Digital Audio Research Papers - Academia.edu (original) (raw)

- by
- •
- Engineering, Education, Assessment, Engineering Education
- by Nalamasa Madhu
- •
- Biomedical Engineering, Cryptography, Steganography, Communication System

A/D : Analog to Digital (da analogico a digitale) indica l'ingresso analogico di un convertitore audio digitale, per fare un esempio gli ingressi della vostra scheda audio o di un processore di effetti o di un mixer digitale, dopo lo stadio di preamplificazione hanno dei convertitori A/D. ADSR : acronimo di Attack, Decay Sustain e Release, è l'Envelope Generator (E.G.) il Generatore di Inviluppo presente anche in versioni ridotte su sintetizzatori, campionatori, batterie elettroniche ma anche su compressori, riverberi ecc. con le sue fasi di Attacco, Decadimento, Sostegno e Rilascio determina l'andamento nel tempo del parametro che sta controllando, decidendone quindi il tempo di risposta (Attack o Attack Time), la durata del picco dinamico (Decay), la durata del segnale (Sustain ma a volte Hold che sta per Tenuto) e la velocità di chiusura (Release). AIFF : acronimo di Audio Interchange File Format, uno dei formati dei file audio in uso soprattutto sui computer Apple. Aliasing : in un sistema di registrazione digitale, quando la frequenza da campionare supera quella consentita dalla frequenza di campionamento, contravvenendo al Teorema di Nyquist (che indica come la frequenza minima necessaria alla registrazione di un segnale sonoro sia pari al doppio della frequenza massima in esso contenuta) in cui i punti di quantizzazione non sono sufficienti a convertirla creando effetti indesiderati in zona udibile, vere e proprie distorsioni non presenti nel segnale analogico di origine, spesso se ne parla quando viene citato il filtro Anti-Aliasing , che serve appunto ad evitare questo grave inconveniente tramite l'applicazione al segnale di ingresso di una Filtro Passa Basso LPF (Low Pass Filter) onde evitare che giungano al convertitore A/D frequenze superiori alla metà della frequenza di campionamento. Bandwith : larghezza di banda; indica l'ampiezza di banda, in pratica le frequenze che possono passare attraverso un apparecchio o che vengono coinvolte da un filtro ad esempio di un Equalizzatore. Bass Reflex: è il sistema di caricamento del Woofer (l'altoparlante che si occupa specificamente delle basse frequenze) in una cassa acustica/monitor da studio. Consta in una o più aperture "accordate" della cassa, l'emissione è controllata nel tempo tramite l'impiego di materiale fonoassorbente e da una lunghezza ottimale del condotto d'aria, che rallentandone la propagazione riportano in fase le vibrazioni prodotte dalla superficie posteriore del Woofer,

- by Alex Picciafuochi and +1
- •
- Audio Engineering, Sound Engineering, MIDI, Digital Audio

Instrucciones para realizar cinco practicas de nivel básico en Adobe Audition

Este libro es un intento de explicar qué es el audio digital desde varios puntos de vista: físico, lógico y musical y, además, con el doble propósito de hacerlo de manera divulgativa (que se entienda) y de manera práctica (que sirva para algo); sin pérdida de rigor.
Demasiados retos y ambiciones, pero aquí está. No es un manual, ni un libro técnico, ni un libro de teoría musical.
Es solo una introducción o aproximación al audio digital que quizá responda a alguna de sus dudas, justifique alguno de sus razonamientos, alimente su curiosidad o atraiga su atención hacia este maravilloso mundo donde las matemáticas se convierten en sonido, y viceversa.

- by Lino García Morales
- •
- Audio Signal Processing, Sound, Sound Design, Sound Art

We present an analysis of the cowbell voice circuit from the Roland TR-808 Rhythm Composer. A digital model based on this analysis accurately emulates the original. Through the use of physical models of each sub-circuit, this model supports accurate emulation of circuit-bent extensions to the voice’s original behavior (including architecture-level alterations and component substitution). This behavior is very complicated and is inconvenient or impossible to capture accurately through black box modeling or structured sampling. The band pass filter sub-circuit is treated as a case study of applying Mason’s gain formula to finding the continuous-time transfer function of an analog circuit.

