Proceedings of the National Conference on Innovations in Emerging Technology-2011 Kongu Engineering College, Perundurai, Erode, Tamilnadu, India.

17 & 18 February, 2011.pp.55-60.

Analysis of Digital Audio Effects Using Simulink and C6713 DSK

#1 th *2

Musfir Mohammed#1, K. Edet Bijoy *2

1

5 Semester, Department of ECE,MES College of Engineering; Kuttippuram, Kerala ,India.

mohammed.musfir@ieee.org
2

Assistant Professor, Department of ECE,MES College of Engineering; Kuttippuram, Kerala, India.

edetbijoyk@gmail.com

AbstractThis paper shows the implementation of the echo and reverberation effects using the TIs C6713 DSK. The effects are simulated using Simulink. Those simulation models are used to generate the DSP code for the real-time implementation. Echo and Reverberation are two of the simplest applications of Digital Signal Processing. Artificial Reverberation is one of the most interesting DSP applications in music preparation. If the individual channels are simply added together, the resulting piece sounds frail and diluted, much as if the musicians were playing outdoors. This is because listeners are greatly influenced by the echo or reverberation content of the music, which is usually minimized in the sound studio. DSP allows artificial echoes and reverberation to be added during mix down to simulate various ideal listening environments. Echoes with delays of a few hundred milliseconds give the impression of cathedral like locations. Adding echoes with delays of 10-20 milliseconds provide the perception of more modest size listening rooms. Keywordsecho, reverberation, simulink, C6713 DSK.,digital saudio effects.

computation and storage, but tricky to get satisfactory sound quality. Here in this paper second technique is used for implementation. The main objective of this paper is to design models of Echo and Reverberation for the Texas Instruments C6000 family of DSP devices using MATLAB and Simulink, then modify the existing Simulink model to run the model in real-time on the Texas Instruments C6713 DSK. II. ECHO AND REVERBERATION

I.

INTRODUCTION

A simple delay First-in, First-out(FIFO) queue can be implemented using a modulo buffer. Simple echo is an FIR response whereas reverberation is an IIR response. Which means echo does not require feedback whereas reverberation requires feedback. Thus the frequency response of the echo system would be a comb filter. Acoustical path from a sound source to the listeners ear is LTI, so we can describe the acoustical system with a transfer function. Ideas behind the implementation of Reverberation are: Direct sound arrival is followed by reflections from room surfaces. Overlapping reflections are heard as reverberation. Direct-to-Reverberant ratio gives cues to size of room, type of room surfaces, and distance from source. Two methods are used to implement reverberation. First method is by obtaining an impulse response of real room, then convolving with the input signal. Here results can be good, but computation and storage requirements are high. The impulse response sequence for 3-5 seconds is ~200k. In the second method re-circulating delay lines are used to create an artificial impulse response which give less

A. Echo In audio signal processing and acoustics, an echo is a reflection of sound, arriving at the listener some time after the direct sound. Typical examples are the echo produced by the bottom of a well, by a building, or by the walls of an enclosed room. A true echo is a single reflection of the sound source. The time delay is the extra distance divided by the speed of sound. If so many reflections arrive at a listener that they are unable to distinguish between them, the proper term is reverberation. An echo can be explained as a wave that has been reflected by a discontinuity in the propagation medium, and returns with sufficient magnitude and delay to be perceived. Echoes are reflected off walls or hard surfaces like mountains and privacy fences. When dealing with audible frequencies, the human ear cannot distinguish an echo from the original sound if the delay is less than 1/10 of a second. Thus, since the velocity of sound is approximately 343 m/s at a normal room temperature of about 20C, the reflecting object must be more than 16.2 m from the sound source at this temperature for an echo to be heard by a person at the source. Sound travels approximately 343 meters/s (1100 ft/s). If a sound produces an echo in 2 seconds, the object producing the echo would be half that distance away as the sound takes half the time to get to the object and half the time to return. The distance for an object with a 2-second echo return would be 1 sec X 343 meters/s or 343 meters (1100 ft). In most situations with human hearing, echoes are about onehalf second or about half this distance, since sounds grow fainter with distance. In nature, canyon walls or rock cliffs facing water are the most common natural settings for hearing echoes. The strength of an echo is frequently

