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  • Oracle Enterprise Manager 11g Will Arrive Tomorrow (4/22/2010)

    - by chung.wu
    Launch Checklist: . Software - checked . User Manual - checked . Release Notes - checked . Launch Venue - checked . Camera - checked . Sound System - checked . Network Connection - checked . Catering - checked . Webcast Setup - checked . Las Vegas Simulcast - checked Checked ... checked ... checked ... We are in the final hours of preparing for Oracle Enterprise Manager 11g launch. Team OEM has descended in New York City to get ready, and our team in Las Vegas is in place for the simulcast. We are going to be making some noise. In fact, we made so much noise this morning that we even woke up the stock market. :-) This is going to be an awesome launch event. Please join us either in person or over the web by registering using one of the links below. Click here to register for the live event in New York City. Click here to register for the webcast. The simulcast event at Collaborate will be held in Palm B room on Level 3 of Mandalay Bay Convention Center starting at 9:45 a.m. local time.

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  • Why are the analoge stereo input and output of my M-Audio 24/96 soundcard not available to me in Ubu

    - by user37968
    I have installed Lucid on an old Mac PowerPC G4 desktop with a M-Audio Audiophile 24/96 soundcard. The only inputs and outputs I can select in the audio preferences are digital ones for the digital input and output. "lspci -v" shows the card as so: 0001:10:13.0 Multimedia audio controller: VIA Technologies Inc. ICE1712 [Envy24] PCI Multi-Channel I/O Controller (rev 02) Subsystem: VIA Technologies Inc. Device d634 Flags: bus master, medium devsel, latency 16, IRQ 53 I/O ports at 0440 [size=32] I/O ports at 04b0 [size=16] I/O ports at 04a0 [size=16] I/O ports at 0400 [size=64] Capabilities: <access denied> Kernel driver in use: ICE1712 Kernel modules: snd-ice1712 "cat /proc/asound/cards" as so: 0 [Tumbler ]: PMac Tumbler - PowerMac Tumbler PowerMac Tumbler (Dev 21) Sub-frame 0 1 [M2496 ]: ICE1712 - M Audio Audiophile 24/96 M Audio Audiophile 24/96 at 0x440, irq 53 "aplay -L" shows these as listed: pulse Playback/recording through the PulseAudio sound server front:CARD=Tumbler,DEV=0 PowerMac Tumbler, PowerMac Tumbler Front speakers front:CARD=M2496,DEV=0 M Audio Audiophile 24/96, ICE1712 multi Front speakers surround40:CARD=M2496,DEV=0 M Audio Audiophile 24/96, ICE1712 multi 4.0 Surround output to Front and Rear speakers surround41:CARD=M2496,DEV=0 M Audio Audiophile 24/96, ICE1712 multi 4.1 Surround output to Front, Rear and Subwoofer speakers surround50:CARD=M2496,DEV=0 M Audio Audiophile 24/96, ICE1712 multi 5.0 Surround output to Front, Center and Rear speakers surround51:CARD=M2496,DEV=0 M Audio Audiophile 24/96, ICE1712 multi 5.1 Surround output to Front, Center, Rear and Subwoofer speakers iec958:CARD=M2496,DEV=0 M Audio Audiophile 24/96, ICE1712 multi IEC958 (S/PDIF) Digital Audio Output I believe it is a problem with detecting the analogue input/output. Sometimes I can get sound from the device but it is a sheet of white noise and tinkering makes it go away again I don't know if that is a separate problem or if it is linked to not being able to see the analogue input/outputs in the sound preferences. Any help would be greatly appreciated As for the white noise I have installed the Envy24 control panel and spend lots of time playing with the settings but when I can get the white noise I can never get it to an quality where I can actually hear what is being played. The internal speaker plays audio fine and plugging in a NI Audio 4DJ via usb also plays sound, although with some static but I believe that is due to an underpowered usb2 pci expansion card not being able to get enough electricity to the device. Alternatively I have seen other people with problems with this device so it may be a bug in the driver but that is another matter. I would like to get the M-Audio card working so I can begin to enjoy my music once again. As a note, I do not currently have any audio equipment capable of sending or receiving audio via the digital inputs and output so I can not check if they are working. The sound preferences show a wide range of digital in and out options with various surround sound options but no analogue ins and outs.

