• Proceedings of the Acoustical Society of Korea Conference
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• spring
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• pp.279-282
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• 2004

국악 샘플링 신디사이저 VST 플러그인 프로그램 보호방법은 국내 최초로 한양대학교 뉴미디어 뮤직 전공에서 개발된 국악기 샘플링 신디사이저의 배포를 위하여 개발되었다. 소프트웨어가 설치된 컴퓨터의 고유인식 번호를 배포자의 서버로 전송, 암호화된 인증키를 최종 사용자에게 다시 부여하는 방식으로, 문화 컨텐츠 진흥원의 지정과제인 "국악연주 가상환경용 입체음향효과 및 국악기 음 합성기술개발"의 사업화에 큰 도움이 되기를 바란다.

• Proceedings of the Korean Society of Computer Information Conference
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• 2023.07a
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• pp.461-462
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• 2023

많은 사람이 사회적 문제로 인하여 대두되고 있는 스트레스 및 정신질환 문제를 해소하기 위하여 다양한 문화생활을 선택하고 있다. 그중 휴식을 제외하면 취미, 오락, 스포츠가 가장 큰 비중을 가지고 있다. 본 논문에서는 모션 캡처를 활용하여 움직임의 변화를 인식하고 이에 따라 신디사이저 사운드를 발생시키는 시스템을 제작하였다. 해당 시스템은 악기를 대신하여 연주와 춤이 동시에 이루어져 취미와 스포츠가 결합 된 새로운 여가 활동의 가능성을 제기하며, 공연 및 아이들의 교육적 목적으로 활용되는 등 교육적, 신체적, 심리적 건강을 위하여 활용될 수 있다.

• Journal of the Korea Institute of Information and Communication Engineering
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• v.21 no.8
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• pp.1547-1552
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• 2017

Unlike diesel locomotives, electric vehicles have various issues because they have very quiet engine sound. For example, pedestrians are exposed to the dangerous electric vehicles on the road because they can not recognize the electric vehicles' sound. Moreover, the driver is unable to recognize how fast driver's car is driving at a certain speed. To solve these problems, electric cars' sound needs to be artificially implemented and played. This paper examines the problems of the previous sampling engine sound approach. In this paper, instead of using sampling sounds, we developed a novel synthesizer algorithm via programming languages as a software. In experimental results, we demonstrated and verified our proposed synthesizer's approach is superior to the previous sampling approach. In addition, through these synthesizer's approach, we highly expect the proposed synthesizer's approach will give safety, convenience and comfort to the electric vehicles' users.

• Journal of the Korea Institute of Information and Communication Engineering
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• v.22 no.12
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• pp.1639-1644
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• 2018

Unlike internal combustion engines, electric cars have little engine sound and very quiet, causing the following problems to occur. First of all, pedestrians are a threat to safety because they can't feel the car approaching. The driver is also unable to recognize how fast his car is driving at a certain speed. To solve these problems, electric cars should be artificially created and reused. This paper examines the problems of the Sampling engine sound currently being used and uses the engine sound to produce a sound engine sound for the solution. The sampling engine sound has some limitations in making natural engine sounds. To overcome this problem, we studied two methods of using software synthesizers. They found subtractive synthsizing and wavetable synthsizing, which compared wavetabe synthsizing with actual engine, sampling and subtractive methods to find the most similar to real engine sound. We found that data usage and production cost are more advantageous than sampling method and subtractive syndication method.

• The Journal of Korean Institute of Communications and Information Sciences
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• v.34 no.8B
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• pp.786-796
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• 2009

Currently, web syndication is usually utilized in desktop environments, but not considering mobile environments. In this paper, we focus on the extension of the desktop based web syndication to the mobile internet. Simply adapting the desktop based web syndication to mobile devices can cause high wireless internet communication cost. We propose PMS(Proxy-based Mobile Syndication) model which achieves low cost mobile syndication. In the PMS model, MWProxy is defined as a proxy server between mobile devices and web sites. It can reduce the communication cost by peeking up modified items from the web sites and reducing the channel size. In this paper, we designed and implemented the PMS system in a mobile phone and evaluated the performance of the PMS system by conducting real experiments using mobile emulators.

