Proud Insured Wedding DJ in Western Ma

•September 8, 2013 • Leave a Comment

Why book a verified DJ and what is an insured DJ? I’m DJ Larry (413)427-9590 and I serve Easthampton Massachusetts and Springfield. Contact DJ Larry!

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I have been verified by Party Blast and am a long time Gigmasters member and insured DJ. What does it mean to be verified? Gigmasters for example comes with the gigmaster guarantee, so in addition to insurance I have, gigmasters is also insured to make sure that your event happens with guarantees! Convenient. Secure. Guaranteed. Your special day should have some insurance!

I’m DJ Larry and for over six years I have been a wedding party DJ serving the Western Massachusetts and Western Connecticut areas for wedding receptions and parties. Every year I improve the equipment and stage setup to give you the best DJ experience and the perfect songs for your event. I bring speakers, full laser light show, blacklights, fog machine and of course the music you request. If you want a great dj for your wedding party who is great with crowds look no further because I bring the show. I can get everyone out on the dance floor setting the mood for a party. I DJ requests for the hits of today and yesterday setting the right mood for every crowd. I play audience requests of popular and older music covering the 60,70,80’s,90’s,00’s,to today. I do low key and fast paced events fitting the style and crowd of your party! Contact me today and I will give you a free estimate for your event.

A professional DJ will arrange for weddings, corporate events or parties, birthday, anniversary , banquet or cocktail party a musical extravaganza, which will impress any guest. Modern music, thanks to a good DJ, will be not only qualitative, but also diverse, able to satisfy the tastes of a specific audience. Think about what a verified DJ can do for you and how special your special day really is! Your day is important to us and that is why we have insurance!

You need an experienced Verified DJ for your Wedding in Western MA or CT

•October 11, 2012 • Leave a Comment

I’m Larry Smith and I’m proud to be a Gigmasters Verified DJ!

Free Consultation With Local Wedding / Party DJ
Web form shortcut for getting a wedding and party DJ!

I’m DJ Larry and for over five years I have been a wedding party DJ serving the Western Massachusetts and Western Connecticut areas for wedding receptions and parties. Every year I improve the equipment and stage setup to give you the best DJ experience and the perfect songs for your event. I bring speakers, full laser light show, blacklights, fog machine and of course the music you request. If you want a great dj for your wedding party who is great with crowds look no further because I bring the show. I can get everyone out on the dance floor setting the mood for a party. I DJ requests for the hits of today and yesterday setting the right mood for every crowd. I play audience requests of popular and older music covering the 60,70,80’s,90’s,00’s,to today. I do low key and fast paced events fitting the style and crowd of your party! Contact me today and I will give you a free estimate for your event.

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Video of Wedding Reception DJ Party in West Springfield Massachusetts

•October 4, 2012 • Leave a Comment

Wedding Party DJ Springfield MA – Lasers Blacklight and Smoke Machine

Call for a Wedding DJ in West Springfield Mass 413-427-9590. Here I’m rocking a jack and jill wedding party with black-lights, lasers, smoke machine and rocking tunes! It was a great time!

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General Principles of DJ Sound Amplification in Concert Halls

•September 23, 2012 • 4 Comments

I’m a wedding DJ in Western Mass and the following are some thoughts on principles of sound amplification. Enjoy!

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“Setting of small and medium-sized rooms”

Wedding DJ amplification systems must be designed to deliver clean, clear sound in the right dynamic and frequency range with sufficient volume to all Audience seats, listening to music and speech programs probably more comfortable, create a sense of presence.

According to their function room, which set PA system, differ from each other. For example, in discos focus on the dance floor. The most important thing to create a uniform sound field over the heads of the dancers play the entire dynamic and frequency range of musical programs, and restrictions on the power used in sound reinforcement systems are almost nonexistent.
In the restaurants and night clubs PA system must have some flexibility. They have to translate to the same as the background, chamber, symphonic, blues, rock, disco and other music, as well as “live” musical performances. The same flexibility should have PA system and in concert halls.

Each room, depending on the architectural features and functionality requires an individual approach to the design of sound reinforcement systems. In this paper we propose to consider the characteristics of building sound reinforcement systems, based on the size of the hall, and not on functionality, suggesting that the premises can be used as multi-purpose.

With increasing space problems, clear (legible) sound and the level of the sound pressure, and hence the volume of playback of music and speech programs are growing. This is due to the fact that the further away from the sound source (speaker loudspeaker system) is a listener, the lower the volume level playing program. In space, where there is no reverb, such as on the street, the sound pressure level is reduced by half (6 dB) with distance from the source to the double distance.

The second problem that arises in this reverb playback applications specific to each room. If the listener is located near the speaker, it is in “direct field”. This field is where the sound is coming from the speaker louder reflected sound. At a distance from the speaker sound reflected from the floor, ceiling and walls of the room, louder sound coming directly from her.

This is where the problems begin.
In reverberant space is always a point where the reflected sound is stronger than a straight line. To be sure, the sound pressure level tends to a constant value in reverberant (diffuse) field, no matter where the listener. The distance from the speaker system on which the level of direct and reflected sound are called “critical distance.” When the listener is in a reverberation field, the sound he hears, Japan is largely a reflection from the floor, ceiling and walls of the room and only a small portion of it goes directly from the speaker. All these reflections reach the listener’s ear in a slightly different time periods, with a few more sound pressure than the direct sound. As a result, the listener is in the field of reverb, lost intelligibility and clarity of sound.

Reverberant field problem can be solved in two ways.
First – this is to change the shape and decoration reflecting elements of the walls and ceiling of the room. But in practice, change the interior of the premises in this way is almost impossible.
The second way – it is right to design complex sound reinforcement for him to overcome the reverberation field in a room.

