Relevant bibliographies by topics / Sound – Recording and reproducing – Digital techniques

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'Sound – Recording and reproducing – Digital techniques'

Author: Grafiati
Published: 4 June 2021
Last updated: 28 January 2023

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Journal articles on the topic "Sound – Recording and reproducing – Digital techniques"

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Rossing, Thomas D. "Digital techniques for sound recording." Physics Teacher 32, no. 8 (1994): 458–64. http://dx.doi.org/10.1119/1.2344080.

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Munusamy, Muralitheran. "Gamelan Melayu Sound Preservation and Archiving through Recording Methods and Production Techniques." ASIAN-EUROPEAN MUSIC RESEARCH JOURNAL 6 (December 4, 2020): 17–40. http://dx.doi.org/10.30819/aemr.6-2.

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Sound or audio engineering is a branch of the field of engineering, which involves the process of recording sound and reproducing it by various means, as well as storing in order to be reproduced later. Known as sound or audio engineers, these trained professionals work in a variety of sound production fields and expert in recording methods. They can be instrumental to implement the affordable technologies and technical process to distribute the audio data hence, making it accessible for future generations. The current role of these engineers not only to perform or limited to recording session
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Чванова, Т. П. "Sound Recording As a Factor of Evolution of the Piano Performing Style in XX Century." OPERA MUSICOLOGICA, no. 2021 (December 24, 2021): 96–113. http://dx.doi.org/10.26156/om.2021.13.4.004.

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Роль звукозаписи как источника и катализатора изменений, произошедших в фортепианном исполнительстве в XX веке, мало исследована в отечественном музыкознании. Цель автора — восполнить данный пробел, раскрыв влияние звукозаписи на развитие фортепианного искусства. В центре внимания — репертуарные предпочтения, возможности и подходы исполнителей; анализ производится в рамках предложенной периодизации звукозаписи (ранней, классической, цифровой). В эпоху ранней звукозаписи трансформация исполнительских средств связана с временны´ м аспектом. Период классической звукозаписи характеризуется стремле
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Ramos Flores, Cristohper. "The bodyless sound and the re-embodied sound: an expansion of the sonic body of the instrument." Ricercare, no. 15 (August 21, 2022): 30–58. http://dx.doi.org/10.17230/ricercare.2022.15.2.

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The development of recording technologies, audio manipulation techniques, and sound synthesis opened new sonic horizons. At the same time, realising or reproducing these new sounds creates issues of disembodiment and/or a total lack of physical-gesture-to-audio relationship. Understanding the impact these issues have on our perception and comprehension of music becomes central in the light of new creative practices, in which developing hardware and software has become part of the creative process. These creative practices force us to re-think the role of performance and the medium (musical ins
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Oleksandr, Lishafai. "TECHNOLOGICAL PROCESSES OF SOUND MAKING IN AUDIOVISUAL WORK." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 60, no. 60 (2021): 75–95. http://dx.doi.org/10.34064/khnum1-60.04.

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The relevance of the article. The article explores technological processes of creating sound accompaniment in audiovisual works and points out main categories that expose a panoramic picture of these processes. The soundtrack in relation to a motion picture is a flexible, modern structure with a large number of components. There is a number of technical means for reproducing sound accompaniment in audiovisual work. More than a hundred years ago, when it was necessary to make works of fine art more affecting and impressive with the help of sound, they used to fall back on acoustic musical instr
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Giordano, Noemi, and Marco Knaflitz. "A Novel Method for Measuring the Timing of Heart Sound Components through Digital Phonocardiography." Sensors 19, no. 8 (2019): 1868. http://dx.doi.org/10.3390/s19081868.

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The auscultation of heart sounds has been for decades a fundamental diagnostic tool in clinical practice. Higher effectiveness can be achieved by recording the corresponding biomedical signal, namely the phonocardiographic signal, and processing it by means of traditional signal processing techniques. An unavoidable processing step is the heart sound segmentation, which is still a challenging task from a technical viewpoint—a limitation of state-of-the-art approaches is the unavailability of trustworthy techniques for the detection of heart sound components. The aim of this work is to design a
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Weidenaar, Reynold. "Composing with the Soundscape of Jones Street." Organised Sound 7, no. 1 (2002): 65–72. http://dx.doi.org/10.1017/s1355771802001103.

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This article traces the audio production and soundscape composition for a multimedia work for any solo instrument, colour video, and digital sound. There is an account of earlier soundscape recordings of the Brooklyn Bridge. A description of the visual images of Jones Street is followed by a portrayal of the street life and consequent soundscape. There is a report on stereo recording techniques, the sounds that were gathered, and the sounds that were selected as source material. A discussion of philosophical and aesthetic considerations precedes a detailed explanation of the digital processing
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Rong, X., B. He, and L. Zhuang. "A Primary Study on the Recording Method of Interior Decoration in Qing Dynasty – A Case Study of Interior Decoration of Jingfu Palace." ISPRS - International Archives of the Photogrammetry, Remote Sensing and Spatial Information Sciences XLII-2/W5 (August 21, 2017): 621–26. http://dx.doi.org/10.5194/isprs-archives-xlii-2-w5-621-2017.

