planet.linuxaudio.org

December 08, 2016

OSM podcast

December 07, 2016

open-source – CDM Create Digital Music

PushPull is a crazy futuristic squeezebox instrument you can make

PushPull will blow apart your idea of what a typical controller – or an accordion – might be. It’s a bit like a squeezebox that fell from outer space, coupling bellows with colored lights, sensors, mics, and extra controls. And you can now make one yourself, thanks to copious documentation.

You may have seen the instrument in action in the last couple of years ago – gasping in the dark.

PushPull Balgerei 2014 from 3DMIN on Vimeo.

But with more complete documentation, you get greater insight into how the thing was made – and you could even follow the instructions to make your own.

Things you expect to see: a bellow, valves, keys.

Thing you might not expect: RGB LEDs lighting up the instrument, six capacitive touch sensors, six-direction inertial sensing (for motion), microphones, rotary encoders.

And many of the parts are fabricated via 3D printing. That combines with some more traditional techniques – yes, including cutting, folding, and gluing. It’s all under a permissive Creative Commons attribution license. (That’s a bit scant for open source hardware, actually, in that they might consider some other license, too. But it gets the job done.)

20150607-img_4633

pushpull_20160531-img_8894

20160531-img_8891-till-bovermann

It’s eminently hackable, too, with X-OSC messages sent wirelessly from its sensors, loads of moddable electronics, and recently even integration with Bela, the lovely low-latency embedded platform.

The project is the work of Amelie Hinrichsen, Till Bovermann, and Dominik Hildebrand Marques Lopes, who combine overlapping skills in art, product design, soundmaking, music, industrial engineering, and hardware and software engineering. PushPull itself is part of the innovative 3DMIN instrument design project in Berlin, a multi-organization project.

Check out the instructions for more:

http://3dmin.github.io/

The post PushPull is a crazy futuristic squeezebox instrument you can make appeared first on CDM Create Digital Music.

by Peter Kirn at December 07, 2016 04:22 PM

MOD Devices Blog

MOD Duo 1.2 update now available

Hello again, music lovers! We’ve been having a great time recently at MOD. We hosted our first MODx meetup in Berlin (image above), gathering existing members of the MOD Duo user community as well as the attendees of a Musik Hackspace workshop on the creative application of effects for music production & performance. It was great to see MOD Duos in the hands of so many talented & creative people, who utilised them when testing out the different uses of effects that were discussed during the workshop. We also ended up enjoying some amazing impromptu jams which combined music that spanned many different genres - it was a real treat! We’ll be hosting another MODx meetup in Berlin very soon, so if you want to be notified of future events please join our mailing list at moddevices.com or the MOD Duo User Group on Facebook

We’re also very pleased to announce the release of software update 1.2 for your Duo. Check out some of the amazing new features we’ve added:

  • Favorites
    There are now so many pedals & plugins available for the Duo that it was starting to take some time to find those favorite ones which you re-use in lots of your amazing pedalboard creations. Not any more! You can now mark any plugin as a favorite and have all of those appear in a single category. Mein Lieblings!

  • Tap Tempo
    You can now assign a control to tap tempo! There are now a bunch of pedals in the Delay, Modulator, Spatial & Generator categories which support the new tap tempo feature, and I’m sure more & more will start to integrate this great feature. Auf Tempo!

  • Zeroconf support
    Zeroconf support (also known as “Bonjour”) means you can now connect to your MOD using http://modduo.local instead of using the IP address. Null-Konfiguration!

  • Custom ranges for MIDI CCs
    Have you ever found that you wanted finer control over a smaller range of one of your pedal parameters when using a MIDI controller? Well, worry no longer! You can now set custom ranges when using the MIDI learn function. Benutzerdefinierte!

  • Several minor web interface changes
    You’ll also notice a few changes to the Duo’s web interface. Glänzend und neu!

For the changelog and discussion about the update as well as more detailed information on the features mentioned above, please see this post on the MOD Forum The next time you open the MOD web interface you’ll receive an update notification, and the update process is simple to initiate.

As always, please get in touch if you have any issues, and in the meantime keep making music, keep loving life & keep enjoying your MOD Duo!

“Alles ist SUPER” - Adam @ MOD HQ

December 07, 2016 05:20 AM

December 06, 2016

Pid Eins

Avoiding CVE-2016-8655 with systemd

Avoiding CVE-2016-8655 with systemd

Just a quick note: on recent versions of systemd it is relatively easy to block the vulnerability described in CVE-2016-8655 for individual services.

Since systemd release v211 there's an option RestrictAddressFamilies= for service unit files which takes away the right to create sockets of specific address families for processes of the service. In your unit file, add RestrictAddressFamilies=~AF_PACKET to the [Service] section to make AF_PACKET unavailable to it (i.e. a blacklist), which is sufficient to close the attack path. Safer of course is a whitelist of address families whch you can define by dropping the ~ character from the assignment. Here's a trivial example:

…
[Service]
ExecStart=/usr/bin/mydaemon
RestrictAddressFamilies=AF_INET AF_INET6 AF_UNIX
…

This restricts access to socket families, so that the service may access only AF_INET, AF_INET6 or AF_UNIX sockets, which is usually the right, minimal set for most system daemons. (AF_INET is the low-level name for the IPv4 address family, AF_INET6 for the IPv6 address family, and AF_UNIX for local UNIX socket IPC).

Starting with systemd v232 we added RestrictAddressFamilies= to all of systemd's own unit files, always with the minimal set of socket address families appropriate.

With the upcoming v233 release we'll provide a second method for blocking this vulnerability. Using RestrictNamespaces= it is possible to limit which types of Linux namespaces a service may get access to. Use RestrictNamespaces=yes to prohibit access to any kind of namespace, or set RestrictNamespaces=net ipc (or similar) to restrict access to a specific set (in this case: network and IPC namespaces). Given that user namespaces have been a major source of security vulnerabilities in the past months it's probably a good idea to block namespaces on all services which don't need them (which is probably most of them).

Of course, ideally, distributions such as Fedora, as well as upstream developers would turn on the various sandboxing settings systemd provides like these ones by default, since they know best which kind of address families or namespaces a specific daemon needs.

by Lennart Poettering at December 06, 2016 11:00 PM

December 04, 2016

The Penguin Producer

Where’s Walldo?

A lot of what makes professional-looking video is not in the editing; it’s in the recording.  And there are several techniques to shooting video that can help you get more professional-looking footage to put in your project. To make things clearer, let’s start with a video describing the basic shots …

by Lampros Liontos at December 04, 2016 01:57 AM

December 01, 2016

ardour

Ardour 5.5 released

Ardour 5.5 is now available, with a variety of new features and many notable and not-so-notable fixes. Among the notable new features are support for VST 2.4 plugins on OS X, the ability to have MIDI input follow MIDI track selection, support for Steinberg CC121, Avid Artist & Artist Mix Control surfaces, "fanning out" of instrument outputs to new tracks/busses and the often requested ability to do horizontal zoom via vertical dragging on the rulers. There are also the usual always-ongoing improvements to scripting and OSC support.

As in the past, some features including OSX VST support, Instrument Fanout, and Avid Artist support were made possible by sponsorship from Harrison Consoles.

Download  

Read more below ...

read more

by paul at December 01, 2016 11:43 AM

November 30, 2016

GStreamer News

GStreamer 1.10.2 stable release (binaries)

Pre-built binary images of the 1.10.2 stable release of GStreamer are now available for Windows 32/64-bit, iOS and Mac OS X and Android.

See /releases/1.10/ for the full list of changes.

The builds are available for download from: Android, iOS, Mac OS X and Windows.

November 30, 2016 05:45 PM

November 29, 2016

GStreamer News

GStreamer 1.10.2 stable release

The GStreamer team is pleased to announce the second bugfix release in the stable 1.10 release series of your favourite cross-platform multimedia framework!

This release only contains bugfixes and it should be safe to update from 1.10.0. For a full list of bugfixes see Bugzilla.

See /releases/1.10/ for the full release notes.

Binaries for Android, iOS, Mac OS X and Windows will be available shortly.

Check out the release notes for GStreamer core, gst-plugins-base, gst-plugins-good, gst-plugins-ugly, gst-plugins-bad, gst-libav, gst-rtsp-server, gst-python, gst-editing-services, gst-validate, gstreamer-vaapi, or gst-omx, or download tarballs for gstreamer, gst-plugins-base, gst-plugins-good, gst-plugins-ugly, gst-plugins-bad, gst-libav, gst-rtsp-server, gst-python, gst-editing-services, gst-validate, gstreamer-vaapi, or gst-omx.

November 29, 2016 02:00 PM

Revamped documentation and gstreamer.com switch-off

The GStreamer project is pleased to announce its new revamped documentation featuring a new design, a new navigation bar, search functionality, source code syntax highlighting as well as new tutorials and documentation about how to use GStreamer on Android, iOS, macOS and Windows.

It now contains the former gstreamer.com SDK tutorials which have kindly been made available by Fluendo & Collabora under a Creative Commons license. The tutorials have been reviewed and updated for GStreamer 1.x. The old gstreamer.com site will be shut down with redirects pointing to the updated tutorials and the official GStreamer website.

Thanks to everyone who helped make this happen.

This is just the beginning. Our goal is to provide a more cohesive documentation experience for our users going forward. To that end, we have converted most of our documentation into markdown format. This should hopefully make it easier for developers and contributors to create new documentation, and to maintain the existing one. There is a lot more work to do, do get in touch if you want to help out. The documentation is maintained in the new gst-docs module.

If you encounter any problems or spot any omissions or outdated content in the new documentation, please file a bug in bugzilla to let us know.

November 29, 2016 12:00 PM

PipeManMusic

Stay In Bed For Christmas

So I've recorded a little Christmas tune for those who are over the hype. I hope you like it. Check it out, share it, buy it, I'd really appreciate it.




by Daniel Worth (noreply@blogger.com) at November 29, 2016 07:05 AM

November 28, 2016

open-source – CDM Create Digital Music

A call for emotion in musical inventions, at Berlin hacklab

Moving beyond stale means of framing questions about musical interface or technological invention, we’ve got a serious case of the feels.

For this year’s installment of the MusicMakers Hacklab we host with CTM Festival in Berlin, we look to the role of emotion in music and performance. And that means we’re calling on not just coders or engineers, not just musicians, and performers, but psychologists and neuroscientists and more, too.

The MusicMakers Hacklab I was lucky enough to found has now been running with multiple hosts and multiple countries, bringing together artists and makers of all stripes to experiment with new performances. The format is this: get everyone together in a room, and insist on people devising new ideas and working collaboratively. Then, over the course of a week, turn those ideas into performances and put those performances in front of an audience.

pkirn_hacklab-005

This year talks and performances we hope will tackle this issue of emotion in some new ways, the embodiment of feeling and mind in the work. It comes hot on the heels of working in Mexico City with arts collective Interspecifics and MUTEK Festival in collaboration with CTM. (Leslie García has been instrumental in collaborating and bringing the event to Mexico.)

The open call to come to Berlin is available for submissions through late Wednesday. If you can make it at the beginning of February, you can soak up all CTM Festival has to offer and make something new.