The main focus in the design of sound reinforcement system, designed to work in a particular area should be given the choice of speakers. Speakers with a narrow radiation pattern sometimes referred to “ranged” (not standardized technical terms and jargon). The terms “long-range combat,” “melee” characterize how far the speakers can deliver clean, clear sound. It depends on the variance. To describe the principle of such systems can take an example from everyday life. Imagine a normal hose for watering. The water in the hose is suitable for top on its end with a constant pressure, and nozzle itself determines how water flows. If the nozzle is wide, the water will not pour, but if you change the nozzle on a narrower or hold the hose, the water will pour much further.

The same thing happens with sound. For example, if the midrange driver to connect with a wide mouthpiece, the system will “near or mid fight.” If its connected to the mouthpiece of a narrow-angle, you get a system of “ranged”. Using horn system with a narrow radiation pattern can solve the problem of room reverberation medium and large sizes. By increasing the sound pressure level of the direct sound are making that material music and speech programs became more clear and legible. System “ranged” are used not only to increase the sound pressure level, but also to focus on the sound of distant sound Audience field, with the sound pressure level of the direct sound will be reflected above. And this is the problem reverberation fields.

Consider the specific sound different size rooms and describe the public address system, which could be used in them.

Conditionally divided premises considered, depending on their size into three types – small with a volume of 300 m3, with average volume of 900 m3 and a large volume of 2700 m3. It should be noted that with such a difference in the size of the premises power sound reinforcement needed to maintain a certain sound pressure level (SPL) in reverberant field will be significantly different.
Consider a simple example, where we assume for convenience that the same sound system will work in a room with a capacity of 300 and 3000 m3. If the sound reinforcement system with a capacity of 100 W can provide in a small room average sound pressure level of 100 dB, the need for a large area is 10 times more power (about 1000 watts) to produce the same sound pressure level of 100 dB.
As desired acoustic power system is highly dependent on what music and speech programs, and how loud to articulate in a particular area. In Fig. 1 shows the average sound pressure levels in some typical cases.
Sound pressure level at a normal conversation at a distance of 30 cm is about 70 dB. For most people, the level of 120 dB causes pain. Sometimes live rock band sound pressure level reaches 115-120 dB and above. In what follows we assume that a given parameter in the halls of a sound pressure in the Audience seats, and the calculation shall be necessary to ensure that the sound pressure sound power emitters. The electric power is determined with the efficiency and sensitivity of the speakers.

Who is a Springfield Wedding DJ?

•September 1, 2012 • Leave a Comment

The figure of Wedding DJ Springfield Massachusetts is surrounded by myths, just as no less than the figure of a rock guitarist.
DJs in the modern sense of the word appeared in the first half of the ’70s. It’s not even that, what kind of music they then plant (in Jamaica – Reggae in the posh New York ballrooms – party, in the Bronx – hip-hop), the trick DJing was and still is in the hands of DJ all known records begin to sound in a new way and to make the audience a completely different effect. Without going into the subtle differences between the technologies DJ craft, we can say that the basic idea was to present the music as a continuous audio stream going. This stream is collected from the dance – that is more or less rhythmic – music recorded on vinyl records, which no audible joints infest each other.

Free Consultation With Local Wedding / Party DJ
Web form shortcut for getting a wedding and party DJ!

The highest, the last and only goal deejay – encourage people to dance. Good DJ – this is not the one with the good records, and not the one who knows how to stitch them into a long intestine, and the one who is able to control the mood of the dancers, make public, bring it to a state of ecstasy. Dancing to DJ music should ideally be just ecstatic.

Initially, DJs wound up just dance music that was played on the radio and you buy in grocery stores is quite ordinary people. But in the mid-80’s – with the advent of so-called “house” and “techno” – DJ became a works records that are recorded and produced small editions for them. These were the kind of material – songs that had only one rhythmic foundation. These audio semis are called “tracks”, commonly called track – this track is a multi-track recording, the rhythm track – this track is recorded with the drums. At the track there is no beginning, no end, no dramatic development in the middle. In the course of the track a few times to escalate tensions, then – silence, relaxation, and stress is creeping up again.

Of course, the music and the chords are keyboards, and slow dissolves synth clouds, and music, but most importantly in the DJ music – it’s the bass and drums. By the way, here lie the origins of the famous opposition to techno and rock. Rock – it’s drums, bass and guitar, techno – drums and bass and guitar no. However, from the point of view of traditional pop music playing in the DJ music was something much more important – namely, life. Rhythmic shaft, which drives the DJ, can not hide her native origin, because the tracks for the house DJ’s recorded with a drum machine.

Music that gets the DJ, no man has never played it like cabbage, consists of many layers of machine rhythm.
Whether this is the reason for the complex case and doubt? By no means!
In the late 80’s began to form apologetics DJing and techno house music.
Ideally techno music listener should not know who did it. In other words, the technology avoids the pictures with one’s mugs and, therefore, rejects the stars in techno DJs no image. Refusing sounding word, techno give up the printed word: the technology is literally nothing to say.
There is no technology content, technology did not want to tell you, and no promises for the future. Techno nowhere encourages and requires no sacrifice. Technology provides a momentary feeling of freedom. And happiness. As well as the feeling that you are not alone. That’s it.

Techno – it’s the music of the future … technology is developing very fast, techno – it’s the only area of music in which there has been progress, the rest of the stagnation and decline, at best – trying to keep up with the technology, using it to achieve. Thus, technology impregnates all modern pop and rock music, takes them out of the crisis.

Moreover, technology has changed not only the sound of our civilization, but also its image. The visual style of techno eliminated nasty and notorious aesthetics of the 80’s. This refers to the high-tech computer graphics, as well as bright and extravagant style of clothing and interior decoration.
Techno – electronic music. Its development is linked to the rapid development of the most advanced equipment, high-technology.
Techno – intricate layered music. Techno has a soul movement. Techno appeals to the senses.
DJ – this is a new type of musician. He did not simply make records, he is in contact with live dancing crowd, he magnetizes it. DJ, docking tracks and letting them parallel to each other, these are made ​​of semi-live music. Incidentally, this is why technology is beyond criticism, music critics do not dance, and judged by techno records, that is, semi-finished products. But you can not judge the quality of the restaurant, looking into the fridge in the kitchen and trying to bite a frozen chicken! (This is the famous German DJ Vestbama argument.)

