Auswahl der wissenschaftlichen Literatur zum Thema „Digital audio effects“
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Zeitschriftenartikel zum Thema "Digital audio effects"
Zölzer, Udo, und Julius O. Smith III. „DAFX—Digital Audio Effects“. Journal of the Acoustical Society of America 114, Nr. 5 (2003): 2527. http://dx.doi.org/10.1121/1.1616923.
Der volle Inhalt der QuelleVälimäki, Vesa, und Federico Fontana. „Special Issue on Digital Audio Effects“. Applied Sciences 10, Nr. 7 (03.04.2020): 2449. http://dx.doi.org/10.3390/app10072449.
Der volle Inhalt der QuelleArfib, Daniel. „Musical Implications of Digital Audio Effects“. Journal of New Music Research 31, Nr. 2 (01.06.2002): 85–86. http://dx.doi.org/10.1076/jnmr.31.2.85.8095.
Der volle Inhalt der QuelleBernardini, Nicola, und J�ran Rudi. „Compositional Use of Digital Audio Effects“. Journal of New Music Research 31, Nr. 2 (01.06.2002): 87–91. http://dx.doi.org/10.1076/jnmr.31.2.87.8094.
Der volle Inhalt der QuelleRocchesso, Davide, und Jøran Rudi. „Digital Audio Effects 1998, Barcelona, Spain“. Computer Music Journal 23, Nr. 2 (Juni 1999): 86–87. http://dx.doi.org/10.1162/comj.1999.23.2.86.
Der volle Inhalt der QuelleRisset, Jean-Claude. „Examples of the Musical Use of Digital Audio Effects“. Journal of New Music Research 31, Nr. 2 (01.06.2002): 93–97. http://dx.doi.org/10.1076/jnmr.31.2.93.8092.
Der volle Inhalt der QuelleKhatavkar, Karan. „Enhancing Speech Signal Quality through Noise Reduction for Improved Communication“. International Journal for Research in Applied Science and Engineering Technology 11, Nr. 9 (30.09.2023): 1761–68. http://dx.doi.org/10.22214/ijraset.2023.55925.
Der volle Inhalt der QuelleVerfaille, Vincent, Marcelo M. Wanderley und Philippe Depalle. „Mapping strategies for gestural and adaptive control of digital audio effects“. Journal of New Music Research 35, Nr. 1 (März 2006): 71–93. http://dx.doi.org/10.1080/09298210600696881.
Der volle Inhalt der QuelleMartínez Ramírez, Marco A., Emmanouil Benetos und Joshua D. Reiss. „Deep Learning for Black-Box Modeling of Audio Effects“. Applied Sciences 10, Nr. 2 (16.01.2020): 638. http://dx.doi.org/10.3390/app10020638.
Der volle Inhalt der QuelleYang, Yutong. „Analysis Of Different Types of Digital Audio Workstations“. Highlights in Science, Engineering and Technology 85 (13.03.2024): 563–69. http://dx.doi.org/10.54097/6vvy8z41.
Der volle Inhalt der QuelleDissertationen zum Thema "Digital audio effects"
Janiszewski, Marcin Józef. „Audio effects unit“. Master's thesis, Universidade de Aveiro, 2011. http://hdl.handle.net/10773/6237.
Der volle Inhalt der QuelleO objectivo principal da presente tese de mestrado centrou-se no desenho e construção de uma unidade de efeitos de áudio (Audio Effects Unit -AEU), cuja função consiste em processar sinais áudio em tempo real. O propósito central foi desenvolver uma unidade de processamento áudio genérica, cuja função de processamento, implementada no domínio digital, pode ser facilmente especificada pelo utilizador via uma aplicação de software implementada num computador. A primeira etapa deste projecto consistiu na implementação completa do hardware que constitui o AEU. É importante acrescentar que esta concepção teve em conta a inclusão desse hardware numa caixa apropriada. Este método de projecto e implementação constituiu uma experiência muito interessante e útil. A próxima etapa consistiu no desenvolvimento de algoritmos matemáticos a ser implementados no microcontrolador do AEU e que geram os efeitos sonoros desejados por processamento dos sinais áudio originais. Estes algoritmos foram inicialmente testados através do Matlab. Para controlar os efeitos sonoros produzidos foi ainda criada uma aplicação de computador que permite a intervenção, de forma muito simples, do utilizador. A referida aplicação assegura a comunicação entre o microcontrolador do AEU e o computador através de uma ligação USB. O dispositivo, na sua versão final, foi testado em laboratório e através do Matlab. Cada bloco do dispositivo, e o dispositivo completo, foi testado individualmente. Com base nessa avaliação foram desenhadas as respectivas características na frequência e analisada a qualidade do dispositivo de áudio. Para além da experiência adquirida em concepção de hardware, este projecto permitiu-me alargar o meu conhecimento em programação de microcontroladores e na optimização de código, um requisito do processamento de sinal em tempo real. Também me deu a oportunidade de utilizar a ferramenta comercial MPLAB para programação de microcontroladores.