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  • Why are the analoge stereo input and output of my M-Audio 24/96 soundcard not available to me in Ubuntu Lucid

    - by MIDoubleKO
    I have installed Lucid on an old Mac PowerPC G4 desktop with a M-Audio Audiophile 24/96 soundcard. The only inputs and outputs I can select in the audio preferences are digital ones for the digital input and output. "lspci -v" shows the card as so: 0001:10:13.0 Multimedia audio controller: VIA Technologies Inc. ICE1712 [Envy24] PCI Multi-Channel I/O Controller (rev 02) Subsystem: VIA Technologies Inc. Device d634 Flags: bus master, medium devsel, latency 16, IRQ 53 I/O ports at 0440 [size=32] I/O ports at 04b0 [size=16] I/O ports at 04a0 [size=16] I/O ports at 0400 [size=64] Capabilities: <access denied> Kernel driver in use: ICE1712 Kernel modules: snd-ice1712 "cat /proc/asound/cards" as so: 0 [Tumbler ]: PMac Tumbler - PowerMac Tumbler PowerMac Tumbler (Dev 21) Sub-frame 0 1 [M2496 ]: ICE1712 - M Audio Audiophile 24/96 M Audio Audiophile 24/96 at 0x440, irq 53 "aplay -L" shows these as listed: pulse Playback/recording through the PulseAudio sound server front:CARD=Tumbler,DEV=0 PowerMac Tumbler, PowerMac Tumbler Front speakers front:CARD=M2496,DEV=0 M Audio Audiophile 24/96, ICE1712 multi Front speakers surround40:CARD=M2496,DEV=0 M Audio Audiophile 24/96, ICE1712 multi 4.0 Surround output to Front and Rear speakers surround41:CARD=M2496,DEV=0 M Audio Audiophile 24/96, ICE1712 multi 4.1 Surround output to Front, Rear and Subwoofer speakers surround50:CARD=M2496,DEV=0 M Audio Audiophile 24/96, ICE1712 multi 5.0 Surround output to Front, Center and Rear speakers surround51:CARD=M2496,DEV=0 M Audio Audiophile 24/96, ICE1712 multi 5.1 Surround output to Front, Center, Rear and Subwoofer speakers iec958:CARD=M2496,DEV=0 M Audio Audiophile 24/96, ICE1712 multi IEC958 (S/PDIF) Digital Audio Output I believe it is a problem with detecting the analogue input/output. Sometimes I can get sound from the device but it is a sheet of white noise and tinkering makes it go away again I don't know if that is a separate problem or if it is linked to not being able to see the analogue input/outputs in the sound preferences. Any help would be greatly appreciated As for the white noise I have installed the Envy24 control panel and spend lots of time playing with the settings but when I can get the white noise I can never get it to an quality where I can actually hear what is being played. The internal speaker plays audio fine and plugging in a NI Audio 4DJ via usb also plays sound, although with some static but I believe that is due to an underpowered usb2 pci expansion card not being able to get enough electricity to the device. Alternatively I have seen other people with problems with this device so it may be a bug in the driver but that is another matter. I would like to get the M-Audio card working so I can begin to enjoy my music once again. As a note, I do not currently have any audio equipment capable of sending or receiving audio via the digital inputs and output so I can not check if they are working. The sound preferences show a wide range of digital in and out options with various surround sound options but no analogue ins and outs.

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  • Repurpose Old Phones As Intercoms

    - by Jason Fitzpatrick
    If you’ve got some old wired telephones laying around for want of a project, this simple hack turns two wired phones into an intercom. Over at Hack A Day, Caleb Kraft shares his simple phone hack inspired by his VW bus. He writes: In case you haven’t noticed from my many comments on the subject, I drive a VW bus. It is a 1976 Westfalia camper with sage green paint and green plaid upholstery. I absolutely love it and so does the rest of my family. We go for drives in the country as well as camping regularly. We have found that the kids have a hard time communicating with us while we’re going higher speeds. These things aren’t the quietest automobiles in the world. Pushing this bread loaf shaped hunk of steel down the road with an engine that might top out at 75hp results in wind noise, engine noise, and of course, vibration. I decided to employ a really old hack to put two functional telephones in the bus so my kids can talk to my wife (or whoever the passenger is) without screaming quite so loud. This hack is extremely easy, fairly cheap, and can be done in just a few minutes. The result is a functional intercom that you could use pretty much anywhere! For more pics of his setup (and a neat video of his rather retro ride), check out the link below. Hack Your Kindle for Easy Font Customization HTG Explains: What Is RSS and How Can I Benefit From Using It? HTG Explains: Why You Only Have to Wipe a Disk Once to Erase It