The result of the procedure “sostykovyvaniya tracks and transmittance in parallel to each other,” said mix. A plate that gets DJ, very often remixes DJ, so to say, mixes remixes, that is, speaking in languages, stirring mixture.

Remix – this is a new track, made ​​from fragments of already available. Roughly speaking, the original music take a few fragments – drum beat characteristic sigh or squeak, fixate (that is repeated a hundred times without change), and get new music. And since almost all the Wedding DJ Springfield music made ​​from sounds of the same synths, all existing tracks to some degree is a remix of one another.
Techno house music made ​​by combining well-known components, that is, this music is combinatorial. And the DJ – the last resort, the last schemer, he of interchangeable tracks, consisting of the same basic elements, collects rhythmically uhayuschy puzzle.

Techno – music of the future? DJ – Musician era of conceptual art? Techno is beyond criticism? Techno hard work? The validity of this thesis is permissible to doubt, worst of all, perhaps, is the fact that in real life dancing to the ‘modern techno house music “- it is not uncommon for an incendiary. Takes a long time to train myself to learn how to ignite under monotonic and maloizobretatelny knock, however, any kind of pop music requires many years of training.

Boom around techno and house music DJ’s around the mean first of all coming to a new generation of music enthusiasts and amateurs. Musicians are those who previously would have thought that it might be related to music, or rather – for audio creation. In many ways, this situation is similar to the era of the late 70’s: to be punk, to be able to play guitar like Jimmy Page does not need to be a DJ and techno producer in many cases it is sufficient to be able to slam his foot to the beat of a drum machine clatter. Falling prices for personal computers and increase their power made ​​possible the production of more or less acceptable (though stylistically highly limited) music right at your desk. Actually, it is the very fact which radically changed the face of modern pop music, not the appearance of a mysterious, infernal figures DJ.

DJs are not replaced “real” musicians, the DJ profession is not such a wonderful and desirable. If you want wide generalizations, we can say this: the “before” music composed by young, thoughtful twang guitar, Depeche Mode and all the metal is still just that work, the musicians, the heirs of the troubadours. And “now” music makes depressive schizophrenic taraschaschiesya the screens of their computers and move the mouse around the screen back and forth audio cubes.

Today, DJ’s, like, back to the beginning of the 70’s – they do the routine work of articulation partys. And, unfortunately, the music that they give birth, and could not some how far removed from the standards of the mid-’70s.

Order a DJ for the holidays

•August 28, 2012 • Leave a Comment

Holidays – is the day we look forward to. And every holiday we try to remember. Our team is happy to help you in this matter.

Free Consultation With a Massachusetts New Years Party DJ
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Order the DJ for the New Years party simplify organization of the event and add the necessary spice musical composition. Keep in mind that a well-chosen song on the shoulder only to professionals. Our DJ a party and leader will help you make the day fun and memorable. Such activities require special skills and rich imagination. Our experts with particular trepidation attitude with the program and dj will select the appropriate musical accompaniment holiday.

Needless to say that it is very difficult to find the appropriate force. It’s not even that they are few, the fact is that basically they are working on the number, which has a negative effect on the atmosphere of the celebration. We guarantee an individual approach and high level of service. In creating the program, we take into account the wishes of the customer and the personal characteristics of the audience, which allows us to organize unique holidays. That is why the leading aims to: find something new, something that has not been seen. And best of all, book a DJ for a holiday in our company you can, simply by typing the contact phone number on the website and our operator happy to introduce you to the range of services, advise on and place your order.

Our well-organized team can help you organize a variety of activities, whether it’s a birthday, New Year or just a party. Musical accompaniment to decorate any holiday event, add bright colors. We can stage a popular scene for themed evenings. The holiday is not without tricks and mobile games. DJ is a magical co-anchor, because music creates a certain mood. For the very young, we have a huge amount of wind-young adult’s songs. For high school students, we try to find a more contemporary music (after all, they both want to look older.) Well, for most adults DJ select the music on any preferences. For those wishing to make the evening a truly memorable and exciting experience, we have a great service, rent sound and lighting equipment for a holiday. Enjoy a combination of great music.

All of us are very sensitive to the emotions and sometimes we are very difficult to deceive a forced smile or feigned amusement. The organization requires a truly unforgettable moments positive outlook on life and, of course, a great love for people. Our DJ and presenter of the festival will not disappoint you and will leave only positive emotions of the evening, held next to each other. Remember to book a holiday dj task a few minutes and pleasant memories and impressions will stay with you forever.

Creating creative tandem between the DJ and presenter at the events we berms themselves to do what is necessary to cater to the wishes of the public in general. Believe me, we can do it and we know how to do it.

Please contact us! Let us take the hassle and organize a holiday that you will remember for a long time.

Who is a DJ? Goals and Myths of DJs

•August 24, 2012 • Leave a Comment

Free Consultation With Local Wedding / Party DJ
Web form shortcut for getting a wedding and party DJ!

The figure of techno-house DJ and Springfield Wedding DJ is surrounded by myths, just as no less than the figure of a rock guitarist.
DJs in the modern sense of the word appeared in the first half of the ’70s. It’s not even that, what kind of music they then plant (in Jamaica – Reggae in the posh New York ballrooms – party, in the Bronx – hip-hop), the trick DJing was and still is in the hands of DJ all known records begin to sound in a new way and to make the audience a completely different effect. Without going into the subtle differences between the technologies DJ craft, we can say that the basic idea was to present the music as a continuous audio stream going. This stream is collected from the dance – that is more or less rhythmic – music recorded on vinyl records, which no audible joints infest each other.

The highest, the last and only goal deejay – encourage people to dance. Good DJ – this is not the one with the good records, and not the one who knows how to stitch them into a long intestine, and the one who is able to control the mood of the dancers, make public, bring it to a state of ecstasy. Dancing to DJ music should ideally be just ecstatic.

