International Telemetering Conference Proceedings / October 26-29, 1998 / Town & Country Resort Hotel and Convention Center, San Diego, California / This paper describes techniques for error location analysis used in the design and testing of high-speed instrumentation data recording and communications applications. It focuses on the differences between common bit error rate testing and new error location analysis. Examples of techniques presented include separating bit and burst error components, studying probability of burst occurrences, looking at error free interval occurrence rates as well as auto-correlating error position. Each technique contributes to a better understanding of the underlying error phenomenon and enables higher-quality digital recording and communication. Specific applications in error correction coding emulation, magnetic media error mapping and systematic error interference are discussed.

Through its portfolio of practical case studies and its engagement with critical thinking from a range of disciplines, the PhD investigates the following key question: what are the technical, aesthetic and conceptual impacts of using binaural technology to create a soundscape? ‘Using binaural technology’ implies users and users are essentially at the heart of this impact because users mediate the technical and aesthetic aspects of binaural technology and also inherently shape the theoretical ideology of this technology. By analysing users’ interactions with binaural technology from a social constructivist perspective, this thesis gains rich insights into the impact of using binaural technology when creating soundscapes. Chapter One explores sound artists’ and field recordists’ work that use binaural technology for the shared purpose of documenting urban soundwalks. The first case study “Audio Postcards” is also informed by questions drawn from acoustic ecology, socio-political theories on the practices of everyday life and the challenges that arise in finding, recording and preserving ‘soundmarks’. Chapter Two outlines practitioners’ applications of binaural technology to create an intimate connection to an art piece such as theatre director David Rosenberg’s productions. Peter Salvatore Petralia’s concept of headspace is applied to the chapter’s case study: “From Austria To America” to further understand binaural technology’s psychoacoustic effects. Chapter Three studies the impact of social groups who use binaural technology to record classical music performances. Traditional stereo and binaural classical music recording conventions are shaped in a new direction in two case studies: “Point of Audition” and “From Page to Stage”. Questions of ‘fidelity’ also arise from this creative practice. The outcomes of this reflective binaural practice unearth deep layers of understanding. This thesis discovers the impact of binaural technology moves beyond the effect it has on a listener to realise this recording practice also impacts a recordist’s decisions in the field and a sound artist’s creative choices when crafting soundscapes. The beneficial impact of binaural technology including its inconspicuous nature, the ability to imprint an artist’s subjective signature on recordings and its lifelike immersive qualities in playback are revealed through practice and reflection. Representing the real, the role of artist and point of audition are also themes explored throughout each chapter. Ultimately, insights gained are woven together as a means of constructing an original theoretical framework for an under-theorised subject: understanding how social user groups shape the impact of using binaural technology when creating soundscapes.

International Telemetering Conference Proceedings / October 25-28, 1999 / Riviera Hotel and Convention Center, Las Vegas, Nevada / The ultra high capacity disk-based data recorders now entering service offer not just a convenient and inexpensive alternative to conventional tape systems for applications like Telemetry and Flight Test but also a unique opportunity to rethink the classical models for data capture, analysis and storage. Based on ‘open architecture’ interface standards- typically SCSI-this new generation of products represents an entirely new approach to the way data is handled. But the techniques they employ are equally applicable to any SCSI storage device. This Paper discusses a range of practical scenarios illustrating how it is now possible to `mix-and-match’ recording technologies at will-disk-array, DLT, DTF, ExaByte, JAZ, ZIP, DVD, etc.- to produce an almost infinite combination of readily scaleable plug-and-play data capture, analysis and archiving solutions. The cost and reliability benefits arising from the use of standard mass-produced storage sub-systems are also considered

International Telemetering Conference Proceedings / October 26-29, 1998 / Town & Country Resort Hotel and Convention Center, San Diego, California / As the performance of inexpensive commercial off-the-shelf (COTS) data storage devices continues to increase, the temptation to use them as the basis for data capture products for military and industrial applications becomes ever more compelling. For example, the Digital Linear Tape (DLT) format now offers a 270 Gigabits per cassette capacity at a sustained transfer rate of 40 Mbits/s – performance which would have cost tens or even hundreds of thousands of dollars per system just a few years ago. But to transplant such a device from its benign office habitat into a data capture product which will function reliably and consistently in a wide range of field and platform environments is an engineering task fully as difficult and complex as designing an environmentally robust recorder from scratch. This paper discusses the problems which typically have to be overcome; environmental protection, reliability, data integrity, power supplies, software issues, control and data interfacing, etc., citing practical examples of analog and digital DLT-based data recorders which are now entering service for telemetry, intelligence gathering, anti-submarine warfare and related applications

International Telemetering Conference Proceedings / October 26-29, 1998 / Town & Country Resort Hotel and Convention Center, San Diego, California / A novel concept using the cockpit voice recorder (CVR) as a structural vibration recording device, to aid in structural health monitoring of commercial and military aircraft, is outlined. The unused cables in the CVR wiring harness act as “latent transducers” that respond to structural vibrations, generating vibration signals, which the CVR records. Postprocessing of such data can provide clues to problem areas or changes in the signature of the aircraft. The standards which the CVR must meet to qualify as a instrumentation-quality recorder are discussed and the steps required to assure compliance are outlined.

No description available.

Thesis (M.Phil.)--University of Stellenbosch, 2004. / ENGLISH ABSTRACT: Sound sample libraries represent the format in which huge collections of sampled sounds are made available for use within digital samplers and/or other digital audio workstations (DAW’s). Although in use for many years, little or no academic research has been done on the methodology of compiling a commercial sound sample library. In this endeavour, the factors influencing the design, recording and publishing of a sound sample library are investigated through the actual design of a drum sample library. The rationale behind the sampling of a drum kit is carefully depicted in the light of various other factors influencing the instrument, as well as being influenced by the instrument itself. A professional drummer was engaged to play a state-of-the art Gretsch acoustic drum kit. Samples of the kit, consisting of various individual instrument parts, were recorded in three locations within the Konservatorium of Stellenbosch University, for reasons carefully explained in the text. These numerous drum hits were mixed and cut into individual drum samples. The samples were mapped into a digital software sampler, GigaStudio, creating five distinct collections of drum samples that faithfully represent the quality of the drum kit, the recording rooms as well as the equipment used in the process. The outcome of the study is a professional product in the form of a Gretsch drum sample collection, prepared for commercial release. Many of the drum samples have already been used successfully in commercial music releases over the past 12 months. Whilst the drum sample library is currently being published, the product and documentation clearly depict the viability of the study in terms of the artistic and academic expectations that have been met. The study anticipates future research on the subject. / AFRIKAANSE OPSOMMING: Klankbiblioteke heet die formaat waarin versamelings van klankmonsters beskikbaar gestel word vir gebruik in digitale samplers1 en/of ander digitale klankprogrammatuur. Nieteenstaande die feit dat klankbiblioteke reeds jare in gebruik is, is geen studie waarin die ontwerp en saamstel van so ‘n biblioteek beskryf word, bekend nie. In hierdie navorsingsprojek word die faktore wat die ontwerp, opneem en vrystelling van ‘n klankbiblioteek beïnvloed bestudeer deur die skep van so ‘n biblioteek. Die oorwegings vir die keuse van ‘n tromstel is noukeurig uiteengesit in die lig van die faktore wat betrekking het tot, en wederkerig beïnvloed is deur die instrument en opname-omgewing. ‘n Professionele tromspeler is vir die projekdoeleindes gekontrakteer om ‘n Gretsch akoestiese tromstel te speel. Klankmonsters van die tromstel se individuele komponente is in drie lokale binne die Konservatorium van die Universiteit van Stellenbosch opgeneem, met redes soos uiteengestip in die teks. Klankopnames van die talle tromslae is gemeng en opgesny in individuele klankmonsters. Laasgenoemde is in GigaStudio, ‘n digitale sagteware sampler, gekarteer sodat vyf duidelik-onderskeibare klankveramelings geskep is. Hierdie versamelings lig die kwaliteit van die tromstel asook die verskeie opnamelokale en toerusting wat gebruik is duidelik uit. Die resultaat van die studie is ‘n professionele produk in die vorm van ‘n Gretsch kommersiële klankbiblioteek, waarvan verskeie klankmonsters reeds oor die afgelope 12 maande in plaaslike musiekvrystellings gebruik is. Hoewel die klankbiblioteek huidiglik vrygestel word, toon die produk en dokumentasie duidelik die artistiese en tegniese waardigheid van die studie. Die studie antisipeer toekomstige navorsings-moontlikhede wat uit die onderwerp mag voortspruit.

No description available.

While many Higher Education subject areas have embraced technology-supportedlearning (TSL), its uptake has been noticeably slower in the practicum of the art and design subject area. As such our understanding of the use of TSL in this practicum is under-developed. This multi- and inter-disciplinary practice-based research project is a case study, within this under-developed area, based around the question: “Can TSL aid the acquisition and development of practical skills associated with sound recording a location-based interview, introduced (as part of studio-based practice) during a three-hour class to level 1 undergraduate art and design students?” In addressing this research question I argue that the design and evaluation of TSL requires a holistic approach, grounded in an understanding of the audience, subject matter and learning context / environment, requiring a comprehensive consideration of user experience design (UXD), where theory informs rather than leads pedagogy/practice. Taking a grounded approach, an analysis of existing needs was first undertaken within the learning environment; practitioners, and other UK providers of SRIT skills were consulted; a number of pre-existing technology-based practical skillsfocused artefacts were reviewed and theories, models and principles were drawn upon across a number of associated cognate fields. Adopting a post-theoretical perspective and action research principles, an artefact called “RecordingCoach” was designed, realised, utilised and evaluated. RecordingCoach enables its users to observe sound recording equipment being setup; set up a virtual sound kit themselves as well as undertake both assisted and independent interviews with two virtual interviewees. RecordingCoach records the independent virtual interviews in real time and saves them to the host computer hard drive, capturing microphone handling, responses to situational/ environmental sound and verbal audio exchanges. The evaluation of RecordingCoach took place over a one-year period with the participation of 108 students. Attitudes towards the artefact, patterns of learning activity, behaviour and assignment performance were scrutinised and nonassessed performance indicators were referred to. The resulting findings are very positive suggesting that TSL can be effective within the practicum of the art and design subject area.

published_or_final_version / Business Administration / Master / Master of Business Administration