- by Kurt J A M E S Werner and +1
- •
- Analog Circuits, Digital Signal Processing, Circuit Bending, Modeling and Simulation

In sound reproduction systems the audio crossover plays a fundamental role. Nowadays, digital crossover based on IIR filters are commonly employed, of which non-linear phase is a relevant topic. For this reason, solutions aiming to IIR filters approximating a linear phase behavior have been recently proposed. One of the latest exploits Fractional Derivative theory and uses Evolutionary Algorithms to explore the solution space in order to perform the IIR filter design: the IIR filter phase error is minimized to achieve a quasi-linear phase response. Nonetheless, this approach is not suitable for a crossover design, since the single filter transition band behavior is not predictable. This shoved the authors to propose a modified design technique including suitable constraints, as the amplitude response cutoff frequency, in the ad-hoc Particle Swarm Optimization algorithm exploring the space of IIR filter solutions. Simulations show that not only more performing filters can be obtained but also fully flat response crossovers achieved.

- by stefano squartini and +2
- •
- Machine Learning, Digital Audio, Computational Audio Processing

La presencia de la radio en México se acerca a su centenario y a pesar de que la bibliografía publicada en torno a ella es abundante queda mucho por investigar sobre su pasado y su presente para intentar una prospectiva de su porvenir. En la investigación histórica nunca hay «última palabra»; los temas aparentemente ya estudiados siempre están abiertos a nuevas indagaciones generadoras de conocimiento.
Estas dos premisas se perciben en Homo Audiens III. Conocer la radio: Textos teóricos para aprehenderla, la nueva publicación del Seminario Permanente de Estudios sobre la Radio, coordinado por Virginia Medina Ávila, tercera entrega de una colección que ya ha contribuido de manera importante al estudio del fenómeno radiofónico.
Homo Audiens III nos entrega ocho textos con temas que van desde el uso gubernamental de la radio en la década de 1920 y llegan hasta el segundo decenio del siglo XXI momento en que la convergencia digital y la consolidación de un nuevo ecosistema mediático están definiendo los caminos por donde transitarán en los próximos años la radiodifusión sonora y el lenguaje creado por ella. En ese recorrido de prácticamente cien años, los autores de Homo Audiens III aportan datos novedosos y reflexiones sobre la radio y su radio y su relación con la política y con la tecnología, el papel de este medio como espacio para el entretenimiento cotidiano y como expresión artística, sus formas de consumo, las nuevas disposiciones que la Reforma en Telecomunicaciones y Radiodifusión de 2013 introdujo a la legislación mexicana aplicable a este medio de comunicación y los retos presentes y futuros de la radio en el entorno digital.

- by Virginia Medina Avila and +2
- •
- History, Radio, Digital Audio

Una introducción con aplicaciones a las comunicaciones móviles y a la
modulación en audio digital

La presente investigación exploró el papel de las mediaciones tecnológicas, psicoacústicas y socioculturales, involucradas en siete experiencias de creación sonora, tanto individuales como colaborativas, bajo las posturas estéticas del paisaje sonoro y del glitch. Además de un recorrido histórico por el desarrollo de éstas, se produjeron algunas ideas sobre su escucha y sus procesos creativos. El sustento teórico de la investigación se apoyó en las ideas de artistas y personas académicas cuyo campo de estudio refiere al papel y uso de los medios en la creación sonora con dichas posturas, los postulados acerca del ritornelo y el cuerpo sin órganos de Deleuze y Guattari, y las nociones sobre lo post-digital. Ahora bien, el concepto de medio se empleó desde su acepción en las ideas de McLuhan, así como también en tanto producto anclado a la normalización social y diversos intereses económicos y políticos que fomentan su invisibilización. Se analizaron a los micrófonos, las bocinas, el software de audio digital, los formatos de archivos digitales y las diversas formas de licencia y distribución en internet, así como a algunas variables biológicas, psicológicas y sociales propias de la especie humana, que intervienen en la creación sonora mediada por el trabajo con audio digital. Las obras fueron un intento por convertir a las mediaciones en un campo para la experimentación artística, buscando el uso no convencional y la apertura de éstas a la producción colaborativa con artistas y comunidades. Se concluyó que urge una mayor difusión escrita de las prácticas de experimentación sonora en México, que ha de promoverse una mayor reflexión sobre los mensajes imbuidos en una obra en función de sus mediaciones y que ha de desviarse a los medios para producir mensajes de libertad creativa.