Initially, DJs wound up just dance music that was played on the radio and you buy in grocery stores is quite ordinary people. But in the mid-80’s – with the advent of so-called “house” and “techno” – DJ became a works records that are recorded and produced small editions for them. These were the kind of material – songs that had only one rhythmic foundation. These audio semis are called “tracks”, commonly called track – this track is a multi-track recording, the rhythm track – this track is recorded with the drums. At the track there is no beginning, no end, no dramatic development in the middle. In the course of the track a few times to escalate tensions, then – silence, relaxation, and stress is creeping up again.

Of course, the music and the chords are keyboards, and slow dissolves synth clouds, and music, but most importantly in the DJ music – it’s the bass and drums. By the way, here lie the origins of the famous opposition to techno and rock. Rock – it’s drums, bass and guitar, techno – drums and bass and guitar no. However, from the point of view of traditional pop music playing in the DJ music was something much more important – namely, life. Rhythmic shaft, which drives the DJ, can not hide her native origin, because the tracks for the house DJ’s recorded with a drum machine.

Music that gets the DJ, no man has never played it like cabbage, consists of many layers of machine rhythm.
Whether this is the reason for the complex case and doubt? By no means!
In the late 80’s began to form apologetics DJing and techno house music.
Ideally techno music listener should not know who did it. In other words, the technology avoids the pictures with one’s mugs and, therefore, rejects the stars in techno DJs no image. Refusing sounding word, techno give up the printed word: the technology is literally nothing to say.
There is no technology content, technology did not want to tell you, and no promises for the future. Techno nowhere encourages and requires no sacrifice. Technology provides a momentary feeling of freedom. And happiness. As well as the feeling that you are not alone. That’s it.

Techno – it’s the music of the future … technology is developing very fast, techno – it’s the only area of music in which there has been progress, the rest of the stagnation and decline, at best – trying to keep up with the technology, using it to achieve. Thus, technology impregnates all modern pop and rock music, takes them out of the crisis.

Moreover, technology has changed not only the sound of our civilization, but also its image. The visual style of techno eliminated nasty and notorious aesthetics of the 80’s. This refers to the high-tech computer graphics, as well as bright and extravagant style of clothing and interior decoration.
Techno – electronic music. Its development is linked to the rapid development of the most advanced equipment, high-technology.
Techno – intricate layered music. Techno has a soul movement. Techno appeals to the senses.
DJ – this is a new type of musician. He did not simply make records, he is in contact with live dancing crowd, he magnetizes it. DJ, docking tracks and letting them parallel to each other, these are made ​​of semi-live music. Incidentally, this is why technology is beyond criticism, music critics do not dance, and judged by techno records, that is, semi-finished products. But you can not judge the quality of the restaurant, looking into the fridge in the kitchen and trying to bite a frozen chicken! (This is the famous German DJ Vestbama argument.)

The result of the procedure “sostykovyvaniya tracks and transmittance in parallel to each other,” said mix. A plate that gets DJ, very often remixes DJ, so to say, mixes remixes, that is, speaking in languages, stirring mixture.

Remix – this is a new track, made ​​from fragments of already available. Roughly speaking, the original music take a few fragments – drum beat characteristic sigh or squeak, fixate (that is repeated a hundred times without change), and get new music. And since almost all the techno-house music made ​​from sounds of the same synths, all existing tracks to some degree is a remix of one another.
Techno house music made ​​by combining well-known components, that is, this music is combinatorial. And the DJ – the last resort, the last schemer, he of interchangeable tracks, consisting of the same basic elements, collects rhythmically uhayuschy puzzle.

Techno – music of the future? DJ – Musician era of conceptual art? Techno is beyond criticism? Techno hard work? The validity of this thesis is permissible to doubt, worst of all, perhaps, is the fact that in real life dancing to the ‘modern techno house music “- it is not uncommon for an incendiary. Takes a long time to train myself to learn how to ignite under monotonic and maloizobretatelny knock, however, any kind of pop music requires many years of training.

Boom around techno and house music DJ’s around the mean first of all coming to a new generation of music enthusiasts and amateurs. Musicians are those who previously would have thought that it might be related to music, or rather – for audio creation. In many ways, this situation is similar to the era of the late 70’s: to be punk, to be able to play guitar like Jimmy Page does not need to be a DJ and techno producer in many cases it is sufficient to be able to slam his foot to the beat of a drum machine clatter. Falling prices for personal computers and increase their power made ​​possible the production of more or less acceptable (though stylistically highly limited) music right at your desk. Actually, it is the very fact which radically changed the face of modern pop music, not the appearance of a mysterious, infernal figures DJ.

DJs are not replaced “real” musicians, the Jack and Jill Springfield DJ profession is wonderful and desirable. If you want wide generalizations, we can say this: the “before” music composed by young, thoughtful twang guitar, Depeche Mode and all the metal is still just that work, the musicians, the heirs of the troubadours. And “now” music makes depressive schizophrenic taraschaschiesya the screens of their computers and move the mouse around the screen back and forth audio cubes.

Today, DJ’s, like, back to the beginning of the 70’s – they do the routine work of articulation partys. And, unfortunately, the music that they give birth, and could not some how far removed from the standards of the mid-’70s.

What methods are used to process the sound?

•August 24, 2012 • Leave a Comment

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Installation. Vypezanii Composed of one part of the record, insert d.puguyu, replacement, etc. pazmnozhenii Hazyvaetsya also pedaktipovaniem. All of Contemporary audio and video recording to some extent, podvepgayutsya installation.

Transformation of the amplitude. DURING performed by postseismic actions on signal amplitude, eccentricity, in the final analysis to the values ​​samplov multiplication by a constant factor (boost / cut), or temporal changes during function modulyatop (amplitude modulation). A particular case is the amplitude modulation envelope for Formation ppidaniya statsionapnomu sound of temporal evolution. Transformation of the amplitude are executed sequentially with the individual samples are, so they ppostoy in and is not necessary for realizing a large number of computations.

Frequency (spektpalnye) transformation of. Performed on frequency components of the sound. If we use spektpalnoe Degradation – FORMS representations for sound, eccentricity on gopizontali counted frequency, and on veptikali – the intensity of the frequency components, the frequency of transformation of many resemble the conversion of amplitude over spektpom. Happimep, filtration – strengthening or weakening of the determination of the frequency bands – is reduced to the superposition on spektp respective amplitude envelope. However, the frequency modulation Thus ppedstavit not – it looks like a shift of spektpa or specific sites in determination of time under the law. For realizing a frequency transformation of usually ppimenyaetsya spektpalnoe Degradation Fourier method, kotopoe tpebuet significant of resource. However, the algorithm is available quickly to transformation of Fourier (FFT, FFT), the eccentricity is in integer apifmetike and enabling it to younger models 486 pazvopachivat in pealnom temporal spektp s.pedney signal quality. DURING the conversion of frequency, k.pome that, by processing and subsequent tpebuet sveptka so temporal filtration in pealnom until pealizuetsya ppotsessopah for general use. Instead, there are a large number of signal ppotsessopov DIGITAL (Digital Signal Processor – DSP), eccentricity perform these opepatsii in pealnom temporal and through multiple channels.

The phase transformation of. Boil down to a constant phase shift of the signal or modulation of some functions or d.puguyu signal. Blagodapya that uses the human auditory appapat phase for determination DIRECTIONS to the sound source, the phase transformation of stepeozvuka can get the effect vpaschayuschegosya sound hopa and the like. VARIATIONS by phase shift gpadusov 90-180 (the latter is obtained ppostoy inveptipovaniem counts) pealizuetsya effect “dimensions” to the sound (Surround).

Temporal transformation of. Are appended to the original signal its copies shifted in on postseismic temporal values. DURING shifts by amounts spavnimye with periods may signal this to the phase transformation of ppevpaschayutsya; DURING small shifts beyond the limits pepida (roughly less than 20 ms), this has the effect of close to hopovomu (pazmnozhenie sound source), DURING large – the effects of reflection mnogokpatnogo: pevepbepatsii ( 20 .. 50 ms) and echo (50 ms).

Formative transformation of. Are a special case of frequency and with opepipuyut fopmantami – post a generic bands, vstpechalis in sounds ppoiznosimyh man. Each sound corresponds to a ratio of amplitudes and frequencies of several fopmant that determine tembp and pazbopchivost vote. By changing the parameters of fopmant can podchepkivat or gloss over individual sounds, change one vowel for d.puguyu, shift register is to vote, etc.

What methods are used for sound synthesis

•August 24, 2012 • Leave a Comment

Additive (additive). Based on Fourier utvepzhdenii that any periodic oscillations can ppedstavit as the sum of pure tones (sinusoidal oscillations of varying frequencies and amplitudes). This requires nabop of several sinusoidal uppavlenija paralleling with independent output signals for eccentricity summipuyutsya pezultipuyuschego signal. Ha This method is based ppintsip producing sound in the wind is reached or exceeded. Advantages of the method: allows you to get any of periodic sound and synthesis ppotsess hoposho ppedskazuem (change cutting to one of paralleling does not affect the rest of spektpa sound). The main drawback – for sounds complicated struct can potpebovatsya hundreds paralleling that is difficult and dopogo Accomplished.

Difference (subtractive). Ideologically ppotivopolozhen produced at the first. It is based on sound of generation rich spektpom (multiple frequency components) followed by filtration (separation of some components and the weakening d.puguyu) – this ppintsipu pabotaet pechevoy appapat person. The initial signals are commonly used meandp (right-angled, square), with a global variable duty cycle (the ratio of the positive pepioda polupepiodu) piloobpazny (saw) – normal and reversed, and tpeugolny (triangle), and postseismic types of noise (random fluctuations nepepiodicheskih) . The main opganov synthesis in this method are the filters uppavlyaemye: of resonant (Band) – on the joystick and the width ppopuskaniya band (band) and low-pass filter time (FHCH) with izmenyamoy speza frequency (cutoff). For all the filters also pegulipuetsya dobpotnost (Q) – kputizna growth or decline in the frequency of resonant. Advantages of the method – a relatively ppostoy realizing a range and a fairly large turn sintezipuemyh sounds. Ha this method postpoeno many studio and kontseptnyh sintezatopov (typical agents from – Moog). Hedostatok – for the synthesis of sounds with complex spektpom tpebuet uppavlyaemyh lot of the filters, and complex enough eccentricity dopogi.

Frequency-modulation (frequency modulation – FM). It is based on cross modulation frequency between multiple sinusoidal paralleling. Each of these paralleling fitted with its own fopmipovatelem amplitude envelope, the amplitude and frequency vibpato, imenuetchsya Operators. Different ways to connect multiple Operators, when the outputs of some uppavlyayut Workflow porphyry intrusions are known algorithm for synthesis. Algorithm is may include one or more Operators in series papallelno, sequential papallelno with reversed connections and combinations ppochie – give ppakticheski infinite number of possible sounds. Blagodapya ppostote realizing a DIGITAL, the method has received wide occurrence Prevalence in studio and kontseptnoy practice (typical agents from class sintezatopov – Yamaha DX). However, this method ppakticheski is difficult because most of the sound made by it, shall submit a noise-like oscillations, and only slightly change cutting to one of paralleling to clean tembp ppevpatilsya the noise. However, the method yields a wide opportunity for the synthesis of differently genus udapnyh sounds and – Various sound effects unattainable in other method pazumnoy complexity.

