School of Engineering and Information Technology

ASSESSMENT COVER SHEET

Student Name

NIKUNJKUMAR DINESHBHAI PATEL

Student ID

S271457

Assessment Title

LAB EXERCISE-3 REPORT

Unit Number and Title

ENG421 DIGITAL SIGNAL PROCESSING

Lecturer/Tutor

FRISO DE BOER

Date Submitted

27/03/15

Date Received
Office use only
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School of Engineering and Information Technology

Faculty of Engineering, Health, Science and Environment

Higher Education

LAB EXERCISE - 3 REPORT

Introduction:

We already know about the properties of sinusoidal waveforms of the form:

x(t) = A cos(
)
According to the sampling theorem, we can easily construct input signal of the
form x(t) from the output signal y(t) if and only if sampling rate is double the
highest frequency at the input.
f(sampling)>2f(max)

This lab report includes synthesis of music using sinusoids and creates a link
between different musical note and their frequencies. We will be generating music
by programming in mat lab. We will assign specific frequencies to every note. By
converting digital signals to analog electrical waveforms, we can hear them
through speakers.
This lab report focuses on the piano notes and piano notes need a particular
frequency. If we know the frequency of one key, we can calculate another new
frequency by:
f(new) = f(old)*2^((change in keyno.)/12)

Part 2.2:
a) The output result is one musical note of piano instrument.
fs=8000;
t=[0:1/fs:2];
xo=2*pi*1100;
yo=0;
A=100;
x1=A*cos(xo*t+yo);
sound(x1,fs)
b) We also know that the higher frequency results into higher pitch sound. Let us put
both signals together in a new vector such that:
xx = [x1 zeros(1,2000) x2];
When we heard the resultant sound xx, there is a gap between the first and
second signal. This space in time is related to the sampling frequency.
A=100;
fs=8000;
t=[0:1/fs:2];
yo=0;
xo=2*pi*1100;
x1=A*cos(xo*t+yo);
%sound(x1,fs)
w1=2*pi*1650;
phi1=pi/3;

x2=A*cos(w1*t+phi1);
%sound(x2,fs)
xx=[x1 zeros(1,2000) x2];
sound(xx,fs)
c) When we double the sampling rate up to (i.e. 16000 samples/seconds), the pitch
as well as the duration of the signal is changed suddenly. Thus, from the result,
doubling the sampling rate decreses the time duration of the signal and increased
its pitch.
A=100;
fs=8000;
t=[0:1/fs:2];
yo=0;
xo=2*pi*1100;
x1=A*cos(xo*t+yo);
%sound(x1, fs)
w1=2*pi*1650;
phi1=pi/3;
x2=A*cos(w1*t+phi1);
%sound(x2, fs)
xx=[x1 zeros(1,2000) x2];
sound(xx,16000)
Part 2.3:
a) fs=8000;
keynum = 56;
t=[0:1/fs:2];
f=440*2^((keynum-49)/12);
w0=2*pi*f;
phi=0;
x=cos(w0*t+phi);
sound(x,8000)
b) function tone = note(keynum,dur)
%
%
%
%
%
%
%
%

NOTE Produce a sinusoidal waveform corresponding to a

given piano key number
usage: tone = note (keynum, dur)
tone = the output sinusoidal waveform
keynum = the piano keyboard number of the desired note
dur = the duration (in seconds) of the output note

fs = 11025; %-- use 11025 Hz on PC/Mac, 8000 on UNIX

t = 0:(1/fs):dur;
freq =440*2.^((keynum-49)/12);
tone =cos(freq*t*2*pi);

