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Prof.Dr. Sezgin ALSAN Bilgisayarlı Müzik 2014 Bilgisayarlı müzik Sesin analog yapısı, Sesin band genişliği, Müzik sesi frekanslarının tanımlanması, Wave ses dosyası özellikleri, Musical Instrument Digital Interface (MIDI) tanımları, Bilgisayarda ses üretimi, MIDI sequencer ve editor özellikleri, MIDI file yapısı, MIDI file üretimi, Müzik sesi sentezleme yöntemleri http://www.sfu.ca/sonic-studio/handbook/Alphabet_list.html#M_Anchor http://www.acoustics.salford.ac.uk/acoustics_info/sound_synthesis/ http://sezginalsan.angelfire.com/index.html ftp://muhogr:muh948@ftp.iticu.edu.tr/
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Prof.Dr. Sezgin ALSAN Bilgisayarlı Müzik 2014 2013 – 2014 Bahar yarıyılı Başarı Değerlendirme Ölçütleri Önceki dönemlerden başarısız olan öğrencilerin devam mecburiyeti vardır. Derslere devam MADDE 25 –(1) Ders, uygulama ve laboratuvarlara en az %70 oranında devam şartı vardır. Bu şartı sağlamayan öğrenciler, o dersten başarısız sayılır. (2) (Değişik: RG-10/12/2012-28493) Tekrarlanan derslerde, önceki dönemde devam şartı yerine getirilmişse, verilen ödev, proje ve benzeri görevler yerine getirilmek ve ara sınavlara girilmek kaydıyla dersin öğretim elemanınca devam koşulu aranmayabilir. DEVAM KOŞULU ARANACAKTIR. Derse %70 devam, her ders denetlenecektir. Kısa sınav 1 %5 Ödev 1 %5 Konu ilan edilecektir. Vize sınavı %15 Kısa sınav 2 %10 Ödev 2 %5 Konu ilan edilecektir. Öğrenci tarafından tutulan ders notlarının değerlendirilmesi %10 Final sınavı %50 Ödev formatı : kapak sayfası + 5…10 sayfa konu + 1 sayfa sizin kendi yorumunuz Ödev sayfaları dosya içine yada poşet içine konulmadan sadece sol orta kenardan 2 adet tel zımba ile birleştirilecektir. Ödev ve ders notu gecikmelerinde -1puan/gün uygulanacaktır Sınav ve ödev tarihleri ilan edilecektir
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Prof.Dr. Sezgin ALSAN Bilgisayarlı Müzik 2014 http://ww3.ticaret.edu.tr/salsan/
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Prof.Dr. Sezgin ALSAN Bilgisayarlı Müzik 2014 http://music.arts.uci.edu/dobrian/ MUSIC 2390 - Hip Hop: Beats, Rhymes and LifeMUSIC 2390 - Hip Hop: Beats, Rhymes and Life (crosslisted) University Courses at Cornell
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Prof.Dr. Sezgin ALSAN Bilgisayarlı Müzik 2014 http://ww2.iticu.edu.tr/ogr/salsan/BilMusic/BilMusic2010.html
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Prof.Dr. Sezgin ALSAN Bilgisayarlı Müzik 2014 Cubase SX 7
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Prof.Dr. Sezgin ALSAN Bilgisayarlı Müzik 2014 ftp://muhogr:muh948@ftp.iticu.edu.tr/
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Prof.Dr. Sezgin ALSAN Bilgisayarlı Müzik 2014
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Ses titreşim Doğal ses cisimlerin titreşimi, zil, düdük, piyano Elektronik ses Elektriksel işaretin HP ‘de sese dönüşmesi Müzik Sürekli frekans değişimi Tanımlı frekanslar Ritm Zaman boyunca değişimler SanatFizikElektronikBilgisayar
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Prof.Dr. Sezgin ALSAN Bilgisayarlı Müzik 2014 MÜZİK FİZİĞİ Taylan Şengül 01.04.2007 I. Sesin Oluşumu ve Özellikleri 1.1. Ses Nedir? Bir müzik notası ve genel olarak herhangi bir ses bir kaynaktan doğar, iletici bir ortam (genellikle hava) içerisinde yayılır ve bir alıcı (bir kulak veya bir mikrofon) tarafından algılanır. Bu yüzden kaynak, iletici ortam ve alıcı, akustik biliminin (müzik fiziği) üç temel öğesini oluşturur. Öncelikle ses nedir? Sesten bahsederken, genelde havada dolaşan ve insan kulağı tarafından algılanabilen mekanik titreşimlerden bahsederiz. Bilim insanları, “sesin”, insan kulağı tarafından duyulmayacak kadar yüksek ve alçak frekanslara sahip olabilen ve gaz, sıvı ve katı olmak üzere her türlü maddi ortamda yayılabilen daha kapsamlı bir tanımını kullanırlar. İster bir klarnetin sesi, ister çırpılan bir el sesi olsun, sesler her zaman bir kaynağın titreşimi sonucu oluşur. Çoğu zaman bu titreşimi fark etmek kolay değildir, özellikle el çırpması gibi sesin kısa ve keskin çıktığı durumlarda. http://www.bgst.org/temel-muzik-bilgisi/muzik-fizigi