Samplepny (sample – vybopka). This method is recorded pealnoe sound (samples are), which are then at the right moment vosppoizvoditsya. To the sounds of differently height vosppoizvedenie uskopyaetsya or slows; DURING unchanged skoposti vybopki ppimenyaetsya paschety the Intermediate sample values ​​(inteppolyatsiya). To tembp sound DURING the pitch did not change too much, used several sound recordings chepez DETERMINATION Intervals (usually – chepez one or two octaves). In pannih samplepnyh sintezatopah sounds literally recorded on a tape recorder, a record of Contemporary ppimenyaetsya DIGITAL sound. The method allows to obtain an arbitrarily exact likeness of sound pealnogo the tool, but this tpebuet fairly large amounts of memory. With d.pugoy stopony, record sounds natural DURING only those same parameters, DURING eccentricity it was made – when you try to, for instance, she ppidat d.puguyu amplitude envelope of natural falls drastically. To reduce the amount of memory tpebuemogo ppimenyaetsya looping samplov (looping). In this case, only records kopotkoe Quaternary sound tool, then it stands s.pedney phase with established (sustained) sound, which was then DURING vosppoizvedenii povtopyaetsya those pop up until the note is enabled (by pressing the key), after releasing vosppoizvoditsya terminal phase. Ha fact, this method can not be called a rule with complete fusion – it skopo vosppoizvedeniya-writing method. However, of Contemporary sintezatopah based on it vosppoizvodimy sound can podvepgayutsya VARIOUS by processing – modulation filtpovaniyu, adding new harmonics, sound effects, which are the result of sound can ppiobpetat sovepshenno tembp new, sometimes quite unlike pepvonachalny. In fact, the combination turns tpeh main methods of synthesis, where the main signal is used the original sound. Typical of this class of agents from sintezatopov – E-mu Proteus.

Table-wave (wave table). Variety samplepnogo method when not all recorded sound as a whole, and its individual phases – attack, initial decay, and a tail s.pedney phase damping, which allows to reduce drastically the amount of memory for tpebuemy hpaneniya samplov. These phases are recorded on postseismic frequencies DURING postseismic conditions (soft or drastic udap by pressing poyalya, of varying the position of lips and tongue DURING igpe saxophone, etc.) are the result of the family to give one the tool sounds. DURING vosppoizvedenii these phases fit, CL compiled, allowing a relatively small volume DURING samplov get enough large turn spektp postseismic sounds the tool, and most importantly – significantly increase vypazitelnost sound vybipaya, eg, according to the force on a key udapa sintezatopa not only the desired amplitude envelope as does any sintezatop but necessary phase of the attack. The main PROBLEM of this method – the difficulty soppyazheniya postseismic phase porphyry intrusions with porphyry intrusions to pepehod vosppinimalis not listening, and the sound was solid and neppepyvnym. Therefore, this class sintezatopy quite scarce and dopogi. This method is also used in audio sintezatopah ka.pte pepsonalnyh komp’yute, but its possible there is much upezany. In particular, almost never ppimenyayut drafting sound of several phases, reducing method to ppostoy samplepnomu, although almost everywhere there is a possibility of more than one papallelnogo vosppoizvedeniya samples are inside a single note.

Method of physical modeling (physical modelling). Is the physical modeling of PROCESSES, defines the sound pealnogo the tool based on its set of parameters (eg, for skpipki – ROCKS de.peva, structure varnish geometpicheskie size is, matepial stpun and bow, etc.). Due to the complexity of accurately modeling kpayney even ppostoy tool and huge volumes of calculation method has pazvivaetsya slowly, studio and in levels of experimental samples sintezatopov. It is expected that, since its evolution enough it will replace the known methods of synthesis of acoustic sounds Tool belt, leaving them with only the problem of synthesis is not substantiated in vstpechalis tembpov.

WaveGuide technology actively pazpabatyvaemaya in Stenfopdckom Univepcitete ppimenyaemaya and finally arrived in neckolkih ppomyshlennosti Electron poyaley models, eg, fipmy Baldwin. Ppedctavlyaet coboy varieties fizichectogo modeling, DURING eccentricity modelipyetcya propagation fluctuations ppedctavlennyh dickpetnymi otcchetami by ctpyne (of one-dimensional modeling) and pezonancnym povephnoctyam (dvymepnoe modeling) or in bulk pezonatope (tpehmepnoe). DURING this poyavlyaetcya POSSIBILITY modelipovat also nonlinear effects nappimep ydap hammer and kacanie ctpyny dempfepom and vzaimnyyu ctpyn telecommunication and telecommunication horizontal and vertical modes.

A short acoustic dictionary

•August 24, 2012 • Leave a Comment

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Dictionary:

· Absorption (absorbent) – absorption, for example, the absorption of sound energy.

· Acoustic sound spectrum (acoustical spectrum) – a set of sinusoidal components of complex sound set with the amplitude and frequency of these components.

· Amplitude – the maximum instantaneous (peak) value, which reaches some physical quantity, performs a sinusoidal oscillation.

· Domestic noise – the sound of any objectionable or in the circumstances for the person.

· White Noise (purenoise, WeiBes Rauschen) – the noise spectral density is independent of a specific range of frequencies (white noise – not necessarily random).

· Beats – arise when two sine waves with close frequencies. They are periodic. The fundamental frequency of the beats in this case is equal to the difference between the frequencies of the interacting superimposed sinusoidal oscillations.

External noise (ambientnoise) – noise, characterized the intensity and duration of sounds of different sources.

· Wave – spatial and temporal change of state of the environment, which can be represented as a one-way move it. There are transverse and longitudinal waves.

· Time of reverberation – reverberation time (reverberation time, Nachhallzeit) – this time from off the sound source to reduce the density of acoustic energy or intensity of sound to reduce the density of acoustic energy or intensity of sound to one millionth of a share of its initial value, ie, up to 60 dB (DIN 52 212).

· Forced vibrations occur under the influence of the exciting alternating external physical force. The frequency of oscillation is determined by the frequency of forced excitation.

· Pitch (pitch, tonwert) – a term used to describe the character of the sound frequency.

· Decrement – the main value in the calculation of attenuation. Decrement – speed damping characteristics of the two oscillations following each other in the same direction.

· Dissipation (scattering) – transition energy of ordered motion into energy of random motion of particles (heat).

· Diffuse field (diffuse field, diffuses Schallfeld) – field with a uniform sound pressure generated from the multiple reflections from interfaces.

· Wavelength (wavelength, Wellenlange) – the distance between the two closest points of the waves that are shifted in phase by one full period.

· Good quality – a dimensionless quantity, the maximum value of the transfer function.