The theme:

Now that our sense of self is intertwined with technology, what can we say about our relationship with those objects beyond the rational? The phrase “expression” is commonly associated with musical technology, but what is being expressed, and how? In the 2017 Hacklab, participants will explore the irrational and non-rational, the sense of mind as more than simply computer, delving into the deeper frontiers of our own human wetware.

Building on 2016’s venture into the rituals of music technology, we will encourage social and interpersonal dynamics of our musical creations. We invite new ideas about how musical performance and interaction evoke feelings, and how they might realize emotional needs.

I’m really eager to share how we bring music psychology and cognition into the discussion, too, so stay tuned.

And I think that’s part of the point. Skills with code and wires are great, but they’re just part of the picture. Everything you can bring in performance technique, in making stuff, in ideas – this is all part of the technology of music, too. We have to keep pushing beyond our own comfortable skills, keep drawing connections between media, if we want to move forward.

Berlin native Byrke Lou joins us and brings her own background in performance and inter-disciplinary community, which makes me still more excited.

Full description and application form link:

MusicMakers Hacklab:
Emotional Invention. In collaboration with CDM, Native Instruments and the SHAPE Platform.

The post A call for emotion in musical inventions, at Berlin hacklab appeared first on CDM Create Digital Music.

by Peter Kirn at November 28, 2016 08:05 PM

November 26, 2016

The Penguin Producer

Dr. Strangesound, or How I Learned to Stop Worrying, and Love PulseAudio

Anyone who’s done a dive through this site probably knows that I spent a lot of time with a real hate-on for PulseAudio.  It’s not very performant compared to Jackd, nowhere near as flexible, and having two sound servers at the same time does eat up a lot of processing …

by Lampros Liontos at November 26, 2016 07:00 AM

November 24, 2016

blog4

Block4 at Piksel 2016

Block 4 is this year active at the Piksel 2016 festival in Bergen: Malte Steiner is giving a workshop on 24. November:
 http://16.piksel.no/2016/11/24/piksel-pd-meeting/ 

TMS is playing the 25. November:
 http://16.piksel.no/2016/11/25/5-ht_five-levels-to-zero/ 

 and Tina Mariane Krogh Madsen is performing the 26. November: http://16.piksel.no/2016/11/26/body-interfaces-zero-level-elevation/

by herrsteiner (noreply@blogger.com) at November 24, 2016 02:13 AM

November 22, 2016

open-source – CDM Create Digital Music

MeeBlip couldn’t wait for Black Friday, so it’s Red November

The MeeBlip project reaches some important milestones this year – and we get to say thanks, and celebrate with a sale. And, really, why do that for one day called “Black Friday” or “Cyber Monday” or “Arbitrary Discount Saturday Dusk Hour”? Let’s just do it for the whole rest of the month.

MeeBlip quietly turned six years old this month. That’s special in that it marks a collaboration between CDM and creator James Grahame (Blipsonic). But it also means we’ve managed to build a line of end user synthesizers that are free and open source. This isn’t a kit, it isn’t a module, and you don’t have to know or care about code or circuits. It’s ready to play as an instrument. But you’re also investing in hardware whose designs are open and under open licenses.

Sharing knowledge is what built the world of electronic music. So we think you deserve at least some products you can learn from and adapt and make without having to ask permission.

Speaking of which, the other milestone this month is that we’ve posted all those design and code files to our GitHub site. There’s even an update with some tweaks to improve triode (and we’ll upgrade early adopters for the cost of a chip + postage):
https://github.com/MeeBlip/meeblip-triode

But as I said, none of that has to matter. We want the MeeBlip to be for everybody – including people trying synth hardware for the first time.

And so we’ve also got everything on sale for the rest of the month. Red November means:

Free shipping to the USA and Canada. (Affordable shipping worldwide.)

The lowest pricing of the year for everything.

MeeBlip triode, the little synth with an analog filter and big bass sound (and new sub oscillator). $149.95 $129.95

BlipCase, the carrying and performance system for all your little music gear – MeeBlip, volcas, Roland Boutique, and more.
$79.95 $69.95
$229.95 $199.95 bundled with triode

And from our friends at independent Canadian maker iConnectivity, there’s the mio USB to MIDI interface, which adds MIDI to anything for just $29.95 on sale. (It’s an essential accessory for the MeeBlip, volcas, and loads of other synths.)

Shop now at MeeBlip.com, shipped direct

One friendly early adopter sent some shots of how much fits in the BlipCase - OP-1, volca, Roland Boutique TB-03, Kaossilator, Blue Mic, and oh yeah, MeeBlip, of course.

One friendly early adopter sent some shots of how much fits in the BlipCase – OP-1, volca, Roland Boutique TB-03, Kaossilator, Blue Mic, and oh yeah, MeeBlip, of course.

Now, if you do spot Cyber Monday / Black Friday deals, or if you’re collecting them, or offering them, do send them our way! Let’s spread synthesis.

Speaking of – here’s our friend Olivier with yet another wonderful jam:

Shop MeeBlip

The post MeeBlip couldn’t wait for Black Friday, so it’s Red November appeared first on CDM Create Digital Music.

by Peter Kirn at November 22, 2016 11:03 PM

GStreamer News

GStreamer 1.10.1 stable release (binaries)

Pre-built binary images of the 1.10.1 stable release of GStreamer are now available for Windows 32/64-bit, iOS and Mac OS X and Android.

See /releases/1.10/ for the full list of changes.

The builds are available for download from: Android, iOS, Mac OS X and Windows.

November 22, 2016 12:10 PM

November 21, 2016

rncbc.org

Qtractor 0.8.0 - The Snobbiest Graviton is out!

Hello there!

This might come as an end to a long cycle indeed, really approaching a final and last milestone, whatever...

But one thing is for sure: besides the prodigal but (pun, somewhat, not intended:)), this wraps up the so called Qstuff* Fall'16 release business deal.

Qtractor 0.8.0 (snobbiest graviton) is out!

And the release highlights are:

  • Auto-backward location marker (NEW)
  • Clip selection edge adjustment (NEW)
  • Improved audio clip zoom-in resolution (NEW)
  • Clip selection resilience (FIX)
  • MIDI (N)RPN running status (FIX)

And the band plays on...

Maybe you can further decrypt the fresh juice from the change-log below -- or rather never mind though and go for the grabs already ;).

Qtractor is an audio/MIDI multi-track sequencer application written in C++ with the Qt framework. Target platform is Linux, where the Jack Audio Connection Kit (JACK) for audio and the Advanced Linux Sound Architecture (ALSA) for MIDI are the main infrastructures to evolve as a fairly-featured Linux desktop audio workstation GUI, specially dedicated to the personal home-studio.

Website:

http://qtractor.sourceforge.net

Project page:

http://sourceforge.net/projects/qtractor

Downloads:

http://sourceforge.net/projects/qtractor/files

Git repos:

http://git.code.sf.net/p/qtractor/code
https://github.com/rncbc/qtractor.git
https://gitlab.com/rncbc/qtractor.git
https://bitbucket.org/rncbc/qtractor.git

Wiki (on-going help wanted!):

http://sourceforge.net/p/qtractor/wiki/

License:

Qtractor is free, open-source Linux Audio software, distributed under the terms of the GNU General Public License (GPL) version 2 or later.

Change-log:

  • MIDI clip tools redo/undo processing refactored as much to avoid replication over multiple hash-linked clips; MIDI clip editor's floating selection/anchor event stability has been also improved, in regard to MIDI tools processing range.
  • Auto-backward play-head location, when playback was last started, is now shown on main track-view, as a momentary dark-red vertical line marker.
  • LV2 plugin-in parameter optimization: stuff consecutive series of plug-in's parameter value changes, as much as possible into one single undo/redo command.
  • LV2_STATE__StateChanged is now recognized as a regular atom notification event and raising the current session dirty flag, as normal behavior.
  • Adjusting clip selection edges is now possible and honored while on the the main track-view canvas.
  • Audio peak file caching and rendering, as far as audio clip wave-forms are concerned, have been refactored and optimized a couple of notches higher, on the ephemeral and rather marginal throughput front ;).
  • Fixed a potential crash on the singleton/unique application instance setup.
  • Edit/Select Mode tool-buttons moved into single drop-down tool-button on the main and MIDI editor's tool-bar.
  • Do not reset the current clip selection when updating the main track-view extents eg. while zooming in or out.
  • Automation curve node editing auto-smoothing revisited; also fixed input MIDI RPN/NRPN running status processing, which was crippling some plug-in automation curve nodes, when saved in high-resolution 14-bit mode.
  • Fixed the visual play-head position (vertical red line) while zooming in or out horizontally.
  • Almost complete overhaul on the configure script command line options, wrt. installation directories specification, eg. --prefix, --bindir, --libdir, --datadir and --mandir.
  • LV2 Plugin-in worker/schedule fix: make request/response ring-buffer writes in one go, hopefully atomic (suggested patch by Stefan Westerfeld, while on SpectMorph, thanks).

Flattr this

 

Enjoy && Keep the fun.

by rncbc at November 21, 2016 08:00 PM

November 20, 2016

digital audio hacks – Hackaday

Make Your Eyes Louder With Bluetooth Speaker Goggles

Your eyes are cool, but they aren’t very loud. You can remedy that with this build from [Sam Freeman]: a pair of Bluetooth speaker goggles. Combine a pair of old welders goggles with a Bluetooth receiver, a small amp and a couple of cheap speaker drivers and you’re well on your way to securing your own jet set radio future.

[Sam] found a set of speaker drivers that were the same size as the lenses of the goggles, as if they were designed for each other. They don’t do much for your vision, but they definitely look cool. [Sam] found that he could run the speakers for an hour or so from a small Lithium Ion battery that’s hidden inside the goggles, along with a large lever switch for that throwback electronics feel. The total cost of this build is a reasonably-low at $40, or less if you use bits from your junk pile.

The real trick is watching them in action and deciding if there’s any motion happening. Don’t get us wrong, they look spectacular but don’t have the visual feedback component of, say, the bass cannon. Look for yourself in the clip below. We might add a pair of googly eyes on the speakers that dance as they move, but that would get away from the more serious Robopunk look that [Sam] is going for. What would you add to build up the aesthetic of these already iconic goggles?


Filed under: digital audio hacks, wearable hacks

by Richard Baguley at November 20, 2016 09:01 AM

November 19, 2016

Libre Music Production - Articles, Tutorials and News

November 17, 2016

rncbc.org

Vee One Suite 0.8.0 - A Fall'16 release


Hello again!

The Vee One Suite aka. the gang of three old-school homebrew software instruments, respectively synthv1, as a polyphonic subtractive synthesizer, samplv1, a polyphonic sampler synthesizer and drumkv1 as yet another drum-kit sampler, are now into their twelfth beta, joining The Qstuff* Fall'16 release stream.

As before, all available in dual form:

  • a pure stand-alone JACK client with JACK-session, NSM (Non Session management) and both JACK MIDI and ALSA MIDI input support;
  • a LV2 instrument plug-in.

The common change-log for this joint-release:

  • LV2_STATE__StateChanged is now transmitted as a regular atom notification event, as far as to give some careful hosts enough slack to raise a dirty flag.
  • Fixed input MIDI RPN/NRPN running status processing.
  • Once forgotten, loop on/off setting is now consequential (samplv1 only).
  • Almost complete overhaul on the configure script command line options, wrt. installation directories specification, eg. --prefix, --bindir, --libdir, --datadir and --mandir.

