Akai S950 Manual do Operador Página 97

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FIG. 2. Digitising an analogue waveform with a low sampling rate
But this needn't concern you too much because you can rest safe in the
knowledge that the 5950's sampling rate is up there with the big boys
sampling away at 48kHz giving you a maximum bandwidth of 19.2kHz - it's only
when you want to sample longer sounds that you may have to compromise on
audio quality by bringing the sampling rate down and hence the bandwidth.
Even when you do this, you'll be surprised how good the 5950 sounds even
with a bandwidth as low as lOkHz. Also, the sampling rate (and hence
bandwidth) on the 5950 is continuously and totally variable and this allows
you to maximise the sample memory. For example, say you were sampling a drum
kit. The cracky snare would need a bandwidth of around 16kHz as would the
hi-hats whilst the cymbals may require an even ,higher bandwidth - maybe
18-19kHz. The kick or bass drum, on the other hand, could get away wits a
bandwidth of around IOkHz whilst the toms could still sound good.at a
bandwidth of 12-i4kHz. In this way, you can sample sounds. with the optimum
bandwidth and make more economical use of the 5950's sample memory.
So, once you taken this series of digital snapshots of the sound, what then?
Well, each step of the digitised waveform is given a number so-that the
computer can understand what it's dealing with and held in RANDOM ACCESS
MEMORY or RAM. The more bits your sampler has, the more numbers the computer
can assign to these steps and with more numbers, you can take more snapshots
and so increase dynamic range, audio quality and/or sampling time even
further.
The trouble is, those numbers mean nothing to us so they have to pass
through a thing known as a DIGITAL TO ANALOGUE CONVERTER or DAC and here the
digital sound is reconstituted into a continuous signal again and we hear
the resulting sound. Fig. 3 shows a simplified layout of the 5950.
FIG. 3. Simplified layout of 5950
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