![]() The amount of OPF waste generated in the country has significantly increased from 85,488,280 tonnes in 2010 to 145,865,970 tonnes in 2020 and continues to increase, covering an area of approximately 14,586,597 hectares. Since they are currently regarded as the waste product of oil palm fields, their biomass remains underutilised. Oil palm fronds (OPF) are one of Indonesia’s most abundantly available agricultural by-products. Therefore, OPF fibres can be used to create sound-absorbing composite particleboards. The results also indicated that the absorption frequency and the degree of α n significantly increased as the bulk density decreased. This occurred when the bulk density of the OPF composite particleboards ranged between 0.3–0.4 g/cm 3, and the particle size varied between medium to coarse. The findings reveal thatα n exceeded 0.45 at 1000 Hz and could reach 0.95 above 3.3 kHz. The effects of particle size and bulk density were also evaluated. The absorption coefficient of normal incidence sound (α n) was tested using an impedance tube. The particleboards were produced with three particle sizes and four target densities. The materials used were OPF particles and urea-formaldehyde was used as an adhesive. ![]() Therefore, this study aimed to investigate the sound absorption performance of OPF fibre-reinforced composite under normal incidence sound. My testing with Density took place in a stereo matrix for music production, but I’m sure there are endless possibilities in an immersive audio setup or for post-production work.The present study deals with the sound absorption performance of natural fibres from the oil palm frond (OPF), mainly considered agricultural waste. It can be used to thicken an existing sound, create harmonies, and be pushed into experimental territory as an audio effect or sound design tool. My workaround was to automate the pitch intervals in Pitch mode.ĭensity proved to be an interesting use of granular synthesis, delivering pretty realistic results with either minimum or maximum input from the user. The Pitch mode is not musically intelligent, and the ability to quantize the pitch to scales can encourage a lot of musical happy accidents. Currently, the only options are to rotate clockwise, counterclockwise, and random. Looking at Sound Particles’ suite of plug-ins, it appears they have some interesting panning solutions, and I would love some of those features to be implemented in the panning of the Grains in Density. Placing the input signal at nil while employing rotational panning of the grains as a rotary speaker emulation felt super convincing. When pushed further, it becomes very experimental, with drastic pitch changes that can fill the entire frequency spectrum. It can create a lot of believable voices from a single input. Used subtly, Density can achieve a thickening/chorus-y vibe. The most successes I’ve had with this plug-in were on vocals, strings, and synthesizers. Density can be operated in multiple formats from mono and stereo to 5.1, 7.1, binaural, and Dolby Atmos. The plug-in also features a clickless/no glitch bypass and a randomization feature (if you are feeling lucky). ![]() Pitch mode expands the controls even further by allowing setting of intervals for up to eight slots (each containing Pitch, Voices Nr., and Gain, plus mute and solo functionality). Users also have control over the direction of the grain’s movement in the Top View. There is also a virtual joystick-like XY pad that can be set to control two parameters. This mode also introduces the Top View, which provides a bird’s eye look at the grains in the soundfield. (number), Voice Speed, Grain Size, Grain Type (either forward or reverse), Dynamic Range, and the grain’s Position Divergence. Detune mode gives dramatically more options with controls over the Voices Nr. All added voices are dispersed evenly in the soundfield. Basic mode functions in either Small or Large Ensembles, with a Detune knob, plus a button to add a voice(s) an octave below. In Density, there are three different modes: Basic, Detune, and Pitch, with increasingly more controls, respectively. Ableton Live’s Warp and Celemony Melodyne’s pitch correction tools are examples that are possible because of granulation. “Granular” is a broad term for many different processes used in many DAWs, synths, DSP, and even dedicated hardware instruments. ![]() It manipulates the audio through granular synthesis, a concept similar to sampling, but works on a microsound timescale (between 1-100 ms). Their new plug-in, Density, creates multiple sounds based on the input signal. Sound Particles is a software company based in Portugal, and is most known for the immersive audio software aptly named Sound Particles 2.
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