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  • OpenGL CPU vs. GPU

    - by Nitrex88
    So I've always been under the impression that doing work on the GPU is always faster than on the CPU. Because of this, in OpenGL, I usually try to do intensive tasks in shaders so they get the speed boost from the GPU. However, now I'm starting to realize that some things simply work better on the CPU and actually perform worse on the GPU (particularly when a geometry shader is involved). For example, in a recent project I did involving procedurally generated terrain, I tried passing a grid of single triangles into a geometry shader, and tesselated each of these triangles into quads with 400 vertices whose height was determined by a noise function. This worked fine, and looked great, but easily maxed out the GPU with only 25 base triangles and caused a very slow framerate. I then discovered that tesselating on the CPU instead, and setting the height (using noise function) in the vertex shader was actually faster! This prompted me to question the benefits of using the GPU as much as possible... So, I was wondering if someone could describe the general pros and cons of using the GPU vs CPU for intensive graphics tasks. I know this mainly comes down to what your trying to achieve, so if necessary, use the above scenario to discuss why the "CPU + vertex shader" was actually faster than doing everything in the geometry shader on the GPU. It's possible my hardware (newest macbook pro) isn't optomized well for the geometry shader (thus causing the slow framerate). Also, I read that the vertex shader is very good with parallelism, and would love a quick explanation of how this may have played a role in speeding up my procedural terrain. Any info/advice about CPU/GPU/shaders would be awesome!

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  • OpenGL CPU vs. GPU

    - by Nitrex88
    So I've always been under the impression that doing work on the GPU is always faster than on the CPU. Because of this, in OpenGL, I usually try to do intensive tasks in shaders so they get the speed boost from the GPU. However, now I'm starting to realize that some things simply work better on the CPU and actually perform worse on the GPU (particularly when a geometry shader is involved). For example, in a recent project I did involving procedurally generated terrain, I tried passing a grid of single triangles into a geometry shader, and tesselated each of these triangles into quads with 400 vertices whose height was determined by a noise function. This worked fine, and looked great, but easily maxed out the GPU with only 25 base triangles and caused a very slow framerate. I then discovered that tesselating on the CPU instead, and setting the height (using noise function) in the vertex shader was actually faster! This prompted me to question the benefits of using the GPU as much as possible... So, I was wondering if someone could describe the general pros and cons of using the GPU vs CPU for intensive graphics tasks. I know this mainly comes down to what your trying to achieve, so if necessary, use the above scenario to discuss why the "CPU + vertex shader" was actually faster than doing everything in the geometry shader on the GPU. It's possible my hardware (newest macbook pro) isn't optomized well for the geometry shader (thus causing the slow framerate). Also, I read that the vertex shader is very good with parallelism, and would love a quick explanation of how this may have played a role in speeding up my procedural terrain. Any info/advice about CPU/GPU/shaders would be awesome!

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  • Dell xps 15z fan issue in ubuntu 12.04

    - by Paxinum
    I just updated to ubuntu 12.04 on my Dell laptop xps 15z. The trouble is that I hear a slight ticking sound every 3rd second, probably from a fan. This is a new issue in this ubuntu version. I use the recommended boot options for grub, i.e. acpi_backlight=vendor, but I do not use any acpi=off or acpi=noirq. Is there a way to fix this issue from ubuntu, by maybe controlling the fans somehow? EDIT: Notice, the sound goes away as the fan speeds up, (when doing calculations or such), so it is really a fan issue. EDIT2: I have located the issue: If I use conky 1.9, together with the command execpi for a python application, then the sound appears, and the noise syncs with the update interval for conky (NOT for the update interval for execpi!). The noise seems to be proportional to the complexity of the drawing that is needed. This is very strange, as this issue was not in the prev. version of conky I used. The solution was to increase the update interval for conky from 0.5 to 3, i.e. update every 3rd second instead of twice a second.

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  • How do you get better working conditions? [closed]

    - by 0A0D
    I work at a business who has a software side and manufacturing side. The software we write is sold as a package along with other hardware that our customers purchase. I basically work in a warehouse. There is one door that seperates the engineers from the warehouse noise. I have asked for noise cancelling walls to be put in. I have asked multiple times over 6 months to be moved up front to one of two vacant sales offices, but they seem reluctant to let an Engineer move into a sales office. In fact, sales are the only ones with windows and they get commission though they make mistakes or overpromise to the customer. So, my question is how can I get better working conditions without necessarily having to leave my current job? It is very hard to work and concentrate. UPDATE I think I can finally close this chapter in my life. I have moved on to a large corporation which follows CMMI religiously and has even started using Agile in many of its projects. Nevertheless, there is organization, respect, and genuine care for the engineers and scientists that work for them. Pierre was right - quitting was the right answer. My life does not nearly have the amount of stress it used to have because I now work for a place that is organized and knows what it wants its engineers to do along with treating them like they should be treated.