The main aim of this master thesis was to design and build an Audio Effects Unit (AEU), whose function is to process, a particular audio signal in real time. The objective was to develop a general purpose audio processing unit where the processing function, implemented in the digital domain, can be easily specified by the user by means of a software application running on a computer. The first stage of this project consisted on the full design and implementation of the hardware that constitutes the AEU. It is worth adding that such design also considered that the layout could be placed in an enclosure. Such way of designing was a great new experience. The next stage was to prepare the mathematical algorithms to be implemented in the AEU microcontroller which create the sound effects by processing the original audio signal. These algorithms were first tested in MatLab. To control the produced sound effects a computer program was created which allows the user intervention in a straightforward way. This program ensures communication between the AEU microcontroller and PC software using an USB connection. The completed device was tested in laboratory and with Matlab. The individual blocks of the AEU, and the whole device, were tested. On the basis of these tests frequency characteristics were drawn and the quality of the audio device was analyzed. Besides acquiring expertise in hardware design, this project has broadened my knowledge on microcontroller programming and code optimization, a requirement for real time signal processing. It also gave me the opportunity to use the commercial MPLAB programming environment.
Głównym celem tej pracy magisterskiej było zaprojektowanie i zbudowanie układu do generowania efektów dźwiękowych (Audio Effects Unit - AEU) służącego do przetwarzania sygnału dźwiękowego w czasie rzeczywistym. Zadaniem autora było skonstruowanie ogólnego zastosowania układu przetwarzającego sygnał dźwiękowy, w którym funkcja przetwarzania, zaimplementowana w sposób cyfrowy, może być łatwo określona przez użytkownika poprzez zastosowanie odpowiedniego oprogramowania komputerowego. Pierwszy etap projektu polegał na szczegółowym zaprojektowaniu i zbudowaniu warstwy sprzętowej tworzącej AEU. W projekcie przewidziano tez możliwość umieszczenia układu w obudowie, co było dla autora nowym doświadczeniem projektowym. Kolejnym etapem było opracowanie algorytmów matematycznych, zaimplementowanych w mikrokontrolerze AEU, które tworzą efekty dźwiękowe poprzez przetwarzanie oryginalnego sygnału dźwiękowego. Te algorytmy zostały najpierw przetestowane w programie MatLab. Do kontrolowania wytworzonych efektów dźwiękowych, został napisany program komputerowy, który pozwala na prostą interakcje z użytkownikiem. Ten program zapewnia komunikację między mikrokontrolerem AEU i oprogramowaniem komputerowym poprzez złącze USB. Gotowe urządzenie zostało zbadane w laboratorium oraz za pomocą programu Matlab. Poszczególne bloki AEU jak i całe urządzenie zostały przetestowane, co pozwoliło na wykreślenie charakterystyk częstotliwościowych i umożliwiło analizę jakości wykonanego urządzenia audio. Oprócz zdobywania doświadczenia w projektowaniu sprzętu, udział w projekcie poszerzył moją wiedzę o programowaniu mikrokontrolerów i optymalizacji kodu, potrzebną dla przetwarzania sygnału w czasie rzeczywistym. Ponadto miałem możliwość zapoznania się z komercyjnym środowiskiem programistycznym MPLAB.
Molina, Villota Daniel Hernán. „Vocal audio effects : tuning, vocoders, interaction“. Electronic Thesis or Diss., Sorbonne université, 2024. http://www.theses.fr/2024SORUS166.