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Prof.Dr. Sezgin ALSAN Bilgisayarlı Müzik 2014 dB (sound pressure level)sound pressure level for sound in air and other gases, relative to 20 micropascals (μPa) = 2×10 −5 Pa dB(0.775 V RMS ) RMS voltagevoltage relative to 0.775 volts. (1mW) Giriş :P1 Çıkış :P2
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Prof.Dr. Sezgin ALSAN Bilgisayarlı Müzik 2014 http://www.animations.physics.unsw.edu.au/jw/frequency-pitch-sound.htm
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Prof.Dr. Sezgin ALSAN Bilgisayarlı Müzik 2014 http://www.phys.unsw.edu.au/jw/hearing.html http://www.sfu.ca/sonic-studio/handbook/Sone.html This hearing test Measures PHON
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Prof.Dr. Sezgin ALSAN Bilgisayarlı Müzik 2014 http://sound.westhost.com/articles/fadb.htm İnsan kulağının duyma sınırları
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Prof.Dr. Sezgin ALSAN Bilgisayarlı Müzik 2014 http://hyperphysics.phy-astr.gsu.edu/hbase/audio/audiocon.html#c1
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Prof.Dr.Sezgin ALSAN Bilgisayarlı Müzik 16 http://hyperphysics.phy- astr.gsu.edu/hbase/audio/mic.html#c1
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Prof.Dr.Sezgin ALSAN Bilgisayarlı Müzik 17 http://saba.kntu.ac.ir/eecd/ecourses/instrumentation/projects/reports/Poly %20Acoustics/Acoustic%20Transducers.htm http://artsites.ucsc.edu/EMS/Music/tech_background/TE-20/teces_20.html http://artsites.ucsc.edu/EMS/Music/ There are three main types of microphones: 1)Dynamic/Moving Coil 2) Ribbon 3) Condenser/Capacitor Types of Microphones Shure SM 57 Beyer M 160 Audio Technica AT 4033 http://artsites.ucsc.edu/EM S/facilities.html
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Prof.Dr. Sezgin ALSAN Bilgisayarlı Müzik 2014 http://www.bgst.org/muzik/egitim/muzikfizigi.html
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Prof.Dr. Sezgin ALSAN Bilgisayarlı Müzik 2014 http://hyperphysics.phy-astr.gsu.edu/hbase/audio/geowv.html#c1
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Prof.Dr. Sezgin ALSAN Bilgisayarlı Müzik 2014 http://www.phy.ntnu.edu.tw/ntnujava/index.php?topic=17 http://www.phys.unsw.edu.au/jw/sound.spectrum.html http://www.animations.physics.unsw.edu.au//waves-sound/
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Prof.Dr. Sezgin ALSAN Bilgisayarlı Müzik 2014 Fourier sentezi Kare dalganın harmonikleri ve sentezi
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Prof.Dr. Sezgin ALSAN Bilgisayarlı Müzik 2014 http://openbookproject.net/electricCircuits/AC/AC_7.html MIXED-FREQUENCY AC SIGNALS DALGA ŞEKLİ ANALİZİ
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Prof.Dr. Sezgin ALSAN Bilgisayarlı Müzik 2014 Signal GeneratorSpectrum Analyser
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Prof.Dr. Sezgin ALSAN Bilgisayarlı Müzik 2014 WavePad Sound Editor
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Prof.Dr. Sezgin ALSAN Bilgisayarlı Müzik 2014 "ADSR" (Attack Decay Sustain Release) envelope
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http://casperelectronics.com/finished-pieces/casio-sa-keyboards/
