Multi E Ect Processor For Acoustic Guitar-Books Pdf

Multi E ect Processor for Acoustic Guitar
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Institute for Elektronic Systems,Elektronics Electrotechnics. Fredriks Bajersvej 7,Telefon 96 35 86 50,Fax 98 15 15 83. http kom aau dk,Multi Effect Processor for Acoustic. Guitar Design and Implementation in,Digital Signal Processing. Project period, winter semester 2007 2008 A multi effect processor for an.
acoustic guitar was designed and,implemented in Matlab Some. Project group of the most common used ef,07gr790 fects and audio signal enhance. ment units were included com,pressor noise gate equalizer re. Participants verberation and eight delay and, Eduardo Fonseca Montero modulation effects as well The. Javier Galdo n Romero processor was designed to treat. Ignacio Pe rez Pablos two input signals independently. Estrella Merino Siles and to allow different signal rout. Lutz Ehrig ings for guitar and vocals Since,Matlab is not optimized for.
sample by sample operations it,Supervisor is not possible to provide pro. Christian Sejer Pedersen cessed data in real time Arbi. trarily waveform audio files are,used for input and output. Page numbers 191,Appendices 6,Enclosures CD ROM,Date of completion December 16 2007. The content of this report is freely available but publication with reference source may only. be pursued due to agreement with the respective authors. This final report was written by students of the 7th semester in the Acoustics. Section Department of Electronic Systems Aalborg University It marks the end. of a semester project that lasts from September 3rd to December 17th 2007. The project contains the design of a multi effect processor for acoustic guitar. and its implementation in Matlab According to the content of the semester. that focuses on stochastic signal processing the focal point in this report lies in. the processing of an audio signal by the different implemented effects and signal. enhancement algorithms as well, The proposal of this project was given by Miguel Angel Aranda de Toro and. supervised by Christian Sejer Pedersen We would like to thank Christian for. his support his critical feedback and for the fruitful discussions In addition we. would also like to thank Miguel for making an acoustic guitar available for us. Aalborg December 16 2007,Eduardo Fonseca Montero Javier Galdo n Romero.
Ignacio Pe rez Pablos Estrella Merino Siles,Lutz Ehrig. Report Overview, The introduction presented in chapter 1 will introduce difficulties a guitar player. might be confronted with and therefore the motivation for this project will be. given there, The specifications and a general discussion of aspects concerning the effects pro. cessor can be found in chapter 2, This first overview of the whole unit will be followed by the main part of this. report a very detailed description of the implemented effects in chapter 3 Each. effect will be presented in a separate section where the theoretical background. the design and the implementation in Matlab will be elaborated. Once the particular effects are introduced in chapter 4 the merge of them. resulting in one final module will be described Different options how this can. be done will be presented and how the musician may take advantage of them. In chapter 5 the evaluation procedure will be described In addition to countless. individual assessments the set up of an informal listening test will be presented. shortly as well as the obtained results, A step towards a practical application will be shown in chapter 6 where an.
approach for a real time implementation is presented Due to the fact that this. part is additional only some effects were rewritten as a working example. Finally chapter 7 will conclude this report and the project and summarizing the. obtained results,Nomenclature, This section gives a short overview of used conventions for numbering figures. equations and tables and the used abbreviations, figures and tables are numbered consecutively by the number of chapter and. followed by the number of the section for instance figure 3 2 1 refers to the. first figure in the second section within the third chapter. equations are only numbered in the way mentioned above when the text. contains a reference to a formula, the name of the section and the associated number can be seen on the right. of the header of each page except the first page of a chapter. Abbreviation Description,AES Audio Engineering Society. DSP Digital Signal Processor,DTFT Discrete Time Fourier Transform.
FDN Feedback Delay Network,FIR Finite Impulse Response. FOPHC First Order Peak Hold Circuit,IIR Infinite Impulse Response. LFO Low Frequency Oscillator,MIDI Musical Instrument Digital Interface. VST Steinberg s Virtual Studio Technology,1 Introduction 1. 1 1 Guitar and Effects Development 1,1 2 Acoustic Guitar 2.
1 3 Sound Processing 3,2 The Effect Processor 5,2 1 Problem Formulation 6. 2 2 The Effects Processor in the Sound Path 6,2 3 Specifications 8. 3 The Effects 11,3 1 Dynamic Processors 12,3 1 1 Compressor 12. 3 1 2 Noise Gate 19,3 2 Equalizer 22,3 2 1 Equalizer Design 22. 3 2 2 Implementation 25,3 2 3 Results and Conclusion 26.