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  • Realtek "Microphone Effects" no longer working

    - by abc
    I have a mic plugged into my computer, and I was able to use the "microphone effects" tab here to enable/disable noise suppression and acoustic echo cancellation. Noise suppression off and acoustic echo cancellation on were the most recent settings I had on before the problem occurred. I disabled my mic in the windows 7 "recording devices" tab, then re-enabled it. When it came back, these options were grayed out, and remained so even after a reboot. I am not sure why this is or how to fix it, all other options are still the same (Settings are identical to when it was working). Any ideas whats wrong or how to fix it? edit: can't post image due to being new.

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  • Is there a simple way to make my laptop always turn on muted? [closed]

    - by tehp
    Possible Duplicate: How to mute the sound output on Windows Start up? I carry a laptop around. Sometimes I'll open it up in meetings or other quiet settings. The speaker is interrupted by the windows startup noise or Pandora refreshing it's page and starting to play a song or some other random computer noise. Is there a simple way to mute the sound on startup/resume/whatever? Kind of like the BIOS option to turn on or off the Num Lock.

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  • Fan is spinning too fast just in Windows - software?

    - by B. Roland
    I've recently replaced my fans (CPU, GPU, and bought a CHA fan). The GPU remained the same, but I've seen it when it was spinned 2 times faster, than it usual... but it is rarely. The problem is, that the CPU fan in Windows (especially 7) spinned too much, 'cos it keeps in under 40°C, and it is spinning with 3300-3600 RPM, which is too high I think. If I swich to Ubuntu, it keeps on ~40-45°C with with 2500-2800 RPM, which is a big difference in numbers, and in noise. I'm looking for a manual fan control solution, or just reduce the Windows' multipliers of fan speed control, somehow... I was bought the new fans because of the lower noise (and it does it, but not with 3.6k RMP). Thank you!

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  • Can I replace my notebook's fan without replacing the heat sink?

    - by kuzzooroo
    My laptop (Acer Travelmate 8204) has started making a grinding noise, which seems to be coming from the fan (not the hard drive). Some articles online mention replacing the fan, but others imply that one should replace both the fan and the heat sink. Does it make sense to replace the fan only? (addendum: does this procedure really take 3 hours for a noob, as this video implies? UPDATE: the fan certainly seems to be on the "top" layer when I open my laptop but some parts of it extend under other layers) Some additional info in response to comments: I have run MS scandisk on the hard drive a few times since the grinding started. It usually reports finding something or other but the computer's behavior doesn't change I'm pretty sure it's the fan based on where the noise is coming from. I employed the cardboard tube trick from the PC World article.

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  • Computer has power but won't boot

    - by John Isaacks
    When I power on my computer it will not boot. It will not even go into bios or anything. It is as if it is not powering on at all, however the decorative casing lights turn on and the PC is making noise (like from the fans). I am reluctant to think it is the power supply since some part are getting power. I do not know what it is though? For the couple days leading up to this, the computer would make a loud noise and the screen would stop displaying anything. I had to reboot to get it to work again. Now nothing happens when I boot, except the case lights come on and it sounds like some fans are coming on. Any ideas?

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  • Adobe Photoshop Vs Lightroom Vs Aperture

