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A sound effect (or audio effect) is an artificially created or enhanced sound, or sound process used to emphasize artistic or other content of films, television shows, live performance, animation, video games, music, or other media. In motion picture and television production, a sound effect is a sound recorded and presented to make a specific storytelling or creative point without the use of dialogue or music. Traditionally, in the twentieth century, they were created with Foley. The term often refers to a process applied to a recording, without necessarily referring to the recording itself. In professional motion picture and television production, dialogue, music, and sound effects recordings are treated as separate elements. Dialogue and music recordings are never referred to as sound effects, even though the processes applied to such as reverberation or flanging effects, often are called "sound effects". This area and sound design have been slowly merged since the late-twentieth century. The term sound effect dates back to the early days of radio. In its Year Book 1931 the BBC published a major article about "The Use of Sound Effects". It considers sound effects deeply linked with broadcasting and states: "It would be a great mistake to think of them as anologous to punctuation marks and accents in print. They should never be inserted into a programme already existing. The author of a broadcast play or broadcast construction ought to have used Sound Effects as bricks with which to build, treating them as of equal value with speech and music." It lists six "totally different primary genres of Sound Effect": Realistic, confirmatory effect Realistic, evocative effect Symbolic, evocative effect Conventionalised effect Impressionistic effect Music as an effect According to the author, "It is axiomatic that every Sound Effect, to whatever category it belongs, must register in the listener's mind instantaneously. If it fails to do so its presence could not be justified.
[2]Paolo Prandoni, [3]LCAV, EPFL
In this notebook we will explore various ways to implement a system
that changes the voice of a speaker. Typical applications for these
techniques, strictly sorted by plausibility, include international spy
missions and prank telephone calls, and devices such as the one
displayed here can be easily bought on the web... or in a novelty shop.
No description has been provided for t [2]Paolo Prandoni, [3]LCAV, EPFL
In this notebook we will investigate the effect of phase on the
perceptual quality of a sound. It is often said that the human ear is
commercial-grade audio equipment takes place in the magnitude domain
only.
In [1]:
%matplotlib inline
import matplotlib
import matplotlib.pyplot as plt
import numpy as np
import IPython
from scipy.io import wavfile
In [2]:
plt.rcParams["figure.fig [2]Paolo Prandoni, [3]LCAV, EPFL
The Karplus-Strong algorithm is a simple method to generate synthetic
sounds with arbitrary pitch. In this notebook we will explore a few
variations of the method to illustrate some basic notions of
discrete-time signal processing.
In [1]:
%matplotlib inline
import matplotlib
import matplotlib.pyplot as plt
import numpy as np
import IPython
In [2]:
plt.rcParams["figure.figsize"] [2]Paolo Prandoni, [3]LCAV, EPFL
In this notebook we will use the adaptive LMS filter to estimate the
impulse response of a reverberating room.
A typical use case is handsfree telephony: since the received signal,
amplified and played by the speaker, is picked up by the microphone, we
need to eliminate it from the signal that is transmitted back in order
to avoid a feedback loop. The signal picked up by the microph "I defy anybody to find a record... unless it is some old blues
record from 1922... that uses feedback that way. So I claim it for
the Beatles. Before H