Recording Delay Logic 9

A parameter (from the Ancient Greekπαρά, para: 'beside', 'subsidiary'; and μέτρον, metron: 'measure'), generally, is any characteristic that can help in defining or classifying a particular system (meaning an event, project, object, situation, etc.). That is, a parameter is an element of a system that is useful, or critical, when identifying the system, or when evaluating its performance, status, condition, etc.

Parameter has more specific meanings within various disciplines, including mathematics, computer programming, engineering, statistics, logic, linguistics, electronic musical composition.

In addition to its technical uses, there are also extended uses, especially in non-scientific contexts, where it is used to mean defining characteristics or boundaries, as in the phrases 'test parameters' or 'game play parameters'.^[1]

Modelization[edit]

When a system is modeled by equations, the values that describe the system are called parameters. For example, in mechanics, the masses, the dimensions and shapes (for solid bodies), the densities and the viscosities (for fluids), appear as parameters in the equations modeling movements. There are often several choices for the parameters, and choosing a convenient set of parameters is called parametrization.

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For example, if one were considering the movement of an object on the surface of a sphere much larger than the object (e.g. the Earth), there are two commonly used parametrizations of its position: angular coordinates (like latitude/longitude), which neatly describe large movements along circles on the sphere, and directional distance from a known point (e.g. '10km NNW of Toronto' or equivalently '8km due North, and then 6km due West, from Toronto' ), which are often simpler for movement confined to a (relatively) small area, like within a particular country or region. Such parametrizations are also relevant to the modelization of geographic areas (i.e. map drawing).

Mathematical functions[edit]

Mathematical functions have one or more arguments that are designated in the definition by variables. A function definition can also contain parameters, but unlike variables, parameters are not listed among the arguments that the function takes. When parameters are present, the definition actually defines a whole family of functions, one for every valid set of values of the parameters. For instance, one could define a general quadratic function by declaring

f(x)=ax2+bx+c{displaystyle f(x)=ax^{2}+bx+c};

Here, the variable x designates the function's argument, but a, b, and c are parameters that determine which particular quadratic function is being considered. A parameter could be incorporated into the function name to indicate its dependence on the parameter. For instance, one may define the base-b logarithm by the formula

logb⁡(x)=log⁡(x)log⁡(b){displaystyle log _{b}(x)={frac {log(x)}{log(b)}}}

where b is a parameter that indicates which logarithmic function is being used. It is not an argument of the function, and will, for instance, be a constant when considering the derivativelogb′⁡(x)=(xln⁡(b))−1{displaystyle textstyle log _{b}'(x)=(xln(b))^{-1}}.

In some informal situations it is a matter of convention (or historical accident) whether some or all of the symbols in a function definition are called parameters. However, changing the status of symbols between parameter and variable changes the function as a mathematical object. Intro logic piano. For instance, the notation for the falling factorial power

nk_=n(n−1)(n−2)⋯(n−k+1){displaystyle n^{underline {k}}=n(n-1)(n-2)cdots (n-k+1)},

defines a polynomial function of n (when k is considered a parameter), but is not a polynomial function of k (when n is considered a parameter). Indeed, in the latter case, it is only defined for non-negative integer arguments. More formal presentations of such situations typically start out with a function of several variables (including all those that might sometimes be called 'parameters') such as

(n,k)↦nk_{displaystyle (n,k)mapsto n^{underline {k}}}

as the most fundamental object being considered, then defining functions with fewer variables from the main one by means of currying.

Sometimes it is useful to consider all functions with certain parameters as parametric family, i.e. as an indexed family of functions. Examples from probability theory are given further below.

Examples[edit]

• In a section on frequently misused words in his book The Writer's Art, James J. Kilpatrick quoted a letter from a correspondent, giving examples to illustrate the correct use of the word parameter:

W.M. Woods . a mathematician . writes . '. a variable is one of the many things a parameter is not.' . The dependent variable, the speed of the car, depends on the independent variable, the position of the gas pedal.