Der volle Inhalt der QuelleThis research focuses on the use of digital audio effects (DAFx) on vocal tracks in modern music, mainly pitch correction and vocoding. Despite its widespread use, there has not been enough discussion on how to improve autotune or what makes a pitch-modification more musically interesting. A taxonomic analysis of vocal effects has been conducted, demonstrating examples of how they can preserve or transform vocal identity and their musical use, particularly with pitch modification. Furthermore, a compendium of technical-musical terms has been developed to distinguish types of vocal tuning and cases of pitch correction. Additionally, a graphical correction method for vocal pitch correction is proposed. This method is validated with theoretical pitch curves (supported by audio) and compared with a reference method. Although the vocoder is essential for pitch correction, there is a lack of descriptive and comparative basis for vocoding techniques. Therefore, a sonic description of the vocoder is proposed, given its use for tuning, employing four different techniques: Antares, Retune, World, and Circe. Subsequently, a subjective psychoacoustic evaluation is conducted to compare the four systems in the following cases: original tone resynthesis, soft vocal correction, and extreme vocal correction. This psychoacoustic evaluation seeks to understand the coloring of each vocoder (preservation of vocal identity) and the role of melody in extreme vocal correction. Furthermore, a protocol for the subjective evaluation of pitch correction methods is proposed and implemented. This protocol compares our DPW pitch correction method with the ATA reference method. This study aims to determine if there are perceptual differences between the systems and in which cases they occur, which is useful for developing new melodic modification methods in the future. Finally, the interactive use of vocal effects has been explored, capturing hand movement with wireless sensors and mapping it to control effects that modify the perception of space and vocal melody
Patel, Dipankumar Dalubhai. „Subjective effects of cell loss and bit error on compressed audio-visual applications over ATM“. Thesis, Imperial College London, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.314077.
Der volle Inhalt der QuelleYang, Xiangui. „Effects of digital audio quality on students' performance in LAN delivered English listening comprehension tests“. Ohio : Ohio University, 2009. http://www.ohiolink.edu/etd/view.cgi?ohiou1236796324.
Der volle Inhalt der QuelleStutzman, Krista. „The effects of digital audio files and online discussions on student proficiency in a foreign language“. [Ames, Iowa : Iowa State University], 2007.
Den vollen Inhalt der Quelle findenClark, Robin John. „Investigation into digital audio equaliser systems and the effects of arithmetic and transform errors on performance“. Thesis, University of Plymouth, 2001. http://hdl.handle.net/10026.1/2685.
Der volle Inhalt der QuelleDeming, Robert Livingston. „Digital audio : exploring the thinking, products, effects and impact of using sound on the elementary classroom computer /“. Access Digital Full Text version, 1996. http://pocketknowledge.tc.columbia.edu/home.php/bybib/11974564.
Der volle Inhalt der QuelleTypescript; issued also on microfilm. Sponsor: A. Lin Goodwin. Dissertation Committee: Robert O. McClintock. Includes bibliographical references (leaves 246-257).
Savvateev, Anton. „Which compound-earcon's attributes may improve a player's performance in a search-oriented gameplay: rhythm vs timbre?“ Thesis, Luleå tekniska universitet, Medier ljudteknik och upplevelseproduktion och teater, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:ltu:diva-69003.
Der volle Inhalt der QuelleFrenštátský, Petr. „Softwarový analyzátor zvukových efektů“. Master's thesis, Vysoké učení technické v Brně. Fakulta elektrotechniky a komunikačních technologií, 2014. http://www.nusl.cz/ntk/nusl-220634.
Der volle Inhalt der QuelleKarlström, Therése, und Alexandra Kantonenko. „The effect of Digital Tools on Auditors' Professional Scepticism : A Quantitative Study of Professional Scepticism in the Swedish Audit Profession“. Thesis, Internationella Handelshögskolan, Jönköping University, IHH, Företagsekonomi, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:hj:diva-48618.
Der volle Inhalt der QuelleBücher zum Thema "Digital audio effects"
Zölzer, Udo, Hrsg. DAFX: Digital Audio Effects. Chichester, UK: John Wiley & Sons, Ltd, 2011. http://dx.doi.org/10.1002/9781119991298.
