Yamaha SREV1 Guida utente

Marca: Yamaha

Modello: SREV1

Categoria: Attrezzatura musicale

Tipo: Guida utente

Questo manuale è adatto anche per

RC-SREV1

SREV1 Sampling Guide

An Introduction to Impulse-response Sampling with the

SREV1 Sampling Reverberator

SREV1 Sampling Guide

Contents

1 Introduction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2

What is Sound Field Sampling? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2

What is Convolution? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4

What is an Impulse Response? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4

What are Impulse & TSP Signals? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5

What is Averaging? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5

What Equipment is Necessary? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6

Is the Quality of the Equipment Important? . . . . . . . . . . . . . . . . . . . . . . . . . . . 6

How about Microphone & Speaker Placement? . . . . . . . . . . . . . . . . . . . . . . . . 6

2 Sampling Tutorial . . . . . . . . . . . . . . . . . . . . . . . . . . 7

Configuring IRSampler . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7

Checking the Generator Output . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9

Setting Input Levels Automatically . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9

Actual Sampling . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9

Using Your Data on the SREV1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10

3 Data Editing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11

Fixing the Roar . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12

Removing the Delay at the Beginning of the Reverberation . . . . . . . . . . . . . . 13

Deleting the Direct Sound . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14

Adjusting the Reverberation Level . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15

Specifying the Reverb Time & Start Point . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16

4 Hookup Examples . . . . . . . . . . . . . . . . . . . . . . . . . . 17

MY4-AD/DA I/O System . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17

AES/EBU I/O System . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18

Sampling with a Digital Recorder . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19

Introduction

SREV1 Sampling Guide

1 Introduction

This document provides a basic explanation of sound-ﬁeld sampling, and a tutorial by

which you can actually sample a sound ﬁeld and audition it on the SREV1.

For more detailed information on the SREV1, IRSampler, or IREdit, please refer to the

relevant documentation.

What is Sound Field Sampling?

No doubt you are already familiar with the technique of audio sampling, made possible

by the ubiquitous sampler? Well, sound-ﬁeld sampling is similar, except that instead of

capturing sounds, we’re attempting to capture the unique character of an acoustic

space, such as a concert hall or church. When you sample a sound ﬁeld with the SREV1,

you are in fact sampling the reverberant characteristics of that acoustic space. The

acquired data can then be loaded into the SREV1 to create a reverb program that repro-

duces the unique reverberation of the original space.

Let’s take a moment to consider the sounds we hear in an acoustic space such as a hall.

Vocal or instrument sounds (i.e., the audio source) reach the ears of the listener accom-

panied by the reverberation of that acoustic space. If we substitute a microphone for the

listener’s ears and record the sound, we capture the vocal or instrument sound together

with the reverberation of that acoustic space. Since the reverberation is unique to that

particular space, until now the only way to add it to a vocal or instrument sound was to

actually perform in that space and record the resulting sound. With the introduction of

the SREV1, however, it’s now possible to sample the reverberation characteristics of an

acoustic space and apply them to any audio signal.

In conventional recording, changing the location of the singer or instrument (i.e., the

audio source), or the position of the microphone (i.e., the pickup point) affects the

sound that is recorded. You’ve no doubt experienced how the same audio source can

sound different when heard from a ﬁrst-ﬂoor seat and a balcony seat. In addition, dif-

ferent power ampliﬁers, speakers, microphones, and other equipment can also have an

affect on the recorded sound. These issues also apply to sound-ﬁeld sampling with the

SREV1. Changing the position of the audio source or the pickup point, for example, or

changing the equipment, all affect the reverberation that is sampled, even in the same

acoustic space. In this respect, sampling a sound ﬁeld with the SREV1 is similar to nor-

mal recording.

Sound-ﬁeld sampling involves recording the reverberation information that occurs

between an audio source located in the space being sampled and a pickup point. Since

this consists of the information that occurs between these two points, it’s not possible

to capture the reverberation character of an entire acoustic space. By experimenting

and taking a number of samples at various pickup points and sound source positions,

however, you should be able to capture the reverberation character that deﬁnes each

and every acoustic space.

What is Sound Field Sampling?

SREV1 Sampling Guide

As you can see from the following diagram, sound-ﬁeld sampling consists of “ﬁring”

SREV1 test pulses into an acoustic space, thereby energizing the reverberation in that

space, which is then picked up by a number of microphones and returned back to the

SREV1 for processing. The acquired data can be saved onto PC Card, edited as neces-

sary using IREdit, and then loaded into the SREV1 to create reverb programs.

SREV1

Hall

PC running

IRSampler

Generator

Internal

External

D/A A/D

Sampler

Generator output

Trigger output

Trigger input

CH 1 input

CH 2 input

CH 3 input

CH 4 input

Power Amp Mic Amp

FL FR

RL RR

Firing pulses

What is Convolution?

SREV1 Sampling Guide

What is Convolution?

Convolution is a technique for imposing the characteristics of one signal onto another.

What the SREV1 does is to convolve the reverberation characteristics of a previously

sampled acoustic space (i.e., its impulse-response) onto another audio source, produc-

ing the same overall sound that would have been heard had the audio source actually

been heard in that acoustic space.

For the technically minded, the following diagram shows the signal ﬂow and formula

for convolution processing.

What is an Impulse Response?

Just as a frequency response shows how an audio circuit responds to a range of frequen-

cies, an “impulse-response” shows how an acoustic space responds to an impulse signal.

And since the data acquired by measuring the impulse response of an acoustic space

consists not only of the original test signal, but acoustic information about that space

as well, we can use an impulse-response to measure reverberation.

No doubt you’ve clapped your hands in order to check the reverberation characteristics

of a hall. Well, since a hand clap is audibly similar to the sound of an impulse, this is

akin to hearing an impulse response. What you heard were the reverberation character-

istics of that acoustic space, your hands being the audio source, your ears the pickup

point. A handclap is nowhere near as accurate as an impulse signal, so it’s not strictly

the same as what we’re talking about here, but it’s close enough to give you some idea

of what we mean by an impulse response.

Generally speaking, “impulse response” is a response to a linear, time-invariant pulse.

“Linear” meaning undistorted, or in other words, the test signal does not affect the

reverberation characteristics. By “time-invariant” we mean that the reverberation char-

acteristics do not change over time. Conventionally, “time-invariant” is used to mean a

state that does not change, but here we are assuming that the reverberation character-

istics do not change from the time the test signal is output to the time sampling is com-

pleted.

Impulse signals are ideal for sound-ﬁeld sampling because they have a very short play-

back time and a ﬂat frequency response at all frequencies, subject to the limitations of

the recording and playback process.

D D

+ +

x(n)

h(0) h(1) h(2) h(3)

h(N-3)

h(N-2)

x(n) x(n-1) x(n-2)

x(n-3)

x(n-N+3) x(n-N+2) x(n-N+1)

h(N-1)

y(n)

: 1 sample delay

: multiplier

: adder

y(n) = h(i) * x(n-i)

N-1

i=0

What are Impulse & TSP Signals?

SREV1 Sampling Guide

What are Impulse & TSP Signals?

The SREV1 can generate two types of test signal. First we’ll take a look at the impulse

signal. As explained earlier, an impulse has a very short playback duration and a ﬂat

response at all frequencies. You can acquire impulse-response data by using an impulse

signal, but you can achieve a better S/N performance by using another type of signal,

which we’ll talk about later.

If you listen to the impulse signal, you’ll hear that it has a relatively low sound pressure

(i.e., volume), even when the level meters are virtually at max. And if you turn up your

power amps in an attempt to increase the sound pressure, you run the risk of damaging

your speakers. In order to acquire impulse-response data with a good S/N ratio, you

need the sound pressure (i.e., volume) of the source to be as loud as possible. Obviously,

if your microphones or speakers are distorting, you’ve lost everything.

Now we can introduce the SREV1’s secret weapon—the TSP or “Time Stretched Pulse.”

A TSP has the same ﬂat response as the impulse signal, but differs in that it contains a

sweep of all frequencies, providing a relatively high sound pressure (i.e., volume), as

you can tell by listening. (Be careful with your volume level settings when using TSPs.)

This higher level allows us to capture data with a better S/N ratio than that possible

using an impulse signal.

Of course, simply outputting a TSP and miking the result does not produce the neces-

sary data. The SREV1 has to perform various DSP processes to the sampled sound in

order to create the impulse-response data necessary for convolution. But that’s another

story.

What is Averaging?

When sampling in an environment with noise present, such as that of an air condition-

ing system (i.e., unwanted white noise-type noise), the S/N ratio of the acquired data

will be poor. By using a process called “synchronized summing,” the SREV1 is able to

reduce this noise level by averaging multiple samples, thereby improving the S/N ratio.

As each successive sample is taken, it’s added to the previous sample, thereby increasing

the level of the useful data. Since any background noise is random (i.e., different for

each sample), it increases by only half as much when added.

The number of samples to be taken is set by using the Averaging parameter. When set

to “8,” for example, the pulse signal is output and sampled eight times. Care must be

exercised while multi-sampling is in progress, as any external sounds will have a detri-

mental affect on the acquired data. If synchronized summing is performed too many

times, the accuracy of the high-frequency detail may be affected.

What Equipment is Necessary?

SREV1 Sampling Guide

What Equipment is Necessary?

In order to perform sound-ﬁeld sampling, you’ll need microphones and microphone

preamps to pick up the sounds, speakers and power amps to output the test pulses, and

the necessary connecting cables. Of course, you’ll need the SREV1, and depending on

the type of I/O being used, you may also require A/D and D/A converters to get signals

in and out of the SREV1. You’ll also need the CD-ROM containing the SREV1 sampling

software, PC Card memory for storing the impulse-response data, a PC running Win-

dows (95, 98, 98SE, 98ME, NT 4.0, or 2000), and a serial cable.

Is the Quality of the Equipment Important?

Since sound-ﬁeld sampling involves recording the reverberation information that

occurs between an audio source located in the space being sampled and a pickup point,

the sampling equipment (i.e., the microphones, preamps, speakers, power ampliﬁers,

etc.) does have an effect on the acquired data.

Basically, you need good-quality microphones with a wide frequency response. Those

that you use for hall or studio recording should be adequate. The PA system should have

a wide, ﬂat range and enough power to energize the reverberation you want to capture.

The better the equipment, the more faithful the end results will be.

How about Microphone & Speaker Placement?

Typically you want to set up your speakers where the sound source would otherwise be,

and it’s probably worth experimenting in order to obtain the desired results. If you are

sampling a hall, for example, the center of the stage is a good starting place. Also con-

sider the directionality of the speaker so that it corresponds to the directionality of the

instrument whose reverberation effect you are trying to capture. You could use several

speakers to mimic an instrument that distributes sound in various directions.

If you are sampling two channels, start by trying the microphone setup that you usually

employ for stereo recording. If you are sampling four channels, use the same miking

techniques as for 5.1 channel recording.

With your speakers and microphones setup roughly where you think they should go,

play some dry instrument sounds or vocals through the system and adjust the micro-

phone position, direction, height, and the left and right spread. When you hear the

sound you want, you can proceed to the actual sampling.

Sampling Tutorial

SREV1 Sampling Guide

2 Sampling Tutorial

Assuming that you’ve set up your speakers and microphones and connected your PC to

the SREV1 (see page 17 for hookup examples), you’re now ready to “ﬁre” a few pulses

and “grab” some samples.

We’re assuming that SREV1 I/O is being taken care of by MY4-AD and MY4-DA cards.

If you’re using external A/D and D/A converters, your IRSampler I/O assignments will

need to be a little different to those speciﬁed later.

Before we start, turn on the SREV1, insert the CD-ROM containing the SREV1 sam-

pling software, and insert a PC Card memory card. (The RC-SREV1 Remote Controller

is not necessary for sampling.) Finally, start the IRSampler program.

Conﬁguring IRSampler

COM Port (COM Port dialog box)

The COM Port dialog box appears the ﬁrst time IRSampler is started and is used to

select the PC COM port to which the SREV1 is connected. The selected COM port is

used automatically the next time IRSampler is started, but can be changed at any time

by choosing COM Port from the Setup menu. Choose COM1 or COM2 as appropriate.

Word Clock Source (Word Clock toolbar)

Set the Word Clock source to “INTERNAL” (FS will be “48 kHz”)

Channel Mode (Word Clock toolbar)

Set the Channel mode as appropriate (e.g., 1ch, 2ch, 4ch)

Pulse Generator (Generator/Trigger window)

Set the Generator Source to “TSP64k”

Set the Loop Interval to “5000” msec (i.e., 240000 samples)

The Loop Interval must be long enough so that the reverberation energized by each

pulse has time to fade away completely before the next pulse is ﬁred. If the next pulse is

ﬁred while the previous reverberation can still be heard, the acquired data will be unus-

able, especially when using TSP signals. Obviously, environments that produce longer

reverberation require longer loop intervals.

Start Trigger (Generator/Trigger window)

Set the Trigger Source to “Internal”

Set the Trigger Threshold to “50%”

Set the Trigger Slope to “ABS”

Configuring IRSampler

SREV1 Sampling Guide

Sampler (Generator/Trigger window)

Set Averaging to “8”

Set the Sampling Time to “4500” msec (i.e., 216000 samples)

Generator Output Assign (Generator/Trigger window)

Assign the Generator Output to “Slot2-1”

Trigger Output Assign (Generator/Trigger window)

Assign the Trigger Output to “Slot2-2”

Input Assign (Generator/Trigger window)

Assign the Sampler Inputs as follows:

Channel 1: Slot 1-1

Channel 2: Slot 1-2

Channel 3: Slot 1-3

Channel 4: Slot 1-4

Input Levels (Main window)

Set the Sampler Input level faders as follows:

Channel 1: 0.0 dB

Channel 2: 0.0 dB

Channel 3: 0.0 dB

Channel 4: 0.0 dB

At this point, try a microphone test and check the input level meters to verify that the

microphones are working properly. If no signals are present on the meters, check the

connections and input assignments.

Generator Output Level (Main window)

Set the Generator Output level fader to “0.0 dB”

Checking the Generator Output

SREV1 Sampling Guide

Checking the Generator Output

We’re now ready to check the generator output. Click the Start Generator button on the

Sampling Control toolbar and verify that the test signal is being output properly from

the speaker system. If it’s not, check the connections and generator output assignment.

Starting with the level set low, gradually increase the power amp’s input attenuators so

that the pulses can be clearly heard. (Setting the Generator mode to loop is convenient

for outputting pulses continuously while making this adjustment.) The pulse signal

should be loud enough to fully energize the reverberant characteristics of the environ-

ment you are sampling, but without distortion.

Setting Input Levels Automatically

The Level Adjust function offers a convenient way to set input levels automatically.

Click the Adjust button on the main window, and when the Level Adjust window

appears, click the Start button. The SREV1 outputs several pulses and IRSampler cal-

culates the optimum input levels. A progress report appears in the Status box.

In addition to setting the input level faders, the Level Adjust function automatically cal-

culates and sets the CNV (Convolution) Bit Shift parameter, which is used to normalize

the acquired data to an optimum level for use with the SREV1.

Actual Sampling

Sampling

To begin sampling, click the Start Sampling button on the Sampling Control toolbar.

Sampling is performed in accordance with the parameter settings made earlier. When

sampling is complete, the Waveform window appears automatically, displaying wave-

forms of the acquired data.

Saving the Acquired Data

If you are happy with the acquired data, enter titles, and click the Save As button for

each waveform. (The title is saved in the ﬁle header.) Enter a ﬁlename in the Save As dia-

log box and click Save. By default, data is saved in the “irdata” (c:/yamaha/irmec/irdata)

folder on the PC Card in TM4 format. (A “.tm4” ﬁle extension is added automatically.)

Taking Several Samples

While your sampling system is setup, it’s a good idea to take several samples at various

microphone and speaker placements or with different IRSampler settings. Once back

in the studio you can easily delete the unwanted data. Going back to a location and set-

ting up all your gear again, however, may not be so easy.

Using Your Data on the SREV1

SREV1 Sampling Guide

Using Your Data on the SREV1

Put your data in the right folder

The SREV1 can only load impulse-response data stored in the “c:\yamaha\srev\data”

folder of the PC Card. So the ﬁrst thing you need to do is to make a new folder called

“data” in “x:\yamaha\srev\” and copy your acquired data into it, something you can do

on your PC. (Note that “x” refers to the letter assigned to your PC Card while it’s

inserted in your PC.)

Insert the PC card into the SREV1

Insert the PC Card into the SREV1’s MEMORY CARD slot.

Load your data

On the RC-SREV1, go to the Rev page, select the DATA LOAD button, and press

[ENTER] to access the Data Load page. Next, select the PCMCIA button and press the

[ENTER] button. Your impulse-response data should appear in the list of ﬁles.

Use the DATA wheel or the [-1/DEC] and [+1/INC] buttons to select your ﬁle in the

list. And then select the button of the channel to which you want to load the data. Click

the [ENTER] button to load the data. Repeat this procedure to load data for the other

channels.

Audition your reverb data

Now you can listen to the reverb generated from your own samples.

Adjust the EQ

On the Data Load page, select the BACK button and press the [ENTER] button to

return to the Rev page. Go to the EQ pages and try adjusting the pre- and post-EQ

parameters.

Save your program

If you’re happy with your new reverb program, go to the Program page and save it to

PC Card now!

Data Editing

SREV1 Sampling Guide

3 Data Editing

If you use your samples as they are, you may experience the following:

• A roaring sound at the end of the reverberation.

• An unwanted delay at the beginning of the reverberation.

• Direct sound in the sample is making it unusable.

• The reverberation is too loud.

These issues are addressed in the following sections, along with an explanation of how

to specify the reverb time and start point that the SREV1 uses to process your

impulse-response data.

Fixing the Roar

SREV1 Sampling Guide

Fixing the Roar

As the reverberation decays, the extraneous noise captured in the impulse-response

data becomes relatively louder and can create a roaring sound. This can be seen clearly

in IREdit by setting the vertical axis to dB.

This issue can be resolved by fading out the extraneous noise at the end of the sample,

so that the reverberation decays naturally. You can do this by using the Fade Out func-

tion of IREdit.

The following image shows a region of extraneous noise selected prior to fading.

The following image shows the data after the fade out.

If you fade out the extraneous noise so that its fade rate matches that of the reverb data

(i.e., you achieve a linear-looking fade), the reverberation may decay too quickly and

sound unnatural. In some cases, a better result can be achieved by fading out the noise

less steeply.

Removing the Delay at the Beginning of the Reverberation

SREV1 Sampling Guide

Removing the Delay at the Beginning of the

Reverberation

Your impulse-response data may contain a spatial delay at the beginning due to the time

it takes the pulse to reach the microphone from the speaker. In some cases this may be

a hindrance and can be deleted by using the IREdit Cut function.

The following image shows a spatial delay region selected for cutting.

The following image shows the data after the spatial delay out has been cut.

Deleting the Direct Sound

SREV1 Sampling Guide

Deleting the Direct Sound

In addition to reverberant sound, the acquired data typically contains direct sound that

reaches the microphones directly from the speakers. In order to use the Reverb Balance

parameter, or to create a mix of dry and wet signals on your mixer, it’s best to remove

the direct sound component, which you can do by using the Cut function of IREdit.

The following image shows a direct sound region selected for cutting.

The following image shows the data after the direct sound has been cut.

Adjusting the Reverberation Level

SREV1 Sampling Guide

Adjusting the Reverberation Level

If you use your samples as they are, you may ﬁnd that the reverberation produced is too

loud relative to the input signal. This can be resolved by editing the header information

with IREdit.

In IREdit, choose Header from the Tools menu. The Edit Header window appears, dis-

playing various information about the data, as shown below.

One of the values you can adjust is “BitShift,” which you can use to reduce or increase

the level of the sample data. If the reverberation is too loud, try various negative bit shift

values and chose the one that provides the best results.

Specifying the Reverb Time & Start Point

SREV1 Sampling Guide

Specifying the Reverb Time & Start Point

Impulse-response data ﬁles (i.e., TM4 format ﬁles) do not specify a reverb time value,

so the SREV1 automatically calculates values for the reverb time parameter that is used

by the RC-SREV1. This is based on the length of the sampled data, not the length of the

ﬁle. You can, however, specify a reverb time (RT) by editing the ﬁle header information

with IREdit. The SREV1 will then base it calculations on the value you specify.

Say, for example, that you specify a reverb time of 2 seconds (e.g., RT=2.0) for a ﬁle that

the SREV1 would have automatically calculated a reverb time of 2.1 seconds. Based on

your value, the SREV1 recalculates the impulse-response data and passes on the results

to the convolution processors. Basically, the SREV1 calculations affect the way in which

the reverberation fades out.

You can also specify the point at which reverberation fade-out processing begins. This

is called the reverb start (RS) point. Technically speaking, this is point at which the

SREV1 begins exponentially attenuating the reverb data.

Essentially, reverberation consists of two components: the early reﬂections and the

main reverb which follows. Early reﬂections deﬁne the character of an environment,

and if the SREV1 recalculates the early reﬂection information in addition to the main

reverb, then that character may be lost. To preserve the character, you can instruct the

SREV1 to begin its calculations after the early reﬂection information.

Take, for example, an impulse-response data ﬁle where samples 0 to 1,000 represent the

early reﬂections, and samples 1,001 to the end of the ﬁle represent the main reverb. By

specifying a reverb start point of 1,001 (e.g., RS=1001), the SREV1 will begin recalcu-

lations after the early reﬂection information, thereby preserving the character of the

original reverberation.

To specify the RT and RS values in IREdit, choose

Header from the Tools menu. The Edit Header

window appears, as shown here.

Enter a reverb time in the Remarks box in the fol-

lowing format:

RT=xx (e.g., RT=2.0)

Values can be entered in 0.1 second steps.

On a new line, enter a reverb start point in the fol-

lowing format:

RS=xx (e.g., RS=1001)

Value can be entered in single sample steps.

This Remarks box contains both RT and RS values.

Hookup Examples

SREV1 Sampling Guide

4 Hookup Examples

MY4-AD/DA I/O System

The following example shows a typical SREV1 setup for sampling a hall. Analog I/O on

the SREV1 is provided by MY4-AD and MY4-DA cards. The trigger source is set to

internal. The generator output is assigned to SREV1 Slot2-1. From there it’s fed via a

power ampliﬁer to the speaker system. Carefully placed microphones pick up the rever-

berating sound, which is fed back to the analog SREV1 inputs via the mic preamp.

Hall

PC running

IRSampler

Power AmpMic Preamp

FL FR

RL RR

AC IN

SLOT

WORD CLOCK INREMOTE

OUT INMIDI

SERIAL 1

DIGITAL

(

AES/EBU

)

INOUT

1212

SREV1

ANALOG IN

AD CARD

MODEL MY4-AD

4 3 2 1

ANALOG OUT

DA CARD

MODEL MY4-DA

4 3 2 1

1234

IRSampler configuration

Channel mode: 4ch

Trigger source: Internal

Generator output: Slot2-1

Input Ch 1: Slot1-1

Input Ch 2: Slot1-2

Input Ch 3: Slot1-3

Input Ch 4: Slot1-4

MY4-AD card

(analog)

MY4-DA card

(analog)

Serial cable

Firing pulses

AES/EBU I/O System

SREV1 Sampling Guide

AES/EBU I/O System

The following example is essentially the same as the previous system, but with separate

A/D and D/A converters connected to the SREV1’s onboard AES/EBU I/O.

Hall

PC running

IRSampler

Power AmpMic Preamp

D/AA/D

FL FR

RL RR

SREV1

AES/EBU

IRSampler configuration

Channel mode: 4ch

Trigger source: Internal

Generator output: AES/EBU1-1

Input Ch 1: AES/EBU1-1

Input Ch 2: AES/EBU1-2

Input Ch 3: AES/EBU2-1

Input Ch 4: AES/EBU2-2

Serial cable

AC IN

SLOT

WORD CLOCK INREMOTE

OUT INMIDI

SERIAL 1

DIGITAL

(

AES/EBU

)

INOUT

1212

Firing pulses

Sampling with a Digital Recorder

SREV1 Sampling Guide

Sampling with a Digital Recorder

Instead of sampling directly to an SREV1, a digital recorder can be used. This may be

more convenient than using multiple SREV1s to sample four or more channels. Digital

recorders are ideal for recording ﬂuctuating waveforms, such as acoustic reverberation,

since they provide the kind of simultaneousness across tracks necessary for accurate

averaging.

Step 1. Recording Pulses on the Digital Recorder

The ﬁrst step is to record some pulses on track 1 and the corresponding trigger signals

on track 2, as shown below.

SREV1

PC running

IRSampler

Generator

Digital Multitrack Recorder

Sampler

Generator output

Trigger output

TRK 1

TRK 2

Trigger input

CH 1 input

CH 2 input

CH 3 input

CH 4 input

La pagina si sta caricando...

Yamaha SREV1 Guida utente

Marca: Yamaha

Modello: SREV1

Categoria: Attrezzatura musicale

Tipo: Guida utente

Questo manuale è adatto anche per

RC-SREV1

Scarica PDF

rapporto

in altre lingue

English: Yamaha SREV1 User guide
français: Yamaha SREV1 Mode d'emploi
español: Yamaha SREV1 Guía del usuario
Deutsch: Yamaha SREV1 Benutzerhandbuch
русский: Yamaha SREV1 Руководство пользователя
Nederlands: Yamaha SREV1 Gebruikershandleiding
português: Yamaha SREV1 Guia de usuario
dansk: Yamaha SREV1 Brugervejledning
čeština: Yamaha SREV1 Uživatelská příručka
polski: Yamaha SREV1 instrukcja
svenska: Yamaha SREV1 Användarguide
Türkçe: Yamaha SREV1 Kullanici rehberi
română: Yamaha SREV1 Manualul utilizatorului

Yamaha SREV1 Guida utente

Questo manuale è adatto anche per

Yamaha SREV1 Guida utente

in altre lingue

Documenti correlati