[Kilpatrick quoting Woods] 'Now . the engineers . change the lever arms of the linkage . the speed of the car . will still depend on the pedal position . but in a . different manner. You have changed a parameter'

• A parametric equaliser is an audio filter that allows the frequency of maximum cut or boost to be set by one control, and the size of the cut or boost by another. These settings, the frequency level of the peak or trough, are two of the parameters of a frequency response curve, and in a two-control equaliser they completely describe the curve. More elaborate parametric equalisers may allow other parameters to be varied, such as skew. These parameters each describe some aspect of the response curve seen as a whole, over all frequencies. A graphic equaliser provides individual level controls for various frequency bands, each of which acts only on that particular frequency band.
• If asked to imagine the graph of the relationship y = ax², one typically visualizes a range of values of x, but only one value of a. Of course a different value of a can be used, generating a different relation between x and y. Thus a is a parameter: it is less variable than the variable x or y, but it is not an explicit constant like the exponent 2. More precisely, changing the parameter a gives a different (though related) problem, whereas the variations of the variables x and y (and their interrelation) are part of the problem itself.
• In calculating income based on wage and hours worked (income equals wage multiplied by hours worked), it is typically assumed that the number of hours worked is easily changed, but the wage is more static. This makes wage a parameter, hours worked an independent variable, and income a dependent variable.

Mathematical models[edit]

In the context of a mathematical model, such as a probability distribution, the distinction between variables and parameters was described by Bard as follows:

We refer to the relations which supposedly describe a certain physical situation, as a model. Typically, a model consists of one or more equations. The quantities appearing in the equations we classify into variables and parameters. The distinction between these is not always clear cut, and it frequently depends on the context in which the variables appear. Usually a model is designed to explain the relationships that exist among quantities which can be measured independently in an experiment; these are the variables of the model. To formulate these relationships, however, one frequently introduces 'constants' which stand for inherent properties of nature (or of the materials and equipment used in a given experiment). These are the parameters.^[2]

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Analytic geometry[edit]

In analytic geometry, curves are often given as the image of some function. The argument of the function is invariably called 'the parameter'. A circle of radius 1 centered at the origin can be specified in more than one form:

• implicit form, the curve is all points (x,y) that satisfy the relation

x2+y2=1{displaystyle x^{2}+y^{2}=1}

• parametric form, the curve is all points (cos(t), sin(t)), when t varies over some set of values, like [0, 2π), or (-∞,∞)

(x,y)=(cost,sint){displaystyle (x,y)=(cos ;t,sin ;t)}

where t is the parameter.

Hence these equations, which might be called functions elsewhere are in analytic geometry characterized as parametric equations and the independent variables are considered as parameters. Imazing free download.

Mathematical analysis[edit]

In mathematical analysis, integrals dependent on a parameter are often considered. These are of the form

F(t)=∫x0(t)x1(t)f(x;t)dx.{displaystyle F(t)=int _{x_{0}(t)}^{x_{1}(t)}f(x;t),dx.}

In this formula, t is the argument of the function F, and on the right-hand side the parameter on which the integral depends. When evaluating the integral, t is held constant, and so it is considered to be a parameter. If we are interested in the value of F for different values of t, we then consider t to be a variable. The quantity x is a dummy variable or variable of integration (confusingly, also sometimes called a parameter of integration).

Statistics and econometrics[edit]

In statistics and econometrics, the probability framework above still holds, but attention shifts to estimating the parameters of a distribution based on observed data, or testing hypotheses about them. In frequentist estimation parameters are considered 'fixed but unknown', whereas in Bayesian estimation they are treated as random variables, and their uncertainty is described as a distribution.^{[citation needed]}

In estimation theory of statistics, 'statistic' or estimator refers to samples, whereas 'parameter' or estimand refers to populations, where the samples are taken from. A statistic is a numerical characteristic of a sample that can be used as an estimate of the corresponding parameter, the numerical characteristic of the population from which the sample was drawn.