· Attenuation – a measure of the energy loss in an oscillating system in the transformation of one form of energy into another.

· Sound (sound, Schall) – mechanical vibrations and elastic waves that propagate in solids, liquids and gases, mainly in the audible frequency range (16-20000 Hz).

· A sound wave (acousticalwave) – sound wave propagation is the process variable disturbance in an elastic medium, the sound vibrations are called oscillatory motion of the particles of the medium under the influence of this disturbance.

· Sound power. Sound waves carry sound energy. The total amount of energy that the sound source radiates into space per unit of time, characterizes the sound power source. Sound power is usually defined in Watts. Some specific sound sources can be characterized by the following approximate figures:
Whispers – 10-9 Tues
Conversation – 10-5 Tues
Scream – 10-3 Tues
Big band – 10 W
Large turbojet aircraft – 105 W
It should be noted that the acoustic output transducer carried less electrical power. Efficiency Speaker Dynamic type is small and is a few percent.).

· Sound Pressure (Pa) (acoustic pressure, Schalldruck) – the variable part of the pressure that occurs in the environment when the acoustic wave passes.).

· The sound field (Sound field, Schallfeld) – a set of space-time distribution of the quantities characterizing the acoustic perturbation considered.

· The sound spectrum – the dependence of sound pressure (air or structural noise) on the frequency. Appears in the sound spectrum, which is set by the frequency analysis.

· Sound insulation – reducing the impact of the sound by installing reflective (absorbing) wall between the sound source and the place of exposure.

· Sound absorption. Loss of sound energy in the fall of the sound waves and their propagation in a material medium.

· Index articulation problems associated with the assessment of speech recognition, perceived directly. As a result of increased noise voice communication can be significantly hampered. Masking effect of background noise has a positive significance. Broadband noise is used, for example, in order to prevent unauthorized persons to listen to the talks.

Intelligibility is defined (in% terms) of correctly heard and understood participants in the experiment of linguistic units.
Since the transmission of speech basic physical parameters are determined easier than subjective, psychological, developed methods to use the physical quantity, which cause a good correlation with the parameters of intelligibility RFID, obtained by the survey.
This quantity is the articulation index (AI), the proposed French and Steinberg. They suggested that the speech recognition is proportional to the average difference between the peak levels of speech and masking noise levels (noise interference) in 20 bands selected on the basis of their equal contribution to speech intelligibility. In the frequency range from about 200 to 6000Gts. Levels of speech in each of these bands have a dynamic range of 30 dB. For the calculation of the articulation index (AI) use categories conditional equivalent levels of speech. Differing by 6 dB.

· The sound intensity (W/m2) – The ratio of the incident to the surface of the sound power to the area of the surface.

· Interval – the ratio of frequencies of the two tones.

· Interference – the principle of superposition of independent waves. At any point of the instantaneous value of the resultant wave is the sum of the instantaneous values ​​of each of the waves.

· Swing (oscillation, Schwingung) – change in time value in relation to a particular selected its value.

· Kolbanev and vibratsiyae. Terms used to denote the change of any physical quantity, more or less regularly recurring time and changing direction.

· The oscillation speed – the speed of the vibrational motion of the particles of the medium. Perception of vibration at low frequencies is roughly proportional to the particle velocity.

· Particle velocity – the instantaneous value of the velocity of a particle moving in the direction of the velocity fluctuations.

· The sound absorption material – the ratio of the absorbed energy to the incident sound energy. Characteristics of a material’s ability to absorb sound waves varies from 0 to 1 (sometimes measured as a percentage from 0 to 100%). Sound absorption coefficient at zero all the sound energy is reflected surface of the material. 1 – means that all the sound energy absorbed by the material.

· Loss factor – characteristic of dissipative properties of the system, defined as the ratio of vibrational energy dissipated during one period of oscillation to all the potential energy stored in the system. In other words, the loss factor characterizes the rate of damping in the system. In mechanical systems, the loss factor can theoretically vary from 0 to 1. Loss factor of zero, meaning that if a system to initiate short-term momentum, variations in it not ever die out. Loss factor of 1 means that the fluctuations in such a system will go out for one period.

· The logarithmic decrement – the natural logarithm of the ratio of two limiting values ​​of the amplitudes of its own vibrations, separated in time by one period.

· Microphone (microphone, Mikrofon) – electroacoustic transducer that responds to sound waves and produces the equivalent electrical signals.

· Fashion fluctuations – the characteristic distribution of displacement oscillation system, when the displacement of each area of its surface – simple harmonic motion with the same frequency. In a system with many degrees of freedom can exist multiple modes.

· Power Sound (Sound power, Schalleistung) – the energy transferred by a sound wave through the given surface per unit time.

· The continuous spectrum (continuous spectrum, kontinuierliches Spektrum) – wave spectrum, the frequency components are distributed continuously in the frequency range.

· Continuous noise (continuous spectrum) – the noise, the intensity of which remains the indefinite period of time or a specified period of time.

· Octave – a unit frequency interval. Octave is the interval between two frequencies f1 and f2, the logarithm of which is equal to one (log (f2/f1) = 1), which corresponds to the difference between the frequencies f1 and f2 twice.

· Octave band – frequency range, where the highest frequency of twice the lowest frequency.

· Octave range. Sound level is determined and displayed in the band width of an octave. The average (geometric mean) frequency octave 1 formula recommended midrange octave: 31.5, 63, 125, 250, 500, 1000, 2000, 4000, 8000 Hz.

· Dangerous noise – acoustic waves in the ear, resulting in a certain part of the population there is a change in the threshold of audibility.

· Period – the time in which one takes a full swing.

· Peak SPL (peaksound pressure, Spitzenschalldruck) – the absolute maximum instantaneous sound pressure occurring in a given time period.

· The hearing threshold (borderline of audibility, Horschwelle) – the minimum effective sound pressure level, sound, stimulating auditory sensation in the given conditions listening.

· Psychoacoustics – the study of the impact of sound on the human psyche (reaction perception, irritability, fatigue).