The Vee One Suite are free, open-source Linux Audio software, distributed under the terms of the GNU General Public License (GPL) version 2 or later.

So here they go, thrice again!

synthv1 - an old-school polyphonic synthesizer

synthv1 0.8.0 (fall'16) is out!

synthv1 is an old-school all-digital 4-oscillator subtractive polyphonic synthesizer with stereo fx.

LV2 URI: http://synthv1.sourceforge.net/lv2

website:
http://synthv1.sourceforge.net

downloads:
http://sourceforge.net/projects/synthv1/files

git repos:
http://git.code.sf.net/p/synthv1/code
https://github.com/rncbc/synthv1.git
https://gitlab.com/rncbc/synthv1.git
https://bitbucket.org/rncbc/synthv1.git

Flattr this

samplv1 - an old-school polyphonic sampler

samplv1 0.8.0 (fall'16) is out!

samplv1 is an old-school polyphonic sampler synthesizer with stereo fx.

LV2 URI: http://samplv1.sourceforge.net/lv2

website:
http://samplv1.sourceforge.net

downloads:
http://sourceforge.net/projects/samplv1/files

git repos:
http://git.code.sf.net/p/samplv1/code
https://github.com/rncbc/samplv1.git
https://gitlab.com/rncbc/samplv1.git
https://bitbucket.org/rncbc/samplv1.git

Flattr this

drumkv1 - an old-school drum-kit sampler

drumkv1 0.8.0 (fall'16) is out!

drumkv1 is an old-school drum-kit sampler synthesizer with stereo fx.

LV2 URI: http://drumkv1.sourceforge.net/lv2

website:
http://drumkv1.sourceforge.net

downloads:
http://sourceforge.net/projects/drumkv1/files

git repos:
http://git.code.sf.net/p/drumkv1/code
https://github.com/rncbc/drumkv1.git
https://gitlab.com/rncbc/drumkv1.git
https://bitbucket.org/rncbc/drumkv1.git

Flattr this

Enjoy && keep the fun ;)

by rncbc at November 17, 2016 08:00 PM

Linux – CDM Create Digital Music

Free jazz – how to use Ableton Link sync with Pure Data patches

Effortless wireless sync everywhere has arrived with free software, too, thanks to Ableton’s new open source SDK. And it’s incredibly easy – enough so that anyone with even rudimentary patching skills will probably want to try this out.

Pure Data, the free and open source cousin of Max/MSP, looks ugly but does great stuff. And it’s worth checking out even if you use Max, because Pd is lightweight and runs on any platform – including Linux, Raspberry Pi, iOS, Android, and inside other software (like game engines). Now that it supports Link, you can make patches that run anywhere and then jam together with them.

Let’s walk you through it step by step and get you jamming.

1. Grab the latest copy of Pure Data.

Leave that dusty ancient aversion of Pd aside. Because the “vanilla” version of Pure Data is now up to date and lets you instantly install any external or library, it’s the only one you likely need. (Pd extended is no longer supported.)

You’ll find it direct from Pd (and Max) creator Miller Puckette:

http://msp.ucsd.edu/software.html

2. Install the new Ableton Link external.

Here’s why you don’t need Pd extended any more – Deken is the awesome automatic external installer. (Think of it as a package manager for Pd.)

You’ll find the installer at Help > Find externals…

Type in abl_link~ in the search box.

Click the top choice (the one that isn’t grayed). A dialog box asks if you want to install to the Pd folder inside your library. Choose yes. (I only tested this on the Mac so far; I’ll be looking more at this build system in different environments as I’m teaching some workshops and going back to a triple-boot environment myself.)

Now, you can use the abl_link~ external in any Pd patch. (It installed to a path Pd searches for the active user.)

screenshot_639

3. Get some help

Create a new Object. Type abl_link~ into the Object box. If you don’t make any typos, you’ll see the Object box get a solid rectangular outline and inlet and outlets. Right-click (ctrl-click) on the Object and choose Help to bring up the external’s help file.

Read and look around. You’ll already see tempo and beat information and the like – that’s what Pd is generating internally and sending to any other Link-enabled apps on your network.

Now, this help file will be most interesting if something else on the wifi network supporting Link – like Ableton Live, or an iPad app, or Reason – is running. So go ahead and do that. Tick the Connect box, and now if you change tempo in one of those other apps, you’ll see the tempo and beat information change here, too.

Notice that you’ve got all the same information you have in, say, Ableton Live. You can see how many other apps are connected via Link. You can see the current tempo in bpm. You can see beats. And you get more precise data you can use in your own patches.

screenshot_642

4. Use that tempo information

Now you’ll need something to do with this info. The “step” information out that first outlet is the easiest to use. So for instance, you could feed that into a step sequencer — connect the bang output so you send a bang every quarter note (in 4/4), for instance, or connect to a counter.

There are two settings to pay particular note. One is the connect option – without this, you won’t receive incoming Link information from other apps. The other is resolution, which lets you divide beats. So for instance, if you want to divide those 4/4 quarter notes into eighth notes, set resolution to 2. Triplets, 3. Sixteenth notes, 4. And so on.

screenshot_643

For more precision you could do some maths on the “phase” information.

What’s cool about Link is, once you’re connected, any peer – any connected app – can change tempo information. And if one drops out, the beat keeps going. There’s none of the usual futzing with master/slave (server/client) data.

Here’s an incredibly stupid proof of concept, which creates a 4-step step sequencer synced to Link’s beats.

screenshot_641

You can paste this into a text editor, save as “peterhasastupidexample.pd” or something like that, and open it in Pd.

#N canvas 0 22 486 396 10;
#X obj 63 22 abl_link~;
#X obj 63 81 sel 0 1 2 3;
#X obj 61 115 vsl 15 128 0 127 0 0 empty empty empty 0 -9 0 10 -262144
-1 -1 4500 1;
#X obj 84 115 vsl 15 128 0 127 0 0 empty empty empty 0 -9 0 10 -262144
-1 -1 6800 1;
#X obj 108 115 vsl 15 128 0 127 0 0 empty empty empty 0 -9 0 10 -262144
-1 -1 9200 1;
#X obj 131 115 vsl 15 128 0 127 0 0 empty empty empty 0 -9 0 10 -262144
-1 -1 6400 1;
#X obj 77 51 nbx 5 14 -1e+37 1e+37 0 0 empty empty empty 0 -8 0 10
-262144 -1 -1 2 256;
#X obj 69 298 osc~;
#X obj 68 271 mtof;
#X obj 69 318 *~ 0.5;
#X obj 59 348 dac~;
#X connect 0 0 1 0;
#X connect 0 0 6 0;
#X connect 1 0 2 0;
#X connect 1 1 3 0;
#X connect 1 2 4 0;
#X connect 1 3 5 0;
#X connect 2 0 8 0;
#X connect 3 0 8 0;
#X connect 4 0 8 0;
#X connect 5 0 8 0;
#X connect 7 0 9 0;
#X connect 8 0 7 0;
#X connect 9 0 10 0;
#X connect 9 0 10 1;

But obviously the idea will be to start thinking about sequencing and time in your patches. Wherever that’s relevant, jamming just got more interesting.

Plus, because Pd patches run on other devices, you could make a little jam chorus of phones or tablets or whatever.

Note that the open source Ableton Link SDK is licensed under the GPL. If you want to use it in a commercial app, you can – but you’ll have to request a separate license from Ableton. (You’re free to use it in patches all you want, since you aren’t distributing anything.) As a testament to the fact that Ableton were bold enough to release free software, though, you can (and should) distribute your own open-source projects with the Link stuff included.

abl_link~ itself though is under a BSD license. So it’s compatible with either the GPL or the proprietary license. And that means you can dump it in patches and then move it from open to proprietary environments without worry.

But in fact, please don’t hesitate to distribute open source projects and share your patches and code. There’s a real chance here to benefit from some community.

5. Thank Peter Brinkmann.

Peter is the principle author of libpd and the creator of this external. (I was lucky enough to get to contribute to the libpd effort with him and … hope to continue contributing, somehow.)

You’ll find the code inside the libpd repository:

https://github.com/libpd/abl_link

6. Reward yourself with a free reverb.

You read this whole article! You worked hard. Sit back, relax, and install a reverb external.

Type “freeverb” into that box, and you’ll find a lovely reverb you can use in your patches.

7. Let us know how you’re using this.

We’d love to know.

Now get jamming. You just need a nice, cozy set.

We got nothing to play. – I’ll tell you what we’re gonna do.

What? – Jazz Odyssey.

The post Free jazz – how to use Ableton Link sync with Pure Data patches appeared first on CDM Create Digital Music.

by Peter Kirn at November 17, 2016 04:38 PM

GStreamer News

GStreamer 1.10.1 stable release

The GStreamer team is pleased to announce the first bugfix release in the stable 1.10 release series of your favourite cross-platform multimedia framework!

This release only contains bugfixes and it should be safe to update from 1.10.0. For a full list of bugfixes see Bugzilla.

See /releases/1.10/ for the full release notes.

Binaries for Android, iOS, Mac OS X and Windows will be available shortly.

Check out the release notes for GStreamer core, gst-plugins-base, gst-plugins-good, gst-plugins-ugly, gst-plugins-bad, gst-libav, gst-rtsp-server, gst-python, gst-editing-services, gst-validate, gstreamer-vaapi, or gst-omx, or download tarballs for gstreamer, gst-plugins-base, gst-plugins-good, gst-plugins-ugly, gst-plugins-bad, gst-libav, gst-rtsp-server, gst-python, gst-editing-services, gst-validate, gstreamer-vaapi, or gst-omx.

November 17, 2016 03:00 PM

November 15, 2016

Libre Music Production - Articles, Tutorials and News

November 14, 2016

rncbc.org

The QStuff* Fall'16 Release

Hello!

Although this being mostly a maintenance batch release and some kind of a checkpoint to this whole QStuff* life cycle, there's now this writing on the wall:

That written, all users and packagers are there strongly invited to update their pointers. Simply put: go for the grabs!

Enjoy and keep the fun!

 

QjackCtl - JACK Audio Connection Kit Qt GUI Interface

QjackCtl 0.4.4 (fall'16) is out!

QjackCtl is a(n ageing but still) simple Qt application to control the JACK sound server, for the Linux Audio infrastructure.

Website:
http://qjackctl.sourceforge.net
Project page:
http://sourceforge.net/projects/qjackctl
Downloads:
http://sourceforge.net/projects/qjackctl/files

Git repos:

http://git.code.sf.net/p/qjackctl/code
https://github.com/rncbc/qjackctl.git
https://gitlab.com/rncbc/qjackctl.git
https://bitbucket.com/rncbc/qjackctl.git

Change-log:

  • Fixed an early crash when the singleton/unique application instance setup option is turned off.
  • Almost complete overhaul on the configure script command line options, wrt. installation directories specification, eg. --prefix, --bindir, --libdir, --datadir and --mandir.

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Qsynth - A fluidsynth Qt GUI Interface

Qsynth 0.4.3 (fall'16) is out!

