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ShareScore release 0.9.0
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8 results for “reverb”
EGFxSet: Electric guitar tones processed through real effects of distortion, modulation, delay and reverb
<p>EGFxSet (Electric Guitar Effects dataset) features recordings for all clean tones in a 22-fret Stratocaster, recorded with 5 different pickup configurations, also processed through 12 popular guitar effects. Our dataset was recorded in real hardware, making it relevant for music information retrieval tasks on real music. We also include annotations for parameter settings of the effects we used.</p> <p>More details can be found in <a href="http://egfxset.github.io">egfxset.github.io</a></p> <p>The dataset can also be accessed with <a href="https://mirdata.readthedocs.io/en/stable/source/mirdata.html#module-mirdata.datasets.egfxset">mirdata</a></p> <p>Effects and parameters included:</p> <table> <tbody> <tr> <td>Effect</td> <td>Model</td> <td>Effect Type</td> <td>Knob Names</td> <td>Knob Type</td> <td>Setting</td> </tr> <tr> <td>blues driver</td> <td>Boss BD-2 Blues Driver</td> <td>distortion</td> <td>['level', 'tone', 'gain']</td> <td>['volume','eq','effect amount']</td> <td>[0.5,0.5,1.0]</td> </tr> <tr> <td>tube screamer</td> <td>Ibanez Mini Tube Screamer</td> <td>distortion</td> <td>['tone', 'overdrive', 'level']</td> <td>['eq','effect amount','volume']</td> <td>[0.5,1.0,0.5]</td> </tr> <tr> <td>distortion</td> <td>Pro Co Sound RAT2 Distortion</td> <td>distortion</td> <td>['distortion', 'filter', 'volume']</td> <td>['effect amount','eq','volume']</td> <td>[1.0, 0.5,1.0]</td> </tr> <tr> <td>chorus</td> <td>Boss CE-3 Chorus</td> <td>modulation</td> <td>['rate', 'depth', 'stereo mode']</td> <td>['rate','effect amount','selector']</td> <td>['120 bpm', 1.0, False]</td> </tr> <tr> <td>flanger</td> <td>Mooer E-Lady</td> <td>modulation</td> <td>['color', 'type', 'range', 'rate']</td> <td>['eq','selector','effect amount','rate']</td> <td>[0.5, 'normal', 1.0, '120 bpm']</td> </tr> <tr> <td>phaser</td> <td>MXR Phase 45</td> <td>modulation</td> <td>['speed']</td> <td>['rate']</td> <td>['120 bpm']</td> </tr> <tr> <td>tape echo</td> <td>Line 6 DL4 Delay</td> <td>delay</td> <td>['effect selector', 'delay time', 'repeats', 'tweak (bass)', 'tweez (treble)', 'mix']</td> <td>['selector', 'rate', 'effect decay', 'eq', 'eq', 'effect amount']</td> <td>['tape echo', '120 bpm', 0.6, 0.5, 0.5, 0.5]</td> </tr> <tr> <td>digital delay</td> <td>Line 6 DL4 Delay</td> <td>delay</td> <td>['effect selector', 'delay time', 'repeats', 'tweak (bass)', 'tweez (treble)', 'mix']</td> <td>['selector', 'rate', 'effect decay', 'eq', 'eq', 'effect amount']</td> <td>['digital delay', '120 bpm', 0.6, 0.5, 0.5, 0.5]</td> </tr> <tr> <td>sweep echo</td> <td>Line 6 DL4 Delay</td> <td>delay</td> <td>['effect selector', 'delay time', 'repeats', 'tweak (sweep speed)', 'tweez (sweep depth)', 'mix']</td> <td>['selector', 'rate', 'effect decay', 'rate', 'effect amount', 'effect amount']</td> <td>['sweep echo', '120 bpm', 0.6, '120 bpm',1.0,0.5]</td> </tr> <tr> <td>plate reverb</td> <td>Orange CR-60 Combo Amplifier</td> <td>reverb</td> <td>['volume', 'bass', 'treble', 'type', 'reverb', 'master volume', 'clean']</td> <td>['volume','eq','eq','selector','effect amount', 'volume', 'selector']</td> <td>[0.5, 0.5, 0.5, 'plate', 1.0, 0.2, True]</td> </tr> <tr> <td>hall reverb</td> <td>Orange CR-60 Combo Amplifier</td> <td>reverb</td> <td>['volume', 'bass', 'treble', 'type', 'reverb', 'master volume', 'clean']</td> <td>['volume','eq','eq','selector','effect amount', 'volume', 'selector']</td> <td>[0.5, 0.5, 0.5, 'hall', 1.0, 0.2, True]</td> </tr> <tr> <td>spring reverb</td> <td>Orange CR-60 Combo Amplifier</td> <td>reverb</td> <td>['volume', 'bass', 'treble', 'type', 'reverb', 'master volume', 'clean']</td> <td>['volume','eq','eq','selector','effect amount', 'volume', 'selector']</td> <td>[0.5, 0.5, 0.5, 'spring', 1.0, 0.2, True]</td> </tr> </tbody> </table> <p><br>Please cite these papers if using EGFxSet:</p> <p>Pedroza HE, Abreu W, Corey R, Roman IR. "Leveraging real electric guitar tones and effects to improve robustness in guitar tablature transcription modeling." <em>In 27th International Conference on Digital Audio Effects (DAFx),</em> 2024.</p> <p>Pedroza, Hegel, Gerardo Meza, and Iran R. Roman. "EGFxSet: Electric guitar tones processed through real effects of distortion, modulation, delay and reverb." <em>ISMIR Late Breaking Demo, </em>2022.</p>
Genome wide mapping of Nr1d1 (Reverb α) binding sites in Th1 (T-helper type 1) cells
GEO Series GSE181065. Mus musculus. 5 samples. Type: Genome binding/occupancy profiling by high throughput sequencing.