This paper is about a suite of electroacoustic music inspired by multiculturalism and DNA. Samples, live playing, and synthetic sounds were combined using digital technology into a dance-informed, world-flavored, concert-oriented, acousmatic music. Musique concrète, minimalism, rave, and hip hop all influenced the techniques, theories, and aesthetics used in composing the suite. The decision to use the Ten Oxherding Pictures of Zen Buddhist fame as a non-diegetic enhancement of concert presentations impacted the poetics and provides a means by which to analyze the author’s own compositional process. First the inspiration and potential issues are outlined, then the aesthetics are contextualized, the techniques used are described, and finally, the individual pieces of the suite are discussed.

- by Colin P McGuire
- •
- Music, Musical Composition, Multiculturalism, Composition (Music)

Emerging technology is facilitating collaboration and peer-production across a wide variety of industries. In the music industry, one example of this is in the use of a remote mix engineer-contracted to work on a recording made by another engineer in a different location and time domain because of the value in their specialised expertise. This paper examines the rise of the remote mix engineer in the contemporary music industry. It does this by examining the technology, methods of working, expertise and the concept of stardom using two contrasting examples-one a world-renowned mix engineer with several decades of experience and a high profile client list, the other being a younger and less experienced mix engineer with a different range of clients.

- by Mark Thorley
- •
- Music, Music Technology, Digital Humanities, Digital Media

We derive a novel explicit wave-domain model for “diode clipper” circuits with an arbitrary number of diodes in each orientation, applicable, e.g., to wave digital filter emulation of guitar distortion pedals. Improving upon and generalizing the model of Paiva et al. (2012), which approximates reverse-biased diodes as open circuits, we derive a model with an approximated correction term using two Lambert W functions. We study the energetic properties of each model and clarify aspects of the original derivation. We demonstrate the model’s validity by comparing a modded Tube Screamer clipping stage emulation to SPICE simulation.

- by Kurt J A M E S Werner and +1
- •
- Ordinary Differential Equations, Music Technology, Digital Signal Processing, Physical modeling

We introduce the technique of "Bit Bending," a particularly fertile technique for circuit bending which involves chort circuits and manipulations upon digital serial information. We present a justification for computer modeling of circuit-bent instruments, with deference to the movement's aversion to "theory-true" design and assocations with chance discovery. To facilitate software modeling of Bit Bending, we also present a software library for modeling certain classes of digital integrated circuits. A synthesis architecture case study (frequency modulation via numerically controlled oscillators) demonstrates software modeling of Bit Bending in action.

- by Mayank Sanganeria and +1
- •
- Circuit Bending, Modeling and Simulation, Glitch studies, Glitch

Los podcasts narrativos de no ficción se han consolidado en 2021 como un género imprescindible en la oferta de productoras y plataformas de audio digital no sólo por el atractivo de sus argumentos e historias, sino porque renuevan las formas de contar el relato informativo y aportan credibilidad y prestigio a las redes que los distribuyen. En este artículo analizamos cómo el nuevo entorno de producción y consumo digital está favoreciendo la proliferación de un formato que recupera elementos expresivos menos empleados en la radio informativa al tiempo que exprime las ventajas creativas y la relación de intimidad con el oyente propias del audio bajo demanda.