% for output type a = note(52,4) and sound (a, 11025)

c) %play_scale.m
keys = [ 40 42 44 45 47 49 51 52 ];
%--- NOTES: C D E F G A B C
% key #40 is middle-C
%
dur = 0.25 * ones(1,length(keys));
fs = 11025; %-- use 11025 Hz on PC/Mac, 8000 on UNIX
xx = zeros(1,sum(dur)*fs+1);
n1 = 1;
for kk = 1:length(keys)
keynum = keys(kk);
tone = note(keynum,dur); %<=== FILL IN THIS LINE
n2 = n1 + length(tone) - 1;
xx(n1:n2) = xx(n1:n2) + tone;
n1 = n2;
end
sound(xx,fs)
Part 3: Synthesis of Musical Notes
Fur Elise treble only:
% fur Elise treble
t=[56 55 56 55 56 51 54 52 49 0 40 44 49
56 55 56 51 54 52 49 0 40 44 49 51 0 44
54 45 56 54 52 44 54 52 51 0 44 56 0 0
56 55 56 51 54 52 49 0 40 44 49 51 0 44
...
49 0 40 44 49 51 0 44 52 51 49];

51 0 44 48 51 52 0 44 56 55 ...
52 51 49 0 51 52 54 56 47 57 56 ...
56 68 0 0 55 56 0 0 55 56 55 ...
48 51 52 0 44 56 55 56 55 56 51 54 52

tdur = [.5 .5 .5 .5 .5 .5 .5 .5 1 .5 .5 .5 .5 1 .5 .5 .5 .5 1 .5 .5 .5 .5 ...

.5 .5 .5 .5 .5 .5 1 .5 .5 .5 .5 1 .5 .5 .5 .5 1 .5 .5 .5 .5 1.5 .5 .5 .5 ...
1.5 .5 .5 .5 1.5 .5 .5 .5 1 .5 .5 .5 .5 .5 .5 .5 .5 .5 .5 .5 .5 .5 .5 .5 .5 ...
.5 .5 .5 .5 .5 .5 1 .5 .5 .5 .5 1 .5 .5 .5 .5 1 .5 .5 .5 .5 .5 .5 .5 .5 .5 .5 ...
1 .5 .5 .5 .5 1 .5 .5 .5 .5 2];
fs = 11025; %-- use 11025 Hz on PC/Mac, 8000 on UNIX
xx = zeros(1,sum(tdur)*fs+1);
n1 = 1;
for kk = 1:length(t)
keynum = t(kk);
tone = note(keynum,tdur(kk)); %<=== FILL IN THIS LINE
n2 = n1 + length(tone) - 1;
xx(n1:n2) = xx(n1:n2) + tone;
n1 = n2;
end
sound(xx,fs)

Fur Elise bass only:

% fur Elise-bass only
3

b=[0 0 25 32 37 0 0 20 32 36 0 0 25 32 39 0 0 ...
0 25 32 37 0 0 20 32 36 0 0 25 32 37 0 28 35 40 0 0 ...
23 35 39 0 0 25 32 37 0 0 20 32 44 0 44 56 0 0 55 56 0 0 55 56 0 0 ...
0 25 32 37 0 0 20 32 36 0 0 25 32 37 0 0 0 ...
25 32 37 0 0 20 32 36 0 0 25 32 37 0];
bdur=[1 3 .5 .5 .5 .5 1 .5 .5 .5 .5 1 .5 .5 .5 .5 1 ...
3 .5 .5 .5 .5 1 .5 .5 .5 .5 1 .5 .5 .5 1.5 .5 .5 .5 .5 1 ...
.5 .5 .5 .5 1 .5 .5 .5 .5 1 .5 .5 .5 1 .5 .5 .5 .5 .5 .5 .5 .5 .5 .5 .5 1 ...
3 .5 .5 .5 .5 1 .5 .5 .5 .5 1 .5 .5 .5 .5 1 3 ...
.5 .5 .5 .5 1 .5 .5 .5 .5 1 .5 .5 .5 .5];
fs = 11025;
yy = zeros(1,sum(bdur)*fs+1);
n1 = 1;
for kk= 1:length(b)
keynum = b(kk);
tone = note (keynum,bdur(kk));
n2 = n1+length(tone)-1;
yy(n1:n2) = yy(n1:n2) + tone;
n1 = n2;
end
sound(yy,fs)