Qsynth is a FluidSynth GUI front-end application written in C++ around the Qt framework using Qt Designer.

Website:
http://qsynth.sourceforge.net
Project page:
http://sourceforge.net/projects/qsynth
Downloads:
http://sourceforge.net/projects/qsynth/files

Git repos:

http://git.code.sf.net/p/qsynth/code
https://github.com/rncbc/qsynth.git
https://gitlab.com/rncbc/qsynth.git
https://bitbucket.com/rncbc/qsynth.git

Change-log:

  • Fixed a potential crash on the singleton/unique application instance setup.
  • Almost complete overhaul on the configure script command line options, wrt. installation directories specification, eg. --prefix, --bindir, --libdir, --datadir and --mandir.
  • Late French (fr) translation update. (by Olivier Humbert, thanks).

Flattr this

 

Qsampler - A LinuxSampler Qt GUI Interface

Qsampler 0.4.2 (fall'16) is out!

Qsampler is a LinuxSampler GUI front-end application written in C++ around the Qt framework using Qt Designer.

Website:
http://qsampler.sourceforge.net
Project page:
http://sourceforge.net/projects/qsampler
Downloads:
http://sourceforge.net/projects/qsampler/files

Git repos:

http://git.code.sf.net/p/qsampler/code, http://git.code.sf.net/p/qsampler/liblscp
https://github.com/rncbc/qsampler.git, https://github.com/rncbc/liblscp.git
https://gitlab.com/rncbc/qsampler.git, https://gitlab.com/rncbc/liblscp.git
https://bitbucket.com/rncbc/qsampler.git, https://bitbucket.com/rncbc/liblscp.git

Change-log:

  • Fixed a potential crash on the singleton/unique application instance setup.
  • Almost complete overhaul on the configure script command line options, wrt. installation directories specification, eg. --prefix, --bindir, --libdir, --datadir and --mandir.

Flattr this

 

QXGEdit - A Qt XG Editor

QXGEdit 0.4.2 (fall'16) is out!

QXGEdit is a live XG instrument editor, specialized on editing MIDI System Exclusive files (.syx) for the Yamaha DB50XG and thus probably a baseline for many other XG devices.

Website:
http://qxgedit.sourceforge.net
Project page:
http://sourceforge.net/projects/qxgedit
Downloads:
http://sourceforge.net/projects/qxgedit/files

Git repos:

http://git.code.sf.net/p/qxgedit/code
https://github.com/rncbc/qxgedit.git
https://gitlab.com/rncbc/qxgedit.git
https://bitbucket.com/rncbc/qxgedit.git

Change-log:

  • Fixed a potential crash on the singleton/unique application instance setup.
  • MIDI RPN/NRPN running status and RPN NULL reset command are now supported (input only).
  • Almost complete overhaul on the configure script command line options, wrt. installation directories specification, eg. --prefix, --bindir, --libdir, --datadir and --mandir.
  • Remove extra 'Keywords' entry and fix spelling (patches by Jaromír Mikeš, thanks).

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QmidiCtl - A MIDI Remote Controller via UDP/IP Multicast

QmidiCtl 0.4.2 (fall'16) is out!

QmidiCtl is a MIDI remote controller application that sends MIDI data over the network, using UDP/IP multicast. Inspired by multimidicast (http://llg.cubic.org/tools) and designed to be compatible with ipMIDI for Windows (http://nerds.de). QmidiCtl has been primarily designed for the Maemo enabled handheld devices, namely the Nokia N900 and also being promoted to the Maemo Package repositories. Nevertheless, QmidiCtl may still be found effective as a regular desktop application as well.

Website:
http://qmidictl.sourceforge.net
Project page:
http://sourceforge.net/projects/qmidictl
Downloads:
http://sourceforge.net/projects/qmidictl/files

Git repos:

http://git.code.sf.net/p/qmidictl/code
https://github.com/rncbc/qmidictl.git
https://gitlab.com/rncbc/qmidictl.git
https://bitbucket.com/rncbc/qmidictl.git

Change-log:

  • Almost complete overhaul on the configure script command line options, wrt. installation directories specification, eg. --prefix, --bindir, --libdir, --datadir and --mandir.

Flattr this

 

QmidiNet - A MIDI Network Gateway via UDP/IP Multicast

QmidiNet 0.4.2 (fall'16) is out!

QmidiNet is a MIDI network gateway application that sends and receives MIDI data (ALSA-MIDI and JACK-MIDI) over the network, using UDP/IP multicast. Inspired by multimidicast and designed to be compatible with ipMIDI for Windows.

Website:
http://qmidinet.sourceforge.net
Project page:
http://sourceforge.net/projects/qmidinet
Downloads:
http://sourceforge.net/projects/qmidinet/files

Git repos:

http://git.code.sf.net/p/qmidinet/code
https://github.com/rncbc/qmidinet.git
https://gitlab.com/rncbc/qmidinet.git
https://bitbucket.com/rncbc/qmidinet.git

Change-log:

  • Almost complete overhaul on the configure script command line options, wrt. installation directories specification, eg. --prefix, --bindir, --libdir, --datadir and --mandir.

Flattr this

 

License:

All of the Qstuff* are free, open-source Linux Audio software, distributed under the terms of the GNU General Public License (GPL) version 2 or later.

 

Enjoy && keep the fun!

by rncbc at November 14, 2016 08:00 PM

November 13, 2016

Libre Music Production - Articles, Tutorials and News

JACK-Matchmaker - new tool to autoconnect

jack-matchmaker is a small command line utility that listens to JACK port registrations by clients and connects them when they match one of the port pattern pairs given on the command line at startup. jack-matchmaker never disconnects any ports.

by admin at November 13, 2016 11:16 PM

Hydrogen 0.9.7 released

Hydrogen 0.9.7 released

The Hydrogen team have just announced version 0.9.7 of Hydrogen, the last planned release before version 1.0.

Along with tons of bug fixes and other smaller changes, the main new features are as follows -

by Conor at November 13, 2016 10:15 PM

November 11, 2016

open-source – CDM Create Digital Music

Micro-ritmos turns bacteria and machine learning into spatialized sound

In the patterns generated by bacterial cells, Micro-ritmos discovers a new music and light.

From the Mexican team of Paloma López, Leslie García, and Emmanuel Anguiano (aka Interspecifics), we get yet another marvel of open source musical interface with biological matter.

Micro-ritmos from LessNullVoid on Vimeo.

The raw cellular matter itself is Geobacter, an anaerobic bacteria found in sediment. And in a spectacular and unintentional irony, this particular family of bacteria was first discovered in the riverbed of the Potomac in Washington, D.C. You heard that right: if you decided to literally drain the swamp in the nation’s capital, this is actually what you’d get. And it turns out to be wonderful stuff, essential to the world’s fragile ecosystems and now finding applications in technology like fuel cells. In other words, it’s a heck of a lot nicer to the planet than the U.S. Congress.

So if composers like Beethoven made music that echoed bird tweets, now electronic musicians can actually shine a light on some of the materials that make life on Earth possible and our future brighter.

Leslie, Paloma, and Emmanuel don’t just make cool performances. They also share the code for everything they’ve made under an open source license, so you can learn from them, borrow some sound synthesis tricks, or even try exploring the same stuff yourself. That’s not just a nice idea in theory: good code, clever hardware projects, and clear documentation has helped them to spread their musical practice beyond their own work.

bacteria1

Check it out here – in Spanish, but fairly easy to follow (cognates are your friend):
https://github.com/interspecifics/micro-ritmos

The basic rig:

RaspberryPi B+
RasPi camera module
Micro SD cards
Arduino
Bacterial cells
Lamps
SuperCollider for sound synthesis

The bacterial acts as a kind of sophisticated architectural sonic spatializer. Follow along – the logic is a bit Rube Goldberg, mixed with machine learning.

The bacteria trigger the lights, variations in the cells generating patterns.

Machine learning coded in Python then “watches” the patterns, and feeds that logic into both sound and spatialization. Sound is produced from synthDefs in the open source SuperCollider sound coding environment, and positioned in the multichannel audio system, all via control signal transmitted from the machine learning algorithm via OSC (OpenSoundControl).

Imagine the bacteria are live coding performers. They generate a kind of autonomous, real-time graphical score for the system.

In some way, this unstable system is a modern twist on the experiments of the likes of Cage and Tudor. But whereas they found these sources in the I Ching and unpredictable circuitry and feedback systems, respectively, here there’s a kind of grounding in some ecological, material microcosm.

It’s funny, the last day I was in Mexico City, I saw an exhibition of organic architecture by the Mexico City native Javier Senosiain. Senosiain built homes that found some harmony with their natural environment, forms from organic material. Here, there’s a similar relationship, scaled from microcosm to macrocosm in unpredictable ways. But that means that this is not sound synthesis that establishes some dominion over nature; it allows this cells some autonomy to produce the composition of the piece. And I don’t just mean that in some lofty philosophical sense: the sonic results are radically different.

Beautiful work, presented for the first time in Medellín, Colombia.

More soon from this trio, as we worked together in Mexico City last month with MUTEK.mx.

The post Micro-ritmos turns bacteria and machine learning into spatialized sound appeared first on CDM Create Digital Music.

by Peter Kirn at November 11, 2016 06:37 PM

November 09, 2016

ardour

Ardour Looks, part 197.2

From a discussion on http://cdm.link about FL Studio:

For those who wonder why I tend to ignore/discount "Ardour needs to look better" comments, this is a great introduction :)

by paul at November 09, 2016 02:14 AM

November 08, 2016

Libre Music Production - Articles, Tutorials and News

Two high quality drumkits for DrumGizmo

Two high quality drumkits for DrumGizmo

Through a collaboration with Michael Oswald, Libre Music Production are proud to present two high quality open source drumkits
for DrumGizmo.

Michael has written a tool (DGPatchMaker) in the programming language Haskell to create DrumGizmo drum kits from existing sample libraries, and using that, he has created patches for the free SM Mega Reaper Drumkit and the Salamander kit.

by admin at November 08, 2016 11:25 PM

November 04, 2016

open-source – CDM Create Digital Music

There’s a new way to make your iPhone run any Pd patch, free

You’ve got an instrument or effect running in Pure Data, for free, on your computer. (If you don’t know how to do that, more in a moment.) Leave the computer at home. Play that sound creation on your iPhone (or iPad).

The implementation of Pd on iOS and Android started its life with RjDj. But PdParty (and PdDroidParty before it) have gone steadily further. Now you can almost treat the graphical patching environment Pd on the computer as your development environment – patch away on your computer, then duplicate that patch complete with UI on your phone. It also means that you can ditch the laptop and run everything on an iOS gadget, perfect for integrating Pd with other gear. (There are other hardware solutions to that, too – I’ll have to do a round-up soon.)

PdParty goes the furthest yet.

Here’s how it works:

You patch normally in Pd. Once you’re thinking you’ll run a patch on the iOS gadget, there are templates that help you adapt to that scenario – with audio in and out, and the appropriate screen layouts. Choose those widgets you want for the UI, organize them so they’ll fit on the screen, and wire up sound and make some minor adjustments, and you’re good to go.

Your iOS device then runs a server that lets you load onto the phone/tablet.