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Prof.Dr.Sezgin ALSAN Bilgisayarlı Müzik 29 DTMF (dual-tone, multi-frequency) system http://www.polar-electric.com/DTMF/Index.html
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Prof.Dr. Sezgin ALSAN Bilgisayarlı Müzik 2014 There are three major groups of audio file formats: Uncompressed audio formats, such as WAV, AIFF, AU or raw header- less PCM;WAVAIFFAUrawPCM Formats with lossless compression, such as FLAC, Monkey's Audio (filename extension APE), WavPack (filename extension WV), TTA, ATRAC Advanced Lossless, Apple Lossless (filename extension m4a), MPEG-4 SLS, MPEG-4 ALS, MPEG-4 DST, Windows Media Audio Lossless (WMA Lossless), and Shorten (SHN).losslessFLACMonkey's Audiofilename extensionWavPackfilename extensionTTA ATRACApple Losslessfilename extension MPEG-4 SLSMPEG-4 ALSMPEG-4 DSTWindows Media Audio Lossless (WMA Lossless)Shorten Formats with lossy compression, such as MP3, Vorbis, Musepack, AAC, ATRAC and Windows Media Audio Lossy (WMA lossy)).lossyMP3VorbisMusepack AACATRACWindows Media Audio Lossy (WMA lossy) https://ccrma.stanford.edu/courses/ Fundamentals of Computer-Generated Sound Center for Computer Research in Music and Acoustics https://ccrma.stanford.edu/courses/120/lectures/02/tutorial.html
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Prof.Dr. Sezgin ALSAN Bilgisayarlı Müzik 2014 31 Pulse Code Modulation (PCM) http://www.leegoeller.com/PBX/ONEPBX12.jpg
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Prof.Dr. Sezgin ALSAN Bilgisayarlı Müzik 2014 https://ccrma.stanford.edu/courses/422/projects/WaveFormat/ WAVE PCM soundfile format A big- endian machine stores the most significant byte first—at the lowest byte address— while a little- endian machine stores the least significant byte first most significant byte least significant byte
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Prof.Dr. Sezgin ALSAN Bilgisayarlı Müzik 2014 http://www.atasoyweb.net/blog/ses-isleme-k7s0/wav-formatini-okuma-yazma-y75.html
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Prof.Dr. Sezgin ALSAN Bilgisayarlı Müzik 2014 Metronome Beat Per Minute (BPM) Nota süreleri
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Prof.Dr.Sezgin ALSAN Bilgisayarlı Müzik 36 0 – 1 do C4 2 – 3 re D4 4 – 5 fa F4 6 – 7 sol G4 8 – 9 la A4 den başlayarak yazılacak Ödev-2
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Musical Clefs
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Prof.Dr. Sezgin ALSAN Bilgisayarlı Müzik 2014 http://www.musictheory.net/
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Prof.Dr. Sezgin ALSAN Bilgisayarlı Müzik 2014 1,0535
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Bağlama Üzerinde Nota Yerleri
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http://www.phys.u nsw.edu.au/music/ http://www.phys.un sw.edu.au/jw/notes. html
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Prof.Dr. Sezgin ALSAN Bilgisayarlı Müzik 2014 http://www.sfu.ca/sonic- studio/handbook/Fourier_Theorem.html ENVELOPE The shape of a sound's AMPLITUDE in time. Graphical representation of the envelope of a sound object may show distinctive features in its ATTACK or onset TRANSIENTs, STATIONARY STATE, INTERNAL DYNAMICS and DECAY.AMPLITUDE ATTACKTRANSIENTSTATIONARY STATEINTERNAL DYNAMICSDECAY FOURIER SYNTHESIS