For example, the sample mean (estimator), denoted X¯{displaystyle {overline {X}}}, can be used as an estimate of the mean parameter (estimand), denoted μ, of the population from which the sample was drawn. Similarly, the sample variance (estimator), denoted S², can be used to estimate the variance parameter (estimand), denoted σ², of the population from which the sample was drawn. (Note that the sample standard deviation (S) is not an unbiased estimate of the population standard deviation (σ): see Unbiased estimation of standard deviation.)

It is possible to make statistical inferences without assuming a particular parametric family of probability distributions. In that case, one speaks of non-parametric statistics as opposed to the parametric statistics just described. For example, a test based on Spearman's rank correlation coefficient would be called non-parametric since the statistic is computed from the rank-order of the data disregarding their actual values (and thus regardless of the distribution they were sampled from), whereas those based on the Pearson product-moment correlation coefficient are parametric tests since it is computed directly from the data values and thus estimates the parameter known as the population correlation.

Probability theory[edit]

In probability theory, one may describe the distribution of a random variable as belonging to a family of probability distributions, distinguished from each other by the values of a finite number of parameters. For example, one talks about 'a Poisson distribution with mean value λ'. The function defining the distribution (the probability mass function) is:

f(k;λ)=e−λλkk!.{displaystyle f(k;lambda )={frac {e^{-lambda }lambda ^{k}}{k!}}.}

This example nicely illustrates the distinction between constants, parameters, and variables. e is Euler's number, a fundamental mathematical constant. The parameter λ is the mean number of observations of some phenomenon in question, a property characteristic of the system. k is a variable, in this case the number of occurrences of the phenomenon actually observed from a particular sample. If we want to know the probability of observing k₁ occurrences, we plug it into the function to get f(k1;λ){displaystyle f(k_{1};lambda )}. Without altering the system, we can take multiple samples, which will have a range of values of k, but the system is always characterized by the same λ.

For instance, suppose we have a radioactive sample that emits, on average, five particles every ten minutes. We take measurements of how many particles the sample emits over ten-minute periods. The measurements exhibit different values of k, and if the sample behaves according to Poisson statistics, then each value of k will come up in a proportion given by the probability mass function above. From measurement to measurement, however, λ remains constant at 5. If we do not alter the system, then the parameter λ is unchanged from measurement to measurement; if, on the other hand, we modulate the system by replacing the sample with a more radioactive one, then the parameter λ would increase.

Another common distribution is the normal distribution, which has as parameters the mean μ and the variance σ².

In these above examples, the distributions of the random variables are completely specified by the type of distribution, i.e. Poisson or normal, and the parameter values, i.e. mean and variance. In such a case, we have a parameterized distribution.

It is possible to use the sequence of moments (mean, mean square, .) or cumulants (mean, variance, .) as parameters for a probability distribution: see Statistical parameter.

Computer programming[edit]

In computer programming, two notions of parameter are commonly used, and are referred to as parameters and arguments—or more formally as a formal parameter and an actual parameter.

For example, in the definition of a function such as

y = f(x) = x + 2,

x is the formal parameter (the parameter) of the defined function.

When the function is evaluated for a given value, as in

f(3): or, y = f(3) = 3 + 2 = 5,

3 is the actual parameter (the argument) for evaluation by the defined function; it is a given value (actual value) that is substituted for the formal parameter of the defined function. (In casual usage the terms parameter and argument might inadvertently be interchanged, and thereby used incorrectly.)

These concepts are discussed in a more precise way in functional programming and its foundational disciplines, lambda calculus and combinatory logic. Terminology varies between languages; some computer languages such as C define parameter and argument as given here, while Eiffel uses an alternative convention.

