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6 results for “sound design”
PIE LTER zooplankton surveys using plankton tows along transects in the Plum Island Sound estuary, Massachusetts (Reformatted to the ecocomDP Design Pattern)
This data package is formatted as an ecocomDP (Ecological Community Data Pattern). For more information on ecocomDP see https://github.com/EDIorg/ecocomDP. This Level 1 data package was derived from the Level 0 data package found here: https://pasta.lternet.edu/package/metadata/eml/knb-lter-pie/405/2. The abstract below was extracted from the Level 0 data package and is included for context: Zooplankton were collected in spring and late summer/fall at four stations representing the salinity gradient in the Parker River-Plum Island Sound estuary. Two size classes, greater than 335 micron and greater than 150 micron, were collected by net tows. Conductivity or salinty and temperature were recorded for each sample. Samples were concentrated to less than 250 mls and preserved in 70 percent EtOH. For taxonomy, sample splits were taken such that a minimum of 250 individuals were present, and counted under a dissecting microscope. Individuals were identified to the lowest taxonomic level possible, generally to species. Adult copepods were additionally characterized by sex. The Plum Island Ecosystems (PIE) LTER has, since its inception in 1998, been working towards a predictive understanding of the long-term response of coupled land-estuary-ocean ecosystems to changes in three drivers: climate, sea level, and human activities. The Plum Island Estuary-LTER includes the coupled Parker, Rowley, and Ipswich River watersheds, estuarine areas including a shallow open sound, and extensive tidal marshes. PIE is connected to the Gulf of Maine in the Acadian biogeographic province, which is a cold water, macrotidal environment that is geographically and biologically distinct from coastal ecosystems to the south of Cape Cod, Massachusetts. Over the next four years the LTER will build upon the progress they have made in understanding the importance of spatial patterns and connections across the land-margin ecosystem. The overarching goal is to understand how external drivers, ecosystem
Plum Island LTER phytoplankton identification using HPLC and Chem Taxonomy along transects in the Plum Island Sound estuary, Massachusetts. (Reformatted to the ecocomDP Design Pattern)
This data package is formatted as an ecocomDP (Ecological Community Data Pattern). For more information on ecocomDP see https://github.com/EDIorg/ecocomDP. This Level 1 data package was derived from the Level 0 data package found here: https://pasta.lternet.edu/package/metadata/eml/knb-lter-pie/404/4. The abstract below was extracted from the Level 0 data package and is included for context: Water column samples are collected along an estuarine salinity gradient as part of our monitoring surveys of the Parker River estuary each spring and late summer (typically high vs low freshwater input). Samples are filtered, and stored frozen for later pigment analyses by HPLC. Pigment data are then analyzed by CHEMTAX, calibrated to a matrix of pigment ratios based on taxonomy and enumeration of selected subsamples by microspcopy. Data are presented in terms of chlorophyll a concentrations partitionaed among the major phytoplankton groups as determined by CHEMTAX. For 2003-2006, sampling stations along the Plum Island Sound-Parker River were at fixed geographic locations at specific "Bends" in the river. In 2008, we began sampling the water column in salinity space rather than at specific geographic locations along the river. This sampling approach was adopted in order to follow particular water masses in this macrotidal estuary. In practical terms, it means that sampling locations, or stations, are not static. Therefore, we have mapped the 11 sampling locations (latitude and longitude are logged at each station) from each transect along the mainstem of the estuary, so each station may be placed along the river (to the nearest 0.5km) as well as in salinity space. We have also used the km marker to assign the sampling locations from each survey to one of four bounding boxes : the Sound (Plum Island Sound; EST-PR-SoundBND) which encompasses approximatly the first 9.5 km or the transect, with Okm at the mouth of the sound; the Lower Parker River (EST-PR-LowerParkerBND) , ~9.5 - 1
"I'm something of an untrained, unofficial cultural anthropologist myself. Ihave a business interviewing people to capture their personal histories. I'm always interested how people fit into their world and how they affect their world. I'm a graphic designer who works in the same building as the printing presses that I recorded. Iwalk past the presses every day on my way to talk to the folks in the prepress department. I'm on friendly but not drinking terms with the pressmen. I'm a friend with the prepress manager. Three Heidelberg presses are installed side by side in an open warehouse-like room. The presses are about twenty feet long and about five feet high. With their series of four humps or mounds where each printing cylinder is located, the presses remind one of giant, gray, mechanical caterpillars. Each press has a cyan cylinder, a magenta cylinder, a yellow cylinder and a black cylinder – so the humps are brightly colored. The presses are well lit by banks of fluorescent lights hanging from the ceiling over each press. When you walk into the press room you hear the sound of rock music blaring from a boom box radio mixed with the general din of the presses. It is only when you walk up to a press like Idid for the recordings that you really start to hear the individual strains of clicking, clacking and mechanical, syncopated chattering. When I made my recordings I was intrigued by the subtle variations in the sounds produced by these machines that aren't apparent when you first walk through the door. The pressmen were kind enough to allow me to walk right up to the presses and poke my microphone quite close to the rotating press cylinders. Iuse a Danish Pro Audio microphone about the size of a pencil eraser. An extremely sensitive mic with the capacity for capturing loud sounds such as the presses up close. Rotating the mic to one side or the other focused on the unique sounds coming from one cylinder or the other." [Kevin/KMerrell]18 in Collecting Sounds. Online Sharing of Field Recordings as Cultural Practice