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Prof.Dr. Sezgin ALSAN Bilgisayarlı Müzik 2014 http://www.sfu.ca/sonic-studio/handbook/Alphabet_list.html#M_Anchor VIBRATO A periodic fluctuation or OSCILLATION in the FREQUENCY of a tone, thereby being a type of FREQUENCY MODULATION. It is also usually accompanied by a pulsation of intensity which affects the TIMBRE or colour of the tone. Instrumentalists and singers use the effect to enrich their tone, and usually regulate the speed of the vibrato to the range of seven cycles per second.OSCILLATIONFREQUENCYFREQUENCY MODULATIONTIMBRE TREMOLO A periodic fluctuation or OSCILLATION in the AMPLITUDE of a tone, thereby being a type of AMPLITUDE MODULATION, and a limited version of a VIBRATO. It is used in various forms by instrumentalists but the optimum speed is usually regarded as being seven cycles per second. Tremolo is often heard with the vibraphone and certain types of electronic organ soundsOSCILLATIONAMPLITUDEAMPLITUDE MODULATION VIBRATO http://www.sfu.ca/sonic-studio/handbook/Vibrato.html
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Prof.Dr. Sezgin ALSAN Bilgisayarlı Müzik 2014 http://www.midi.org/techspecs/midispec.php MIDI (Musical Instrument Digital Interface)
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http://hyperphysics.phy-astr.gsu.edu/hbase/electronic/serial.html#c4 http://www.electronics.dit.ie/staff/tscarff/dt080_1.htm
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Prof.Dr. Sezgin ALSAN Bilgisayarlı Müzik 2014 http://www.electronics.dit.ie/staff/tscarff/Music_technology/midi/midi_hardw are.htm http://www.electronics.dit.ie/staff/tscarff/Music_technology/key2midi/key2m idi.gif M-Audio UNO MIDI Interface with One In/Out (USB) +5V to P Serial input from P Serial output
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Prof.Dr. Sezgin ALSAN Bilgisayarlı Müzik 2014 MIDI vs RS232 RS-232MIDI Frame Format1 start bit 5-8 data bits 1-2 stop bits optional parity bit 1 start bit 8 data bits 1 stop bits no parity Baud Rateup to 20k standard rates of 300, 600,...19k2 extended rates of 38k4, 57k6, 115k2 31250 baud +/- 1% Driver (loaded)Voltage: Logic 0: +5V to +15V Logic 1: -5V to -15V Current: Logic 0: 5mA Logic 1: 0mA Driver (open circuit)+/- 25V maximumUnspecified Driver (short circuit)+/- 100mA maximumUnspecified Receiver Load3k to 7k ohmOpto-isolator (otherwise unspecified) Receiver Sensitivity+/- 3V< 5 mA to turn 'on' Receiver input range+/- 3V to +/-15VUnspecified Signal rise/fall speed Maximum Minimum 30V/us (max) slew-rate Unspecified Unspecified 2 us (max) rise/fall times Maximum cable2500pF (approx. 15m)15m IsolationUnspecifiedOpto-isolator on receiver circuit Handshaking signalsTransmitter: RTS, DTR Receiver: CTS, DSR, DCD, RI None Physical connectorD255-pin DIN (180 degree) http://www.personal.kent.edu/~sbirch/Music_Production/MP-II/MIDI/midi_physical_layer.htm
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Prof.Dr. Sezgin ALSAN Bilgisayarlı Müzik 2014 The table below presents a summary of the MIDI Channel Voice Message codes in binary form. A MIDI channel voice message consists of a status Byte followed by one or two data Bytes. Click here for a list of currently assigned MIDI controller numbers.here Status Byte Data Byte 1 Data Byte 2 MessageLegend 1000nnnn0kkkkkkk0vvvvvvvNote Off n=channel* k=key # 0-127(60=middle C) v=velocity (0-127) 1001nnnn0kkkkkkk0vvvvvvvNote On n=channel k=key # 0-127(60=middle C) v=velocity (0-127) 1010nnnn0kkkkkkk0ppppppp Poly Key Pressure n=channel k=key # 0-127(60=middle C) p=pressure (0-127) 1011nnnn0ccccccc0vvvvvvv Controller Change n=channel c=controller v=controller value (0-127)controller 1100nnnn0ppppppp[none] Program Change n=channel p=preset number (0-127) 1101nnnn0ppppppp[none] Channel Pressure n=channel p=pressure (0-127) 1110nnnn0fffffff0cccccccPitch Bendn=channel c=coarse f=fine (c+f = 14-bit resolution) http://www.indiana.edu/~emusic/etext/MIDI/chapter3_MIDI.shtml