Engineering[edit]

In engineering (especially involving data acquisition) the term parameter sometimes loosely refers to an individual measured item. This usage isn't consistent, as sometimes the term channel refers to an individual measured item, with parameter referring to the setup information about that channel.

'Speaking generally, properties are those physical quantities which directly describe the physical attributes of the system; parameters are those combinations of the properties which suffice to determine the response of the system. Properties can have all sorts of dimensions, depending upon the system being considered; parameters are dimensionless, or have the dimension of time or its reciprocal.'^[3]

The term can also be used in engineering contexts, however, as it is typically used in the physical sciences.

Environmental science[edit]

In environmental science and particularly in chemistry and microbiology, a parameter is used to describe a discrete chemical or microbiological entity that can be assigned a value: commonly a concentration, but may also be a logical entity (present or absent), a statistical result such as a 95 percentile value or in some cases a subjective value.

Linguistics[edit]

Within linguistics, the word 'parameter' is almost exclusively used to denote a binary switch in a Universal Grammar within a Principles and Parameters framework.

Logic[edit]

In logic, the parameters passed to (or operated on by) an open predicate are called parameters by some authors (e.g., Prawitz, 'Natural Deduction'; Paulson, 'Designing a theorem prover'). Parameters locally defined within the predicate are called variables. This extra distinction pays off when defining substitution (without this distinction special provision must be made to avoid variable capture). Others (maybe most) just call parameters passed to (or operated on by) an open predicate variables, and when defining substitution have to distinguish between free variables and bound variables.

Music[edit]

In music theory, a parameter denotes an element which may be manipulated (composed), separately from the other elements. The term is used particularly for pitch, loudness, duration, and timbre, though theorists or composers have sometimes considered other musical aspects as parameters. The term is particularly used in serial music, where each parameter may follow some specified series. Paul Lansky and George Perle criticized the extension of the word 'parameter' to this sense, since it is not closely related to its mathematical sense,^[4] but it remains common. The term is also common in music production, as the functions of audio processing units (such as the attack, release, ratio, threshold, and other variables on a compressor) are defined by parameters specific to the type of unit (compressor, equalizer, delay, etc.).

See also[edit]

• Occam's razor (with regards to the trade-off of many or few parameters in data fitting)

References[edit]

1. ^'Home : Oxford English Dictionary'. www.oed.com.
2. ^Bard, Yonathan (1974). Nonlinear Parameter Estimation. New York: Academic Press. p. 11. ISBN0-12-078250-2.
3. ^Trimmer, John D. (1950). Response of Physical Systems. New York: Wiley. p. 13.
4. ^Lansky, Paul & Perle, George (2001). 'Parameter'. In Root, Deane L. (ed.). The New Grove Dictionary of Music and Musicians. Oxford University Press.‎

Our most recent question that was generalizable enough to benefit the entire community is a very fundamental hurdle that nearly everyone runs into: how to use an audio interface. Being a musician usually involves learning an instrument and some music theory, of course.

But rarely do we anticipate needing to learn our way around computers to enhance our hobby. And that's what happens when you decide to start recording your own songs or covers.

I remember having to deal with this my first time ever recording around 18 years ago. Animal crossing super nintendo. This question comes from a real life guitarist friend who finally bought his first interface and couldn't figure out what was happening when he'd press record. I'll explain what was happening and how I solved it, which includes the general tutorial on setting up your audio interface.

How To Use An Audio Interface

Question:

I just bought the best audio interface I could afford. When I record on it, my tracks sound real distant and have a lot of noise in them. I'm using the same Shure SM57 and cables I've used tons of times to record elsewhere so I know nothing is wrong with them.

Can you help?
Koi

Answer:

The next night, my brother and I ran over to Koi's home and I started investigating while they set up the guitar, amp, mic, and stand just as it was before when the bad signal was coming through. I confirmed the mic was receiving the signal, passing it through the interface and on to Logic Pro X, where we then recorded it.