"I'm something of an untrained, unofficial cultural anthropologist myself. Ihave a business interviewing people to capture their personal histories. I'm always interested how people fit into their world and how they affect their world. I'm a graphic designer who works in the same building as the printing presses that I recorded. Iwalk past the presses every day on my way to talk to the folks in the prepress department. I'm on friendly but not drinking terms with the pressmen. I'm a friend with the prepress manager. Three Heidelberg presses are installed side by side in an open warehouse-like room. The presses are about twenty feet long and about five feet high. With their series of four humps or mounds where each printing cylinder is located, the presses remind one of giant, gray, mechanical caterpillars. Each press has a cyan cylinder, a magenta cylinder, a yellow cylinder and a black cylinder – so the humps are brightly colored. The presses are well lit by banks of fluorescent lights hanging from the ceiling over each press. When you walk into the press room you hear the sound of rock music blaring from a boom box radio mixed with the general din of the presses. It is only when you walk up to a press like Idid for the recordings that you really start to hear the individual strains of clicking, clacking and mechanical, syncopated chattering. When I made my recordings I was intrigued by the subtle variations in the sounds produced by these machines that aren't apparent when you first walk through the door. The pressmen were kind enough to allow me to walk right up to the presses and poke my microphone quite close to the rotating press cylinders. Iuse a Danish Pro Audio microphone about the size of a pencil eraser. An extremely sensitive mic with the capacity for capturing loud sounds such as the presses up close. Rotating the mic to one side or the other focused on the unique sounds coming from one cylinder or the other." [Kevin/KMerrell]18
Parrot sound tool design: drum tool data
<p>The rarity of tool manufacture in wild parrots is surprising because they share key life history traits with advanced tool-using species including large brains, complex sociality, and prolonged parental care. When it does occur, tool manufacture in parrots tends to be innovative, spontaneous and individually variable but most cases have been in captivity. In the wild, only palm cockatoos (<em>Probosciger</em> <em>aterrimus</em>) have been observed using tools regularly. However, they are unusual because they use tools to enhance their displays rather than for foraging or self-maintenance. Males in northern Australia <span>make two types of tool from sticks and seed pods, which they tap rhythmically against a tree during display. </span>We analysed 256 sound tools retrieved from 70 display trees. Drum sticks (89% of tools) were used more often than seed pod tools; most males manufactured only drumsticks, but some made both types. Individual males differed significantly in the design of their drumsticks including the length, width and mass, but we found no evidence that neighbours copied each other. We discuss the highly individualised preferences for sound tool design in context of the behavioural predispositions behind the rarity of tool manufacture in wild parrots.</p>
Parrot sound tool design: drum tool data
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A Free Verbalization Method of Evaluating Sound Design: The Effectiveness of Artificially Intelligent Natural Language Processing Methods and Tools
<p>"Robot" voice sound files. Seventeen sound files were recorded in four formats; raw human voiceover (VO), and three types of robot voice: vocoded voice 1 (“robo”), vocoded voice 2 with music (“kbd”), and a “beep” voice. Each was recorded as 44.1kHz, 24-bit wav files in a professional recording studio. VO was recorded by professional voice actor DB Cooper, who has been the robot voice for several video games, as well as the voice of the DEE BMW internal car AI voice system. Cooper recorded three versions of the emotes on a Sennheiser MKH-416. Professional sound designer pdx Drescher, an expert in robot<br> and interface sound design, created three sets of robot voices from<br> the original voice files. With guidance from one of the authors,<br> pdx was tasked with trying different approaches to turning the VO<br> samples into three different types of robot voice while attempting<br> to maintain the meaning of the original sounds as described in the<br> list above through preserving the prosody/melodic contour of the<br> original. The first set, robo, used some clips from one of pdx’s prior<br> robot voice projects and integrated them to approximate the emo-<br> tional intention of the VO. Clips were re-pitched, manipulated, and<br> modulated using ProTools plugins. For the kbd takes, VO sounds<br> were played into a Shure SM58 microphone. Vocoder patches mod-<br> ified the signal by voice formants, and the pitch was determined<br> by MIDI notes and pitch-bend controllers. Output of the synthe-<br> sizer was then edited with additional synth patches and effects (EQ,<br> modulation, etc.). We made particular use of a plugin called Envy<br> by Cargo Cult, which takes the volume, pitch, and EQ envelopes of<br> one sound (the original VO) and apply them to another sound. This<br> helped make the synth resemble the prosody of the original sound<br> to some degree. The beep sounds underwent a similar development<br> process as the robo takes, but with interface “bleeps and bloops”<br> derived from various sound effects libraries, including the Star Trek<br> LCARS soundset.</p> <p>The following sounds were recorded: 1. Warning calm (“Uh-oh”) 2. Warning alarm (“ah!”) 3. Wrong/<br> error (“rrrrr”) 4. Correct/good (“yay”) 5. Surprise (neutral) (“Oh!”) 6.<br> Surprise (good) (“Oh!”) 7. Surprise (bad) “(ohhh”) 8. Love/adoration<br> (“awww”) 9. Disgust (“ew”) 10. Contempt (“ech”) 11. Guilt (“hmmm”)<br> 12. Confused (“huh?”) 13. Laugh (“ha ha”) 14. Calculating (“hmmm”)<br> 15. Sigh 16. Giggle 17. Pain (“ow ")</p>
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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)
ABODe is a University of Edinburgh DataShare dataset for behavior classification in group-housed mice using home-cage video, identities, bounding boxes, ground-plate positions, and annotator labels.
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.