The proper notations for sound velocity level using this reference are L v/(5 × 10 −8 m/s) or L v (re 5 × 10 −8 m/s), but the notations dB SVL, dB(SVL), dBSVL, or dB SVL are very common, even though they are not accepted by the SI. Mostly pressure sensors (microphones) are used to measure sound pressure which is then propagated to the velocity field using Green's function. In applications involving sound, the particle velocity is usually measured using a logarithmic decibel scale called particle velocity level. Particle velocity should also not be confused with the velocity of individual molecules, which depends mostly on the temperature and molecular mass. The wave moves relatively fast, while the particles oscillate around their original position with a relatively small particle velocity. in the case of a sound wave, particle velocity is not the same as the speed of sound. Particle velocity should not be confused with the speed of the wave as it passes through the medium, i.e. When applied to a sound wave through a medium of a fluid like air, particle velocity would be the physical speed of a parcel of fluid as it moves back and forth in the direction the sound wave is travelling as it passes. Designed from the beginning to work with and support all surround and immersive formats, you get incredible control over them- from how you listen to, organize and even integrate them into your workflow. In many cases this is a longitudinal wave of pressure as with sound, but it can also be a transverse wave as with the vibration of a taut string. Explorer is a powerful library organizer that allows you to manage your files with enormous control. The SI unit of particle velocity is the metre per second (m/s). My testing with Density took place in a stereo matrix for music production, but I’m sure there are endless possibilities in an immersive audio setup or for post-production work.Particle velocity (denoted v or SVL) is the velocity of a particle (real or imagined) in a medium as it transmits a wave. It can be used to thicken an existing sound, create harmonies, and be pushed into experimental territory as an audio effect or sound design tool. My workaround was to automate the pitch intervals in Pitch mode.ĭensity proved to be an interesting use of granular synthesis, delivering pretty realistic results with either minimum or maximum input from the user. The Pitch mode is not musically intelligent, and the ability to quantize the pitch to scales can encourage a lot of musical happy accidents. Currently, the only options are to rotate clockwise, counterclockwise, and random. Looking at Sound Particles’ suite of plug-ins, it appears they have some interesting panning solutions, and I would love some of those features to be implemented in the panning of the Grains in Density. Placing the input signal at nil while employing rotational panning of the grains as a rotary speaker emulation felt super convincing. When pushed further, it becomes very experimental, with drastic pitch changes that can fill the entire frequency spectrum. It can create a lot of believable voices from a single input. Used subtly, Density can achieve a thickening/chorus-y vibe. The most successes I’ve had with this plug-in were on vocals, strings, and synthesizers. Density can be operated in multiple formats from mono and stereo to 5.1, 7.1, binaural, and Dolby Atmos. The plug-in also features a clickless/no glitch bypass and a randomization feature (if you are feeling lucky). Pitch mode expands the controls even further by allowing setting of intervals for up to eight slots (each containing Pitch, Voices Nr., and Gain, plus mute and solo functionality). Users also have control over the direction of the grain’s movement in the Top View. There is also a virtual joystick-like XY pad that can be set to control two parameters. This mode also introduces the Top View, which provides a bird’s eye look at the grains in the soundfield. (number), Voice Speed, Grain Size, Grain Type (either forward or reverse), Dynamic Range, and the grain’s Position Divergence. Detune mode gives dramatically more options with controls over the Voices Nr. All added voices are dispersed evenly in the soundfield. Basic mode functions in either Small or Large Ensembles, with a Detune knob, plus a button to add a voice(s) an octave below. In Density, there are three different modes: Basic, Detune, and Pitch, with increasingly more controls, respectively. Ableton Live’s Warp and Celemony Melodyne’s pitch correction tools are examples that are possible because of granulation. “Granular” is a broad term for many different processes used in many DAWs, synths, DSP, and even dedicated hardware instruments. It manipulates the audio through granular synthesis, a concept similar to sampling, but works on a microsound timescale (between 1-100 ms). Their new plug-in, Density, creates multiple sounds based on the input signal. Sound Particles is a software company based in Portugal, and is most known for the immersive audio software aptly named Sound Particles 2.
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |