Turntable Research Articles

Impulse dispersion of aerosols during playing the recorder and evaluation of safety measures.

IntroductionGroup musical activities using wind instruments have been restricted during the CoVID19 pandemic due to suspected higher risk of virus transmission. It was presumed that the aerosols exhaled through the tubes while playing would be ejected over larger distances and spread into the room due to jet stream effects. In particular, the soprano recorder is widely used as an instrument in school classes, for beginners of all age groups in their musical education, in the context of leisure activities and in professional concert performances. Understanding the aerosol impulse dispersion characteristics of playing the soprano recorder could assist with the establishment of concepts for safe music-making.MethodsFive adult professionally trained soprano recorder players (4 female, 1 male) played four bars of the main theme of L. van Beethoven’s “Ode to Joy” in low and in high octaves, as well as with 3 different potential protection devices in the high octave. For comparison they spoke the corresponding text by F. Schiller. Before each task, they inhaled .5 L of vapor from an e-cigarette filled with base liquid. The vapor cloud escaping during speaking or playing was recorded by cameras and its spread was measured as a function of time in the three spatial dimensions. The potential safety devices were rated for practicability with a questionnaire, and their influence on the sound was compared, generating a long-term average spectrum from the audio data.ResultsWhen playing in the high octave, at the end of the task the clouds showed a median distance of 1.06 m to the front and .57 m diameter laterally (maxima: x: 1.35 m and y: .97 m). It was found that the clouds’ expansion values in playing the recorder with and without safety measures are mostly lower when compared to the ordinary, raised speaking voice of the same subjects. The safety devices which covered the instrument did not show clear advantages and were rated as unpractical by the subjects. The most effective reduction of the cloud was reached when playing into a suction funnel.ConclusionThe aerosol dispersion characteristics of soprano recorders seem comparable to clarinets. The tested safety devices which covered holes of the instrument did not show clear benefits.

Utopian Hotline by Kayla Asbell et al

Reviewed by: Utopian Hotline by Kayla Asbell et al Cati Kalinoski UTOPIAN HOTLINE. Created by Kayla Asbell, Denis Butkus, Cinthia Chen, Alex Hawthorn, Michael Littig, Dima Mikhayel Matta, Justin Nestor, Rubén Polendo, Scott Spahr, Corey Sullivan, Monica Sanborn, Isabella Uzcátegui, and Ada Westfall. Directed by Rubén Polendo. Theater Mitu, MITU580, Brooklyn, New York. September 25, 2021. How do you imagine a more perfect future? The recorded phone message asks you to speak your answer to this question after the tone. On the other end of the phone is an implicit guarantee: someone is listening. In their first piece since the start of the pandemic, the Brooklyn-based company Theater Mitu listened and engaged with those collected manifestos of an imagined future. The group used these answers left on their hotline’s voicemail as well as messages from astronauts, astronomers, and middle-school students as wide-ranging source material for their production Utopian Hotline. The process of making this production produced not only the live event and the public hotline, but also an installation, a virtual archive, an album, and a vinyl record. Theater Mitu is asking not only what theatre looks like in our entangled “now” of media connections, overlaps, and documentation, but they are asking how to continue thinking about theatre after the event ends. Click for larger view View full resolution Kayla Asbell in Utopian Hotline. (Photo: Courtesy of Theater Mitu.) Walking into the space, I was instructed to take my shoes off and find a seat on a sprawling pink carpet that framed the performance area and encompassed where the audience sat. The small audience of twelve filed in, found their seats around a set of long white tables that featured sound devices both contemporary and vintage: record players, tape recorders, rotary phones, and reel-to-reel players, alongside a variety of stage microphones and wired headphones. Above the tables were large projection [End Page 372] screens that did double work as a ceiling that made the space feel smaller, closer. When I sat on the ground, I was instructed to put on large black headphones through which the entire soundscape of the piece was experienced. The headphones allowed me an intimate experience with the piece as each voice was channeled directly from microphone to my ear, foregoing even the short trip against the black walls, as if I were able to get closer to the performers through our technological connection. As one performer explained, “I’d like to speak to you directly.” There was no attempt to hide the machinery; the black cables screamed across the pink ground under the tables to each of the spots to which we were guided. At first, I felt isolated in this high-tech bubble of curated sound and felt limited in a seemingly open space by the cable tying me to others. But as the show began, we were asked to look around at our fellow audience members with the same reflection of the pink carpet hitting our faces. After a brief introduction to the rules of the space (no shoes, how to put the headphones on), we were asked to imagine each other’s lives, realities, and futures by “sift[ing] through the contents of your mind—specifically, your dreams” in a ritualistic opening monologue from one of the performers. My isolation faded away as I considered others in my own dream of the future. Soon I found myself bound not only to the performers but to my fellow audience members by the big black cables. It was a mediated closeness in the age of pandemics, but a time that more than any other attempts at closeness in the past two years asked me to look into the future by first looking into the eyes of strangers. I started to look beyond the masks and COVID protocols that we were abiding by and instead see “directly” by listening-with. In the words of one of our performer-guides, I felt the cables had become “a tether to their humanity.” Click for larger view View full resolution A screenshot from the digital experience of Utopian Hotline. (Photo: Author.) Utopian Hotline integrated the recorded messages of the...

Sounds of Accompaniment

Sounds of Accompaniment

Redesigned Chuck Table: Deep-grooved Chuck Table for Higher Vacuum Suction of Singulated Package

Singulation machine frequently encounters Z-Picker errors and occasionally, worst case of unit scattering which leads on the gross unit rejection and scrappage. As analyzed, shifted units found on the chuck table module upon singulation of strip. Shifted units were induced on the last 3 cut lines when the units were dragged by the blade as the area held by chuck table vacuum suction gets smaller. These shifted units caused misalignment on the next singulation modules to the turn table module and Z-Picker module that resulted to vacuum loss. With the situation at hand, the authors have assessed the current design of the chuck table. The authors have found out that chuck table have shallow-grooved rubber jig pockets that flatten upon suction of units resulted to lesser area for vacuum application. As referenced to the formula F=PA, larger area multiplied by suction pressure results to better force to hold the units, thus redesigned chuck table with deep groove was introduced. The study also pertains to the analysis and validation on the application of deep-grooved rubber jig pockets of chuck table aiming to solve the unit shifting during sawing. Elimination of unit shifting was validated to be effective upon application of the deep-grooved chuck table. The study and validation of redesigned chuck table is essential to avoid unit scattering and unit missing.

Electric Ladies in Playback

Playback, the process of separately recording actors’ images and voices in cinema and media, has a long history of cultural stereotyping. This article analyses how performers are typecast when media technicians manipulate sound/image synchronisation in lip sync and dubbing. Inspired by Janelle Monáe’s oeuvre, I focus my study through the figure of the electric lady - female simulacra who are programmed by heteronormative, patriarchal operators. I trace the electric lady back to talking machines (Faber’s Euphonia) and early phonograph recordings (minstrelsy and opera singer Agnes Davis) to show how proto- and post-phonographic notions of playback are bound up with racialised and gendered stereotypes. Drawing on the work of Alice Maurice, Mary Ann Doane, Jennifer Fleeger, and others, I illustrate how industrial practices of playback reproduce the sounds and images of ideal femininity and obedient Others. In her ‘emotion picture’ Dirty Computer (2018), Monáe transforms history’s electric lady from obstinate object to empowered subject by unmasking homogenising operations of playback. Monáe lip syncs as multiple personae to showcase the material heterogeneity of her Black, queer, and feminist identities. Ultimately, Monáe’s hybrid personae mobilise Doane’s notion of the masquerade in their defiance of playback norms that would bind Monáe to racialised and gendered images.

Mutual Coupling Compensation for Compact MIMO Radar

A calibration method to compensate for the mutual coupling and channel imbalance in a compact multi-input multi-output (MIMO) radar array based on turn table measurements is proposed. Two mutual coupling matrices, one for the transmit array and the other for the receive array, are used to model the relationship between the ideal manifold and the measured manifold. The practical factors such as the nonisotropic element pattern and the displacement of the array phase center are also taken into account. All the unknowns are determined by solving the nonlinear least-squares fitting problem iteratively. Using two coupling matrices consists of the mutual coupling mechanism in an MIMO array and has better calibration performance than using one matrix for the virtual array. It also reduces the dimension of the matrix and hence the computation load of calibration. Measurements by a microstrip array with two transmitters and four receivers are used to verify its effectiveness in angle estimation, beamforming, and superresolution of close targets.

Burn

Burn Henriette Rostrup (bio) Translated by Thom Satterlee (bio) Click for larger view View full resolution A girl executes her escape plan, with one unexpected twist at the end. [End Page 28] She walks through the house. It’s quiet now; everyone’s sleeping. Behind the bedroom door she can hear her father’s deep, relaxed breathing: hiss when he inhales, snort when he exhales. She stands waiting, waiting to hear if maybe this next time he doesn’t exhale. But he does, he always does. The bed creaks as he rolls over. Or maybe it’s her mother, turning away from him. The way she’s always turning away from him. Her heart beats faster. She tries to take deep breaths, from all the way down in the pit of her stomach, so she can watch it happen. Then breathe out slowly, without a sound. She mustn’t be scared. She can be scared later. She closes her eyes for a moment before moving on. A floorboard creaks. She stops, listens. Did they hear her? But the only sound in the house is people sleeping. Their breathing, the bed creaking. If you didn’t know better you’d think this was one of those houses where everyone slept through the night, peaceful and calm. Down the stairs and into the living room, with the remains of last night’s party still scattered on the tables. Empty beer cans and liquor bottles, half-empty bowls of stale chips, and overflowing ashtrays that give the living room a sour, ashy smell. On the dining table there are several half-full glasses of what’s probably rum and Coke. She takes one and gulps it down. The sweet, lukewarm liquid burns her throat; she coughs as quietly as she can, holding her hand over her mouth. There’s a creak from the leather sofa, and she turns. One of the men from the party is lying there. She doesn’t recognize him, but now and then they all look the same. She walks up to him. His shirt’s come untucked and the soft flesh of his belly spills over the waistline of his pants. There’s a strip of black hair running down under his belt. She feels queasy. The aftertaste of rum and Coke fills her mouth. And something sour. He grunts a little in his sleep, smacks his lips contentedly, and turns partway round on the sofa as if she didn’t exist. From the coffee table she takes an empty bottle, the one with a pirate captain on its label, and lifts it over his head. Stands with both arms raised ready to bring it down with full force if he wakes up. He makes a little whimper, a sigh, and she can see his eyes darting back and forth under his eyelids. But he doesn’t wake up. Just settling back down. She returns the bottle to its place . . . quiet, quiet. She tries not to make any sound at all as she passes from the living room to the kitchen. She moves as quickly and purposefully as she can but at the same time painstakingly slow, not wanting to make any noise. In her mind, night after night, she has rehearsed her movements through this house. The door between the kitchen and garage sticks; it hasn’t been used in so long. She’s at the point of giving up when it finally gives way with a jerk. She loses her balance and has to reach out behind her. The garbage bag that always hangs on the door falls off and spills its contents on the kitchen floor, which was already dirty. She stands there in an awkward posture holding her breath, listening, but she doesn’t hear anything from the living room or upstairs. Then she kicks the bag aside, straightens up, and steps over the garbage and out into the garage. It’s been a long time since a car was parked here. The space is crammed with junk, old moving boxes her father keeps with odds and ends he thinks he’ll need someday: canned goods, mildewed books, a broken record player. An...

Size Matters: Historical String Lengths and Possible Tunings of the Chitarrone or Theorbo

What was considered the "normal" size for the Italian theorbo or chitarrone upon its creation in the 17th century, and why should 21st century players like us embrace the historical size? This research tackles the question from several different angles: description in historical texts, surviving instruments, the optimal string gauge and tension, and tone comparison. The study finds the vast majority of surviving chitarroni to have a stopped string length around 88-89cm, with some exceeding 90cm and very few falling short of 80cm. This sparks the question of whether smaller instruments required a different tuning. Upon comparing with lute family instruments from the same era, the logical conclusion is that smaller instruments with string lengths around 76cm most probably did not need to have a double re-entrant tuning which is the standard tuning for all solo chitarrone music. When comparing a large instrument (95cm) and a small instrument (76cm, with single re-entrant tuning), one can hear that they perform very different roles as continuo instruments, and are not mutually replaceable. As modern-day lutenists, one should really embrace the large size if one wishes to play the chitarrone, and develop a technique to suit the instrument, instead of scaling down the instrument to suit the technique. Menglin Gao has been a recorder player, a countertenor, and now a theorbist, studying at the Royal Conservatoire of the Hague. He is the founder and director of the Shanghai Camerata, an early music ensemble based in Shanghai, China.

Groove

Groove

33⅓ rpm

33⅓ rpm

Revolution

Revolution

‘Een beetje muziek en de hele rest’

Abstract When record players became more widely available, authors and publishers began to investigate the potential uses of the new medium. Poets would record readings of their work, a younger generation experimented with sound effects and music, and live recordings of festivals became available. The relation between music and literature is multidimensional; this article focuses mainly on the use of music as a means to support the presentation of literature. My perspective is informed by the question: To what extent can the use of recorded music enhance the literary experience? The article describes the work of several publishers or other corporations. Artistic merit or musical quality are not the focus per se: this is about music as a means to an end. Although some of the results are interesting, there are surprisingly few places where the two actually meet. The explanation for these modest results can be found in artistic as well as commercial factors.

Head related transfer function measurements of common PPE

Due to COVID 19, personal protective equipment (PPE) is now used in everyday life. Such PPE affects communication and perception. This paper provides an overview of the impact of PPE on Head Related Transfer Functions (HRTF's). Spatial acoustic effects of common PPE on human hearing can be documented to improve and inform field worker safety and communication. After a general description of the measurement process and required tools, we focus on a few methods which contribute significantly to the accuracy and analysis of PPE-based HRTF data. The dedicated setup allows measuring a full 360 degree map in automated fashion. It includes a special ring setup with 25 speakers, and a precise turn table that is used to adjust the angle of the device under test with respect to the ring. Binaural measurements were performed on a set of common PPE items on a Head And Torso Simulator (HATS) system, including hard hats, safety glasses, hearing protection, and various face masks. An overview of the data is presented.

Regime change in the recorder: Using Navier-Stokes modeling to design a better instrument.

Blowing a recorder at a low to moderate blowing speed with the toneholes all closed yields the lowest note in the range of the instrument. As the blowing speed is increased, the tone abruptly changes to the tone an octave higher. This "jump" in the frequency of the dominant spectral component of the tone is referred to as "regime change." Interestingly, in conversations with recorder players, several have mentioned that regime change seems to occur at a significantly lower blowing speed for bass recorders than for instruments that sound an octave or more higher. In this paper we study regime change in the recorder and use Navier-Stokes modeling to confirm and study differences in the behavior of different instruments in the recorder family. We show, using modeling, how the regime change threshold in a model of the bass recorder can be increased by changing the geometry in the vicinity of the labium. These results are then confirmed through experimental studies of real recorders with designs inspired by the modeling results. The insights gained from these results suggest new recorder designs that may produce instruments that in some respects are more playable than current instruments.

Peningkatan Produktivitas Mesin Sanblasting Dengan Mengubah Setting Parameter Pada Mesin

The research was conducted to increase the productivity of the sandblasting machine on the SSIP model at PT. XYZ. The average productivity in March 2017 was 238 pieces / hour, which is below the productivity target set at 400 pieces / hour. Refer to root cause analysis low productivity on the sandblasting machine due to machine settings. The sandblasting machine settings before being changed were turn table parameters 15Hz , rotary gun parameters 50 Hz and pressure parameters 5 bar. By conducting several experiments on parameter combinations, parameter combinations can be obtained that can reduce cycle time and do not affect to product quality. The new sandblasting machine settings are 17 Hz turn table parameters, 60 Hz rotary gun parameters and 6 bar pressure parameters. The cycle time for setting up the new sandblasting machine is 9 seconds, equivalent to a productivity of 400 pieces / hour. So that productivity increases by 68% (from 238 pieces / hour to 400 pieces / hour).

조음 로보틱스*

Speech is a spatiotemporally coordinated structure of constriction actions at discrete articulators such as lips, tongue tip, tongue body, velum, and glottis. Like other human movements (e.g., reaching), each action as a linguistic task is completed by a synergy of involved basic elements (e.g., bone, muscle, neural system). This paper discusses how speech tasks are dynamically related to joints as one of the basic elements in terms of robotics of speech production. Further this introduction of robotics to speech sciences will hopefully deepen our understanding of how speech is produced and provide a solid foundation to developing a physical talking machine.

Using Navier–Stokes modeling to design a better recorder

The recorder family consists of several instruments of varying musical compasses. A musical tone is established by blowing into the mouthpiece of the instrument and a standing pressure wave is formed in the resonator of the instrument. Blowing harder into the instrument can cause a transition from the original (lower frequency) note to a higher (frequency) note. This transition is often referred to as “regime-change.” Recorder players have told us that regime-change in the bass recorder can happen at significantly lower blowing speeds for notes at the lower end of its musical compass. In this talk, regime-change is studied using Navier–Stokes based modeling in simplified models of sopranino and bass recorders. We show how the geometry beneath the labium of the recorder can be modified in order to alter regime-change behavior and extend the blowing range of the lowest notes in the bass recorder. In addition, these computational results are verified through experimental studies using 3D printed recorders and dimensions inspired by the modeling results.

The ball-in-play vs. ball-out-of-play match demands of elite senior hurling

The current study examined the match-play running performances and positional differences between ball-in-play (BiP) and ball-out-of-play (BoP) in elite senior hurling. Players (n = 44) were divided into full-backs, half-backs, midfielders, half-forwards and full-forwards. GPS (STATSports APEX, 10 Hz,) was used to record players’ movements during 22 games (2018–2020). Video recording of games was analyzed and a SportsCode timeline was integrated into the GPS software to split the data into BiP/BoP. Relative (RD), high-speed running (HSR) (17–21.9 km·h−1), sprint- (≥ 22 km·h−1), and high metabolic load-distance (HMLD), accelerations (> 3 m·s−2) and decelerations (> 3 m·s−2) were expressed for the whole-game and relative to the whole-game, BiP and BoP. Ball-in-play and BoP durations were 31:56 ± 3.11 min and 46:05 ± 4:12 min, respectively. Compared to whole-game, greater RD (135 ± 25 m·min−1, ES = 2.00), HSR (24 ± 7 m·min−1, ES = 2.28), sprinting (10 ± 8 m·min−1, ES = 2.10), HMLD (41 ± 10 m·min−1, ES = 2.15), number of accelerations, (0.18 ± 0.11, ES = 2.16) and decelerations (0.26 ± 0.10, ES = 1.88) was found in BiP. Half-backs, midfielders and half-forwards outperformed full-backs and full-forwards in RD (ES = 0.73, 1.75, 1.18 and 1.04, 2.37, 1.66, respectively), HSR (ES = 1.00, 1.17, 1.47, and 0.87, 1.06, 1.39, respectively), and HMLD (ES = 0.99, 1.44, 0.99, and 1.29, 1.84, 1.29, respectively) during BiP. In BoP, half-backs and midfielders covered greater RD than full-backs (ES = 0.81 and 0.88, respectively), and full-forwards (ES = 1.09 and 1.18, respectively). Half-backs covered a greater RD than half-forwards (ES = 0.66). Greater demands were observed in BiP than whole-game and BoP. The middle three positions seem more demanding than full-backs and full-forwards. BiP demands could be utilised to understand the requirements within hurling training.

Navigator Notes

Navigator Notes

RETRACTED: Cloud music teaching database based on opencl design and neural network

The cloud music teaching learning and development of students and the lack of demand for mobile learning resource platform, this article focuses on the design and implementation of a mobile classroom in the cloud computing platform, a detailed analysis from four aspects: the background significance, platform design, architecture and main cloud technology application, the proposed system Flexible expansion module option information during transport and through the expansion towards the outside Prime work Mongo Pitty incorporate mapping. And previous system music teaching database work not load to cloud so to implementation Description of management. Music sharing and social functioning, communication across cultural boundaries between the language and the People, and through the development of neural networks, it has been upgraded from the choice of music discovery mode music cloud database under traditional record player mode. In this study, the social needs of the user's choice of music based on emotion net facilitate cloud music reviews for the dataset. Application Test actual teaching shows that the platform can meet the individual learning needs of students, enhance the interaction between teachers and students to achieve the flow of music teaching resources, sharing and fragmented organization. Cloud storage offers storage space, so primarily storage of user-friendly and timely acquisition and data, based Web user cloud-based applications of all types. The requirements for how to optimize cloud storage, in-depth analysis to improve data access and storage performance of the aims.