Heart expression data from WT and reverb alpha KO mice after short ischemia/reperfusion at ZT0, ZT12
GEO Series GSE62457. Mus musculus. 19 samples. Type: Expression profiling by array.
Heart expression data after short ischemia/reperfusion in WT, Reverb alpha KO and Reverb alpha antagonist-treated mice
GEO Series GSE62459. Mus musculus. 24 samples. Type: Expression profiling by array.
Heart expression data from WT mice at ZT12 after short ischemia/reperfusion +/- Reverb alpha antagonist treatment
GEO Series GSE62458. Mus musculus. 5 samples. Type: Expression profiling by array.
Impulse Responses (IRs) of selected reverb processors with different settings
<p>The issues of reverberation in acoustic architecture and in music production share the same theoretical core, nevertheless the first one has been scientifically researched in depth while the second one remains at technical and experimental crossroads. It could be stated that the ISO 3382 parameters were proposed in the “analog” era for room acoustics (actual halls), whereas the “digital” parameters introduced in software, artificial reverbs, are not standardized in any way but help to create desired reverberation for music or audio effects. The interest herein is to bind these two disciplines together and analyze some of the significant descriptors of room acoustics (RT, C50, C80, BR, ER, CT, STI) applied in plug-in reverberant processors to observe how the virtual space is affected by changing the values of different parameters. Psychoacoustic ranges of JND were applied to conclude their relevance (or rather, influence), and whether it is possible to perceive alteration. Five of the selected, popular and commercial VST reverbs are juxtaposed with five similar settings and the results of analysis might be useful for sound mixers and automated mixing algorithms.The issues of reverberation in acoustic architecture and in music production share the same theoretical core, nevertheless the first one has been scientifically researched in depth while the second one remains at technical and experimental crossroads. It could be stated that the ISO 3382 parameters were proposed in the “analog” era for room acoustics (actual halls), whereas the “digital” parameters introduced in software, artificial reverbs, are not standardized in any way but help to create desired reverberation for music or audio effects. The interest herein is to bind these two disciplines together and analyze some of the significant descriptors of room acoustics (RT, C50, C80, BR, ER, CT) applied in plug-in reverberant processors to observe how the virtual space is affected by changing the values of different parameters. Psychoacoustic ranges of JND were applied to conclude their relevance (or rather, influence), and whether it is possible to perceive alteration. Five of the selected, popular and commercial VST reverbs are juxtaposed with five similar settings and the results of analysis might be useful for sound mixers and automated mixing algorithms.</p>
Next Generation Sequencing Facilitates Quantitative Analysis of Reverb fl/fl and Reverb fl/fl /MHC+ cardiac Transcriptomes
GEO Series GSE152372. Mus musculus. 36 samples. Type: Expression profiling by high throughput sequencing.
Impulse responses of selected reverb processors with different settings
<p>The issues of reverberation in acoustic architecture and in music production share the same theoretical core, nevertheless the first one has been scientifically researched in depth while the second one remains at technical and experimental crossroads. It could be stated that the ISO 3382 parameters were proposed in the “analog” era for room acoustics (actual halls), whereas the “digital” parameters introduced in software, artificial reverbs, are not standardized in any way but help to create desired reverberation for music or audio effects. The interest herein is to bind these two disciplines together and analyze some of the significant descriptors of room acoustics (RT, C50, C80, BR, ER, CT, STI) applied in plug-in reverberant processors to observe how the virtual space is affected by changing the values of different parameters. Psychoacoustic ranges of JND were applied to conclude their relevance (or rather, influence), and whether it is possible to perceive alteration. Five of the selected, popular and commercial VST reverbs are juxtaposed with five similar settings and the results of analysis might be useful for sound mixers and automated mixing algorithms.The issues of reverberation in acoustic architecture and in music production share the same theoretical core, nevertheless the first one has been scientifically researched in depth while the second one remains at technical and experimental crossroads. It could be stated that the ISO 3382 parameters were proposed in the “analog” era for room acoustics (actual halls), whereas the “digital” parameters introduced in software, artificial reverbs, are not standardized in any way but help to create desired reverberation for music or audio effects. The interest herein is to bind these two disciplines together and analyze some of the significant descriptors of room acoustics (RT, C50, C80, BR, ER, CT, STI) applied in plug-in reverberant processors to observe how the virtual space is affected by changing the values of different parameters. Psychoacoustic ranges of JND were applied to conclude their relevance (or rather, influence), and whether it is possible to perceive alteration. Five of the selected, popular and commercial VST reverbs are juxtaposed with five similar settings and the results of analysis might be useful for sound mixers and automated mixing algorithms.</p>
ScienceDex guides
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These curated guides explain access requirements, typical timelines, costs, and reuse considerations for widely used research datasets.
Allen Brain Atlas
Allen Brain Atlas is an Allen Institute collection of brain map atlases, datasets, APIs, and analysis tools covering mouse, human, and non-human primate brain resources.
Annotated Behaviour and Observability Dataset (ABODe)
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DANDI Archive for NWB datasets
DANDI is a BRAIN Initiative archive for publishing and sharing neurophysiology data, including electrophysiology, optophysiology, and behavioral data packaged as NWB and related standards.
International Brain Laboratory public data
The International Brain Laboratory public data releases expose standardized mouse decision-making experiments, including Neuropixels recordings, widefield calcium imaging, behavior, and session metadata accessed through the ONE API.
OpenNeuro
OpenNeuro is a free, open platform for sharing neuroimaging datasets, with public search, dataset pages, and download paths for web, S3, DataLad, and the OpenNeuro CLI.