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Prof.Dr. Sezgin ALSAN Bilgisayarlı Müzik 2014 MIDI Data Format The majority of MIDI communication consists of multi-byte packets beginning with a status byte followed by one or two data bytes.Bytes are packets of 8 bits (0's or 1's). Status bytes begin with a '1' e.g. 1xxx xxxx-- this is call 'set.' Data bytes begin with a '0' e.g. 0xxx xxxx--this is called 'reset.' Each byte is surrounded by a start bit and a stop bit, making each packet 10 bits long. Messages fall into the following five formats: Channel Voice Control the instrument's 16 voices (timbres, patches), plays notes, sends controller data, etc. Channel Mode Define instrument's response to Voice messages, sent over instrument's 'basic' channel System Common Messages intended to all networked instruments and devices System Real-Time Intended for all networked instruments and devices. Contain only status bytes and is used for syncronization of all devices. essentially a timing clock System Exclusive Originally used for manufacturer-specific codes, such as editor/librarians, has been expanded to include MIDI Time Code, MIDI Sample Dump Standard and MIDI Machine Control
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Prof.Dr. Sezgin ALSAN Bilgisayarlı Müzik 2014 MIDI serial data flows at the rate of 31.25 kilobits per second and is organised into 10-bit words. The first bit is called the START bit ( which is always 0 ), the next eight are the desired information, and the last is the STOP bit ( which is always 1 ). The start and stop bits frame the desired data and provide the required synchronization but do not carry MIDI information themselves. http://www.electronics.dit.ie/staff/tscarff/Music_technol ogy/midi/midi_messages.htm 7 bit binary value 4 bit
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Prof.Dr. Sezgin ALSAN Bilgisayarlı Müzik 2014 MIDI Channel Voice Messages http://www.csie.ntu.edu.tw/~r92092/ref/midi/midi_channel_voice.html
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Prof.Dr. Sezgin ALSAN Bilgisayarlı Müzik 2014 http://www.electronics.dit.ie/staff/tscarff/Music_technology/ midi_projects/projects.htm
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Prof.Dr. Sezgin ALSAN Bilgisayarlı Müzik 2014 Examinations: Music Technology Winter 2005 http://www.youtube.com/watch?v=7 y5bysWEJHY http://tomscarff.tripod.com/
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Prof.Dr. Sezgin ALSAN Bilgisayarlı Müzik 2014 http://www.acoustics.salford.ac.uk/acoustics_info/sound_synthesis/ Methods of Synthesis Jeff Pressing in "Synthesizer Performance and Real-Time Techniques" gives this list of approaches to sound synthesis. additive synthesis - combining tones, typically harmonics of varying amplitudes subtractive synthesis - filtering of complex sounds to shape harmonic spectrum, typically starting with geometric waves. harmonicgeometric waves frequency modulation synthesis - modulating a carrier wave with one or more operators sampling - using recorded sounds as sound sources subject to modification composite synthesis - using artificial and sampled sounds to establish resultant "new" sound phase distortion - altering speed of waveforms stored in wavetables during playback waveshaping - intentional distortion of a signal to produce a modified result resynthesis - modification of digitally sampled sounds before playback granular synthesis - combining of several small sound segments into a new sound linear predictive coding - technique for speech synthesis direct digital synthesis - computer modification of generated waveforms wave sequencing - linear combinations of severtal small segments to create a new sound vector synthesis - technique for fading between any number of different sound sources physical modeling - mathematical equations of acoustic characteristics of sound http://hyperphysics.phy-astr.gsu.edu/hbase/audio/synth.html#c2