    - by Aditi
    Adobe Photoshop is the standard choice for photographers, graphic artists and Web designers. Adobe Photoshop Lightroom  & Apple’s Aperture are also in the same league but the usage is vastly different. Although Photoshop is most popular & widely used by photographers, but in many ways it’s less relevant to photographers than ever before. As Lightroom & Aperture is aimed squarely at photographers for photo-processing. With this write up we are going to help you choose what is right for you and why. Adobe Photoshop Adobe Photoshop is the most liked tool for the detailed photo editing & designing work. Photoshop provides great features for rollover and Image slicing. Adobe Photoshop includes comprehensive optimization features for producing the highest quality Web graphics with the smallest possible file sizes. You can also create startling animations with it. Designers & Editors know how important precise masking is, PhotoShop lets you do that with various detailing tools. Art history brush, contact sheets, and history palette are some of the smart features, which add to its viability. Download Whether you’re producing printed pages or moving images, you can work more efficiently and produce better results because of its smooth integration across other adobe applications. Buy supporting layer effects, it allows you to quickly add drop shadows, inner and outer glows, bevels, and embossing to layers. It also provides Seamless Web Graphics Workflow. Photoshop is hands-down the BEST for editing. Photoshop Cons: • Slower, less precise editing features in Bridge • Processing lots of images requires actions and can be slower than exporting images from Lightroom • Much slower with editing and processing a large number of images Aperture Apple Aperture is aimed at the professional photographer who shoots predominantly raw files. It helps them to manage their workflow and perform their initial Raw conversion in a better way. Aperture provides adjustment tools such as Histogram to modify color and white balance, but most of the editing of photos is left for Photoshop. It gives users the option of seeing their photographs laid out like slides or negatives on a light table. It boasts of – stars, color-coding and easy techniques for filtering and picking images. Aperture has moved forward few steps than Photoshop, but most of the editing work has been left for Photoshop as it features seamless Photoshop integration. Aperture Pros: Aperture is a step up from the iPhoto software that comes with every Mac, and fairly easy to learn. Adjustments are made in a logical order from top to bottom of the menu. You can store the images in a library or any folder you choose. Aperture also works really well with direct Canon files. It is just $79 if you buy it through Apple’s App Store Moving forward, it will run on the iPad, and possibly the iPhone – Adobe products like Lightroom and Photoshop may never offer these options It is much nicer and simpler user interface. Lightroom Lightroom does a smashing job of basic fixing and editing. It is more advanced tool for photographers. They can use it to have a startling photography effect. Light room has many advanced features, which makes it one of the best tools for photographers and far ahead of the other two. They are Nondestructive editing. Nothing is actually changed in an image until the photo is exported. Better controls over organizing your photos. Lightroom helps to gather a group of photos to use in a slideshow. Lightroom has larger Compare and Survey views of images. Quickly customizable interface. Simple keystrokes allow you to perform different All Lightroom controls are kept available in panels right next to the photos. Always-available History palette, it doesn’t go when you close lightroom. You gain more colors to work with compared to Photoshop and with more precise control. Local control, or adjusting small parts of a photo without affecting anything else, has long been an important part of photography. In Lightroom 2, you can darken, lighten, and affect color and change sharpness and other aspects of specific areas in the photo simply by brushing your cursor across the areas. Photoshop has far more power in its Cloning and Healing Brush tools than Lightroom, but Lightroom offers simple cloning and healing that’s nondestructive. Lightroom supports the RAW formats of more cameras than Aperture. Lightroom provides the option of storing images outside the application in the file system. It costs less than photoshop. Download Why PhotoShop is advanced than Lightroom? There are countless image processing plug-ins on the market for doing specialized processing in Photoshop. For example, if your image needs sophisticated noise reduction, you can use the Noiseware plug-in with Photoshop to do a much better job or noise removal than Lightroom can do. Lightroom’s advantages over Aperture 3 Will always have better integration with Photoshop. Lightroom is backed by bigger and more active user community (So abundant availability for tutorials, etc.) Better noise reduction tool. Especially for photographers the Lens-distortion correction tool  is perfect Lightroom Cons: • Have to Import images to work on them • Slows down with over 10,000 images in the catalog • For processing just one or two images this is a slower workflow Photoshop Pros: • ACR has the same RAW processing controls as Lightroom • ACR Histogram is specialized to the chosen color space (Lightroom is locked into ProPhoto RGB color space with an sRGB tone curve) • Don’t have to Import images to open in Bridge or ACR • Ability to customize processing of RAW images with Photoshop Actions Pricing and Availability Get LightRoomGet PhotoShop Latest version Of Photoshop can be purchased from Adobe store and Adobe authorized reseller and it costs US$999. Latest version of Aperture can be bought for US$199 from Apple Online store or Mac App Store. You can buy latest version of LightRoom from Adobe Store or Adobe Authorized reseller for US$299. Related posts:Adobe Photoshop CS5 vs Photoshop CS5 extended Web based Alternatives to Photoshop 10 Free Alternatives for Adobe Photoshop Software

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  • Not getting desired results with SSAO implementation

