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TA212The Technology of Music
Steve Wells
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Tutorial 4
• TMA04– cutoff date January 22nd
• Block 4 Part 1– starts February 15th
TA212 The Technology of Music
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Tutorial 4
• TMA04– cutoff date January 22nd
• Block 4 Part 1– starts February 15th
TA212 The Technology of Music
Block 4 Part 1 doesn’t start until February 15th...
but we don’t have another tutorial until April 12th... !
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TMA04
• Question 1 – Basics of Instruments– vibrators, percussion, damping– calculations based on vibrating plate
• Question 2 - Clarinet– reed, transposition– frequency analysis in Audition
TA212 The Technology of Music
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TMA04
• Question 3 - Brass instruments– mouthpiece, bell, mute, valve
• Question 4 - Violin– bow, bridge– calculations based on strings
TA212 The Technology of Music
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Calculations in TMAs
• ALWAYS quote any formula you are using• ALWAYS define the terms in the formula
TA212 The Technology of Music
f1: fundamental frequency (Hz)
L: length of the string (m)
T: tension in the string (N)
µ: mass per unit length (kg/m)
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Calculations in TMAs
• Save any rounding of results until the end• Rounding of intermediate results leads to errors• Example from TMA03
TA212 The Technology of Music
This is the rms voltage.
To get the peak to peak we need:
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Calculations in TMAs
• Save any rounding of results until the end• Rounding of intermediate results leads to errors• Example from TMA03
TA212 The Technology of Music
This is the rms voltage.
To get the peak to peak we need:
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TA212 The Technology of Music
Block 4: Sound Processes
• Desktop Sound• Notation and Representation• Carillon to MIDI• Music Distribution• The Music Business
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TA212 The Technology of Music
Block 4: Sound Processes
• Desktop Sound• Notation and Representation• Carillon to MIDI• Music Distribution• The Music Business
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Desktop Sound
TA212: Block 4, Chapter 1
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TA212 - Block 4 - Chapter 1 - Desktop Sound
Three Stages
• Collect the sound• Edit, Mix and Add Effects• Distribute the Result
• The three stages are sometimes marked on CDs to show whether analogue or digital technology was used at each stage:
A D D D D D
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Analogue Input - Sensitivity
• Signal Amplitude• High Sensitivity
– microphones etc.• Low Sensitivity (“Line”)
– synthesisers etc.
TA212 - Block 4 - Chapter 1 - Desktop Sound
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Specifying Sensitivity (revision)
TA212 - Block 4 - Chapter 1 - Desktop Sound
RMS amplitude is the amplitude equivalent to a non oscillating source carrying the same power.
rms amplitude
amplitudedermsamplitu 71.0
amplitude
peak to peak amplitude
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TA212 - Block 4 - Chapter 1 - Desktop Sound
Decibels (again!)
• Think of voltages and power as analogues of sound• Sound level is measured in dB - so can voltages and
power• Need to define the zero point
– 0dBu is defined as an rms voltage of 0.775 volts– 0dbV is defined as an rms voltage of 1 volt– 0dBm is defined as a power of 1 mW
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TA212 - Block 4 - Chapter 1 - Desktop Sound
Decibels – standard values
• - 20dB one tenth of the voltage/power• + 20dB ten times the voltage/power• - 6dB half the voltage/power• + 6dB twice the voltage/power
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Impedance (revision)
• Equivalent of electrical resistance for an oscillating signal
• Varies with frequency– but this is usually not specified
• Impedance matching– Get it wrong and you lose power
TA212 - Block 4 - Chapter 1 - Desktop Sound
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Impedance Matching
TA212 - Block 4 - Chapter 1 - Desktop Sound
low high
low
high
high
veryhigh
highlow
Pre-amplifier
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Analogue Output - Clipping
TA212 - Block 4 - Chapter 1 - Desktop Sound
• The clipped signal has been amplified too much and the extremes of the amplitude have been lost
• Very unpleasant sound!
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TRS Connector
TA212 - Block 4 - Chapter 1 – Desktop Sound
Tip
Ring
Sleeve
Insulation to separate the connections
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3.5mm TRS Connector
TA212 - Block 4 - Chapter 1 – Desktop Sound
Speakers
Left Channel
Right Channel
Ground (0v)
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3.5mm TRS Connector
TA212 - Block 4 - Chapter 1 – Desktop Sound
Speakers Microphone
Left Channel
Right Channel
Ground (0v) Ground (0v)
Preamp Power (5v)
Signal
For high impedance microphones (such as electrets), 5 volts is supplied to the microphone to drive an in-built preamplifier
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TA212 - Block 4 - Chapter 1 - Desktop Sound
Cables
• screened leads• balanced leads signal wire
earth
earth
two signal wires twisted together
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TA212 - Block 4 - Chapter 1 - Desktop Sound
Balanced Cables
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TA212 - Block 4 - Chapter 1 - Desktop Sound
Digital Interfaces
• Standards– AES/ABU– S/PDIF– MADI
• Essentially the same!• Serial transmission
– one bit at a time• Real Time• USB and Firewire also used on desktop systems
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TA212 - Block 4 - Chapter 1 - Desktop Sound
Digital Storage
• Compact Disc (CD)• MiniDisc (MD)• Digital Versatile Disc (DVD)• Magnetic Tape• Hard Disk• Solid State memory
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TA212 - Block 4 - Chapter 1 - Desktop Sound
Digital Storage Issues
• What stage of the recording process?• Initial Recording
– high capacity required– Magnetic Tape or Hard disk
• Digital Mixing– Random Access– Hard Disk
• Delivery– CD etc.
