Various algorithmic reverb effecters
Hi, My name is SHIM, Wooyoung (SHIM is my family name, not the first name), and I’m from Seoul, Korea.
I’ll explain reverb - comparing algorithmic reverb with convolution reverb for my 5th assignment in IMPMOOC.
A reverberation, or reverb, is created when a sound is produced in an enclosed space causing a large number of echoes to build up and then slowly decay as the sound is absorbed by the walls and air. (from wikipedia:reverb)
In musical terms, a reverb is a kind of delay effect creating a sense of space by adding some delayed sound. We can say a reverb is simulating a real space, and there are mainly two ways of implementing reverb effects: algorithmic and convolution reverb.
Algorithmic reverb creates a reverb from some mathematical formula, like synthesizing sounds from MIDI.
Various algorithmic reverb effecters
There are various formula for reverb effects, and many implementation. Algorithmic reverb depends on user’s experiences and senses, because there’s no rule or a kind of regulation how to adjust various input factors.
In audio signal processing, convolution reverb is a process used for digitally simulating the reverberation of a physical or virtual space. It is based on the mathematical convolution operation, and uses a pre-recorded audio sample of the impulse response of the space being modeled. (from wikipedia:convolution_reverb)
- from http://d3vvl31cy8gagb.cloudfront.net/135_convolution/recordingSetup.gif
various convolution reverb effecters
- from http://d3vvl31cy8gagb.cloudfront.net/135_convolution/convolutionReverbs.jpg
Convolution reverb is as good as the its audio samples (impulse response). It is very realistic, because it’s on the sampled data collected from the real spaces - jazz clubs, opera halls, etc. But it lacks of some kind of freedom.
Therefore, it is better two use both algorithmic and convolution reverb to create what you want, according to musical instruments and tracks within your music.
I’m very sorry for lacking of sound examples or video tutorials.
Anyway, Thanks for reading : - )
Hi, My name is SHIM, Wooyoung (SHIM is my family name, not the first name), and I’m from Seoul, Korea.
I’ll explain dynamic range and the many ways producers manipulate dynamic range for my 4th assignment of IMPMOOC.
Dynamic range (DR) has various definition according to where is used: for example, DR in a piece of audio gear is the range levels between the noise floor and the distortion.
Figure: Dynamic Range (of audio gears)
http://www.analog.com/static/imported-files/tech_articles/figure5.gif
Similarly, we’ll call DR here as ‘loudness or volume levels between the quietest and the loudest sound we can make under a certain environment.’
DR is very important for music, because whenever a music becomes quiet or loud, listeners tend to pay focus the change, and DR determines how much a music (performance) varies during its runtime. In other words, musical dynamic can control its listeners emotion, and DR means its extent.
We can manipulate musical dynamic range either during a live performance or at its post-production stage. Most important part of manipulating the dynamics of a music is that it should be smooth and natural to help the listener to enjoy music without being interrupted.
Manipulating DR should be done in various scale, to orchestrate the control smoothly.
Figure: Manipulation DR in GarageBand
http://coreylatislaw.com/wp-content/uploads/2011/09/Sailing-Away-1024x647.png
A music consists of mani tracks, such as the vocal, chorus, session (instruments including guitars, keyboards, drums, …). On a macro scale, we use a volume fader or automation to adjust the volume of tracks. For example, we can emphasize main vocal track by making it louder over the chorus track.
In each single track, manipulating dynamics is very effective. If we don’t do ‘riding the vocal’ - adjusting vocal track volume up when the voice get quiet and the level down when the voice gets loud, the listener may feel uncomfortable and lose focus.
We can manipulate individual events in a single track, mostly drum or percussion track. By controlling the transient of each drum hit, various effects can be done.
I’ve found its very hard to explain dynamic range manipulation without demonstration, but I hope you get any useful idea from my article. Thanks for reading.
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애플이 ‘둥근 모서리 특허’ 를 전격 포기했다는 특종기사가 국내 뉴스 섹션을 도배했는데, 정작 미쿡쪽 사이트나 뉴스에는 아무런 이야기가 없어서 대체 출처가 어디인지 찾아봤다.
(단독) 애플, 삼성에 백기…’사각형에 둥근 모서리’ 특허 전격 포기
포스페이턴츠닷컴이 어딘고 하니 Florian Mueller 라는 특허 전문 컨설턴트가 운영하는 블로그 Foss Patents 으로, 문제의 글은 이것이다.
Apple files terminal disclaimer for a design patent the California jury found Samsung to infringe
영어가 짧은 관계로 번역은 차마 못하겠지만 대충 요약하자면 다음과 같다:
Apple은 특허 D618677 에 대해 terminal disclaimer 를 제출했다.
특허 2가 그보다 앞선 특허 1에 대해 terminal disclaimer 가 적용되면, 특허 1이 만료될 때 특허 2도 만료된다.
내가 보기에는 “특허 D618677은 D593087 과 중복되기 때문에 D618677 을 침해했다는 판결은 잘못됐다” 는 주장에 대응하여 Apple 이 terminal disclaimer 를 제출한다고 해서, 그렇다고 삼성이 물러설 것 같지는 않다. 만일 특허 D618677 이 효력이 없다는 판결이 나오면 삼성이 애플에 물어줘야 하는 벌금의 50% 정도는 깎일 것이다.
(나머지는 생략)
어딜 봐도 애플이 ‘둥근 모서리 특허’ 인 D618677 을 포기했다는 얘기는 없다. 나도 영어를 그리 잘 하는 편이 아니고, 이런 특허 관련 글은 찬찬히 읽어봐야 하는데 일하는 중이라 급하게 훑어보고 말았지만, 이 기사는 해프닝이나 아니면 낚시성 찌라시 이상의 가치는 없다고 본다.
그게 아니면 기자가 뭔가 관심법을 터득해서 애플의 속뜻을 꿰뚫어본 거겠지.
덧. 맨 위에 인용했던 헤럴드경제 기사 결국은 삭제 조치되었다. 이름까지는 기억나지 않지만 정 아무개 기자였는데, 회사 이름에 먹칠했으니 이번에 제대로 내부징계 좀 먹기 바란다.
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