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The existing interior decoration of Qing Dynasty is the master of that of each dynasty, with its diversified forms and complicated functions. As early as 1920s, the Rehabilitation Committee of Qing court recorded the interior furnishing in the Forbidden City by using Chinese traditional documentary method. Today, along with the constantly updated techniques, the recording method for the current situation of interior decoration has gradually developed from two-dimensional drawings into digital and comprehensive record. However, the current research results are mostly limited to a single field.
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Andiko, Benny, and Berlian Denada. "ANALISIS TIMBRE RAPA’I BUATAN FAJAR SIDDIQ DI DESA KAYEE LHEU, KECAMATAN INGIN JAYA, KABUPATEN ACEH BESAR (KAJIAN MUSIK MULTIMEDIA)." Gorga : Jurnal Seni Rupa 10, no. 2 (2021): 495. http://dx.doi.org/10.24114/gr.v10i2.28382.

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This research is entitled "Analysis of Timbre Rapa'i Made by Fajar Siddiq in Kayee Lheu Village, Ingin Jaya, Aceh Besar District. This study aims to determine the form of the Rapa'i timbre made by Fajar Siddiq, what are the steps for recording timbre and analyzing timbre using the Spectrum Analyzer on the PreSonus Studio One 5 software. Focusing on multimedia music studies, adopting the topic of recording stages with categories, namely; according to their nature and according to the sound system. The initial process of recording music is tracking. Timbre depends primarily on the acoustics of t
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Polishchuk, Vladimir V., Marina A. Chelyadinova, and Timur R. Gubaydullin. "Optimization of Reproducing the Set Breathing Rhythm During a Cardiorespiratory Synchronism Test." Journal of Medical and Biological Research, no. 1 (February 10, 2021): 45–50. http://dx.doi.org/10.37482/2687-1491-z042.

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This article analyses optimization guidelines for assessment of human regulatory and adaptive capabilities (RAC) using the cardiorespiratory synchronism (CRS) method. The study participants aged 19 ± 1 were randomized into two groups: main group (n = 30) and reference group (n = 30). In the main group, before conducting the CRS tests, a number of techniques were applied to facilitate reproduction of the set breathing rhythm by the subject: relieving one hand from the ECG electrode by recording a single lead (II or III), which is sufficient to monitor heart rate, for the subjectʼs convenience (
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Dissertations / Theses on the topic "Sound – Recording and reproducing – Digital techniques"

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Wendt, Christopher Lee. "Culture mediation and sound preservation : methodologies in ethnomusicology." Virtual Press, 2004. http://liblink.bsu.edu/uhtbin/catkey/1285584.

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This thesis explores how the study of culture can benefit from Western technology by reviewing anthropological theoretical and methodological processes and issues concerning reciprocity between the ethnographers and research subjects. In this case I am exploring the process of digitizing and dissemination of 400 hours of Kiowa song recordings. New digitizing equipment has made audio preservation and access relatively easy and affordable. These issues are most critical to groups like the Kiowa whose songs I have already started digitizing. In this thesis I closely examine existing collaborative
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Hatch, Wesley. "High-level audio morphing strategies." Thesis, McGill University, 2005. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=83108.

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This thesis presents high-level strategies for controlling existing audio morphing algorithms. Prominent methods for spectrally representing audio data in the context of audio morphing are surveyed, and techniques involving manipulating and interpolating additive models are explored. Additionally, a combination of past audio-morphing approaches (sinusoidal morphing techniques as well as techniques taken from an MFCC approach) are employed in order to facilitate any type of sonic input. The system presented herein is meant to accommodate a wide range of inputs, and will adjust the impact
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Popović, Slobodan. "Reliability testing of R-DAT tapes subjected to mechanical and environmental stress." Thesis, McGill University, 1992. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=56757.

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This thesis is concerned with an examination of the reliability of R-DAT recording media in regard to professional and archival applications. Four brands of R-DAT tapes were subjected to mechanical stress, environmental stress, and a combination of both the mechanical and environmental stresses. Data generated from these tests were analyzed objectively, subjectively evaluated, and subsequently compared. Findings showed that in the majority of cases, the subjective evaluation results corroborate the objective measurements. The study concludes that only one brand of tape exhibited no deteriorati
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Markle, Blake L. "A comparative study of time-stretching algorithms for audio signals /." Thesis, McGill University, 2001. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=31119.