    - by user1294203
    After having implemented deferred rendering, I tried my luck with a SSAO implementation using this Tutorial. Unfortunately, I'm not getting anything that looks like SSAO, you can see my result below. You can see there is some weird pattern forming and there is no occlusion shading where there needs to be (i.e. in between the objects and on the ground). The shaders I implemented follow: #VS #version 330 core uniform mat4 invProjMatrix; layout(location = 0) in vec3 in_Position; layout(location = 2) in vec2 in_TexCoord; noperspective out vec2 pass_TexCoord; smooth out vec3 viewRay; void main(void){ pass_TexCoord = in_TexCoord; viewRay = (invProjMatrix * vec4(in_Position, 1.0)).xyz; gl_Position = vec4(in_Position, 1.0); } #FS #version 330 core uniform sampler2D DepthMap; uniform sampler2D NormalMap; uniform sampler2D noise; uniform vec2 projAB; uniform ivec3 noiseScale_kernelSize; uniform vec3 kernel[16]; uniform float RADIUS; uniform mat4 projectionMatrix; noperspective in vec2 pass_TexCoord; smooth in vec3 viewRay; layout(location = 0) out float out_AO; vec3 CalcPosition(void){ float depth = texture(DepthMap, pass_TexCoord).r; float linearDepth = projAB.y / (depth - projAB.x); vec3 ray = normalize(viewRay); ray = ray / ray.z; return linearDepth * ray; } mat3 CalcRMatrix(vec3 normal, vec2 texcoord){ ivec2 noiseScale = noiseScale_kernelSize.xy; vec3 rvec = texture(noise, texcoord * noiseScale).xyz; vec3 tangent = normalize(rvec - normal * dot(rvec, normal)); vec3 bitangent = cross(normal, tangent); return mat3(tangent, bitangent, normal); } void main(void){ vec2 TexCoord = pass_TexCoord; vec3 Position = CalcPosition(); vec3 Normal = normalize(texture(NormalMap, TexCoord).xyz); mat3 RotationMatrix = CalcRMatrix(Normal, TexCoord); int kernelSize = noiseScale_kernelSize.z; float occlusion = 0.0; for(int i = 0; i < kernelSize; i++){ // Get sample position vec3 sample = RotationMatrix * kernel[i]; sample = sample * RADIUS + Position; // Project and bias sample position to get its texture coordinates vec4 offset = projectionMatrix * vec4(sample, 1.0); offset.xy /= offset.w; offset.xy = offset.xy * 0.5 + 0.5; // Get sample depth float sample_depth = texture(DepthMap, offset.xy).r; float linearDepth = projAB.y / (sample_depth - projAB.x); if(abs(Position.z - linearDepth ) < RADIUS){ occlusion += (linearDepth <= sample.z) ? 1.0 : 0.0; } } out_AO = 1.0 - (occlusion / kernelSize); } I draw a full screen quad and pass Depth and Normal textures. Normals are in RGBA16F with the alpha channel reserved for the AO factor in the blur pass. I store depth in a non linear Depth buffer (32F) and recover the linear depth using: float linearDepth = projAB.y / (depth - projAB.x); where projAB.y is calculated as: and projAB.x as: These are derived from the glm::perspective(gluperspective) matrix. z_n and z_f are the near and far clip distance. As described in the link I posted on the top, the method creates samples in a hemisphere with higher distribution close to the center. It then uses random vectors from a texture to rotate the hemisphere randomly around the Z direction and finally orients it along the normal at the given pixel. Since the result is noisy, a blur pass follows the SSAO pass. Anyway, my position reconstruction doesn't seem to be wrong since I also tried doing the same but with the position passed from a texture instead of being reconstructed. I also tried playing with the Radius, noise texture size and number of samples and with different kinds of texture formats, with no luck. For some reason when changing the Radius, nothing changes. Does anyone have any suggestions? What could be going wrong?

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  • Mean filter in MATLAB without loops or signal processing toolbox

    - by Doresoom
    I need to implement a mean filter on a data set, but I don't have access to the signal processing toolbox. Is there a way to do this without using a for loop? Here's the code I've got working: x=0:.1:10*pi; noise=0.5*(rand(1,length(x))-0.5); y=sin(x)+noise; %generate noisy signal a=10; %specify moving window size my=zeros(1,length(y)-a); for n=a/2+1:length(y)-a/2 my(n-a/2)=mean(y(n-a/2:n+a/2)); %calculate mean for each window end mx=x(a/2+1:end-a/2); %truncate x array to match plot(x,y) hold on plot(mx,my,'r')

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  • Extrapolation using fft in octave

    - by CFP
    Using GNU octave, I'm computing a fft over a piece of signal, then eliminating some frequencies, and finally reconstructing the signal. This give me a nice approximation of the signal ; but it doesn't give me a way to extrapolate the data. Suppose basically that I have plotted three periods and a half of f: x -> sin(x) + 0.5*sin(3*x) + 1.2*sin(5*x) and then added a piece of low amplitude, zero-centered random noise. With fft/ifft, I can easily remove most of the noise ; but then how do I extrapolate 3 more periods of my signal data? (other of course that duplicating the signal). The math way is easy : you have a decomposition of your function as an infinite sum of sines/cosines, and you just need to extract a partial sum and apply it anywhere. But I don't quite get the programmatic way... Thanks!

