delay impulse responses

Impulse Responses from various delay lines, in various states of repair –


Screen Shot 2018-02-12 at 11.11.18 AM
Gibson GA-4RE (Telray Adineko echo). This circuit has considerable leakage of dry signal. You can hear that as the first impulse. The first “dark” impulse can be considered the impulse response of the delay. Also, there is no erase “head”. The brush simply writes over the charge on each rotation of the disk. The repeated echo isn’t due to feedback, but progressive erasure. Use the entire impulse response for an accurate emulation.

download impulse


Echoplex  (Original – pre “EP-1″ Serial 709). A tiny bit of dry signal leakage. The tape impulse response shows up at about 360 ms. I am not sure why there is a sine sweep artifact in this IR (after the impulse). Possibly because the tape transport is so unstable, or perhaps interaction with the bias oscillator?

download impulse


Screen Shot 2018-02-12 at 11.05.29 AM
Roland Space Echo RE-201. Much cleaner compared to the previous two devices. No way to turn the dry signal off (perhaps my Space Echo is in need of repair?).

UPDATED – New measurement from the PA input to get just the tape signal (no dry)

download impulse


Screen Shot 2018-02-12 at 11.06.41 AMDeltaLab Effectron. A very clever digital delay which measures differences between successive samples. An almost flat response which tilts slightly upward.

download impulse


Bright Analog Delay Pedal. A modern CCD (charge-coupled device) delay. There is a bit of ripple in the passband (could be a Chebyshev I filter?) which caused a noticeable resonance after multiple repeats.

download impulse


Screen Shot 2018-02-12 at 2.18.26 PM
Dark Analog Delay Pedal. Another CCD delay. This one has a rounder, smoother filter response (possibly Bessel?), so no coloration after multiple repeats. Sharp rolloff at 2k for CCD aliasing rejection. You can see the signal leakage as a -60dB signal above 3k.

download impulse


The sine sweep and golay code methods of impulse response measurement used are from Edgar Behrdahl & Julius O Smith’s Transfer Function Measurement Toolbox


A PD echo patch with convolution in the feedback

download this: emuplex

Screen Shot 2018-02-07 at 11.32.54 AM

Mus174B – Assignment 2

mus 174b – assignment 2

record 5-10 tracks: 2+ solo, 3+ backing – 2:30 to 6 minutes – must be recorded with microphones
– double track (or more) the solo instrument or voice
– divide tracks into 2-4 functional groups (these groups should be named, and make sense)
– use compression on one or more groups or tracks
– use gating to tighten up a track
– use either key gating or a gated delay/reverb effect
– use delay, phase shift, chorus or flange to accentuate a foreground track
– use pitch shifting or distortion to thicken a track
– reverb only on individual tracks
– save the groups as individual recordings after effects (stems)
– hand in documentation describing your mix decisions

due tuesday week 8 – 2-27-18
extra point for presenting on 2-27

groups

john d’agostini – crystal jiao – kostyantyn chumakov
yidai li – cory bahn – forest reid
grant hovander – francis galang – salvador zamora
caleb hess – christopher loree – cordane richardson
camden greenwood – william carlisle – matthew rice
chi zhang – raymond lim – jorge jiron villarreal
tracy levick – daniela chaparro – gregory farley
chloe bari – kenroe ang

mus 174b – assignment 1

1) record new material, 6-12 tracks:  between 2 and 4 minutes
2) make several inaudible edits
3) one or more of the tracks should be vocal
4) the rest of the tracks can be computer or electronic (synths, drum machine, pd, max/msp, looped samples, noise, etc.). no premixed backing tracks
5) all electronic tracks should have track effects (plugins) to give them unique identity using eq or reverb
6) create 2 different mixes which gives a different sense of foreground, width and depth
7) create width with panning
8) establish foreground instruments with volume differences and eq
9) create width and depth with reverb/mic distance
10) separate the tracks into 3 or more groups, route the groups into 3 or more aux input tracks, mix aux tracks for final mix
11) apply fade-in and fade-out to final stereo mixes
12) leave session and mix files on class disk (174B folder, project name with your last names)

present in class on 2-1-18 or 2-6-18 (thurs. wk4, tues. wk5)

groups

Cory Jonathan Banh – Francis Kyle Galang – Matthew Harrison Rice
Christopher Patrick Loree – Jorge Alberto Jiron Villarreal – William Joseph-Glen Carlisle
Raymond S Lim – Daniela Andrea Chaparro – Gregory Tazmond Farley
Chloe Jessica Bari – Kenroe Ervin Ang – John Anthony D’Agostini
Yidai Li – Grant Parker Hovander – Kostyantyn Chumakov
Caleb Michael Hess – James Forest Reid – Camden Robert Greenwood
Chi Zhang – Tracy Nicole Levick – Salvador Zamora
Jacob Michael Ugalde – Crystal Jiao – Cordane Omari Richardson