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Algorithms exist which will perform independent transformations on frequency or duration of a digital audio signal. These processes have different results different types of audio signals. A comparative study of granular and phase vocoder algorithms, implementation, and their respective effects on audio signals was made to determine which algorithm is best suited to a particular type of audio signal.
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Sinyor, Elliot. "Digital musical instruments : a design approach based on moving mechanical systems." Thesis, McGill University, 2006. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=99606.

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This thesis describes the design and use of two novel digital musical instruments (DMIs) based on moving mechanical systems. The motivation behind using mechanical devices was threefold: to explore the effect of physical effort on DMIs, to make use of the device's inherent haptic and visual feedback, and to serve as a starting point for sound mappings. It was hoped that their mechanical nature would give the instruments a character that could emerge through each of the mappings. The first DMI built was the Gyrotyre, a hand-held DMI based around a small bicycle wheel outfitted with sensors that
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Ferguson, Robert W. III. "Automatic segmentation in concert recordings." Thesis, McGill University, 2004. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=81489.

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"...music is an art that exists in point of time." Aaron Copland, What to Listen for in Music<br>Few definitions are adequate to describe music, but a "point of time" is a concept with which people are familiar. When musicians give concerts they try to create these points in a context, which allows the audience to observe each moment by itself. Concert practice has developed to define the edges of musical points, guided by cues such as clapping, pauses, and concert program notes.<br>This masters thesis investigates how to analyze concert recordings of Western music and their program not
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Foss, Richard John. "A networking approach to sharing music studio resources." Thesis, Rhodes University, 1996. http://hdl.handle.net/10962/d1006660.

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This thesis investigates the extent to which networking technology can be used to provide remote workstation access to a pool of shared music studio resources. A pilot system is described in which MIDI messages, studio control data, and audio signals flow between the workstations and a studio server. A booking and timing facility avoids contention and allows for accurate reports of studio usage. The operation of the system has been evaluated in terms of its ability to satislY three fundamental goals, namely the remote, shared and centralized access to studio resources. Three essential network
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Klinkradt, Bradley Hugh. "An investigation into the application of the IEEE 1394 high performance serial bus to sound installation contro." Thesis, Rhodes University, 2003. http://hdl.handle.net/10962/d1004899.

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This thesis investigates the feasibility of using existing IP-based control and monitoring protocols within professional audio installations utilising IEEE 1394 technology. Current control and monitoring technologies are examined, and the characteristics common to all are extracted and compiled into an object model. This model forms the foundation for a set of evaluation criteria against which current and future control and monitoring protocols may be measured. Protocols considered include AV/C, MIDI, QSC-24, and those utilised within the UPnP architecture. As QSC-24 and the UPnP architecture
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Wu, Tsan-Ming. "Statistical impulse reponse modeling and dereverberation for room acoustics." Diss., Georgia Institute of Technology, 2000. http://hdl.handle.net/1853/14932.

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Meijer, Helmut. "Research into and design of a digital sound sample library for acoustic drums." Thesis, Stellenbosch : University of Stellenbosch, 2004. http://hdl.handle.net/10019.1/16388.

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Thesis (M.Phil.)--University of Stellenbosch, 2004.<br>ENGLISH ABSTRACT: Sound sample libraries represent the format in which huge collections of sampled sounds are made available for use within digital samplers and/or other digital audio workstations (DAW’s). Although in use for many years, little or no academic research has been done on the methodology of compiling a commercial sound sample library. In this endeavour, the factors influencing the design, recording and publishing of a sound sample library are investigated through the actual design of a drum sample library. The rationale b
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Books on the topic "Sound – Recording and reproducing – Digital techniques"

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Watkinson, John. Coding for digital recording. Focal Press, 1990.

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Carolyn, Keating, and Anderton Craig, eds. Digital home recording. Miller Freeman Books, 1998.

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Principles of digital audio. 6th ed. McGraw-Hill, 2011.

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1966-, Greenebaum Ken, and Barzel Ronen, eds. Audio anecdotes: Tools, tips, and techniques for digital audio. A K Peters, 2004.

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author, Runstein Robert E., ed. Modern recording techniques. Routledge, Taylor & Francis Group, 2018.

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E, Runstein Robert, ed. Modern recording techniques. 7th ed. Focal Press/Elsevier, 2010.

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Huber, David Miles. Modern recording techniques. 4th ed. Sams Pub., 1995.

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E, Runstein Robert, ed. Modern recording techniques. 6th ed. Focal Press/Elsevier, 2005.

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Huber, David Miles. Modern recording techniques. 4th ed. Focal Press, 1997.

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Home recording. Music Sales [distributor], 2001.

