Musical Sound

Processing

NAME : YOGESWARAN A/L SIVA [ 1106192009 ]

: PAVETHREN A/L THANGAVELU [1106182001]
COURSE : DIGITAL SIGNAL PROCESSING
DEPARTMENT : BACHELOR OF COMPUTER
ENGINEERING
 Time Domain
Introduction
Contents
Operation

Frequency Domain Advantage &

Operation Disadvantaage

Conclusion
 Introduction

Almost all musical programs are produced basically in

two stages:
1. Sound from each individual instrument is recorded in
an acoustically inert studio
2. Signals from each track are manipulated by the sound
engineer by adding special audio effects and then
combined in a mix-down system to generate the final
stereo recording.
 Introduction

• Sound recorded in an inert studio is different from that

recorded in a closed space.
• Digital Filtering can be employed to convert the sound
recorded in an inert studio into a natural-sounding one
by artificially creating the echoes and adding them to
the original signal.
Single Echo Filter
Time
Multiple Echo Filter
Domain Operation
Reverbation

Flanging

Chorus Generator
Single Echo Filter

• Echo are simply generated by delay units.

• The direct sound and a single echo appearing R
sampling periods later can be generated by the FIR
filter shown.
The impulse response and the magnitude response of the
single echo filter for = 0.8 and R = 8 are shown below
Multiple Echo Filter

The FIR filter below generates a fixed

number of multiple echoes spaced R
sampling periods apart with
exponentially delaying amplitudes.
The impulse response of a multiple echo
filter with = 0.8, N =6, R =4, is shown
below :
 Multiple Echo Filter
If α=0.8 and T=4, this multiple echo filter is a T order IIR digital filter.

Figure shows the network structure, unit impulse response and

frequency response amplitude compose of multiple echo filter
 Reverbation

The IIR multiple echo filter by itself does not provide natural
sounding reverberations for two reasons:
 Its magnitude responses not constant at all frequencies.
 The o/p echo density given by the number of echoes per
second generated by a unit impulse input is much lower than
that observed in areal room.
 Reverberation : composed of densely packed delayed and
attenuated echoes.
 1000 echoes / sec are necessary to create reverberation.
 This number of echoes is generated by reverberator.
 Reverbation

 IIR multiple echo filter and the

reverberator are basic units that are
suitably connected to develop natural
sounding reverberation.
 By choosing different values for the
delays in each section and multiplier
constants it is possible to arrive at a
pleasant-sounding reverberation.
 Flanging
 Is an audio effect produced by mixing two
identical signals together, one signal delayed by a
small and gradually changing period, usually
smaller than 20 milliseconds.
 The digital filter structure shown below can be
used to create the flanging effect.
 Flanging
 The delay unit develops time-varying delay β(n)
 By periodically varying the delay bet. 0 and R with low frequency 𝑤𝑜 Such
as
 Chorus Generator

 The chorus effect is achieved when several

musicians are playing the same musical piece at the
same time but with small changes in the amplitudes
and small timing differences between their sounds.
 Can be created by a chorus generator from the music
of a single musician.
 Chorus Generator

Is produced by processing the signal through a narrow band notch filter with
variable notch characteristics and adding a portion of the notch filter output to the
original signal as indicated below
Frequency Domain operations

 First order digital equalizers and filters

 Second order digital equalizers and filters
 Higher order equalizer
First order equalizer

 The transfer function of a first order low

frequency shelving filter for boost is given
by
 Gain responses of the low-frequency
shelving filter for boost and cut are shown
 • Note: (1) The parameter K controls the
amount of boost or cut at low frequencies.
 • (2) The parameter controls the boost
bandwidth, while the parameter controls
the cut bandwidth.
First order equalizer

 Gain responses of the high-frequency

shelving filter for boost and cut are
shown
 • Note: (1) The parameter K controls the
amount of boost or cut at high
frequencies.
 • (2) The parameter controls the boost
bandwidth, while the parameter controls
the cut bandwidth.
Second-Order Digital Filters and
Equalizers
 The transfer function of the second-order
peak filter for boost is given by
 the parameter is related to the 3-dB
bandwidth of the band pass response
through
 transfer function of the second order peak
filter for cut is given by
Second-Order Digital Filters and
Equalizers
 gain responses of the second-order peak
filter obtained by varying the parameter
ωo
 gain responses of the second-order peak
filter obtained by varying the parameters
K and Bw
Higher-Order Equalizers

 graphic equalizer with tunable gain

responses can be built using a cascade of
first order and second-order equalizers
with external control of the maximum
gain values of each section in the cascade

Block diagram of a typical graphic equalizer

Higher-Order Equalizers

 gain response of the equalizer shown in

the previous slide for some typical values
of the parameter K (maximum gain
values) of the individual sections
 Advantages

 Information can be conveyed, displayed, or manipulated.

 Perfect reproducibility-identical performance from unit to unit.
 Guaranteed accuracy-accuracy is only determined by the number of bits
used.
 Stored almost indefinitely without loss of information.
 Disadvantages

 Speed and cost be expensive when large bandwidth signals.

 DSP designs can be consuming plus need the necessary resources (software etc).
 Finite word-length problems.
 Conclusion

 We compare the differences between FIR and IIR filters. IIR is comparable to a
multi-peak filter, whereas FIR is comparable to a comb filter. As a result, IIR can
have more natural decay characteristics whereas FIR might retain more of the
original frequency. A compromise, indeed. Everything relies on the kind of need
we desire to fulfil. In instance 5, a reverberation paradigm that sounds natural is
attempted to be replicated. By combining IIR and All pass filters with the right
decay ratios and delay units, we may generate a reverberant atmosphere in any
setting conceivable, such as a tiny room or a concert hall.