MUS177/267 full duplex audio 1

Gettinng full duplex audio to work on the discovery boards is tricky, as they were not designed to do this. We will dig deep into the hardware configuration to find some work-arounds.

STM32F4Discovery

This board has no high fidelity line audio in, so cannot be used for high fidelity full duplex audio. However, it does have many 12 bit ADC inputs and 2 12 bit DAC outputs.

To get an ADC and DAC to work together, they have to be synchronized. In my example code we will use a timer set at 48000 Hz to clock both. We also need a timer which can be used for both the ADC and DAC. If you look at the ADC HAL header file, you will see the following:

/** @defgroup ADC_External_trigger_Source_Regular ADC External Trigger Source Regular  
* @{
*/
/* Note: Parameter ADC_SOFTWARE_START is a software parameter used for        */
/*       compatibility with other STM32 devices.                              */
#define ADC_EXTERNALTRIGCONV_T1_CC1    ((uint32_t)0x00000000U)
#define ADC_EXTERNALTRIGCONV_T1_CC2    ((uint32_t)ADC_CR2_EXTSEL_0)
#define ADC_EXTERNALTRIGCONV_T1_CC3    ((uint32_t)ADC_CR2_EXTSEL_1)
#define ADC_EXTERNALTRIGCONV_T2_CC2    ((uint32_t)(ADC_CR2_EXTSEL_1 | ADC_CR2_EXTSEL_0))
#define ADC_EXTERNALTRIGCONV_T2_CC3    ((uint32_t)ADC_CR2_EXTSEL_2)
#define ADC_EXTERNALTRIGCONV_T2_CC4    ((uint32_t)(ADC_CR2_EXTSEL_2 | ADC_CR2_EXTSEL_0))
#define ADC_EXTERNALTRIGCONV_T2_TRGO   ((uint32_t)(ADC_CR2_EXTSEL_2 | ADC_CR2_EXTSEL_1))
#define ADC_EXTERNALTRIGCONV_T3_CC1    ((uint32_t)(ADC_CR2_EXTSEL_2 | ADC_CR2_EXTSEL_1 | ADC_CR2_EXTSEL_0))
#define ADC_EXTERNALTRIGCONV_T3_TRGO   ((uint32_t)ADC_CR2_EXTSEL_3)
#define ADC_EXTERNALTRIGCONV_T4_CC4    ((uint32_t)(ADC_CR2_EXTSEL_3 | ADC_CR2_EXTSEL_0))
#define ADC_EXTERNALTRIGCONV_T5_CC1    ((uint32_t)(ADC_CR2_EXTSEL_3 | ADC_CR2_EXTSEL_1))
#define ADC_EXTERNALTRIGCONV_T5_CC2    ((uint32_t)(ADC_CR2_EXTSEL_3 | ADC_CR2_EXTSEL_1 | ADC_CR2_EXTSEL_0))
#define ADC_EXTERNALTRIGCONV_T5_CC3    ((uint32_t)(ADC_CR2_EXTSEL_3 | ADC_CR2_EXTSEL_2))
#define ADC_EXTERNALTRIGCONV_T8_CC1    ((uint32_t)(ADC_CR2_EXTSEL_3 | ADC_CR2_EXTSEL_2 | ADC_CR2_EXTSEL_0))
#define ADC_EXTERNALTRIGCONV_T8_TRGO   ((uint32_t)(ADC_CR2_EXTSEL_3 | ADC_CR2_EXTSEL_2 | ADC_CR2_EXTSEL_1))

And in the DAC HAL header we see:

/** @defgroup DAC_trigger_selection DAC Trigger Selection
  * @{
  */
#define DAC_TRIGGER_NONE                   ((uint32_t)0x00000000U) /*!< Conversion is automatic once the DAC1_DHRxxxx register has been loaded, and not by external trigger */
#define DAC_TRIGGER_T2_TRGO                ((uint32_t)(DAC_CR_TSEL1_2 | DAC_CR_TEN1)) /*!< TIM2 TRGO selected as external conversion trigger for DAC channel */
#define DAC_TRIGGER_T4_TRGO                ((uint32_t)(DAC_CR_TSEL1_2 | DAC_CR_TSEL1_0 | DAC_CR_TEN1)) /*!< TIM4 TRGO selected as external conversion trigger for DAC channel */
#define DAC_TRIGGER_T5_TRGO                ((uint32_t)(DAC_CR_TSEL1_1 | DAC_CR_TSEL1_0 | DAC_CR_TEN1)) /*!< TIM5 TRGO selected as external conversion trigger for DAC channel */
#define DAC_TRIGGER_T6_TRGO                ((uint32_t)DAC_CR_TEN1) /*!< TIM6 TRGO selected as external conversion trigger for DAC channel */
#define DAC_TRIGGER_T7_TRGO                ((uint32_t)(DAC_CR_TSEL1_1 | DAC_CR_TEN1)) /*!< TIM7 TRGO selected as external conversion trigger for DAC channel */
#define DAC_TRIGGER_T8_TRGO                ((uint32_t)(DAC_CR_TSEL1_0 | DAC_CR_TEN1)) /*!< TIM8 TRGO selected as external conversion trigger for DAC channel */

Timer 2 and 8 trigger output are in common for both ADC and DAC. In my example I will use timer 8. Look at functions timer8_init(), adc1_init() and dac1_init() for details.

Finally, notice that in the audio callback I am copying and scaling the input first, then processing audio (an echo in this case), and finally copying and scaling the output. Also, both input and output can be processed in the DAC callback. No need to do it in the ADC callback as they are synchronized by the same clock.

void HAL_DAC_ConvHalfCpltCallbackCh1(DAC_HandleTypeDef* DacHandle)
{
  int i,j;
  for(i = 0, j = 0; i < 16; i++, j+=2)
  {
    inBuffer[i] = inBuffer[i+1] = (float)(adcBuffer[i] * 0.00048828125f) - 1.0f;
  }
  audioBlock(inBuffer, outBuffer, 16);
  for(i = 0, j = 0; i < 16; i++, j+=2)
  {
    dacBuffer[i] = (int16_t)((outBuffer[j] + outBuffer[j+1] + 2.0f) * 1023.0f);
  }
}

Here is the example code:

f4-adcdac-passthru

STM32F746Discovery

The BSP code supplied with the board is inadequate as it doesn’t allow the line in to be used. I have found a developer who modified the code to do full duplex input and output, but I have yet to try it myself. I will do so by next Thursday. The code is here:

https://community.st.com/thread/19377

MUS174A – 3rd assignment

assignment #3 – music 174a

the idea of this project is to record at least 3 different instruments (a drum kit is considered a single instrument) with microphones to create a complete recording of a piece or song. quality counts. strive for fullness and detail.

3-5 minute piece

1 use at least 3 different microphones

2 majority of tracks should be miked (some electronic instruments allowed)

3 use close and distant miking

4 make at least two overdubs

5 at least 5 edits, and at least 10 tracks

6 do a basic rough mix

no effects or plugins with the following exception:
– acoustic effects can be used (hallway reverb, room mic, etc.)

you must present your piece in 10th or finals week, playing the piece, explaining what you did and answering questions.
you should place the session in the 174a folder, with a separate stereo interleaved soundfile with the final edit/rough mix.

you should also hand in documentation as follows:
– microphone/instrument diagram
– track listing with mic, settings
– take listing with time, description, notes

work in the following groups

Grant Parker Hovander – James Forest Reid – Tracy Nicole Levick
Crystal Jiao – Matthew Harrison Rice – Joyce Hwayoung Park
William Joseph-Glen Carlisle – Gregory Tazmond Farley
John Anthony D’Agostini – Kostyantyn Chumakov – Aldo Marcel Mojica
Camden Robert Greenwood – Salvador Zamora – Cordane Omari Richardson
Cory Jonathan Banh – Christopher Patrick Loree
Raymond S Lim – Chloe Jessica Bari – Yidai Li
Camille Angela Latzke – Caleb Michael Hess – Chi Zhang
Jacob Michael Ugalde – Francis Kyle Galang – Jorge Alberto Jiron Villarreal
Daniela Andrea Chaparro – Kenroe Ervin Ang – Lizbeth Rios