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  • is it legal/ethical to use source code provided in academic papers, or talks given at trade events l

    - by lucid
    so, is it legal to use source code from papers and such: like this paper on perlin noise: [url]http://mrl.nyu.edu/~perlin/paper445.pdf[/url] links to this source code: [url]http://mrl.nyu.edu/~perlin/noise/[/url] and stam's famous talk on fluid dynamics, includes source code throughout, annotated with instructions like "add these macros to the beginning of your code" [url]http://www.dgp.toronto.edu/people/stam/reality/Research/pdf/GDC03.pdf[/url] I'm just not sure if it's legal to copy and paste this to use in your own commercial code. if I were to make my own implementation, it would end up being close to identical, since I'd probably use the source code as a reference. I know very little about copyright law, including how it applies in these situations, and I can never find usage and licensing terms for these. Nor did googling any terms I could think of provide me the specific answer I need. does anyone know for sure what the rules/laws are here, or where I can find the answer?

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  • HMM for perspective estimation in document image, can't understand the algorithm

    - by maximus
    Hello! Here is a paper, it is about estimating the perspective of binary image containing text and some noise or non text objects. PDF document The algorithm uses the Hidden Markov Model: actually two conditions T - text B - backgrouond (i.e. noise) It is hard to understand the algorithm itself. The question is that I've read about Hidden Markov Models and I know that it uses probabilities that must be known. But in this algorithm I can't understand, if they use HMM, how do they get those probabilities (probability of changing the state from S1 to another state for example S2)? I didn't find anything about training there also in that paper. So, if somebody understands it, please tell me. Also is it possible to use HMM without knowing the state change probabilities?

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  • problems in trying ieee 802.15.4 working from msk