Fur Elise treble plus bass:

% synthesis of musical notes
%question 3
t=[56 55 56 55 56 51 54 52 49 0 40 44 49 51 0 44 48 51 52 0 44 56 55 ...
56 55 56 51 54 52 49 0 40 44 49 51 0 44 52 51 49 0 51 52 54 56 47 57 56 ...
54 45 56 54 52 44 54 52 51 0 44 56 0 0 56 68 0 0 55 56 0 0 55 56 55 ...
56 55 56 51 54 52 49 0 40 44 49 51 0 44 48 51 52 0 44 56 55 56 55 56 51 54 52
...
49 0 40 44 49 51 0 44 52 51 49];
tdur = [.5 .5 .5 .5 .5 .5 .5 .5 1 .5 .5 .5 .5 1 .5 .5 .5 .5 1 .5 .5 .5 .5 ...
.5 .5 .5 .5 .5 .5 1 .5 .5 .5 .5 1 .5 .5 .5 .5 1 .5 .5 .5 .5 1.5 .5 .5 .5 ...
1.5 .5 .5 .5 1.5 .5 .5 .5 1 .5 .5 .5 .5 .5 .5 .5 .5 .5 .5 .5 .5 .5 .5 .5 .5 ...
.5 .5 .5 .5 .5 .5 1 .5 .5 .5 .5 1 .5 .5 .5 .5 1 .5 .5 .5 .5 .5 .5 .5 .5 .5 .5 ...
1 .5 .5 .5 .5 1 .5 .5 .5 .5 2];
b=[0 0 25 32 37 0 0 20 32 36 0 0 25 32 39 0 0 ...
0 25 32 37 0 0 20 32 36 0 0 25 32 37 0 28 35 40 0 0 ...
23 35 39 0 0 25 32 37 0 0 20 32 44 0 44 56 0 0 55 56 0 0 55 56 0 0 ...
0 25 32 37 0 0 20 32 36 0 0 25 32 37 0 0 0 ...
25 32 37 0 0 20 32 36 0 0 25 32 37 0];
bdur=[1 3 .5 .5 .5 .5 1 .5 .5 .5 .5 1 .5 .5 .5 .5 1 ...
3 .5 .5 .5 .5 1 .5 .5 .5 .5 1 .5 .5 .5 1.5 .5 .5 .5 .5 1 ...
.5 .5 .5 .5 1 .5 .5 .5 .5 1 .5 .5 .5 1 .5 .5 .5 .5 .5 .5 .5 .5 .5 .5 .5 1 ...
3 .5 .5 .5 .5 1 .5 .5 .5 .5 1 .5 .5 .5 .5 1 3 ...
.5 .5 .5 .5 1 .5 .5 .5 .5 1 .5 .5 .5 .5];

tdur = tdur*0.5;
bdur = bdur*0.5;
%keys = [40 42 44 45 47 49 51 52];
%
C D E F G A B C
% key #40 is middle-c
%dur = 0.25 * ones(1,length(keys));
fs = 11025; %-- use 11025 Hz on PC/Mac, 8000 on UNIX
xx = zeros(1,sum(tdur)*fs+1);
n1 = 1;
for kk = 1:length(t)
keynum = t(kk);
tone = note(keynum,tdur(kk)); %<=== FILL IN THIS LINE
n2 = n1 + length(tone) - 1;
xx(n1:n2) = xx(n1:n2) + tone;
n1 = n2;
end
%sound(xx,fs)
yy = xx;
fs = 11025;
xx = zeros(1,sum(tdur)*fs+1);
n1 = 1;
for kk= 1:length(b)
keynum = b(kk);
tone = note (keynum,bdur(kk));
n2 = n1+length(tone)-1;
xx(n1:n2) = xx(n1:n2) + tone;
n1 = n2;
end
xx =xx+yy;
sound(xx,fs);

Conclusion:

From the above observation, it can be concluded that it is quite easy to synthesis
music using matlab. Synthesising music using sinusoids will generate music of
better quality.