3 3 Delay 28,3 3 1 Echo Unit and Feedback Delay 28. 3 3 2 Dynamic Delay 36,3 3 3 Ping Pong Delay 39,3 3 4 Analog Delay 42. 3 4 Reverberation 43,3 4 1 Theory 43,3 4 2 Design 46. 3 4 3 Implementation 51,3 4 4 Results and Conclusion 54. 3 5 Modulation Effects 57,3 5 1 Flanger and Chorus 57.
3 5 2 Vibrato 63,3 5 3 Tremolo 65,3 5 4 High cut filter 68. 4 Combination of Effects 69,4 1 Routings 70,4 2 Implementation 71. 4 2 1 Decision Vector 72,4 2 2 Definition Part 74,4 2 3 Loading Signals 74. 4 2 4 Preliminary Calculations 74,4 2 5 Core or Engine of the Processor 74. 5 The Effects Evaluation 77,5 1 Listening Test 78,5 1 1 Preliminary Analysis 78.
5 1 2 Listening Room 81,5 1 3 The Test Basis 82,5 2 Interpretation of the Results 86. 6 Real Time Implementation 89,6 1 SynthMaker 89,6 2 Real Time Effects Processor 91. 6 2 1 Compressor 92,6 2 2 Equalizer 92,6 2 3 Tremolo 94. 7 Conclusions 97,A Dynamic Processors 99,A 1 Compressor Further Information 99. A 2 Compressor Parameters Description 100,A 3 Compressor Considered Designs 100.
A 4 Noise Gate Parameters Description 102,B Filter Design 103. B 1 FIR Filter 103,B 2 IIR Filter 104,C Tail Calculation 109. D Reverberation Algorithms 113,E Listening Test 117. E 1 Listening Test Form 117,E 2 Results of the Listening Test 121. E 2 1 Task 1 Equalizer 121,E 2 2 Task 2 Compressor 122.
E 2 3 Task 3 Noise Gate 122,E 2 4 Task 4 Delay 122. E 2 5 Task 5 Modulation Effects 123,E 2 6 Task 6 Reverb I 123. E 2 7 Task 7 Reverb II 123,F Matlab Code 125,F 1 Processor Main Function 125. F 2 Noise Gate 143,F 3 Compressor 145,F 4 Equalizer 146. F 4 1 Signal Equalizing 146, F 4 2 Calculating Filter Coefficients Peak Filter 149.
F 4 3 Calculating Filter Coefficients Shelving Filter low 150. F 4 4 Calculating Filter Coefficients Shelving Filter high 151. F 5 Delay 152,F 5 1 Echo Delay 152,F 5 2 Feedback Delay 153. F 5 3 Dynamic Delay 154,F 5 4 Ping Pong Delay 156,F 6 Reverberation 157. F 7 Modulation Effects 164,F 7 1 Flanger 164,F 7 2 Chorus 165. F 7 3 Vibrato 166,F 7 4 Tremolo 167,Introduction, The variety of sounds a professional musician is able to obtain by playing an. instrument in different ways is enormous Beyond it has always been a desire by. musicians and composers as well to enrich this variety and to amaze the audience. anew For this reason instruments were and are in constant development The. art of playing has changed over the time and additional effects have been added. One of the most common used effect related to classic instruments is damping. Different realizations of dampers can be found for all string instruments like. violin and cello for most of the wind instruments as trumpet and trombone. and for percussion instruments but particularly for the pianoforte and the grand. In fact for the piano the damper is an inherent part of the instrument But. already in the early days of piano development the counterpart of the damper. the sustain pedal was introduced It raises the dampers from all strings allowing. them to vibrate freely Rip07 This effect can be heard for instance in the first. movement of Beethoven s Piano Sonata No 14 also known as the Moonlight. Sonata It would be unimaginable to play this piece of music without using the. sustain pedal,1 1 Guitar and Effects Development, The desire for higher volume of the sound produced by a guitar in the early years.
of the 20th century when smaller groups of musicians formed bands accelerated. the development of this instrument to a great extent By the end of the 1920s. steel strung flat top guitars altered structures to bear the higher tension of the.

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