But wait – there’s more. PdParty adds some features on top of that, some inspired by RjDj and PdDroidParty, but some new.

All the fixin’s

Custom widgets make it easy to adjust audio input level, turn on or off sound operation, and start or stop recording of whatever you’re doing (perfect for capturing ideas).

Play back files via a prepared widget.

OSC. Send and receive OpenSoundControl messages.

MIDI. Send and receive MIDI – now, that works with other apps, with connected hardware, and over a network to a Mac (that should be hackable to PC, too).

Game controllers. MiFi game controller input support works, too, on top of those MIDI gadgets.

Use sensors. You can also read data from the iOS gadget’s various sensors – that includes motion, location, and other inputs.

Backwards compatibility. Out of the box, you can add scenes from tools like RjDj.

Native widgets for UI. Basically, Pd sliders and checkboxes and knobs all work on the iPhone. It’s the next best thing to running Pd directly (which isn’t possible — yet).

Who would do such a thing?

Why, Dan Wilcox would. The need to do so became apparent because Dan was regularly in the habit of dressing up as a robot and running around parties playing music. Clearly, strapping an iPhone or iPod touch to a belt then makes loads of sense.

What? Of course this is the use case. It’s obvious. (Thanks, Dan, as always – brilliant engineering work, applied to brilliant party ideas. That’s the power of Pd party engineering.)

3632901050_ec39f575af

belt_setup

Getting started

This is definitely for people interested in Pd patching. But it could also be a fun way to start learning.

You’ll want to work with vanilla Pd patches, but you can add rjlib. Actually, even if you’re not terribly good at patching, you can use rjlib as a free library of lots of cool synths and effects and so on, plus a mess of abstractions that make life easier.

With rjlib in hand, I think anyone could get something working in a few days. I recommend the following resources to get started:

flossmanuals.net/pure-data/ (a bit easier)

http://pd-tutorial.com/ (a bit more focused on synthesis/sound – including some stuff the other link leaves out – and available in German and Spanish as well as English)

If you have a tutorial in mind, though, I’m thinking of writing a simplified one. It could be a nice way to celebrate 20 years of Pd.

And if you’re in New York, later this month there’s a conference.

http://www.nyu-waverlylabs.org/pdcon16/

Plus, if you want to write full-fledged mobile apps powered by Pd, check libpd. I’m working on some updates to this shortly. (Teaching Pd at the moment is helping, for sure!)

http://libpd.cc

The post There’s a new way to make your iPhone run any Pd patch, free appeared first on CDM Create Digital Music.

by Peter Kirn at November 04, 2016 07:38 PM

November 02, 2016

GStreamer News

GStreamer 1.10.0 stable release (binaries)

Pre-built binary images of the 1.10.0 stable release of GStreamer are now available for Windows 32/64-bit, iOS and Mac OS X and Android.

See /releases/1.10/ for the full list of changes.

The builds are available for download from: Android, iOS, Mac OS X and Windows.

November 02, 2016 04:10 PM

November 01, 2016

GStreamer News

GStreamer 1.10.0 stable release

The GStreamer team is proud to announce a new major feature release in the stable 1.x API series of your favourite cross-platform multimedia framework!

As always, this release is again packed with new features, bug fixes and other improvements.

See /releases/1.10/ for the full list of changes.

Binaries for Android, iOS, Mac OS X and Windows will be provided shortly after the source release by the GStreamer project during the stable 1.10 release series.

Check out the release notes for GStreamer core, gst-plugins-base, gst-plugins-good, gst-plugins-ugly, gst-plugins-bad, gst-libav, gst-rtsp-server, gst-python, gst-editing-services, gst-validate, gstreamer-vaapi, or gst-omx, or download tarballs for gstreamer, gst-plugins-base, gst-plugins-good, gst-plugins-ugly, gst-plugins-bad, gst-libav, gst-rtsp-server, gst-python, gst-editing-services, gst-validate, gstreamer-vaapi, or gst-omx.

November 01, 2016 04:30 PM

Libre Music Production - Articles, Tutorials and News

digital audio hacks – Hackaday

FingerRing is Simplest Multichannel Mixer

It’s hard to make an audio mixer with any less technology than FingerRing (YouTube video, embedded below). We’re pretty sure that [Sergey Kasich] isn’t going to get a patent on this one. But what he does get is our admiration for pushing a simple idea far enough that it’s obviously useful.

The basic idea is transmitting signals using the human body as a conductor. What [Sergey] does is lay out multiple sound sources and sinks on the table, and then play them like a mixer made musical instrument. Pressing harder reduces the resistance, and makes the sound louder. Connecting to two sources mixes them (in you). Watch the video — he gets a lot of mileage out of this one trick.

We can think of a number of improvements to this system. A bunch of nails in a board acting as the contact points would be a lot easier to play than 1/4″ cables taped down to a desk. You could make it a permanent instrument. If you were designing the system from scratch, you’d want high-input-impedance amplifiers on the receiving end. Add a notch filter to kill the mains hum, or an instrumentation amp and another electrode on your ankle. Pretty soon, you’re an EKG and a mixing desk.

The biggest limitation he has is that the body is just one big conductor. Can anyone think of how to get multiple channels through flesh and bone without making the whole setup over-complicated? Now excuse us as we tape instrument cables all over our desk. We’re inspired.


Filed under: digital audio hacks

by Elliot Williams at November 01, 2016 11:01 AM

October 30, 2016

Libre Music Production - Articles, Tutorials and News

Scores of Beauty

Distributed Editing, Responsibility and Quality

Recently a concern with distributed editing concepts has been brought to my attention. As this adds to other existing reservations I have already been aware of and as I’ll coincidentally be talking about exactly that matter at a “Winterschool” conference in a few weeks this is an opportunity for a post about responsibilities in distributed edition workflows. I am convinced that any reservations about compromising quality of musical editions by giving up established workflows or by incorporating the work of multiple contributors are completely unfounded, or rather solely based on fear of the unknown and fear of change. In fact distributed work with text based tools and version control gives lots of flexibility and exciting new possibilities and adds multiple layers of safety nets rather than adding risks.

Traditional Editing Chains

Workflows in publishing houses or academic edition institutes are characterized by a clear separation of concerns and responsibilities. Of course there are differences but in some way or the other they are variations of a document flow like:

  • Existing copy
    (Editor works on an arbitrary pre-existing score)
  • Review/engraver’s copy
    (Check editor’s work)
  • Typesetting
    (Enter the music in a new score document)
  • Proof-reading/editing loop
    (Check typesetting against engraver’s copy, re-check editor’s work)
  • Engraving fine-tuning
    (Bringing the score to publication quality (hopefully there won’t be any content changes required after that step)
  • Compilation of volume/prepress

with a number of possible reiteration loops. While individual persons may be assigned to more than one of these stages the point is that the stages are cleanly separated and responsibility for each stage is clearly attributed.

Passing Files Around

One major problem with this traditional toolchain is the need to constantly pass around files and copies of files. In an earlier post I outlined the serious problems that arise from that and how working with LilyPond and a version control system like Git simply makes them vanish. These advantages alone are probably sufficient to decide to switch to using a version control system.

Working on a Common Data Repository

At the core of a distributed workflow there is a common data repository which is controlled by a version control system like Git and hosted on a central server. Of course there are many exciting things to that but for today I’ll only mention one: As everybody has parallel access to all project files and all tools are freely available, technically each team member can perform any task whenever it’s necessary or they feel like it. An extreme manifestation of this would be a project where all responsibility is fully shared by all team members, leaving the actual process to self-organization.

This prospect seems frightening to people who are used to traditional editing workflows, and there are two reservations commonly expressed with regard to such a concept. Some people worry about quality control when access to the data isn’t restricted by a hierarchical division of labor, and some simply do not want their responsibilities changed and weakened (fearing that might open the door to anarchy and chaos).

Traditional Workflow With Version Control

The first thing that has to be said here is that version controlled set-ups do not require you to go all the way. Even with version control it is possible to model a completely traditional approach to the editing toolchain. One person may enter the music while another is proof-reading it, then the main editor does his critical review, after which the edition is proof-read again and the engraving beautified by a professional engraver. Finally a graphic designer could combine the score with textual elements and do the pre-press to submit the final compiled volume to the printer. Responsibilities can be tailored exactly like with other toolchains if this is desired. Already this would be an improvement, especially in terms of quality control.

At a fundamental level the basic difference to traditional toolchains is that in version-controlled environments documents don’t have to be passed around through shared drives or by email. Through this alone all the hassles and potential issues that arrive from creating digital copies of documents become obsolete. It is for example inconceivable to mess up a document by having two persons edit different copies of it independently. Also it is more or less impossible that changes to a document would go by unnoticed just because the last editor failed to document them. Put the other way round: it is not necessary to accompany a modified document with an email listing all the modifications done to it because the person working on it next can simply check the commit to see what has been done:

A “commit” reveals the detailed changes to a file. Click to see the full commit online.

A “commit” reveals the detailed changes to a file. Click to see the full commit online.

Already at this level it should become clear that using collaborative tools actually increases the level of quality control rather than giving way to poor standards or compromise.

Experiencing the Benefits of Version Control

Add to that the additional virtues of version control by stepping back from the strictly sequential workflow of the olden days and by loosening the fixed distribution of responsibilities. By allowing contributors to perform different tasks based on their skill set and current availability they have to waste much less time by waiting for appropriate work to flow in. If there should currently be no music to be proof-read an engraver could instead spend his time entering new music or working on the overall appearance of the engraving. (Basically this is an opportunity to implement the Kanban methodology from software development in musical edition processes.)

But more importantly version control provides an additional safety net through the possibility of working in isolated sessions (or branches). Work on a given topic (for example “the critical review of the second movement” or “entering the fingerings from the composer’s copy”) can be encapsulated in such a branch, and only when this task has been completed will the work be integrated (we say “merged”) into the main line or “master” branch. That master branch – which can be understood as representing the official state of the edition – remains unaffected up to this point of merging and proceeds directly from one consistent state to another. This functionality ensures that different people can work on different tasks in parallel, without any risk of causing confusion or messing up the documents. Additionally it is possible to install an additional layer of quality control by deciding who is eligible to actually perform that merge step.

So collaborative work does not cause more confusion – quite the contrary.

Constant Peer Review

Version controlled collaborative workflows not only take care of a more robust editing environment, but they actually allow assigning tasks to an arbitrary number of contributors and managing them reliably, which makes it possible to organize projects in completely new ways – without compromising quality.

About two years ago I wrote a number of posts on this blog documenting a “crowd engraving” project where we successfully experimented with exciting workflow techniques. What I found particularly intriguing was the extent to which contributors of wildly varying qualification could produce high-quality material given an appropriate project set-up. Our workflow was arranged around splitting up the huge project (the end result was 50 minutes of full orchestra with choirs and soloists, densely printed on 100 pages of A3 paper) into small chunks. Every little contribution was done in a separate branch, and the agreement was that whenever someone had finished entering some music someone else had to review it before merging back to the master branch. This approach – which can of course be equally applied to the stage of scholarly review – had several important implications which I’d like to sum up with the term constant peer review. The most obvious consequence was that every single measure of music integrated in the “official” score had already been proof-read once, that is seen by at least two pairs of eyes. So we didn’t permanently live under the pressure of “someday” having to do the proof-reading.