· Distribution of sound. Sound waves from a point source of sound, generally spherical front. In an open field sound pressure decreases with distance from a point source of sound is 6 dB for each doubling of distance.

· Reverb (reverberation, Nachhall) – the process of attenuation of sound in a room after tripping (termination) of the sound source. Reverb is characterized reverberation

· Resonance (resonance, Resonanz) – a phenomenon of increasing the amplitude of forced oscillations in an oscillatory system, occurs at the frequency of the periodic external action to one of the natural frequencies of the system. The nature of the resonance depends strongly on the properties of the oscillating system.

· Resonance fashion – characteristic vibroacoustic properties of mechanical or acoustic system, directly related to the natural resonance frequency. Fashion shows the type (shape) of the oscillations at the natural frequency of the system (at the natural frequencies.) When the frequency of natural oscillations and forced vibration frequencies (excitation frequency).

· The resonant frequency – the frequency of the resonator, in which the fluctuating value reaches its maximum value.

· Pink noise (pink noise, Rosa-Rauschen) – noise, which has a constant energy in the octave band, ie each octave band contains the amount of sound energy, which is inversely proportional to frequency.

· Speed ​​of sound – speed of sound wave propagation in space.

· Natural frequency – the number of oscillations per second. mechanical and acoustic systems, characterization of mechanical properties of the vibro-acoustic or acoustic (air volume) design. This is the frequency at which the amplitude and dramatically increases dramatically.

· The natural frequency (allowedfreguency, Eigenfreguenz) – natural vibration frequency of the vibrating system.

· Natural oscillations. Natural frequency (natural frequency) depends only on the properties of the oscillating system.

· Connecting oscillatory systems. If two vibrational systems are connected mechanically by mass or elasticity between them is a periodic exchange of energy.

· Dream (sone, Sone) – volume perceived by a person, submit a pure tone at 1000 Hz having SPL of 40 dB.

· The range of oscillation – a collection of simple harmonic oscillation, which can be resolved this complex oscillation.

· The ability to sound insulation – acoustic characteristics of the material or structure, defined as the ratio of the sound energy incident on the structure to last through it (the structure), is measured in decibels (R = 101.g.Wpad/Wprosh)

· Standing waves. Standing waves are the result of interference between two waves moving in opposite directions with equal length, frequency and amplitude. Amplitude of the standing wave is constant at any point; oscillation nodes (zero amplitude) and antinodes (maximum amplitude) are the same. Standing waves occur when a wave is reflected from the barrier, provided that the impedance environment is significantly different from the values ​​of the wave reflector.

· Octave range (1/3 octave spectrum of sound.) Sound level is determined and displayed in a strip in the third octave. The width of the band, as well as the bandwidth of the octave range, referred to the center frequency is constant.

· The angular frequency – the frequency multiplied by 2π (ω = 2πf).

· The specific acoustic impedance Z (Pa.s / m) defines transmission properties of the medium in relation to sound waves.

· Ultrasound – mechanical vibrations that are above the range of frequencies audible to the human ear.

· Level (level, Pegel) – logarithm of the magnitude of its value selected for the level of the comparison.

· The volume level – the comparative level of subjective perception of the volume, measured in backgrounds. The volume level of the sound of a single pure tone or noise is determined by subjective comparison with a standard sound. The difference in volume between 8 and 10 background perceived as a doubling of loudness.

· Noise level (sound pressure level, Schalldruckpegel) – logarithm of the pressure ratio of sound to the selected level of comparison, multiplied by 20 (the pressure level comparison is typically 2.10-5 N / m). Sound pressure is to be understood as an effective rms sound pressure.

· Sound level (dB (A)). (Unit noise) sound level in A-weighted, depending on the sound frequency, often used to describe the sound source at a distance d = 1 m.

· The sound power level (dB (A)) – Units of noise. Sound power of a single sound source is estimated sound power level. It is equal to tenfold the decimal logarithm of the ratio of power is being computed to the threshold of sound power.

· The power level (power level, Leistungspegel) – logarithm of the ratio of power to the selected level of comparison, multiplied by 10.

· Noise level (noise level, Gerauschpegel) – characteristic of sound pressure level.

· Filter (filter, Sieb) – a device for the selection (or suppression) of the electrical signal in a given frequency band. By construction, the filters can be passive – do not require a power source, active – requires a power supply, digital – based on digital technology.

· Background (phon, Phon) – background is called a unit of volume. The volume level is n the background, if the average listener appreciates it as an equal to the volume of the tone with a frequency of 1000 Hz and a pressure level in decibels n. Background as the volume, as well as the decibel is not a unit of measurement, and is twenty times the decimal logarithm of the ratio of sound pressure.

· Cycle (cycle, zyklus) – a periodic sequence of values ​​of magnitude for the period.

· Frequency (Hz) (freguency) – frequency function, periodic in time, called the inverse of the period.

· The oscillation frequency (Hz) (freguency of oscillations, Schwingungsfreguenz) – the number of complete cycles of vibration per second.

· Noise (noise, Larm) – sounds random nature of a continuous spectrum, formed a large number of component frequencies with different amplitudes.

· Ambient noise (ambient noise, Umgebungsgerausch) – the total noise in this situation, in this period of time, usually consisting of a noise (sounds) from many near and distant sources.

· Sound Level Meter (acoustimeter, Gerauschmesser) – sound level meter called shumoizmeritelny instrument designed to measure the level of sound and has a frequency response of A, B, C, D, Linear and temporal characteristics of the F, S, I, Peak. or some of them.

· Broadband noise (broadband noise, Breitbandgerausch) – noise, whose energy is distributed over a wide frequency range (more than one octave).

· Exposure of noise (noise exposure, Larmexponierung) – sound stimulation that affects the human ear or a person for a certain period of time (for example, shift, day, working life).

· Acoustic Emission (Emission of waves, Wellenaussendung) – radiation of elastic waves generated by the restructuring of the internal structure of solids.

· Echo (echo, Echo) – reflected with a delay wave.