And just as described, it sounded horrible. There was a lot of reverb, noise, and some distortion when the amplitude was increased. Why was this happening?

I checked everything, but missed one detail even though we deliberately looked at it in the settings. We started to blame it on the headphones going bad, so we switched headphones and the problem was still there, but that was what revealed the problem.

As I was talking out loud I realized that we weren't recording through the mic that was being used to close mike the amplifier at all. We were recording through the laptop's microphone! I could hear myself loud and clear but barely hear the guitar.

How to Setup Your Audio Interface

I'll state the obvious just for the sake of anyone reading who doesn't realize the basics of cabling. Your interface will be packaged with a power cable or power adaptor which obviously has to be plugged into the wall or your power conditioner before you can even turn the thing on.

It will also come with (these days) one of three options for cables to connect to your computer, depending on which type you purchased. You'll either have a firewire cable, thunderbolt cable, or a USB cable, either of which has to be plugged in before your interface can communicate with the computer.

Your interface's job is to capture audio signals from a microphone or a direct input from a guitar, bass, keyboard, etc. New vst 2020. It converts that electrical signal at the analog-to-digital converter into a digital signal consisting of binary language your computer can understand. Think of the interface as a really fancy outboard sound card that comes with nicer preamplifiers and other features.

Even in today's world of plug-and-play hardware, you'll rarely be able to just plug in your interface and be able to start accepting audio signals and outputting music through it automatically, even if your computer tries to do this for you. Lamento beyond the void free. It's a bit more complicated than other types of devices your computer is used to talking with.

It used to be the case that your interface would come with a CD you would use to install drivers, or a card that would direct you to the manufacturer's website to download the drivers. This may still be the case for some purchases, but most often the interface will be able to use the standardized system drivers in your operating system. You'll know if you need separate drivers based on what happens in the next step.

The next step is to find your audio settings for your operating system at large.

On Windows, if I recall correctly, you'll find these settings by navigating to the Start menu > Control Panel > Hardware & Sound > Sound, and then you'll work within the Playback and the Recording tabs. It will look something like this:

On a Mac you will venture to the top left of your menu bar to click the Apple > System Preferences > Sound, and then work within the Output and Input tabs. It will look like this:

As you can see, I have the Focusrite Saffire Pro 40 set up as my output device. This routes all of the sound out of the firewire cable and to the interface and then out of the master stereo outputs through the XLR cables to my Adam Audio A7 studio monitors.

It's how I listen to music, watch movies, play YouTube videos, etc. I never change this output setting, but I do switch the input device back and forth between my webcam (for phone calls and video conference calls) and my interface (for recording).

You will want to set memorize how to navigate to these settings because you may also have to change your input and output devices frequently, especially if you use a laptop that you take with you on the go. You will need to select your audio interface in these two tabs when you get ready to record.

You may ask 'but what if I want to listen through headphones?' You can choose your headphones as an output if that exists, or it may automatically show and be chosen once you plug them in like my computer does. Alternatively, you can choose your interface as the output and use the headphone jack on it just like you would with external monitors.

Now that you have your computer communicating with your interface in general, you're halfway done. The next step is to set your digital audio workstation (DAW) up to use your interface. For the example below I'll be using Logic Pro X, but the steps will be nearly the same for Pro Tools, Garage Band, FL Studio, Ableton, etc.

Open up your DAW and navigate to the general settings section, however that is done. In Logic, I select it's name in the menu bar and then Preferences, which provides me with a direct link to each tab in the settings. The one we're looking for in called Audio and looks like this:

You should find, regardless of which software you are using, a tab within your settings that behaves just like the operating system sound settings. It allows you to select which device connected to your computer will be used for the input and output devices.

In my case I can choose my webcam as an input device, but you'll see I have 'Saffire' chosen, which is the name of my audio interface. I select the Saffire again for the output because I want to push the music out to my monitors and headphones, which are both routed through the interface.