- by Luis Miguel Pedrero Esteban
- •
- Digital Journalism, Podcasting, Storytelling, Digital Audio

Il phase vocoder (PV) è uno degli strumenti classici utilizzati nell’ambito digitale per l’analisi e la re-sintesi (synthesis by analysis) di uno spettro sonoro. L’obiettivo principale dell’analisi attraverso PV è quella di separare in maniera indipendente le informazioni temporali da quelle relative allo spettro di un segnale.
Il suo nome deriva storicamente dai primi vocoder (contrazione per “voice encoder”), i quali sviluppavano i concetti di Dudley e utilizzavano una batteria di bandpass filters attraverso i quali passava il segnale da analizzare. Il termine voice indica un primo utilizzo prettamente orientato ai segnali vocali e del parlato.
Nel 1966, James Flanagan e Roger Golden misero a punto una prima versione ai Bell Laboratories ma, rispetto alle intenzioni iniziali, il risultato non fu abbastanza soddisfacente. In seguito, negli anni ’70 venne sviluppata una versione più efficiente del PV implementando al suo interno la Short Time Fourier Transform.

- by Mattia Paterna
- •
- Computer Music, Audio Signal Processing, C++ Programming, DSP

In the past years, several hybridization techniques have been proposed to synthesize novel audio content owing its properties from two audio sources. These algorithms, however, usually provide no feature learning, leaving the user, often intentionally, exploring parameters by trial-and-error. The introduction of machine learning algorithms in the music processing field calls for an investigation to seek for possible exploitation of their properties such as the ability to learn semantically meaningful features. In this first work, we adopt a Neural Network Autoencoder architecture and we enhance it to exploit temporal dependencies. In our experiments the architecture was able to modify the original timbre, resembling what it learned during the training phase, while preserving the pitch envelope from the input.

- by stefano squartini and +2
- •
- Deep Learning, Digital Audio, Computational Audio Processing
- by Ross Anderson
- •
- Distributed Computing, Data Compression, Cryptography, Image Registration

The use of the laptop in performance causes various negative responses from the audience, who feel a loss of spectacle and performativity in the action. This occurs as a result of the lack of gesture and visual cues from the performer and the loss of focus from the audience, who have no visual object to ground their aural experience. A shift in focus from an understanding of the visual spectacle in performance to that of aural performativity is needed. Once this is understood, the audience can approach the performance with a shifted focus and come to new understandings of the aural object and contemporary digital audio.
KEYWORDS: laptop, aurality, contemporary digital audio, performativity, Pimmon

- by Caleb Kelly
- •
- New Media, Performance Studies, Experimental Media Arts, Sound and Music Computing

Artificial sound event detection (SED) has the aim to mimic the human ability to perceive and understand what is happening in the surroundings. Nowadays, deep learning offers valuable techniques for this goal such as convolutional neural networks (CNNs). The capsule neural network (CapsNet) architecture has been recently introduced in the image processing field with the intent to overcome some of the known limitations of CNNs, specifically regarding the scarce robustness to affine transformations (i.e., perspective, size, orientation) and the detection of overlapped images. This motivated the authors to employ CapsNets to deal with the polyphonic SED task, in which multiple sound events occur simultaneously. Specifically, we propose to exploit the capsule units to represent a set of distinctive properties for each individual sound event. Capsule units are connected through a so-called dynamic routing that encourages learning part-whole relationships and improves the detection performance in a polyphonic context. This paper reports extensive evaluations carried out on three publicly available datasets, showing how the CapsNet-based algorithm not only outperforms standard CNNs but also allows to achieve the best results with respect to the state-of-the-art algorithms.

- by stefano squartini and +1
- •
- Machine Learning, Artificial Neural Networks, Digital Audio, Machine Listening
- by Hervé Zénouda
- •
- Digital Humanities, Digital Anthropologies, Digital Audio, Culture Numérique

Ante la normalización del smartphone como dispositivo dominante de acceso a la información en el entorno digital, la radio española ha asumido la necesidad de hacerse presente en estas pantallas con el fin de atraer y facilitar su escucha. Uno de los medios de mayor visibilidad y eficiencia lo constituyen las notificaciones push a través de las apps para móviles, cuyo diseño, contenido y estructura se analizan en este artículo. Se toman como muestra las alertas enviadas por las cuatro principales cadenas españolas de radio generalista de cobertura estatal –SER, COPE, Onda Cero y RNE– durante dos períodos no consecutivos de la temporada 2016/17 (enero-febrero y marzo-abril). El estudio evidencia el potencial de esta función para trasladar al móvil la inmediatez y proximidad de la radio e identifica los modelos periodísticos desarrollados por cada operador.