Not as obvious but at least equally important is the fact that such short-term peer review encourages direct communication between contributors. While this doesn’t necessarily sound dramatic it is actually boosting both creativity and scholarly scrutiny, as I’ve described in an earlier short post. In our project we made use of the scholarLY library to maintain annotations within the score document. And these things together actually had mind-blowing consequences. Contributors had the possibility to add “musical issue”-type annotations, pointing to problematic spots in the score. Knowing that someone else would be looking at the annotation before merging it (either commenting on it, changing it to a proper “critical remark” or even discarding it) significantly lowered the bar for people to spell out their observations. It was truly inspiring to see that the quality of these observations was very much independent of the formal qualification of the contributor. In other words: when entering music the hobby musician bank accountant noticed issues with the manuscript just as I did, and knowing there would be the musicologist taking over responsibility he didn’t hesitate to document them.

Full Documentation

As a closing remark I’ll comment on the feature that may provide the most fundamental safety net among all the bells and whistles of version control: full and automatic project documentation. I won’t go into detail here (maybe look at some of our posts tagged with version control) but documenting any modification and attributing it to its author, and the possibility to edit and revert any such change selectively at any later time are invaluable tools that massively increase the safety and eventually also the quality of the editorial results. And as a second aspect this fully documents each team member’s contributions, making it possible to credit the actual work in a pretty fine-grained manner.

The point of this story is that versioned workflows give projects a level of control that traditional approaches can’t even come near. There is absolutely nothing to be afraid of: neither loosening the attribution of responsibilities nor the inclusion of arbitrary numbers of contributors of different qualification pose any risk of weakening the quality standards of the resulting edition. Quite the contrary, properly applied strategies from software development can help to significantly boost creativity, scholarly scrutiny and overall efficiency and quality of any music edition project.

by Urs Liska at October 30, 2016 07:36 PM

Libre Music Production - Articles, Tutorials and News

LMP Asks #21: An interview with Yassin Philip

 LMP Asks #21: An interview with Yassin Philip

Hi Yassin, thank you for taking the time to do this interview. Where do you live, and what do you do for a living?

by Anonymous at October 30, 2016 06:59 PM

October 25, 2016

digital audio hacks – Hackaday

Death To The 3.5mm Audio Jack, Long Live Wireless

There’s been a lot of fuss over Apple’s move to ditch the traditional audio jack. As for me, I hope I never have to plug in another headphone cable. This may come off as gleeful dancing on the gravesite of my enemy before the hole has even been dug; it kind of is. The jack has always been a pain point in my devices. Maybe I’ve just been unlucky. Money was tight growing up. I would save up for a nice set of headphones or an mp3 player only to have the jack go out. It was a clear betrayal and ever since I’ve regarded them with suspicion. Is this the best we could do?

I can’t think of a single good reason not to immediately start dumping the headphone jack. Sure it’s one of the few global standards. Sure it’s simple, but I’m willing to take bets that very few people will miss the era of the 3.5mm audio jack once it’s over. It’s a global episode of the sunk cost fallacy.

In the usual way hindsight is 20/20, the 3.5mm audio jack can be looked at as a workaround, a stop over until we didn’t need it.  It appears to be an historic kludge of hack upon hack until something better comes along. When was the last time it was common to hook an Ethernet cable into a laptop? Who would do this when we can get all the bandwidth we want reliably over a wireless connection. Plus, it’s not like most Ethernet cables even meet a spec well enough to meet the speeds they promise. How could anyone reasonably expect the infinitely more subjective and variable headphone and amplifier set to do better?

But rather than just idly trash it, I’d like to make a case against it and paint a possible painless and aurally better future.

Ingress

Let’s say you had to design a consumer facing device that goes in someone’s pocket. A pocket is dusty. It’s moist and sweaty. You know your stuff so you’re already thinking about gaskets and IP ratings. Then someone hands you the spec sheet. They let you know that they want you to drill a hole right in it and put an unserviceable deep hole in the case. Now rinse repeat for every portable device on the planet and it seems like an odd mass hallucination.

I guess if someone were having a really bad day they could spill coffee at the swtichboard... [CC Joe]I guess if someone were having a really bad day they could spill coffee at the switchboard… [CC Joseph C.]There is no good way to seal or maintain a 3.5mm headphone jack. Some phone makers have tried by adding a little gasket or a flap, but this doesn’t last. There’s also a chance that it could be sealed off, but since it has to have little springs inside and holders it’s still susceptible to damage from liquids and dust by nature. I’ve even seen some get irreparably corroded by the salt from sweat alone.

It’s like we all agreed to ignore the fact that these connectors were designed to be used in a switch board. A nice clean dry switchboard in a professional location where it would be used by trained personnel and serviced regularly. It was designed to be an easy to use connector that could be plugged in and removed quickly for low-quality audio phone switching. It was never designed to be the end-all connector for quality audio signals. Moving it out into the world could arguably have just been a quick hack. Using a connector that was already adopted and manufactured on a large enough scale when home audio began to be a common thing.

Since we’ve already gotten rid of the keyboards on mobile devices (which is a shame, but that’s another article). Since every manufacturer seems to be horribly committed to irreplaceable batteries. There’s just no reason not to move towards fully waterproof and dustproof devices. There could at least be a bright side. The audio port is holding us back.

Cable Strain

A story as old as time, which incidently is about as old as the headphone jack.It’s not the cord’s fault. It was sent to the frontlines without the right equipment.  [CC Paul Hussey]Next comes cable strain. People like to complain about how the iPhone earbuds would constantly break at the joint. This is true, and other brands had better strain relief. However, it’s also true that all audio cables that go into a pocket will break before any of the other components will reach their end of service life. By nature, a pocket exceeds every reasonable expectation of in-tolerance cable strain. It is a hostile environment. My last set of headphones went through two cables during regular use. Which segues right into the next design flaw, force.

Force

As mentioned before, the audio connector was designed to be easily inserted inside a switch board room. It would see no dramatic force on it. So it’s a tall connector that is easy to hold and easy to use. It also is supposed to be a low insertion force connector. So it’s unreasonable to expect it to be able to hold a cable in place reliably.

However, when put into a pocket it suddenly sees forces perpendicular to its axis. This can cause some extremely large moments on a very tiny plastic and spring-metal socket. We all know that the longer we own our phones the less able our headphone socket will be to hold the jack in place. There’s simply no way to design something that small to take that much force and keep it cost effective. Rather it looks like we’ve just adjusted our expectations and then forgot that we even made that adjustment.

This seems even more insane from a design perspective when you consider that this connector which sees dramatic forces is actually attached to the mainboard of your device (to be fair, most smartphones do use spring connectors for jack to mainboard but think about laptops and other gear). Solder connections are not flexible. The metals we use for solder are very susceptible to work hardening and breaking under cyclical forces. So not only do you flex the connection of the port to the board itself, you also flex all the surrounding components. So It’s no mystery that one of the most common repairs on mobile devices are the audio and USB ports.

Sound Quality

Bluetooth's latest codec actually does better than 320kbps mp3. Bluetooth’s codecs perform comparably 320kbps mp3. Which is beyond the ability of most listeners (including the author) to distinguish. From Serene Audio.

Right now there is still a difference in sound quality between Bluetooth and wired. There’s no reason to expect it to last long. Bluetooth is now capable of some seriously impressive bandwidth and with an actual market erupting for the headsets, it won’t be long before this is a moot point. I’m picking on Bluetooth specifically because it’s the only standard that’s both universal and intended, at least, for hooking peripherals up.

There’s a big argument for the sound quality aspect of the 3.5mm headphone jack. I think that, frankly, most of them make no sense against the transition. If you’re sitting still in your home-listening-chamber with a perfectly tuned preamplifier connected to quality headphones while listening to FLAC audio from your dedicated music computer you might be able to hear a perceptible difference from hooking directly to your phone with a Bluetooth headset. But you’re not. You have a noisy connection from a worn out port to a low quality cable with an unamplified signal to some cost engineered headphones. It’s a wash I think.

Plus, it’s not like switching to a wireless standard is going to absolutely kill the wired headphone market. You’ll still be able to get wired headphones for when the wire matters. People who are paying a hundred dollars plus for quality sound out of a wired headset will still have their toys. That market is very far from death. People who were paying ten bucks for whatever are not going to notice at all.

Most phones and portable devices waste zero energy trying to amplify the signal in a meaningful way. So if you want the full range of your headphones you have to add an amplifier. Then there’s the fact that they’re already class D audio amps trying to maximize the device’s battery life. By the time it gets to your ear it’s been triple digitized to death. Fortunately, we now have more processing power inside greeting cards than we reasonably know what to do with, so it’s unlikely that most would notice the difference.

However, the modern Bluetooth audio chips are actually really great, they’re only getting better. They’re ultra-low power class D amplifiers which were built and optimized for sound quality. With a lithium battery right there inside the headphone there’s no reason not to expect engineers to take advantage of that and stop designing every driver in the world to run off the two or three magic pixies a cell phone is willing to give it. It should actually be possible to have significantly better sounding wireless headphones than wired.

Convenience and User Experience

It's a cultural joke at this point.It’s a cross-cultural joke at this point.

I bought a very cheap set of Bluetooth headphones off Amazon. I have rarely been so pleased with a purchase. Did they sound good? Not really, but I don’t expect any ten dollar headset to sound good. What I did get was an average of ten days of on and off use before the battery needed charging. I could go to the climbing gym and leave my cellphone on the ground while I climbed. When I worked on projects in the hackerspace I could walk up to thirty feet from my phone and not miss a word of my audio book. It connected automatically. It played nice. It was a better experience in every way.

With my headphones I’m always fighting with the cable. I’m always arranging my phone in my pocket so the cord isn’t flexed too much. It’s a cultural meme that headphones know more knots than we do.

Sure there are some flaws of the Bluetooth. Will we cover battery replacement hacks in a few years? Probably. Will there be growing pains? Of course. Will they be ironed out in the next few years? Most likely.

Transition:

So how do we transition? Well, the first step is done. Have a big player finally give up on the port. It’s time. But what about all the things that are nice about corded headphones? The global standard? The fact that you can contribute to the complete devastation of our planet by buying them cheaply by the pound instead of being a grown adult who can hold on and take care of a quality item? How about their universal integration with every device that wants to put a sound out?

It's not like we don't have other really nice global standards that could power a headphone set. [CC It’s not like we don’t have other really nice global standards that could power a headphone set. [CC Maurizio Pesce]But we do have other global standards that can transmit sound signals. We have USB. While I hedge to give Apple too much credit after they threw their lot in with Beats, in this regard they are also showing the way. A dongle is an inelegant example, however, only as a transition out of the 3.5mm port. What if your headphones just had a USB C port on one end and you could plug the cable of choice right into your mobile. The phone has the ability to power some accessories and as long as it’s designed to switch off the charging circuit while it’s at it, there’s no reason it won’t work. We can all transition painlessly. We really won’t miss it.

Laptops could definitely simultaneously charge and play. If your battery is running low, just hook it up to USB. You get the cord experience and the universal standard experience we’ve all come to love. Just without a weird analog connector from the birth of electronics. All the LEGO pieces are there, we just need to build the spaceship.

