using an oscillator. + \item {\bf Phasor}: alters the phase of delayed version. + \item {\bf Flanger}: applies very short delay time, e.g. 20 ms (commonly used on guitars). + \item {\bf Chorus}: applies slightly longer delay compared to flanger (used to simulate choir effect). \end{itemize} +\end{frame} + +\separator{Impulse Response} + +\begin{frame} + \frametitle{System Impulse Response} + \begin{itemize} + \item If I send an impulse into my system, what will be output? + \end{itemize} + \vspace{1cm} + \begin{center} + \includegraphics[width=.9\textwidth]{Figures/systemImpulseResponse.pdf} + \end{center} \end{frame} \begin{frame} - \frametitle{Low Pass IIR Filter} - Very short delay + \frametitle{Echo Impulse Response} + \begin{itemize} + \item With only a forward loop there are a finite number of pulses in the impulse response. + \end{itemize} + \vspace{1cm} + \begin{center} + \includegraphics[width=.9\textwidth]{Figures/echoImpulseResponse.pdf} + \end{center} \end{frame} -\separator{Echo / Flanger / Chorus} +\begin{frame} + \frametitle{Echo Impulse Response} + \begin{itemize} + \item With a feedback loop there will be an infinite number of pulses in the impulse response. + \end{itemize} + \vspace{1cm} + \begin{center} + \includegraphics[width=.9\textwidth]{Figures/echoImpulseResponse50pcRepeat.pdf} + \end{center} +\end{frame} \begin{frame} - \frametitle{Echo} + \frametitle{Echo Impulse Response} \begin{itemize} - \item Delay time is long enough for delayed versions to be perceived as separate sounds. - \item Can have feedback to sustain echo. - \item Can process delayed versions to change its properties, e.g. gain, equalisation etc. + \item If the gain of the feedback loop is too high the impulse response will grow uncontrollably - it is unstable. + \end{itemize} + \vspace{.2cm} + \begin{center} + \includegraphics[width=.9\textwidth]{Figures/echoImpulseResponse100pcRepeat.pdf} + \end{center} +\end{frame} + +\begin{frame} + \frametitle{Impulse Response} + \begin{itemize}\itemsep8pt + \item The impulse response is the time-domain representation of the frequency response. Algorithms can be use to switch between the two representations (Fourier analysis). + \item A system with only forward loops has a {\bf finite} impulse response. + \item A system that includes feedback loops has an {\bf infinite} impulse response, and has the potential to be unstable. \end{itemize} \end{frame} +\separator{Equalisation} + \begin{frame} - \frametitle{Flanger and Chorus} - \begin{itemize} - \item Delay time is short enough for sounds to be perceived as once entity, i.e. deliberate comb filter! - \item Flanger has static delay time. - \item Chorus has a varying delay time, e.g. driven by oscillator. + \frametitle{Digital Equalisers} + \begin{itemize}\itemsep8pt + \item Digital equalisers are constructed using delay networks with very short delay times, and are referred to as filters. + \vspace{.1cm} + \begin{itemize} + \item Feedforward only: {\bf F}inite {\bf I}mpulse {\bf R}esponse filter. + \item Feedforward and feedback: {\bf I}nfinite {\bf I}mpulse {\bf R}esponse filter. + \end{itemize} + \item {\bf FIR} filters generally have more delay paths and have a less ideal response. + \item {\bf IIR} filters can be unstable, and cause more extreme phase changes to the sound. + \item Parametric equalisers (e.g. those in Logic) are {\bf IIR} filters with two feedforward and two feedback loops. \end{itemize} \end{frame} @@ -229,7 +277,7 @@ \begin{itemize} \item Convolution reverberators use {\bf only feedforward} delay networks to simulate room reverberation. \item The impulse response is a representation of the sound in a real or virtual space. - \item Each point in the RIR has a delay, gain and polarity, so very large cascades of {\bf forward} delay loops is needed. + \item Each point in the RIR has a delay, gain and polarity, so very large cascades of {\bf forward} delay loops are needed. \item The calculation process (convolution) has been optimised. It is performed in the frequency domain to improve efficiency but they are still processor intensive. \end{itemize} \end{frame} @@ -249,10 +297,10 @@ \frametitle{HRTFs} \begin{itemize}\itemsep8pt \item HRTF stands for {\bf H}ead {\bf R}elated {\bf T}ransfer {\bf F}unction. - \item It is analogous to an impulse response: + \item It is analogous to a room impulse response: \vspace{0.2cm} \begin{itemize}\itemsep4pt - \item An impulse response describes how the sound waves travel from a source to a microphone within a space. + \item A room impulse response describes how the sound waves travel from a source to a microphone within a space. \item An HRTF describes how the sound travels from the space around you, and into your ears. \end{itemize} \item You can get exceptionally good impressions of space using this approach. @@ -269,26 +317,13 @@ \item Play a test tone through a loudspeaker, e.g. noise or sine-sweep, that contains all frequencies of interest. \item Record the signal at a location within the room. \item Compare the original signal with the recorded signal. + \item ...or the old fashioned way $\rightarrow$ make an impulsive sound and record it! \end{itemize} \item You can do this in any space and them super-impose the measured response onto any future recording. \end{itemize} \end{frame} -\separator{Flanger/Chorus/Phasor} -%\begin{frame} -% \frametitle{Educational multi-track resource} -% -% \begin{itemize}\itemsep12pt -% \item Practice audio files are included in the resources folder for this week. -% -% \item Many more projects can be downloaded from: \href{http://www.cambridge-mt.com/ms-mtk.htm}{\it http://www.cambridge-mt.com/ms-mtk.htm} -% -% \end{itemize} -% -%\end{frame} -% -% \end{document}