Now that your DAW is communicating with the interface, you have one last task before you can press record and actually capture audio. On your multitrack or your mixer, depending on your preference, workspace, or software, you'll find a way to select an input for that specific track only. Let me explain the reasoning for it being set up this way.

Your interface may have only two inputs. Mine has 20 different inputs which can be associated with microphones or direct injected instruments. You want to record each instrument or vocal take in isolation on its own track and this is how its done. But the software doesn't know which input which microphone or instrument is connected to. You have to instruct it:

The image above is what appears in Logic Pro when you add a new track to your multitrack and mixer, if you don't specify before hand. It needs to know what type of track this will be, and that can include:

• Software Instruments like ES2 synthesizer
• Audio for instruments or vocals that you record
• Drummer for synthetic drum sets like Ultrabeat
• External MIDI for a MIDI keyboard or MIDI controller
• Guitar or Bass, which auto-loads certain plugins for you

You will want to setup an audio track. Now in that image, you can go ahead and choose which input you want to use and set it up for recording and even turn on input monitoring for that track. But I never do it on this screen.

I always do it on the mixer, which I'll show you below. The reason is that your interface will simply provide a list of inputs labeled like 'Input 1, Input 2. Input 19, Input 20.' But those software labels hardly ever match the numbers you see on your interface.

For instance, most interfaces will have a couple of inputs for XLR cables that have preamps in them or you can use TRS for the direct injection of a bass or guitar. Those will usually be labeled 1 & 2 on the hardware itself, but when you look on the back, the label numbers start over at 1 again, instead of at 3.

This throws off your ability to know exactly which input you're using if you go by the software labels. Often you have to get close and then keep going 'mic check, mic check' as you test different inputs until you see the meter start moving and hear yourself through the input monitoring.

There's a little trial and error but once you figure it out, you can find the I/O Labels settings that allow you to name your inputs and outputs. So if you always set your drums up in the same way on the same mics on the same inputs, you can just label them and save yourself a ton of time. That looks like this:

You can see the software name, hardware name as given by the driver, and then you supply a user based name. In Logic you can create a long, descriptive name and a shorter, abbreviated name, which will appear in different places.

Now, let's back up. How do you select which input to use on the mixer? In Logic Pro X, you simply find Input on the mixer, click and hold it, and then select the new input source. But remember, it has to be an audio track to see your audio interface's input options instead of a list of plugins. Once you click and hold the Input option, this is what you'll see:

Once you've identified and selected your correct input, you simply have to enable the track for recording.

Note: Make sure you've set your track up to be mono for a single mic or stereo for a stereo mic or mic pair. If you're using two separate microphones you can use two mono tracks, or one stereo track by choosing a dual input source like 'Input 1 & 2.'

Enabling recording is done simply by navigating to the multitrack, finding the [R] button, and pressing it so that it's red and blinking, like below:

Depending on whether you're using your interface's software mixer (if it even has one) or not, you can press the [I] button to enable input monitoring on that track. That means you'll be able to hear what the microphone is recording inside of your headphones, which is incredibly useful for all vocalists and instrumentalists.

You have to make sure you have nearly zero latency when you do this or there will be a delay. In an image above you could see I've achieved a 9.3 millisecond latency, which is as good as zero.

Now, once you press the master record button, every single track that you've chosen an input for and enabled the track for recording will begin capturing whatever the microphone or direct input is hearing. That's all there is to it!

That's How to Use an Audio Interface!

When you start getting comfortable with the routine, changing the system and DAW input and output devices takes 5 seconds each. You can even set up projects by mapping your inputs around pretty quickly especially once you've adjusted the I/O labels.

But where you'll really save time is by setting all of this up once for every input you have, and saving it as a template. It's a lot faster to delete the tracks you won't be using on a particular project from the template than it is to re-set it up each time.

But that's a topic for another day. Until then, Happy recording!
Jared

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