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Book chapters on the topic "Sound – Recording and reproducing – Digital techniques"

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Chattopadhyay, Budhaditya. "5 Monaural Soundtracks and Recording (Sonic) Reality." In The Auditory Setting. Edinburgh University Press, 2021. http://dx.doi.org/10.3366/edinburgh/9781474474382.003.0005.

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The second chapter titled Sonic trajectories consists of three broad sub chapters that investigate the technological trajectories of sound practices and conceptualises the use of ambient sound from optical recording to the contemporary digital realm. By historicising the developments in the use of ambient sound through different intersecting phases of optical recording and monaural mixing, magnetic recording and stereophonic mixing, digital sync recording and surround design, the second chapter demarcates, rationalises and historicises the primary eras of sound production. Each of these sub chapters mentions specific film and media art examples from global film and media as historical markers in sound production. The chapter also provides a comparative analysis of global film industries in their working with sound; and various concurrent practices that were emerging from local cultures despite colonial pressures and influence of the Hollywood norms and techniques. The chapter helps to put in context ambient sound use within a historical framework of American, European and Asian cinemas.
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Manzo, V. J. "Working with Audio." In Max/MSP/Jitter for Music. Oxford University Press, 2011. http://dx.doi.org/10.1093/oso/9780199777679.003.0017.

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In this chapter, we will discuss MSP, a collection of objects that work with audio signals. Unlike the Max objects we’ve discussed so far that handled data like numbers (including MIDI) and text, the MSP objects can handle actual sound recordings, like audio from a microphone, as well as generate signals. As we will see, MSP objects have a ~ after their name and slightly different colored patch cords signifying that they are handling some sort of audio signal. By the end of this chapter, you will be able to get a microphone signal in and out of Max, generate timbre according to the harmonic series, and build your very own synthesizer from that timbre. Let’s begin by building a basic patch that takes input from a microphone and sends it out to your speakers. Your computer is a digital device; you, as I hope you know, are not. Your voice is an acoustic instrument which, in the early days of recording, used to be recorded using analog recording techniques to represent qualities of the acoustic instrument. In order for your voice to be recorded and represented by a computer, there needs to be some conversion of the analog signal to a digital signal. For this reason, your computer’s sound card has an analog to digital converter, otherwise known as an A to D converter or, simply an ADC. Depending on the type of sound card you have, some AD converters will do a better job than others of supplying enough digits to represent the analog sound being recorded. Think about it like this: if you were allowed 50 words to describe your favorite food, the description would be a lot more articulate than if you had only 15 words to describe your favorite food. In the same regard, in a digital recording system, the more digits you have to represent the analog signal you are recording, the closer the representation will be to the original source you can hear with your ears. For now, we will leave this discussion of analog to digital conversion.
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Brown, Richard H. "The Spirit Inside Each Object." In Through The Looking Glass. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190628079.003.0002.

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This chapter addresses the question of sound on film, that is, the optical imprint of sound in the recording mechanism within the realm of visual music studies. The conceptual critique of visual music vastly expanded in the 2010s as composers and sound artists have explored the predecessors of digital signal processing and audiovisual software, looking back to the earliest technologies that unveiled the nature of sound through the diachronic representation of soundwave structure on the optical soundtrack. This chapter begins by clarifying the historical and chronological details of one of the most cited interactions in the history of visual music studies between John Cage and German animator Oskar Fischinger in the 1930s and 1940s. Further examination of this connection reveals an important technological foundation to Cage’s call for the expansion of musical resources. New documentation on Cage’s early career in Los Angeles, including research Cage conducted for his father John Cage Sr.’s patents, explains his interest in these technologies. Concurrent with his studies with Arnold Schoenberg, Cage fostered an impressive knowledge of the technological foundations of television and radio entertainment industries centered in Los Angeles. Adopting the term “organized sound” from Edgard Varèse, Cage compared many of his organizational principles for percussion music to film-editing techniques.
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Conference papers on the topic "Sound – Recording and reproducing – Digital techniques"

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Bagočius, Donatas, and Aleksas Narščius. "DEVELOPMENT OF THE AUTONOMOUS UNDERWATER NOISE RECORDER." In 24-oji jaunųjų mokslininkų konferencijos „Mokslas – Lietuvos ateitis“ teminė konferencija APLINKOS APSAUGOS INŽINERIJA. Vilniaus Gedimino Technikos Universitetas, 2020. http://dx.doi.org/10.3846/aainz.2021.02.

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An underwater noise is the most pervasive type of physical energy that spreads in underwater marine environment. The concerns regarding man-made underwater noise effects on the aquatic animals became prominent within scientific communities. The determination of underwater noise levels became very actual either for environmental monitoring or scientific research purposes. Various tools for acquisition of the underwater sound as well, modelling became available, although some techniques are costly and requires special considerations. One of the examples are the sound recording devices containing
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