978-1-61284-810-5/11/$26.00 2011 IEEE

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Analysis of Digital Audio Effects Using Simulink and C6713 DSK measured in dB sound pressure level SPL relative to the directly transmitted wave. Echoes may be desirable as in sonar or undesirable as in telephone systems. In music performance and recording, electric echo effects have been used since the 1950s. The Echoplex is a tape delay effect, first made in 1959 that recreates the sound of an acoustic echo. Designed by Mike Battle, the Echoplex set a standard for the effect in the 1960s and was used by most of the notable guitar players of the era; original Echoplexes are highly sought after. While Echoplexes were used heavily by guitar players and the occasional bass player, such as Chuck Rainey, or trumpeter, such as Don Ellis, many recording studios also used the Echoplex. Beginning in the 1970s, Market built the solidstate Echoplex for Maestro. In the 2000s, most echo effects units use electronic or digital circuitry to recreate the echo effect. B. Reverberation Reverberation is the persistence of sound in a particular space after the original sound is removed. A reverberation, or reverb, is created when a sound is produced in an enclosed space causing a large number of echoes to build up and then slowly decay as the sound is absorbed by the walls and air. This is most noticeable when the sound source stops but the reflections continue, decreasing in amplitude, until they can no longer be heard. The length of this sound decay, or reverberation time, receives special consideration in the architectural design of large chambers, which need to have specific reverberation times to achieve optimum performance for their intended activity. In comparison to a distinct echo that is 50 to 100ms after the initial sound, reverberation is many thousands of echoes that arrive in very quick succession i.e., 0.01 1 ms between echoes. As time passes, the volume of the many echoes is reduced until the echoes cannot be heard at all. Digital reverberations use various signal processing algorithms in order to create the reverb effect. Since reverberation is essentially caused by a very large number of echoes, simple reverberation algorithms use multiple feedback delay circuits to create a large, decaying series of echoes. More advanced digital reverb generators can simulate the time and frequency domain responses of real rooms. In real music halls, the direct sound always arrives at the listeners ear first because it follows the shortest path. Shortly after the direct sound, the reverberant sound arrives. The time between the two is called the 'pre-delay'. The overall reverberant sounds, used to give the impression of the aural space in which the active sources are playing is given by the Eq 1.

Ri =

[(Gr
j

fLoop

Sample(t ) j ) D(t + Tr j ))]

(2)

III.

HARDWARE AND SOFTWARE REQUIREMENTS

The tools use for implementation is MATLAB R2006b with Embedded Target for TI C6000. The Code Composer Studio (CCS) v3.1 platform is used to interface Texas Instruments C6713 DSK hardware. Microphone is used to input audio signal to DSK and loudspeakers/headphones is used to hear the Echo or Reverberation output form the DSK. MATLAB R29006b is the version compatible with CCS 3.1. The entire simulation work is done using Simulink in MATLAB. The Figure 1 shows the internal blocks of TMS320C6713 DSK.

Figure 1: Block diagram of TMS320C6713 DSK

The analog to digital and digital to analog conversions are done within the DSK. The conversions are done by the Audio Codec AIC23 shown in Figure 2. The figure shows clearly the input and output configurations to and from the DSK.

Figure 2: Codec AIC23 of TMS320C6713 DSK

IV.

SYSTEM DESIGN

I ' (t )[ t ,r ] = I (t )[ t ,r ] +

R
i

numS

The Echo and Reverberation systems are designed and simulated using Simulink. The basic principle behind the design is the delay. The Figure 3(a) shows the block diagram of delay based Echo system.

(1)

Reverberation for each sound is approximated by Eq 2.

Figure 3(a): Block Diagram of Echo System

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Proceedings of the National Conference on Innovations in Emerging Technology-2011. The design principle of Reverberation is same as Echo with a small change which is the feedback. The block diagram of Reverberation system is shown in Figure 3(b).

Figure 3(b): Block Diagram of Reverberation System with Feedback.

Echo effect is improved by using a modified design. The block diagram of such Modified Echo System is shown in Figure 3(c).

Figure 3(e): Block Diagram of the whole system to Interface with DSK

The subsystems shown in Figure 3(a), 3(b), 3(c) and 3(d) are merged together and designed as a single system to interface with DSK is shown in Figure 3(e). Each effect is selected using the DIP switch in the DSK.
Figure 3(c): Block diagram of Improved Echo System

V.

SIMULATION AND RESULTS

Reverberation is designed using feedback and without feedback. Figure 3(b) shows the diagram of Reverberation system with feedback and Figure 3(d) shows the block diagram without feedback.

