Audio Download Beat [2021]

Here was a real mountaintop moment for me with turntables earlier this year. It came in two parts: First, getting to meet Steve Dobbins, the creative master turntable craftsman at Xact Audio, and his wife Polly. Steve is a master audio artisan who specializes in turntable and tonearm design and construction. His company is Xact Audio, headquartered right here in the Pacific Northwest, in Boise, Idaho. His proximity to Positive Feedback in the Portland, Oregon vicinity, made it feasible for Steve and I to hook-up for this review project.

But I'm getting ahead of myself. I hadn't heard of Steve Dobbins before. The point of contact for getting to meet Steve was my audiobud and audio distributor, Randy Forman, of Finest Fidelity. He carries the van den Hul line, Accustic Arts, and has connections like Steve Dobbins. While looking for reference-quality turntables, Randy connected to Steve Dobbins. Randy is the one who brought Steve and his "The Beat" direct-drive turntable to my attention during one of our phone conversations early this year.

Audio Download Beat

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But the LT tonearm, while seductive, rests upon the solid-rock foundation of The Beat. This remarkable direct-drive turntable is really the heart (The Beat as in "heart-beat") of what Steve Dobbins is about.

"This power supply also gives the audiophile another feature, adjustable motor torque. Every listener seems to enjoy a slightly different take on his music, so The Beat lets you adjust the torque of the drive system. Want more of a smooth sound? Dial the torque back and dynamics become softer. Want more impact and energy from your music? Turn up the torque and that leading edge energy from the kick drum, pluck of a string bass or piano becomes more intense. This is one area where the designers felt like allowing the listener control. The Beat lets you decide on the energy level and smoothness delivered from your vinyl source."

No worries, though. None at all. Right from the start, The Beat LT just bloody made music, and did so in a way that brought the advantages of linear tracking to a more traditional platform. As I evaluated the audio virtues of this turntable over time, I noted the following observations:

Lloyd Walker's exceptional Walker Audio Proscenium Black Diamond Master Reference Turntable on its Prologue Rack, with Peter Ledermann's Soundsmith Hyperion II MI Cartridge. The Proscenium Black Diamond Master Reference was upgraded May 27-29, 2022 by Fred Law. In memoriam of our dear audio friend and master turntable designer, Lloyd Walker.

T+A HA 200 Reference Headphone Amp; Warwick Acoustics Aperio Reference DAC/Headphone Amp/BDEL Headphone system; HeadAmp Blue Hawaii two-box reference tube (EL-34) headphone amplifier for electrostatic headphones with NOS Siemens EL-34 tubes supplied by RAMTubes; the HeadAmp GS-X Mk II two-box Reference Dynamic/Planar Headphone Amplifier; PASS Labs HPA-1 Headphone Amplifier; Furutech STRATOS DAC/Headphone Amp/A-to-D with Furutech GT2 Pro-2B USB cable; eXemplar audio eXception Reference Headphone Amp, upgraded edition (as of August, 2017)...

In acoustics, a beat is an interference pattern between two sounds of slightly different frequencies, perceived as a periodic variation in volume whose rate is the difference of the two frequencies.

With tuning instruments that can produce sustained tones, beats can be readily recognized. Tuning two tones to a unison will present a peculiar effect: when the two tones are close in pitch but not identical, the difference in frequency generates the beating. The volume varies like in a tremolo as the sounds alternately interfere constructively and destructively. As the two tones gradually approach unison, the beating slows down and may become so slow as to be imperceptible. As the two tones get further apart, their beat frequency starts to approach the range of human pitch perception,[1] the beating starts to sound like a note, and a combination tone is produced.

For a human ear to hear beat phenomena, the ratio of frequencies should be less than 7 6 {\displaystyle {\frac {7}{6}}} or else the brain perceives them as two different frequencies[citation needed].

Beating can also be heard between notes that are near to, but not exactly, a harmonic interval, due to some harmonic of the first note beating with a harmonic of the second note. For example, in the case of perfect fifth, the third harmonic (i.e. second overtone) of the bass note beats with the second harmonic (first overtone) of the other note. As well as with out-of tune notes, this can also happen with some correctly tuned equal temperament intervals, because of the differences between them and the corresponding just intonation intervals:[citation needed] see Harmonic series (music)#Harmonics and tuning.