Der volle Inhalt der QuelleUdo, Zölzer, und Amatriain Xavier, Hrsg. DAFX: Digital audio effects. Chichester: Wiley, 2002.
Den vollen Inhalt der Quelle findenCOST-G6 Workshop on Digital Audio Effects (1st 1998 Barcelona). Proceedings 98 Digital Audio Effects Workshop: Barcelona, November 19-21, 1998. Barcelona: Audiovisual Institute, Pompeu Fabra University, 1998.
Den vollen Inhalt der Quelle findenDylan, Jones. iPod, therefore I am: Thinking inside the white box. New York, NY: Bloomsbury, 2005.
Den vollen Inhalt der Quelle findenDylan, Jones. iPod, therefore I am. London: Weidenfeld & Nicolson, 2005.
Den vollen Inhalt der Quelle findenDave, Raybould, Hrsg. The game audio tutorial: A practical guide to sound and music for interactive games. Amsterdam: Boston, 2011.
Den vollen Inhalt der Quelle findenSteve, Albanese, Hrsg. Pro Tools 7 power!: The comprehensive guide. 2. Aufl. Boston, MA: Thomson Course Technology, 2008.
Den vollen Inhalt der Quelle findenOzer, Jan. Adobe digital video how-tos: 100 essential techniques with Adobe production studio. Berkeley, CA: Peachpit, 2007.
Den vollen Inhalt der Quelle findenJenny, Bartlett, Hrsg. Practical recording techniques: The step-by-step approach to professional audio recording. 4. Aufl. Burlington, Mass: Focal, 2005.
Den vollen Inhalt der Quelle findenM, Rubin David. The audible Macintosh. San Francisco: SYBEX, 1992.
Den vollen Inhalt der Quelle findenBuchteile zum Thema "Digital audio effects"
Uncini, Aurelio. „Digital Audio Effects“. In Springer Topics in Signal Processing, 483–563. Cham: Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-031-14228-4_7.
Der volle Inhalt der QuelleVerfaille, V., D. Arfib, F. Keiler, A. von dem Knesebeck und U. Zölzer. „Adaptive Digital Audio Effects“. In DAFX: Digital Audio Effects, 321–91. Chichester, UK: John Wiley & Sons, Ltd, 2011. http://dx.doi.org/10.1002/9781119991298.ch9.
Der volle Inhalt der QuellePulkki, V., T. Lokki und D. Rocchesso. „Spatial Effects“. In DAFX: Digital Audio Effects, 139–83. Chichester, UK: John Wiley & Sons, Ltd, 2011. http://dx.doi.org/10.1002/9781119991298.ch5.
Der volle Inhalt der QuelleVälimäki, V., S. Bilbao, J. O. Smith, J. S. Abel, J. Pakarinen und D. Berners. „Virtual Analog Effects“. In DAFX: Digital Audio Effects, 473–522. Chichester, UK: John Wiley & Sons, Ltd, 2011. http://dx.doi.org/10.1002/9781119991298.ch12.
Der volle Inhalt der QuelleVerfaille, V., M. Holters und U. Zölzer. „Introduction“. In DAFX: Digital Audio Effects, 1–46. Chichester, UK: John Wiley & Sons, Ltd, 2011. http://dx.doi.org/10.1002/9781119991298.ch1.
Der volle Inhalt der QuelleBonada, J., X. Serra, X. Amatriain und A. Loscos. „Spectral Processing“. In DAFX: Digital Audio Effects, 393–445. Chichester, UK: John Wiley & Sons, Ltd, 2011. http://dx.doi.org/10.1002/9781119991298.ch10.
Der volle Inhalt der QuelleEvangelista, G. „Time and Frequency-Warping Musical Signals“. In DAFX: Digital Audio Effects, 447–71. Chichester, UK: John Wiley & Sons, Ltd, 2011. http://dx.doi.org/10.1002/9781119991298.ch11.
Der volle Inhalt der QuellePerez-Gonzalez, E., und J. D. Reiss. „Automatic Mixing“. In DAFX: Digital Audio Effects, 523–49. Chichester, UK: John Wiley & Sons, Ltd, 2011. http://dx.doi.org/10.1002/9781119991298.ch13.