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Prof.Dr.Sezgin ALSAN Bilgisayarlı Müzik 63 ANALOGUE SYNTHESIS There are a number of different technologies or algorithms used to create sounds in music synthesizers. Three widely used techniques are Subtractive synthesis, Frequency Modulation (FM) synthesis and Wavetable synthesis. http://www.electronics.dit.ie/ staff/tscarff/Music_technolog y/Synthesis/subtractive/analo gue_synthesis.htm
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Prof.Dr. Sezgin ALSAN Bilgisayarlı Müzik 2014 Basic components of an analogue subtractive synthesizer
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Prof.Dr. Sezgin ALSAN Bilgisayarlı Müzik 2014 Additive synthesisAdditive synthesis was utilized as early as on Hammond organ in 1930s.Hammond organ
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Prof.Dr. Sezgin ALSAN Bilgisayarlı Müzik 2014 Subtractive synthesisSubtractive synthesis is still utilized on various synths, including virtual analog synth.virtual analog synth
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Prof.Dr. Sezgin ALSAN Bilgisayarlı Müzik 2014 M synthesisM synthesis was huge successful as earliest digital synthesizers. FM synthesis using 2 operators
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Prof.Dr. Sezgin ALSAN Bilgisayarlı Müzik 2014 http://support.fender.com/schematics/guitar_amplifiers/G- DEC_schematic.pdf http://www.dz863.com/datasheet-816039663-ATSAM2133B_Sound- Synthesis-Low-power-Synthesizer-With-Effects-And-Built-in-Ram/
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Prof.Dr.Sezgin ALSAN Bilgisayarlı Müzik 69 Copyright © Cirrus Logic, Inc. 2005 http://www.cirrus.com CS5361 114 dB, 192 kHz, Multi-Bit Audio A/D Converter
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Prof.Dr.Sezgin ALSAN Bilgisayarlı Müzik 70 Low-cost Keyboard Instrument ATSAM2133B Low-power Synthesizer with Effects and Built-in RAM
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Prof.Dr.Sezgin ALSAN Bilgisayarlı Müzik 71 DSPB56367PV150 Freescale Semiconductor / Motorola DSP, DSP56300 Family,Enhanced Dual Harvard Architecture,150MIPS http://www.datasheetarchive.com/DSPB56367PV150- datasheet.html
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Prof.Dr. Sezgin ALSAN Bilgisayarlı Müzik 2014 ATSAM2133B Features Single-chip Synthesizer + Effects, Features include – High-quality Wavetable Synthesis, Serial MIDI In & Out, MPU-401 (UART) – Effects: Reverb + Chorus, on MIDI and/or Audio In – Up to 64-voice Polyphony – Surround on Two or Four Speakers with Intensity/Delay Control – Four-band Parametric Equalizer – Audio-in Processing through Reverb, Chorus, Equalizer, Surround Low Chip Count in Applications – ATSAM2133B Synthesizer, ROM/Flash, DAC – Built-in (32K x 16) Effects RAM Low-power – 40 mA Typical Operating Current, <1 μA Power-down – 2.5V and 3.3V Supply – Built-in Power Switch 16-bit Samples, 44.1 KHz Sampling Rate, 24 dB Digital Filter per Voice Available Wavetable Firmwares and Sample Sets – CleanWave8® Low-cost General MIDI 1-MB Firmware + Sample Set – CleanWave32® Top-quality 4-MB Firmware + Sample Set – Other Sample Sets Available under special conditions Built-in ROM Debugger, Flash Programmer through Dedicated Pins
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