The simulations done using Simulink are with reference to an audio input file S1.wav which sound zero. Figure 4 shows the FFT generated for the audio file S1.wav.

Figure 3(d): Block Diagram of Reverberation System without Feedback

Figure 4: FFT of S1.wav

A. Simulations results of Echo for different Gain. The forthcoming simulations shown are generated FFTs for different Echo and Reverberation by varying the Delay

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Analysis of Digital Audio Effects Using Simulink and C6713 DSK and Gain parameters and the digital audio effects are analyzed. Figure 5(a), 5(b) and 5(c) shows the FFTs of Echo for Gain 1.2, 0.8 and 0.4 respectively with Delay of 4000 each.

Figure 6(a): Echo with Gain 0.8 & Delay 400

Figure 5(a): Echo with Gain 1.2

Figure 6(b): Echo with Gain 0.8 & Delay 2000

Figure 5(b): Echo for Gain 0.8

C. Simulations results for Improved Echo. Improved Echo is generated using different Echo subsystem blocks. The Gain of each subsystem is varied linearly form 0.2 to 0.8 with a scaling of 0.2 Gain and delay of 1000 in each subsystem. The output is a single output where the four subsystems of Gain 0.2, 0.4, 0.6, and 0.8 are combined together using a four input connector, simulation of which is shown in Figure 7(a).

Figure 5(c): Echo with Gain 0.4

B. Simulations of Echo effect for different Delay & Gain. The Echo effects of Gain 0.8 and Delay of 400 and 2000 respectively are shown in Figure 6(a), 6(b).

Figure 7(a): Improved Echo for reduced Gain 0.8 to 0.2

Figure 7(b) shows the simulation of improved Echo for Gain of 0.8 in all stages. The result of improved Echo for delay of 100 is shown in Figure 7(c).

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Proceedings of the National Conference on Innovations in Emerging Technology-2011.

Figure 7(b): Improved Echo with Gain 0.8 in all stages

Figure 8(c): Reverberation without feedback and Delay reduced to 500, 300 and 100, Gain 0.8

E. Simulations Results For Reverbeartion with feedback. The results of Reverberation effects with feedback are shown in Figure 9(a), 9(b) and 9(c).

Figure 7(c): Improved Echo with Delay 100 & Gain 0.8

D. Simulations results for Reverbeartion without feedback. Figure 8(a) 8(c) shows the different simulations of Reverberation effect without feedback. The variations of Gain and Delay are shown in each figure.

Figure 9(a): Reverberation with feedback 0.8

Figure 8(a): Reverberation without feedback with Gain 0.8 and Delays 4000, 3000 & 2000.

Figure 9(b): Reverberation with Gain 0.4

Figure 8(b): Reverberation without feedback & Gain 1.2 Figure 9(c): Reverberation with Gain 0.8 & Delay 400

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Analysis of Digital Audio Effects Using Simulink and C6713 DSK The simulation shown in Figure 9(d) is the result of reverberation with Gain above 1. This implies that the Reverberation system goes unstable for Gain above 1. REFERENCES
[1] Rio Harlan, Fajar Dwisatyo, Hafizh Fazha, M. Suryanegara, Dadang Gunawan, Analysis of Real Time Audio Effect Design Using TMS320 C6713 DSK Alberto Cavallo, Roberto Setola, Francesco Vasco, Using MATLAB, SIMULINK & Control System Toolbox, A practical approach, Prentice Hall. Rulph Chassaing, Digital Signal Processing and Application with the C6713 and C6416 DSK, John Wiley & Sons, INC. TMS320C6713 DSK, Technical Reference, Spectrum Digital, INC. Code Composer Studio, Getting Stated Guide, Texas Instrruments. Jason Keller, Joel Koepke, An Audio system with dgital delay based effects.

[2]

[3] [4] [5] [6]

Figure 9(d): Reverberation with Gain 1.2

VI .CONCLUSION The design of digital audio effects can be applied to the DSP board successfully. The magnitude of the outputs varies with respect to Delay and Gain (decay factor). When gain is increased the magnitude increases which is highly significant in Reverberation where the system becomes unstable at Gain above 1. When delay is reduced keeping the Gain constant the magnitude also reduces. These digital effects are used in real time applications. The input signal of audio effect can be modified by using a music instrument or voice as input. The measured performances in every effect give a good result.

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