Oversampling sigma-delta digital-to-analog converters are crucial building blocks for telecommunication applications. To reduce power consumption, lower oversampling ratios are preferred thus high-order digital sigma-delta modulators are needed to meet the dynamic performance requirements. This paper presents an oversampling DAC with 1.104 MHz signal bandwidth for DMT-ADSL application and focuses on the design issues of the high-order one-bit multiple feedback modulators (such as the stability problem, good inband SNDR performance, limit cycles, etc.). A new approach to obtain and optimize the stable feedback coefficients has been presented. From our analysis results it is found that the extra feedback coefficients and scaling coefficients in the modulator have non-negligible impact on the behavior of the limit cycles, and design guide for selecting the scaling coefficients is provided. Finally a 5th-order modulator with an oversampling ratio of 32 and 14-bit input has been implemented in a 0.6 μm 3.3 V CMOS process and integrated into the whole DAC chip.

- by J Jacob Wikner
- •
- Digital Audio, Power Consumption, Natural Sciences, FIR filter

The a.bel project aims to provide artists with a way to easily interact with their audience, making use of their participation to effectively craft unique performances. This paper gives an overview of the a.bel system and details the development of a suite of tools (as well as its integration into mobile applications) with which multimedia artists can easily create and distribute interactive content unto mobile devices.

- by Alexandre Clément
- •
- Music, Digital Media, Networked Music Performance, Digital Audio

Aunque nació y fue etiquetado hace más de una década, el fenómeno del podcasting resurge hoy apoyado en la normalización del smartphone como dispositivo de consumo, en la versatilidad del audio para contar o reforzar historias y en la proliferación de agregadores y plataformas convencidas de las posibilidades para su monetización: es la era dorada del audio digital.

- by Luis Miguel Pedrero Esteban
- •
- Podcasting, Radio, Seriality, Digital Audio
- by Karon Maclean
- •
- Digital Media, Multimodal Interaction, Digital Audio, Haptic
- by Marco Antonio Juan de Dios Cuartas
- •
- Musicology, Digital Audio, High-resolution Audio, Musicología

Todos los tipos de jitter lo que producen son fluctuaciones en lo que es, no la precisión en la oscilación, si no en su sincronización consigo misma. A escala atómica se producen múltiples fluctuaciones de orden aleatorio que aparte de causar ruido, producen dispersión temporal con la consiguiente desincronización de los datos. El jitter es acumulativo, es decir que concurren muchos tipos de problemas que se van sumando. La imprecisión en la oscilación se puede reducir hasta cierto punto, a partir del cual el oído humano es incapaz de discernir más, porque llega un momento en el que la precisión extrema no aporta nada a la reducción del nivel de jitter. Estamos hablando de precisiones de laboratorio, las cuales son inviables e innecesarias en audio. El oído humano, en realidad el cerebro, es especialmente sensible a las desviaciones temporales. Cuando en electrónica digital dichas desviaciones son lo suficientemente grandes, se produce el jitter. Cuando el nivel de jitter es considerable, se produce un emborronamiento del sonido, un empequeñecimiento de la imagen estéreo, una pérdida de planos y profundidad de la escena, un aumento del nivel de ruido de fondo, se pierde la micro información, y todo empeora en general. El proceso más crítico de todos es el de la conversión A/D. Es en este punto donde un muy buen reloj oscilador puede ayudar muchísimo desde el comienzo a que el máster de estudio sea lo mejor posible. Todas las causas imaginables producen jitter, y es el deber del diseñador de un sistema digital estar prevenido y buscar todos los medios posibles para, si no eliminarlo, si al menos reducirlo a su mínima expresión. Todo comienza con la red eléctrica. Desde dicha red se cuelan dentro de los equipos electrónicos todo tipo de interferencias, ruidos, etc. Es importante en extremo comenzar con un buen cable de red. Este cable de red se supone que tiene una composición de materiales y unas características tales que la corriente alterna que va a suministrar a dicho equipo electrónico es lo más limpia posible y además tiene la suficiente capacidad de entrega como para que no se produzca un cuello de botella al paso de dicha corriente cuando sea exigida. Después está el tema de las vibraciones. Al contrario de lo que la inmensa mayoría de la gente cree, las vibraciones en la electrónica digital producen un efecto devastador. ¿Porqué?, pues es sencillo, pongamos un ejemplo. Si tenemos un transistor y le aplicamos un nivel de vibración, podremos medir cambios en su respuesta. Imaginemos eso pero con los circuitos integrados que conforman la electrónica digital. Dichos circuitos electrónicos están compuestos por miles, o cientos de miles o incluso millones de componentes. No hace falta pensar mucho para predecir que puede pasar cuando todo eso esté vibrando. Con esto deducimos que el segundo paso es hacerse con un buen sistema de desacoplo mecánico-acústico para reducir al mínimo las vibraciones que llegan desde fuera y las que salen desde dentro de dicho elemento electrónico.

