No description available.

In this thesis, the physical layer of the Single Channel Ground and Airborne Radio System (SINCGARS) was analyzed in order to gain insight into the bit-error-rate (BER) performance in various channel conditions. The BER performance of the radio was examined using theoretical, simulation, and experimental techniques. These results are presented in graphical form as the probability of bit error as a function of the energy per bit to noise power spectral density ratio. The results of the simulation show excellent agreement with the theory, while the experimental results deviate from theory at higher signal-to-noise levels. This suggests sub-optimal SINCGARS performance, most notably in the signal power to noise power range where reliable data transmission should take place.

No description available.

Thesis (M.S. in Electrical Engineering)--Naval Postgraduate School, June 2005. / Thesis Advisor(s): Frank Kragh, Herschel H. Loomis. Includes bibliographical references (p. 55-56). Also available online.

This thesis presents the theory, implementation and applications of the harmonic sinusoid modeling of pitched audio events. Harmonic sinusoid modeling is a parametric model that expresses an audio signal, or part of an audio signal, as the linear combination of concurrent slow-varying sinusoids, grouped together under harmonic frequency constraints. The harmonic sinusoid modeling is an extension of the sinusoid modeling, with the additional frequency constraints so that it is capable to directly model tonal sounds. This enables applications such as object-oriented audio manipulations, polyphonic transcription, instrument/singer recognition with background music, etc. The modeling system consists of an analyzer and a synthesizer. The analyzer extracts harmonic sinusoidal parameters from an audio waveform, while the synthesizer rebuilds an audio waveform from these parameters. Parameter estimation is based on a detecting-grouping-tracking framework. The detecting stage finds and estimates sinusoid atoms; the grouping stage collects concurrent atoms into harmonic groups; the tracking stage collects the atom groups at different time to form continuous harmonic sinusoid tracks. Compared to standard sinusoid model, the harmonic model focuses on harmonic groups of atoms rather than on isolated atoms, therefore naturally represents tonal sounds. The synthesizer rebuilds the audio signal by interpolating measured parameters along the found tracks. We propose the first application of the harmonic sinusoid model in digital audio editors. For audio editing, with the tonal events directly represented by a parametric model, we can implement standard audio editing functionalities on tonal events embedded in an audio signal, or invent new sound effects based on the model parameters themselves. Possibilities for other applications are suggested at the end of this thesis.

No description available.

Univ., Diss.--Göttingen, 2006.

Currently, there is a lack of research on the use of digital audio from the perspective of music educators in higher education. Researchers [for example: James Mason and Jared Wiercinski (2009), Jean E. Ferguson (2004), Richard Griscom (2003), Scott R. Phinney (2005) and Kathryn Sullivan, John J. Stafford, and Cindy Badilla-Melendez (2004)] have, however, studied streaming audio in relation to university students and libraries. Knowing the perceptions of instructors is important, because according to Oblinger & Oblinger (2005), they may not have the same perceptions as the students. Additionally, Moseley (2010) recommended further qualitative studies concerning the perceptions of faculty regarding technology utilization to allow more in-depth information to be discovered on the topic. The purpose of this qualitative multiple case study was to analyze music educators' perceptions and usage of the use of digital audio (e-reserves and streamed databases) in higher education. This research explained how and why these educators utilize (or do not utilize) streaming audio via e-reserves and databases. The research questions used for this study were: (a) How is streaming audio - in the form of e-reserves and subscription-based databases (Naxos and Classical Music Library - being utilized by college/university level educators at the two studied institutions?; (b) What are the perceptions of the participating music department faculty members on the subject of streaming audio?; and (c) What factors, regarding the use of streaming audio, are considered by the participating instructors to be important? Results of this research revealed participant instructors did utilize digital audio recordings, but not all of the instructors utilized streaming audio. The results of this study also revealed possible reasons for the lack of use of available streaming audio resources.

This exegesis explores the notions of production process paradigm shift through the analysis of digital technologies and their effect on the production of 'CruelUnusual'. Chapter one of this exegesis has introduced the research question with appropriate methodologies to explore the rhizomic possibilities of the use of new digital technology (DV, WWW & DVD) through the design of new structures and frameworks for audio-visual production. Chapter two will outline the traditional production process from the first steps of the pre-production phase, through to the shooting and editing of the film, to its final delivery on the screen. Chapter three will outline various new technologies to be explored and evaluated to assess their benefits to filmmakers in the creation of new production process paradigms. Chapter four of this exegesis presents an evaluation of the Rhizomic Production Process as a viable alternative to the traditional linear produc-tion process. The research data created during the production of the creative project is offered to sup-port arguments presented regarding the benefits of the Rhizomic Production Process. Chapter five will discuss the conclusions and implications discovered during the evalua-tion of the Rhizomic Production Process through the production of the creative project and suggest further possible directions.

No description available.