• The Journal of the Acoustical Society of Korea
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• v.24 no.7
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• pp.365-370
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• 2005

The present study is purposed to establish a systematic theory for user-friendly approach to the creation of using a programming language using Csound. Csound is a world-wide computer music programming language and a software synthesizer specialized for prominent sound designers developed by Barry Vercoe at the Media Laboratory in M.I.T. The introduction and the main body of this paper suggested as the starting point of creating electronic music and musical sound the time of combination of music with natural sound or sound from specific media from the viewpoint of traditional Western music. and presents a systematic method composed of the principle of the operation of Csound and basic data samples.

• The Journal of the Korea institute of electronic communication sciences
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• v.9 no.10
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• pp.1181-1187
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• 2014

In this paper, we implemented polar transmitt converter based on software for next generation digital wireless communication system. The implemented converter converted from rectangular to polar by CORDIC algorithm, and be made up of sweep for DDS output frequency using software control. The implemented converter shows can frequency control up to 1.16GHz within DDS frequency control range by software control. it means that transmitter can be control of varied blocks such as gain, phase, output and etc.. The implemented converter can be applied digital wireless communication system based on SDR.

• Journal of Korea Multimedia Society
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• v.23 no.4
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• pp.615-624
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• 2020

By enabling musicians to freely control the elements involved in sound production and tone generation with a variety of timbre, synthesizers have revolutionized and permanently changed music since the 1960s. Paik-Abe Video Synthesizer, a masterpiece of video art maestro Nam June Paik, is a prominent example of re-interpretation of this new musical instrument in the realm of video and audio. This article examines Paik-Abe Video Synthesizer as an innovative instrument to play videos from the perspective of audiovisual art, and establishes its aesthetic value and significance through both artistic and technical analysis. The instrument, which embodied the concept of image sampling and real-time interactive video as an image-based multi-channel music production tool, contributed to establishing a new relationship between sound and image within the realm of audiovisual art. The fact that his video synthesizer not only adds image to sound, but also presents a complete fusion of image and sound as an image instrument with musical characteristics, becomes highly meaningful in this age of synesthesia.

• Journal of the Korean Society for Aeronautical & Space Sciences
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• v.34 no.8
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• pp.104-108
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• 2006

There are range and azimuth direction resolution of synthetic aperture radar on the aircraft or satellite. Wide bandwidth chirp pulse generation technology is prerequisite for SAR image with fine resolution. There are two kinds of digital chirp pulse generation technology as arbitrary waveform generator(AWG) and direct digital synthesizer(DDS). In this paper, we design and implement a digital chirp pulse generator to generate 300MHz wide bandwidth linear FM chirp pulse for the fine resolution image with direct digital synthesizer. Implemented chirp pulse generator can be useful for the SAR sensors to make 50cm range resolution image.

• Journal of the Korea Academia-Industrial cooperation Society
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• v.19 no.9
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• pp.420-426
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• 2018

Acoustic Quanta, which British Physicist Dennis Gabor created, is the theoretical background for granular synthesis and has influenced many computer music artists and sound designers. Acoustic Quanta is a very short sound burst, lasting only 1 to 100 ms. Granular synthesis is a sound synthesis technique which slices original sound into sound grains and re-combines them into a new acoustic event. Concept of sound grain is borrowed from the acoustic quanta. Granular Synthesis can make very unique sound, so that it can be useful in many ways, especially in sound design. This paper presents concept of acoustic quanta and granular synthesis. It then discusses making a synthesizer as an implementation of synchronous granular synthesis and its applications on sound design. As a result, the duration of acoustic quanta should range between 0.239 and 33.367 ms, in consideration of audible frequencies, which is different from the original concept of the acoustic quanta.