All that is pedantic though. Portable audio has never been a power-hungry game and in the end I just don’t think people will notice the cable woes. I thought I would and I don’t. I’m already so used to plugging things in when the situation requires that I just do it and that’s that.

It’s time for the 3.5mm legacy to go. I hope others follow Apple’s lead. I hope all the major headphone makers turn their eyes to wireless audio and the possibilities it offers. There are already quality sets out there and it will only get better. I won’t miss it. I don’t miss magnetic hard drives. I don’t miss CDs and Mini Disks. I haven’t tuned the bunny ears on a television in at least a decade. I don’t even own an Ethernet cable nor have I used a DB9 serial cable for hardware development in years. The future moves on and this time I think it will show itself to move in exactly the right direction.


Filed under: Current Events, digital audio hacks, Featured, rants, slider

by Gerrit Coetzee at October 25, 2016 02:01 PM

October 24, 2016

Libre Music Production - Articles, Tutorials and News

Newsletter October 2016 – LMP Asks interview, four tutorials and lots of FLOSS news!

Our newsletter for October is now sent to our subscribers. If you have not yet subscribed, you can do that from our start page.

You can also read the latest issue online. In it you will find:

  • 'LMP Asks' interview with Marius Stärk
  • Four new tutorials
  • Lots of new software release announcements

and more!

by admin at October 24, 2016 11:23 PM

October 21, 2016

open-source – CDM Create Digital Music

Watch an amazing unboxing and jam with MeeBlip triode

Working in the synth business is basically one of the most fun things you can do. So in addition to the pleasure of getting reports from owners, we wake to total surprises like this video from Olivier Ozoux, who has made a terrific stop motion unboxing video and live jam with the synth.

MeeBlip joins the Korg electribe sampler and Squarp Pyramid sequencer for a rather fine all-hardware setup. You watch the triode emerge from its box, where it’s been hand-packed by MeeBlip creator James Grahame, then dive into the jam. (He manages to make the resonance sound like an extra percussion part at one moment.)

Wait for it – around 1:13 the sub kicks in. I do this for a living and I still get irrational glee out of bass.

The second batch of MeeBlips triode are about to hit assembly and shipping now.

http://meeblip.com

I hadn’t seen Olivier’s series, and now realize it’s full of charming videos like this. Subscribed – for real.

For instance, speaking of open source hardware, here’s a film of the PreenFM2, assembled into a gorgeous, futuristic white 3d-printed case:

Subscribe to his Musique Électronique on YouTube

The post Watch an amazing unboxing and jam with MeeBlip triode appeared first on CDM Create Digital Music.

by Peter Kirn at October 21, 2016 05:11 PM

Libre Music Production - Articles, Tutorials and News

LSP Plugins version 1.0.14 released!

LSP Plugins version 1.0.14 released!

Vladimir Sadovnikov has just released version 1.0.14 of his audio plugin suite, LSP plugins. All LSP plugins are available in LADSPA, LV2, LinuxVST and standalone JACK formats.

by Conor at October 21, 2016 08:07 AM

October 20, 2016

Linux – CDM Create Digital Music

PiDeck makes a USB stick into a free DJ player, with turntables

There’s something counterintuitive about it, right? Plug a USB stick into a giant digital player alongside turntables. Or plug the turntables into a computer. What if the USB stick … was the actual player? In the age of rapid miniaturization, why hasn’t this happened yet?

Well, thanks to an open source project, it has happened (very nearly, anyway). It’s called PiDeck. And it radically reduces the amount of gear you need. You’ll still need an audio interface with phono input to connect the turntable, plus the (very small, very cheap) Raspberry Pi. But that’s just about it.

Connect your handheld computer into a turntable, add a control vinyl, and you’re ready to go. So your entire rig is only slightly larger than the size of two records and some gear the size of your two hands.

You have a rock-solid, Linux-based, ultra-portable rig, a minimum of fuss, essentially no space taken up in the booth – this all makes digital vinyl cool again.

It works with USB sticks (even after you yank them out):

And you can scratch:

Their recommended gear (touchscreens these days can be really compact, too)

  • A recent Raspberry Pi (only Pi 3 model B tested so far) and power supply. First generation Raspberry Pi’s are not supported, sorry
  • Touchscreen (single-touch is enough), or a HDMI monitor and keyboard
  • Stereo, full-duplex I2S or USB soundcard with a phono input stage, or line input and an external pre-amp, soundcard must be supported by ALSA
  • Micro SD card for the software, at least 2GB in size, and an adaptor to flash it with
  • Control vinyl, Serato CV02 pressing or later recommended
  • USB stick containing your favourite music. FLAC format is recommended (16-bit 44100Hz format tested)
  • Non-automatic record player that can hold speed, with a clean, sharp stylus. It helps scratching if the headshell and arm are adjusted correctly
  • Slipmat, made from felt or neoprene
  • Sheet of wax paper from the kitchen drawer, to go under the slipmat

Previously from this same crew (more just a fun proof of concept / weird way of DJing!):

This is how to DJ with a 7″ tablet and an NES controller

Check out the project site:

http://pideck.com

And you can download this now – for free.

https://github.com/pideck/pideck-distro/releases/

pideck-reverse-side

pideck-spinning

Developer Daniel James writes us with more details on what this whole thing is about:

Chris (in cc) and I have been working on the project in spare time for a couple of months, here on the Isle of Wight. Chris built the hardware prototype and did most of the work on the custom Debian distro.

The idea behind the PiDeck project is to combine the digital convenience of a USB stick with the hands-on usability of the classic turntable, in a way which is affordable and accessible. The parts cost (at retail) for each PiDeck device is currently about £150, not including a case or control vinyl. There is no soldering to do; the hardware screws and clips together.

I used to run DJ workshops for young people, and found that while the kids were really happy to get their hands on the decks, a lot of them were put off by having to use the laptop as well, especially the younger kids and the girls. The teenage boys would tend to crowd around the laptop and take over.

Then there’s the performance aspect of real turntables which some digital controllers lack, and the sneaking suspicion that the computer is really doing the mixing, or worse still, just running through a
playlist. PiDeck doesn’t have any mixing, sync or playlist features, so the DJ can take full credit (or blame) for the sound of the mix.

We’ve deliberately put no configurable options in the interface, and there are no personal files stored on the device. This helps ensure the PiDeck becomes part of the turntable and not unique, in the way that a laptop and its data is. This makes the PiDeck easier to share with other DJs, so that there should be no downtime between sets, and should make it easier for up-and-coming DJs to get a turn on the equipment. If a PiDeck breaks, it would be possible to swap it out for another PiDeck device and carry right on.

Although the DJ doesn’t have any settings to deal with, the software is open source and fully hackable, so we’re hoping that a community will emerge and do interesting things with the project. For example, multiple PiDeck devices could be networked together, or used to control some other system via the turntable.

Yeah – this could change a lot. It’s not just a nerdy proof of concept: it could make turntablism way more fun.

The post PiDeck makes a USB stick into a free DJ player, with turntables appeared first on CDM Create Digital Music.

by Peter Kirn at October 20, 2016 07:22 PM

Libre Music Production - Articles, Tutorials and News

October 19, 2016

Libre Music Production - Articles, Tutorials and News

Using AVL drumkits with a-Fluid Synth in Ardour

Using AVL drumkits with a-Fluid Synth in Ardour

In this tutorial I will show you how to use Glen MacArthur's fantastic AVL Drumkits sample pack with 'a-Fluid Synth', Ardour's built in FluidSynth plugin. I will also show you how to load midnam files to make it easier to do drum programming within the DAW.

by Conor at October 19, 2016 09:12 AM

AVL Drumkits updated to version 1.1

AVL Drumkits updated to version 1.1

Glen MacArthur, maintainer of AVLinux, has just announced version 1.1 of his AVL Drumkit sample pack intended to bring an "authentic acoustic, organic drum sound to your MIDI DAW arrangements and preserve real-world characteristics such as tom ringing and overtones unlike many General MIDI kits that sound sterile."

by Conor at October 19, 2016 08:31 AM

October 14, 2016

News – Ubuntu Studio

Ubuntu Studio 16.10 Released

We are happy to announce the release of our latest version, Ubuntu Studio 16.10 Yakkety Yak! As a regular version, it will be supported for 9 months. Since it’s just out, you may experience some issues, so you might want to wait a bit before upgrading. Please see the release notes for a complete list […]

by Set Hallstrom at October 14, 2016 11:26 PM

OSM podcast

MOD Devices Blog

MOD at Waves Vienna

Hello music-makers!


It’s me, Adam again - MOD Devices mad resident music hacker & polymath at your service. If you’ve been at basically any music-focused hackathon in the last few years, chances are we’ve met already. I’m also going to be at a bunch of the amazing upcoming music hacking events, including Music Hackday Berlin along with my awesome colleagues from MOD. Quite a treat considering we were just at the amazing Waves Vienna Music Hackday a few weeks ago, where we challenged participants to come up with the best way to transform gestures into sounds using the MOD Duo. If you haven’t already, check out the video above for a little taster of what the day was like!

Ignore the knuckle tattoos, I’m not really a thug

Now, as you can see, I’m a pretty recognisable person so if you spot me at a conference, festival or hackathon please don’t hesitate to come and say hello! Perhaps you’ll spot me as part of a motley crew, all sporting MOD Devices T-shirts. Come and meet the team!

A captivated audience at our MOD Duo demo session

Waves hackathon attendees loved the MOD Duo, and after our demonstrations we lent out Duos to teams & individuals from all backgrounds, disciplines, and parts of the world. There was such a talented group of hackers in attendance at the event and the Duo ended up becoming an integral part of many of the amazing projects that were created in just a single day.

Sweet Spotting by Johannes Wernicke

As you can see from Johannes Wernicke’s project Sweet Spotting the MOD Duo managed to find it’s way into some projects of full “Mad Scientist” calibre. Johannes constructed a device which utilised an Acouspade ultrasonic directional speaker array, microphone, Kinect camera and a Duo to create an augmented-reality sonic environment. Thanks to a motorised mount, it follows a listener around and consistently aims the processed sounds of the space around them directly at that one person, creating a bubble of beautiful sonic impossibility to be enjoyed by one person at a time.

My hack utilised a MOD Duo, Novation Circuit & Numark ORBIT

My project at the Waves Music Hackday utilised a MOD Duo, which was processing the sound of my microphone as well as the audio output from a Novation Circuit sequencer & synthesizer. The MIDI output of one of the channels on the Circuit was also controlling a synthesizer, vocoder and autotune pedals within the Duo. The Numark ORBIT is a wireless MIDI controller with multiple banks of buttons, dials, and perhaps most importantly a 2-axis gyroscope. I strapped the controller to my wrist and used the large rotary encoder and the gyro output to control the parameters of my pedalboard.

My performance at the end of the hackathon

Naturally, I then donned a pair of EEG-controlled animatronic wiggling ears, fired up some audio-reactive visuals created in Max MSP and performed one of my songs. Now, I’m a big fan of vocal effects & processing (especially vocoding & autotune) and having the freedom to use those types of effects without processing the microphone via a combo of audio interface & laptop like I usually would at my gigs was really refreshing. Both the Novation Circuit & Numark ORBIT are class-compliant MIDI devices, which meant I was able to connect them both via a USB hub and utilise their output within my MOD pedalboard with ease.