A binaural beat is an auditory illusion perceived when two different pure-tone sine waves, with a less-than 40 Hz or so difference between them, are presented to a listener dichotically (one through each ear).

For example, if a 530 Hz pure tone is presented to a subject's right ear, while a 520 Hz pure tone is presented to the subject's left ear, the listener will hear beating at a rate of 10 Hz, just as if the two tones were presented monaurally, but the beating will have an element of lateral motion as well.

Binaural-beat perception originates in the inferior colliculus of the midbrain and the superior olivary complex of the brainstem, where auditory signals from each ear are integrated and precipitate electrical impulses along neural pathways through the reticular formation up the midbrain to the thalamus, auditory cortex, and other cortical regions.[6]

Musicians commonly use interference beats objectively to check tuning at the unison, perfect fifth, or other simple harmonic intervals.[8] Piano and organ tuners use a method involving counting beats, aiming at a particular number for a specific interval.

The composer Alvin Lucier has written many pieces that feature interference beats as their main focus. Italian composer Giacinto Scelsi, whose style is grounded on microtonal oscillations of unisons, extensively explored the textural effects of interference beats, particularly in his late works such as the violin solos Xnoybis (1964) and L'me aile / L'me ouverte (1973), which feature them prominently (Scelsi treated and notated each string of the instrument as a separate part, so that his violin solos are effectively quartets of one-strings, where different strings of the violin may be simultaneously playing the same note with microtonal shifts, so that the interference patterns are generated). Composer Phill Niblock's music is entirely based on beating caused by microtonal differences.[9] Computer engineer Toso Pankovski invented a method based on auditory interference beating to screen participants in online auditory studies for headphones and dichotic context (whether the stereo channels are mixed or completely separated).[10]

Lastly, I decided to add a nice feature to the beat synchronizer that allows you to scale up the the beat values by an integer constant. This is very useful for cases where you might want to synch to beats that transcend one measure. For example, you could synchronize to the downbeat of the second measure of a four-measure group by selecting the following values in the inspector:

The way I set this up to work is by comparing the current sample of the audio data to the sample of the next expected beat to occur. Another approach would be to compare the time values, but this is less accurate and less flexible. Sample accuracy ensures that the game logic follows the actual audio data, and avoids the issues of framerate drops that can affect the time values.

Furthermore, the fields that count the sample positions and next sample positions are declared as floats, which may seem wrong at first since there is no possibility of fractional samples. However, the sample period (the number of samples between each beat in the audio) is calculated from the BPM of the audio and the note value of the beat to check, so it is likely to result in a floating point value. In other words:

where beatValue is a constant that defines the ratio of the beat to a quarter note. For instance, for an eighth beat, beatValue = 2 since there are two eighths in a quarter. For a dotted quarter beat, beatValue = 1 / 1.5; the ratio of one quarter to a dotted quarter.

When it is determined that a beat has occurred in the audio, the script notifies its observers along with the type of beat that triggered the event (the beat type is a user-defined value that allows different action to be taken depending on the beat type). The observers (any Unity object) are easily added through the scripts inspector panel:

To illustrate how a game object might respond to and take action when a beat occurs, the following script activates an animation trigger on the down-beat and rotates the object during an up-beat by 45 degrees:

I wanted to get input from the user in half beat (tap). Most of the devices I tried it worked as expected. Even in low end devices there is a lag on visuals but the input from the user get registered on half beat.

You can determine bpm dynamically of music using a beat finder algorithm (similar to what you would see in a DAW). But reliability will depend on the music itself, the audio quality, and the quality of the algorithm implementation.

I would imagine that a good start on writing a beat finder would be to use a combination of low-pass filtering and determining transients that you can measure the time between and thus the bpm. Just off the top of my head..

If you need to dynamically determine pitch and BPM, however, that is a more complex problem that would require some filtering and determining transients in the audio that you could use to calculate the BPM based on how far apart the transients are.

Using Beat Synchronizer in 2017.3 and had the same problem. Problem is in BeatCheck coroutines while loop in Beatcounter script. OnApplicationPause(true) happens when editor/game is out of focus and audioSource.isPlaying turns false and while loop ends.

Just starting the BeatCheck coroutine again when out of pause works for my needs. 006ab0faaa