- by Galeb Saleh
- •
- Digital Audio

This article examines the specificities of long-form improvised comedy performance (that is, long-form improv) within podcasting. It demonstrates how the podcast medium's technologies, together with related cultural conventions, motivate performers to innovate long-form improv techniques distinct from those applied in theatrical contexts. So as to exemplify this process, the article draws on the content of the Los Angeles-based podcast network Earwolf, as well as from evidence of production pertaining to this content. With reference to Earwolf series including Comedy Bang! Bang!, Hollywood Handbook and With Special Guest Lauren Lapkus as examples, the article identifies and details three distinct long-form improv practices that podcasting contexts have influenced. These are: (1) the development of episode formats centred on interview and discussion; (2) the adoption of relaxed and informal approaches to performance; and, (3) the use of serialisation as a means to narratively link multiple separate recorded performances. Via this analysis, the article contributes to a nascent body of research concerning the increasingly prominent comedy podcast sector. Through examining long-form improv practices within podcasting contexts specifically, the article furthermore makes a unique contribution to the field of academic literature concerning improvised comedy.

- by Anthony Smith
- •
- Media and Cultural Studies, Comedy, Podcasting, Convergence

This book explores the most relevant features of the actual state-of-the-art in the study of the relations between space, sound and music. As this subject is most extended and have many ramifications in diverse areas (such as acoustics, psycho-acoustics, sound perception, audio technology, sound art, and music, to mention only some of them), it is necessary to approach it from a diversity of perspectives, ensuring a systematic and wide treatment. To reach this objective, this book is organized in three main sections: the first one deals with the basic aspects of spatial listening, the second one deals with the techniques and technologies applied to spatial sound simulation and the last one deals with the aesthetic of the spatial sound both in musical composition and analysis.

- by Alexandre Clément
- •
- Music, Digital Media, Networked Music Performance, Digital Audio

The primary cause of injury-related death for the elders is represented by falls. The scientific community devoted them particular attention, since injuries can be limited by an early detection of the event. The solution proposed in this paper is based on a combined One-Class SVM (OCSVM) and template-matching classifier that discriminate human falls from nonfalls in a semisupervised framework. Acoustic signals are captured by means of a Floor Acoustic Sensor; then Mel-Frequency Cepstral Coefficients and Gaussian Mean Supervectors (GMSs) are extracted for the fall/nonfall discrimination. Here we propose a single-sensor two-stage user-aided approach: in the first stage, the OCSVM detects abnormal acoustic events. In the second, the template-matching classifier produces the final decision exploiting a set of template GMSs related to the events marked as false positives by the user. The performance of the algorithm has been evaluated on a corpus containing human falls and nonfall sounds. Compared to the OCSVM only approach, the proposed algorithm improves the performance by 10.14% in clean conditions and 4.84% in noisy conditions. Compared to Popescu and Mahnot (2009) the performance improvement is 19.96% in clean conditions and 8.08% in noisy conditions.