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TA212 - Block 4 - Chapter 1 - Desktop Sound
Digital File Formats
• All have basically the same structure– based on “Interchange File Format” (IFF)
• Built from “chunks”– All chunks consist of
• identity• size• data
– The data part of a chunk can contain other chunks.
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TA212 - Block 4 - Chapter 1 - Desktop Sound
Chunk Structure
Identity
Size
Data
4 bytes
4 bytes
Size bytes
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TA212 - Block 4 - Chapter 1 - Desktop Sound
WAV File
“RIFF”
Size
4 bytes
4 bytes
Size bytesFormat Chunk
Data Chunk
“WAVE”
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TA212 - Block 4 - Chapter 1 - Desktop Sound
WAV Format Chunk
“FMT ”
Size
Sound Parameters
• Format of data
• number of tracks
• sample rate
• etc.
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TA212 - Block 4 - Chapter 1 - Desktop Sound
WAV Data Chunk
“DATA”
Size
Sound Samples
• Actual Sound Samples
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TA212 - Block 4 - Chapter 1 - Desktop Sound
Editing
• Combining many sound sources to produce a single stereo image which can be recorded to CD– adjustment of levels– mixing different takes to remove imperfections– adding effects
• Edit Lists– Non-Destructive– real time
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TA212 - Block 4 - Chapter 1 - Desktop Sound
Setting the Levels
• Normalisation– Setting the final levels based on the loudest part of the
recording– Setting the levels to -6dB means setting the loudest
part of the recording to 6dB below clipping.• Compression and Limiting
– Reduce the output level when the input level is high– Reduces the dynamic range
• Expansion and Gating– Increase the output level when the input level is low– Reduces the dynamic range
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Mixing
• During recording several microphones are used to record individual performers or groups
• Mixing is the process of combining these individual recordings– Adjusting the levels of
individual tracks
TA212 - Block 4 - Chapter 1 - Desktop Sound
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TA212 - Block 4 - Chapter 1 - Desktop Sound
Controlling the Level
• analogue signals when added can produce clipping• digital signals run out of space!
– two 16 bit samples when added will require 17 bits.• two approaches
– increase the capacity in the mixing stage– reduce the sample sizes (downsizing)
• a 1 bit reduction halves the sample value
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Carillon to MIDI
TA212: Block 4, Chapter 3
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TA212 - Block 4 - Chapter 3 - Carillon to MIDI
What is MIDI?
• Musical Instrument Digital Interface• a way to carry information about music from one
place to another along a wire or in a file– which note to play– when to start– which instrument to use
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TA212 - Block 4 - Chapter 3 - Carillon to MIDI
MIDI Connections
Synthesiser
MIDI Out
MIDI Thru
MIDI In
“local off” switch
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TA212 - Block 4 - Chapter 3 - Carillon to MIDI
MIDI Messages
• Instructions about what sounds to make• Status byte
– note on– note off– program change (new instrument)
• Data byte(s)– numerical information
• pitch, volume etc.
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TA212 - Block 4 - Chapter 3 - Carillon to MIDI
MIDI Channels
• MIDI can support 16 channels. Each can be a separate synthesised instrument
• Status bytes which refer to channels are arranged in blocks of 16
• So...– 144: “Note On” on Channel 1– 145: “Note On” on Channel 2– etc.
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TA212 - Block 4 - Chapter 3 - Carillon to MIDI
MIDI Example
145
60
64
129
60
64
Note On - Channel 2
Middle C (C4)
Mid range velocity (loudness)
Note Off - Channel 2
Middle C (C4)
Mid range velocity (loudness)
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TA212 - Block 4 - Chapter 3 - Carillon to MIDI
Running Status
• When repeating a message with the same status as the last message– just send the data– the status is implied
• Don’t need to use NOTE OFF - just use NOTE ON again with a velocity of 0
• With a lot of notes this can save a lot of status bytes.
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TA212 - Block 4 - Chapter 3 - Carillon to MIDI
• Without running status:– 146, 60, 64, 146, 64,64, 130, 60, 64, 130, 64, 64
• With running status:– 146, 60, 64, 64,64, 130, 60, 64, 64, 64
Running Status Example
Repeated status bytes
Repeated status bytes removed
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TA212 - Block 4 - Chapter 3 - Carillon to MIDI
MIDI File
• Standard MIDI File uses the Interchange File Format– like a WAV file
• Fixed size Header Chunk• One Track Chunk per MIDI Track
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TA212 - Block 4 - Chapter 3 - Carillon to MIDI
SMF Header Chunk
“MThd”
Size (always 6 bytes)
4 bytes
4 bytes
Format type
No. of Tracks
Time
2 bytes
2 bytes
2 bytes
0: One Track1: Many tracks
played together2: Many tracks
played in sequence
+ve: number of clock ticks per crotchet-ve: number of ticks between SMPTE Time Frames
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TA212 - Block 4 - Chapter 3 - Carillon to MIDI
SMF Track Chunk
“MTrk”
Size
MIDI Events
One Chunk per Track
Each MIDI Event consists of:
• Delta Time
• MIDI Message
–Status Byte
–Data Bytes
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TA212 The Technology of Music
Contacting Me
• Phone
01454-850379• Email
[email protected]• Web
http://www.stevesphotosite.co.uk/ta212
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TA212 The Technology of Music
Questions
? ?
? ??
?
?