Der volle Inhalt der QuelleEvangelista, G., S. Marchand, M. D. Plumbley und E. Vincent. „Sound Source Separation“. In DAFX: Digital Audio Effects, 551–88. Chichester, UK: John Wiley & Sons, Ltd, 2011. http://dx.doi.org/10.1002/9781119991298.ch14.
Der volle Inhalt der QuelleDutilleux, P., M. Holters, S. Disch und U. Zölzer. „Filters and Delays“. In DAFX: Digital Audio Effects, 47–81. Chichester, UK: John Wiley & Sons, Ltd, 2011. http://dx.doi.org/10.1002/9781119991298.ch2.
Der volle Inhalt der QuelleKonferenzberichte zum Thema "Digital audio effects"
Zolzer, Udo. „Pitch-based digital audio effects“. In 2012 5th International Symposium on Communications, Control and Signal Processing (ISCCSP). IEEE, 2012. http://dx.doi.org/10.1109/isccsp.2012.6217840.
Der volle Inhalt der QuelleRoma, Gerard, Pierre Alexandre Tremblay und Owen Green. „Graph-Based Audio Looping And Granulation“. In 2021 24th International Conference on Digital Audio Effects (DAFx). IEEE, 2021. http://dx.doi.org/10.23919/dafx51585.2021.9768228.
Der volle Inhalt der QuelleTurian, Joseph, Jordie Shier, George Tzanetakis, Kirk McNally und Max Henry. „One Billion Audio Sounds from GPU-Enabled Modular Synthesis“. In 2021 24th International Conference on Digital Audio Effects (DAFx). IEEE, 2021. http://dx.doi.org/10.23919/dafx51585.2021.9768246.
Der volle Inhalt der QuelleVerma, Prateek, und Chris Chafe. „A Generative Model for Raw Audio Using Transformer Architectures“. In 2021 24th International Conference on Digital Audio Effects (DAFx). IEEE, 2021. http://dx.doi.org/10.23919/dafx51585.2021.9768298.
Der volle Inhalt der QuelleWang, Xianke, Wei Xu, Juanting Liu, Weiming Yang und Wenqing Cheng. „An Audio-Visual Fusion Piano Transcription Approach Based on Strategy“. In 2021 24th International Conference on Digital Audio Effects (DAFx). IEEE, 2021. http://dx.doi.org/10.23919/dafx51585.2021.9768275.
Der volle Inhalt der QuelleDucceschi, Michele, Stefan Bilbao und Craig J. Webb. „Non-Iterative Schemes for the Simulation of Nonlinear Audio Circuits“. In 2021 24th International Conference on Digital Audio Effects (DAFx). IEEE, 2021. http://dx.doi.org/10.23919/dafx51585.2021.9768254.
Der volle Inhalt der QuelleGermain, Francois G. „Practical Virtual Analog Modeling Using MÖbius Transforms“. In 2021 24th International Conference on Digital Audio Effects (DAFx). IEEE, 2021. http://dx.doi.org/10.23919/dafx51585.2021.9768245.
Der volle Inhalt der QuelleVaillant, Gwendal Le, Thierry Dutoit und Sebastien Dekeyser. „Improving Synthesizer Programming From Variational Autoencoders Latent Space“. In 2021 24th International Conference on Digital Audio Effects (DAFx). IEEE, 2021. http://dx.doi.org/10.23919/dafx51585.2021.9768218.
Der volle Inhalt der QuelleLa Pastina, Pier Paolo, Stefano D'Angelo und Leonardo Gabrielli. „Arbitrary-Order IIR Antiderivative Antialiasing“. In 2021 24th International Conference on Digital Audio Effects (DAFx). IEEE, 2021. http://dx.doi.org/10.23919/dafx51585.2021.9768266.
Der volle Inhalt der QuelleHahn, Nara, Frank Schultz und Sascha Spors. „Higher-Order Anti-Derivatives of Band Limited Step Functions for the Design of Radial Filters in Spherical Harmonics Expansions“. In 2021 24th International Conference on Digital Audio Effects (DAFx). IEEE, 2021. http://dx.doi.org/10.23919/dafx51585.2021.9768233.
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