    - by asel
    Hi, i took a msk code from dsplog.com and tried to modify it to test the ieee 802.15.4. There are several links on that site for ieee 802.15.4. Currently I am getting simulated ber results all approximately same for all the cases of Eb_No values. Can you help me to find why? thanks in advance! clear PN = [ 1 1 0 1 1 0 0 1 1 1 0 0 0 0 1 1 0 1 0 1 0 0 1 0 0 0 1 0 1 1 1 0; 1 1 1 0 1 1 0 1 1 0 0 1 1 1 0 0 0 0 1 1 0 1 0 1 0 0 1 0 0 0 1 0; 0 0 1 0 1 1 1 0 1 1 0 1 1 0 0 1 1 1 0 0 0 0 1 1 0 1 0 1 0 0 1 0; 0 0 1 0 0 0 1 0 1 1 1 0 1 1 0 1 1 0 0 1 1 1 0 0 0 0 1 1 0 1 0 1; 0 1 0 1 0 0 1 0 0 0 1 0 1 1 1 0 1 1 0 1 1 0 0 1 1 1 0 0 0 0 1 1; 0 0 1 1 0 1 0 1 0 0 1 0 0 0 1 0 1 1 1 0 1 1 0 1 1 0 0 1 1 1 0 0; 1 1 0 0 0 0 1 1 0 1 0 1 0 0 1 0 0 0 1 0 1 1 1 0 1 1 0 1 1 0 0 1; 1 0 0 1 1 1 0 0 0 0 1 1 0 1 0 1 0 0 1 0 0 0 1 0 1 1 1 0 1 1 0 1; 1 0 0 0 1 1 0 0 1 0 0 1 0 1 1 0 0 0 0 0 0 1 1 1 0 1 1 1 1 0 1 1; 1 0 1 1 1 0 0 0 1 1 0 0 1 0 0 1 0 1 1 0 0 0 0 0 0 1 1 1 0 1 1 1; 0 1 1 1 1 0 1 1 1 0 0 0 1 1 0 0 1 0 0 1 0 1 1 0 0 0 0 0 0 1 1 1; 0 1 1 1 0 1 1 1 1 0 1 1 1 0 0 0 1 1 0 0 1 0 0 1 0 1 1 0 0 0 0 0; 0 0 0 0 0 1 1 1 0 1 1 1 1 0 1 1 1 0 0 0 1 1 0 0 1 0 0 1 0 1 1 0; 0 1 1 0 0 0 0 0 0 1 1 1 0 1 1 1 1 0 1 1 1 0 0 0 1 1 0 0 1 0 0 1; 1 0 0 1 0 1 1 0 0 0 0 0 0 1 1 1 0 1 1 1 1 0 1 1 1 0 0 0 1 1 0 0; 1 1 0 0 1 0 0 1 0 1 1 0 0 0 0 0 0 1 1 1 0 1 1 1 1 0 1 1 1 0 0 0; ]; N = 5*10^5; % number of bits or symbols fsHz = 1; % sampling period T = 4; % symbol duration Eb_N0_dB = [0:10]; % multiple Eb/N0 values ct = cos(pi*[-T:N*T-1]/(2*T)); st = sin(pi*[-T:N*T-1]/(2*T)); for ii = 1:length(Eb_N0_dB) tx = []; % MSK Transmitter ipBit = round(rand(1,N/32)*15); for k=1:length(ipBit) sym = ipBit(k); tx = [tx PN((sym+1),1:end)]; end ipMod = 2*tx - 1; % BPSK modulation 0 -> -1, 1 -> 1 ai = kron(ipMod(1:2:end),ones(1,2*T)); % even bits aq = kron(ipMod(2:2:end),ones(1,2*T)); % odd bits ai = [ai zeros(1,T) ]; % padding with zero to make the matrix dimension match aq = [zeros(1,T) aq ]; % adding delay of T for Q-arm % MSK transmit waveform xt = 1/sqrt(T)*[ai.*ct + j*aq.*st]; % Additive White Gaussian Noise nt = 1/sqrt(2)*[randn(1,N*T+T) + j*randn(1,N*T+T)]; % white gaussian noise, 0dB variance % Noise addition yt = xt + 10^(-Eb_N0_dB(ii)/20)*nt; % additive white gaussian noise % MSK receiver % multiplying with cosine and sine waveforms xE = conv(real(yt).*ct,ones(1,2*T)); xO = conv(imag(yt).*st,ones(1,2*T)); bHat = zeros(1,N); bHat(1:2:end) = xE(2*T+1:2*T:end-2*T); % even bits bHat(2:2:end) = xO(3*T+1:2*T:end-T); % odd bits result=zeros(16,1); chiplen=32; seqstart=1; recovered = []; while(seqstart<length(bHat)) A = bHat(seqstart:seqstart+(chiplen-1)); for j=1:16 B = PN(j,1:end); result(j)=sum(A.*B); end [value,index] = max(result); recovered = [recovered (index-1)]; seqstart = seqstart+chiplen; end; %# create binary string - the 4 forces at least 4 bits bstr1 = dec2bin(ipBit,4); bstr2 = dec2bin(recovered,4); %# convert back to numbers (reshape so that zeros are preserved) out1 = str2num(reshape(bstr1',[],1))'; out2 = str2num(reshape(bstr2',[],1))'; % counting the errors nErr(ii) = size(find([out1 - out2]),2); end nErr/(length(ipBit)*4) % simulated ber theoryBer = 0.5*erfc(sqrt(10.^(Eb_N0_dB/10))) % theoretical ber

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  • Voice Communication over TCP/IP

    - by Micha
    Hello, I'm currently developing application using DirectSound for communication on an intranet. I've had working solution using UDP but then my boss told me he wants to use TCP/IP for some reason. I've tried to implement it in pretty much the same way as UDP, but with very little success. What I get is basically just noise. 20% of it is the recorded sound and the rest is just weird noise. My guess for the reason is that TCP needs to read all the accepted data several times until it gets the final sound I can play. Now two questions: Am I on the right tracks? Is it even good idea to use TCP/IP for this kind of application (voice conferencing of sorts)? I'm doing it in C# but I don't think this is language specific.

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  • So - vuvuzelas. any programming equivalents ?? [closed]

    - by jim
    Hi All, I'm sure we've all been exposed over the past few days to the delights of the vuvuzela (see http://news.bbc.co.uk/1/hi/magazine/8738604.stm). In an attempt to mask the waspish 'parp' from our living rooms, tv sound engineers are devising all sorts of filters to try and 'calm' the abhoration :). some tho say that it simply 'adds to the ambience' and that masking it out would be a denial of its 'additive' character. Now, on a programming related front, have you had to mask any extraneous 'noise' in a piece of work that you've picked up from someone else (or perhaps even your own!!)?? If so how 'inspired' was your remedy and how did you creatively 'reverse' it out once the noise had subsided and/or the pitch changed. :) tongue firmly in cheek... jim

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