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The structure of common music technology systems
Published in Kirk Ross, Hunt Andy, Digital Sound Processing for Music and Multimedia, 2013
If a ‘copy’ is made of a sound, then that copy is played back a short while later, it will sound like an echo. In real life situations an echo is caused by sound travelling some distance to a point of reflection and then coming back (some time afterward) to the listener. The echo is usually much quieter than the original signal. The act of copying a sound and then playing it back after a pause is called delay. It is a commonly used effect, particularly by guitarists. It is often used to provide a rhythmic effect whereby the delay time is set to be related to the tempo of the music. This can give the effect of doubling or trebling the speed of notes played. When the delay time is particularly short it can create a ‘ricochet’ effect that sounds like the early sound reflections in a small room. Extremely short delay times make it sound like there is more than one instrument playing. This is one of the aspects of the chorus effect.
The Media Player and Feeding the Screens
Published in Lars-Ingemar Lundström, Digital Signage Broadcasting, 2013
In a system with external multichannel amplifiers (or other external amplifiers), there is a problem related to the delay of the video signal as it is processed in the flat-panel display systems. The image must be converted between the transmission and the display resolutions. This requires processing power and time. Also, the process of creating the addressing signals to the individual pixels on a screen requires some time. For this reason, the video signal will be undoubtedly delayed. The delay may be compensated for by delaying the audio as well. This audio delay may be added in the external amplifiers if such a feature is available. LCD and plasma monitors have internal delay systems that take care of this if the internal amplifiers and speakers are used.
Audio Plug-ins
Published in Mike Collins, Pro Tools for Music Production, 2012
Delays are used to create effects such as slapback echo, with a single repeat, spacey delay effects with multiple repeats, or chorusing effects. The Gain control lets you attenuate the signal level coming into the delay, allowing you to prevent clipping while the Mix control lets you set the balance between ‘wet’ (i.e. effected) signal and the ‘dry’ (i.e. the original) signal at the output. A Low Pass Filter is provided to let you attenuate the higher frequencies of the feedback signal – so the repeats will sound successively duller, as would be the case with a tape delay. The feedback control lets you control the number of repetitions of the delayed signal. You can create the doubling and flanging effects using the modulation controls provided for Depth and Rate. Negative feedback settings can be used to produce a ‘tunnel-like’ sound for flanging effects.
Secure and transparent pharmaceutical supply chain using permissioned blockchain network
Published in International Journal of Logistics Research and Applications, 2022
Erukala Suresh Babu, Ilaiah Kavati, Soumya Ranjan Nayak, Uttam Ghosh, Waleed Al Numay
Another performance metric is transaction latency. The reading latency is the query transaction's time to read and respond to the query back to the application. Simultaneously, the transaction latency is the amount of time the network takes to perform the transaction update across the network. Precisely, the delay is measured from all the peers’ process time of the network. The delay is measured in milliseconds (ms). The Table 5 and Figure 8 shows that transaction latency with varying block sizes. It is observed that, with an increase of block size for all arrival rates, the transaction latency is decreased quickly until the block size of 32 transactions per block. It is observed that from the Figure 8, the Maximum latency for writing and reading transactions is 83.46ms and 63.15ms with an arrival rate of 80 and 70 tps, respectively, for a block size of 32. Simultaneously, the Maximum latency for writing and reading transactions is 11.66ms and 1.15ms with an arrival rate of 70 tps with a block size of 512 tps.
IMO-based novel adaptive dual-mode controller design for AGC investigation in different types of systems
Published in Cogent Engineering, 2020
Gayatri Mohapatra, Manoj Kumar Debnath, Krushna Keshab Mohapatra
In this proposed work, three unequal thermal systems have been considered. The ratings of the three thermal areas are 2000, 4000 and 8000 MW, respectively. Each thermal system is equipped with a single reheat turbine with a generation rate constraint (GRC) of 3% per minute. The limited movements of thermal and mechanical segments are considered as a restriction for improving generator output power. Ignoring these constraints may result in wear and tear of the control mechanism and hence GRC is considered in the designed system. Further, the addition of communication time delay amplifies system nonlinearities. Here, a communication time delay is introduced between each generating unit and the center of the controller. The time delay may vary from 100 to 250 ms (Wu et al., 2004). In some cases, it may be of the order of some seconds (Mu et al., 2017). The minimal values of dissimilar parameters of the deliberated systems have been referred from Nanda et al. (2009) and these are listed in appendix A. Figure 1 signifies the simulation model of the designed system with novel dual-mode PID controller. The dynamic responses of the system in terms of frequency and tie-line power deviations are scrutinized using MATLAB (R2016a) software. The optimization of gains of the DMPID controller has been executed by implementing the IMO process considering integral time absolute error (ITAE) as fitness function expressed by Equation (1).
Reflections on sonic digital unreality
Published in Digital Creativity, 2019
Sara Pinheiro, Matěj Šenkyřík, Jiří Rouš, Petr Zábrodský
Small adjustments to the distribution can make the listening experience feel unreal. Within the possibilities of multichannel spatialization, the distribution is directly connected to the particular position of loudspeakers in the space. For example, the ambisonic system places the loudspeakers (ideally) in a hemisphere, while Wave Field Synthesis uses arrays of loudspeakers in which the spatialization is achieved by reconstructing the frontal wave of the sound event. Displacing the loudspeakers from this linear array or switching the channels can suffice to completely break a credible space illusion. Furthermore, a different trajectory can be created by switching the linearity of a few channels. Such will provide a movement which can be perceived as unreal. At the same time, the physical sound spatialization (loudspeaker placement) defines how the sound travels to the listener’s ears. It is possible to enhance the displacement by introducing delays between the different channels playing the same sound source. If the same sound is played on multiple loudspeakers at once, the delay between them will determine the sound’s localization. According to tests made by Wallach, Newman, and Rosenzweig (1949) and Haas (1972), the precedence effect works with a delay below 30 ms. In this case, the two different positions merge into one. When the delay is above 30 ms, these positions become distinguishable. The sounds are perceived separately or as echo. Thus, using short delays between the channels can manipulate the listener’s perception of the space.