- by stefano squartini and +2
- •
- Computational Intelligence, Ambient Assisted Living, Digital Audio, Fall detection
- by G. Voyatzis
- •
- Biomedical Engineering, Digital Media, Painting, Watermarking
- by Benton Miller
- •
- Computer Science, Distributed Computing, Computer Networks, Packet Switching
- by Richard Griscom
- •
- Digital Audio, Library

It has been programmed a propeller starter kit using SimpleIDE application to be a digital audio synthesizer. Generating signal of instruments is done by the keyboard as input and speaker as output to hear the sound. The method selection in processing of synthesis is performed within voltage controlled oscillator (VCO), voltage-controlled filter (VCF), analog amplifier, and amplitude envelope. The amplitudo envelopes used are attack, decay, sustain, and release (ADSR envelopes). This design known as substractive synthesis or an analogue synthesis.

- by Ferry Wahyu Wibowo
- •
- Digital Audio
- by nishant mehta
- •
- Distributed Computing, Data Compression, Cryptography, Image Registration

Based on the studies of Milner (2009), Katz (2004) and Wikstrom (2009), the article explores in details how the experience of listening and consuming music has been changing through the years due to the appearance and evolution of digital audio technology; analyzing the consequences in the recording industry and specially in its main product: popular music. The work approaches two different steps of this evolution (Compact Disks and Mp3) in terms of formats, devices and delivery methods; and how each one of them had an influence in our relationship with music.

- by Ricardo M Gomes
- •
- Music Technology, Music Industry, Digital Audio
- by Ahmed Khaled
- •
- Computer Science, Signal Processing, Audio Signal Processing, Watermarking
- by Michael Goodwin
- •
- Engineering, Computer Science, Algorithms, Acoustics
- by Rashid Ansari
- •
- Computer Science, Watermarking, Steganography, Annotation

We report the study of a second-order Σ-Δ modulator for audio applications with a nine-levels quantizer. The feedback digital-to-analog has been implemented with four capacitors and two voltage references, taking the structure typical of fully differential system. We first discuss the performance achievable with the most popular dynamic element-matching techniques, namely the data-weighted averaging and individual-level averaging. We then introduce

- by Carlo Samori
- •
- Engineering, Algorithm, Very Large Scale Integration, Digital Audio
- by Grant Goddard
- •
- Communication, Media Studies, Media and Cultural Studies, Cultural Policy

“Digital radio switchover is unlikely to ever happen in the UK” writes radio specialist Grant Goddard. His book offers a blow-by-blow chronicle of the efforts to implement ‘Digital Audio Broadcasting’ as a replacement for FM and AM radio in Britain, from the deliberations of the Digital Radio Working Group in 2008 to the legislation of the Digital Economy Act during the final days of the Labour government in 2010. Goddard uncovers a secret deal struck between the government and the UK commercial radio industry to force DAB radio upon the British public. He also exposes a wealth of inaccurate and distorted information published by radio industry lobbyists as part of their campaign to convince the government and consumers that take-up of DAB radio has been a success in the UK and overseas. Whereas, the data in this book show that consumer interest in DAB radio had already started slowing down, making switchover unlikely to ever happen in the UK.

- by Grant Goddard
- •
- Media Studies, New Media, Media and Cultural Studies, Journalism
- by Timothy Pasch
- •
- Digital Animation, Digital Audio, Ableton Live, Music Scoring for Film

Abstract The notion of an audiolvideo, or AV, database is intro-duced. An AV database is a collection of AV values (digital audio and video data) and AV activities (interconnectable components used to process AV values). Two abstraction... more

- by Dennis Tsichritzis
- •
- Computer Science, Information Retrieval, Animation, Database Systems