The winners of our ‘Gesture to Sound’ challenge

The winners of our ‘Gesture to Sound’ challenge were Richard Vogl & Daniel Hütter for their project Metal Stance, which enables guitarists to control elements of their MOD pedalboard by changing their pose or stance. Their demonstration performance was incredibly engaging and the audience clearly understood the relationship between the musician’s body movements and the sounds being produced. Richard & Daniel won a MOD Duo for their amazing work on this great project!

I’m more used to a 24-hour hackathon format, such as those at Music Tech Fest and most other Music Hackday events, but this one-day event really blew me away. It didn’t feel like an 8-hour hackathon, it felt like the final 8 hours of a longer hackathon because all of the hackers just knuckled down and started creating amazing things right from the beginning. It was amazing to see all of the fantastic stuff that people came up with - whether they used a MOD Duo in their projects or not. Thanks to everyone who attended, and for anyone who wants a chance to hack a MOD Duo, our next stop is Music Hackday Berlin - I hope we’ll see you there, and in the meantime keep making music, keep loving life, & keep enjoying your MOD Duo!

  • Adam @ MOD HQ

October 14, 2016 05:20 AM

October 12, 2016

Libre Music Production - Articles, Tutorials and News

Linux Show Player 0.4.1 released

Linux Show Player 0.4.1 released

A new version of Linux Show Player is now available.

What's new:

  •  Add:Translation support (currently: English, Italian, Spanish, Slovenian) [! Help wanted !]
  •  Update: UI Improvements, in settings dialogs
  •  Minor improvements & fixes

Linux Show Player (or LiSP for short) is a free cue player designed for sound-playback in stage production.
The goal of the project is to provide a complete playback software for musical plays, theater shows and similar.

by yassinphilip at October 12, 2016 09:12 PM

October 11, 2016

Libre Music Production - Articles, Tutorials and News

Guitarix 0.35.2 released

Guitarix 0.35.2 released

Guitarix 0.35.2 has just been released. The changelog for this release is as follows -

by Conor at October 11, 2016 11:35 AM

New open source project, Flo's Audio Plugins, bring flexible cabinet simulation

New open source project, Flo's Audio Plugins, bring flexible cabinet simulation

There is a new suite of open source (GPLv3) plugins on the block, Flo's Audio Plugins. The suite currently consists of 3 miked cabinet simulation plugins, based on various freely available impulse response collections.

by Conor at October 11, 2016 10:56 AM

MOD Devices Blog

Pre-order shipping update

Good news, music maestros! If you’re one of the people who have already placed a pre-order for a MOD Duo, your wisdom & foresight will soon be rewarded - the shipment of pre-ordered units has now begun! Who else is excited? I certainly am. The first units from this batch will be off to begin their new lives in your studios, stages & gig-bags this friday, and the remaining units for all current pre-orders will be on their way next week.

Assembly & testing has been going on at our Berlin headquarters with a level of efficiency & attention-to-detail that perhaps only the skilled team of a German electronic engineering company like Schleicher could provide.

Jess assembling MOD Duos at Schleicher

Jess from Schleicher is seen here assembling some Duos, and has been described by MOD boss-man Gianfranco (a.k.a. “The MODfather”) as an electronic artisan.

falkTX deploying your new MOD Duos

Some Duos being set up & tested through the deploy machine by our talented colleague Filipe Coelho, a.k.a. falkTX and known throughout the Linux music community for his tireless work as the creator of the KXStudio distribution and many amazing Linux audio applications. Your new MOD Duo has come from the hands of master craftsmen!

To all of our backers from Kickstarter, plugin developers, pedalboard sharers, and all the lucky people out there that have already been enjoying a MOD Duo, thank you so much for being part of the wonderful community that has been creating and sharing amazing content - a community to which we’re about to welcome a whole bunch of new members. All the lucky Duo newbies will benefit from access to the pedalboards already shared by other musicians and by having the Duo in so many sets of talented new hands, we’ll all discover & share even more amazing ways to get the sounds from inside our minds out into the real world.

Keep making music, keep loving life, & keep enjoying your MOD Duo (or get ready to start enjoying your new MOD Duo) - Adam @ MOD HQ

October 11, 2016 05:20 AM

October 08, 2016

open-source – CDM Create Digital Music

Kastle is a 65€ micro modular that’s the size of three AA batteries

It runs on three AA batteries. It’s not really much bigger than those three AA batteries. And yet somehow, it’s a modular. You can use it like a synth, or even plug it into other gear. It’s the Kastle, from Bastl Instruments, those wizards from Brno, Czech. And at 65€ (79€ fully assembled), it’s going to sell like hotcakes. (Makes me hungry for hotcakes, even.)

https://www.youtube.com/watch?v=F6oV6-shZpIp

The heart of the Kastle is a complex oscillator with three modes – phase distortion, phase modulation, and track and hold modulation. Where this gets modular is the way you control it – pitch, timbre, and waveshape can all be patched, as well as the LFO. There are two patch points.

And it’s open source hardware. (Actually, I think Bastl are one of the few other makers apart from us with MeeBlip making end user music gear. But if I’m wrong – if you are – give us a shout!)

Specs:

complex oscillator
3 synthesis modes: phase distortion, phase modulation and track & hold modulation
pitch control with offset and CV input with attenuator
timbre control with offset and CV input with attenuator
waveshape control with offset and CV input
voltage controllable LFO with triangle and square outputs and reset input
stepped voltage generator with random, 8 step and loop 16 step mode
2 I/O CV ports are available and can be routed to any patch point
the main output can drive headphones
3x AA battery operation with power switch
open source
possibility of exchanging different LFO and OSC chips
the pattern on the sides changes and every unit is an original

back

front

The Bastl team have a busy weekend, as this is rolling out in both Brno and Brooklyn. (There are two locations on the map that weren’t routinely put together before the rise of Bastl.)

If you’re in New York, you might have already bought these, as yesterday it went on sale:

Detective Squad Party
11 Stanwix Str.11206 Brooklyn, NY
https://www.facebook.com/events/1317996704878153/

But it’s also coming to Queens as of today, with an event running Saturday and Sunday:

Machines in Music
Knockdown center
52-19 Flushing Avenue
Maspeth, NY 11378
http://www.machinesinmusic.com/

Still, dear Czech friends, no need to fear being left out – of course, it’s also at Bastl’s own Noise Kitchen store in Brno. I’m trying to convince this crew to bring some down to Lunch Meat Festival in Prague on Friday, so anyone else going, feel free to join the chorus.

For the world not in New York City or Brno, you can also order and have it shipped from Czech via the friendly Czech Post.

So, that’s a matter of walking down Kounicova 23 in Brno, or … sitting right where you’re at now on these here Internets and making it rain some synthesis:

http://noise.kitchen/

79€ assembled, or get the kit version for 65€. Outnow.

The post Kastle is a 65€ micro modular that’s the size of three AA batteries appeared first on CDM Create Digital Music.

by Peter Kirn at October 08, 2016 05:58 PM

October 07, 2016

MOD Devices Blog

MOD Duo 1.1 update now available!

Music lovers from around the world, the team here at MOD are very pleased to announce the stable release of update 1.1.0 for your Duo, packed with new features & fixes! Check out some of the awesome new improvements we’ve been making:

  • Bluetooth network support
    Now you can interface with your Duo via a wireless connection using a Bluetooth 3.0 (or higher) USB stick. WIRELESS STUFF IS AWESOME!

  • Tuner
    Hold down the right knob of your Duo and you’ll now see a tuner appear on the right display. Great tone from your instruments starts with the instruments themselves, so let’s take care of them and keep them in tune. INSTRUMENTS THAT ARE IN TUNE SOUND AWESOME!

  • Save & reset pedalboard directly on the Duo
    Check the left display menu on your Duo and you’ll see the new ‘Current pedalboard’ option - no need to connect to your computer to make small adjustments anymore, and you can also reset the pedalboard to the previously saved state. LEAVING YOUR COMPUTER AT HOME IS AWESOME!

  • Restore MIDI device connections
    If you like to use a wide variety of different MIDI controllers & equipment (like I do), then you’ll be pleased to know that connections to MIDI devices are now saved even after devices are disconnected. Reconnecting the device will cause it to reappear in the web interface, and restore the connections it previously had so that you can swap between different MIDI devices easily. EASY THINGS ARE AWESOME!

  • Control outputs for modguis
    It’s now possible for plugins to send information for visual feedback from the Duo to the web interface. Currently only the AT-1 and Step Sequencer make use of this feature, but it will allow developers to produce more complex visual interfaces for plugins and let you know more of what’s going on behind the scenes. KNOWING THINGS IS AWESOME!

These are just a few of the awesome new features we wanted to highlight, but there are a whole load of other improvements. For the changelog and discussion about the update, please see this post on the MOD Forum The next time you open the MOD web interface you’ll receive an update notification, and the update process is simple to initiate.

That’s all for now, so from all of us on the MOD team, thank you for being part of the revolution in effects processing and please let us know if you have any problems. You’ll be hearing more from us soon, including news from our time at the Waves Vienna Music Hackday and in the meantime keep making music, keep loving life & keep enjoying your MOD Duo!

“Everything is AWESOME!” - Adam @ MOD HQ

October 07, 2016 05:20 AM

October 06, 2016

Libre Music Production - Articles, Tutorials and News

Setting up and using a TerraTec DMX-6Fire-USB external soundcard

Setting up and using a TerraTec DMX-6Fire-USB external soundcard

I cannot comprehend that people who have been making this, no doubt enviable, piece of hardware (DMX 6Fire details here) for almost 10 years, all of it without Linux support or an all-inclusive manual, haven't to this date so much as written up something like this page, and that I, a total novice, have to fumble my way through mountains of gossip spread all over the net! Nor can I stand 2-yard names so I'll abbreviate the interfaces name to 6fire.

by Conor at October 06, 2016 08:45 AM

blog4

Tina Mariane Krogh Madsen installation in Aarhus Denmark

From October 15. until November 6. Tina Mariane Krogh Madsen creates a performative installation in the project space Spanien 19C. The installation includes activations and events inclusive a concert evening with TMS and Elektronengehirn. More info at http://bodyinterfaces.tmkm.dk

by herrsteiner (noreply@blogger.com) at October 06, 2016 06:17 AM

October 04, 2016

Pid Eins

systemd.conf 2016 Over Now

systemd.conf 2016 is Over Now!

A few days ago systemd.conf 2016 ended, our second conference of this kind. I personally enjoyed this conference a lot: the talks, the atmosphere, the audience, the organization, the location, they all were excellent!

I'd like to take the opportunity to thanks everybody involved. In particular I'd like to thank Chris, Daniel, Sandra and Henrike for organizing the conference, your work was stellar!

I'd also like to thank our sponsors, without which the conference couldn't take place like this, of course. In particular I'd like to thank our gold sponsor, Red Hat, our organizing sponsor Kinvolk, as well as our silver sponsors CoreOS and Facebook. I'd also like to thank our bronze sponsors Collabora, OpenSUSE, Pantheon, Pengutronix, our supporting sponsor Codethink and last but not least our media sponsor Linux Magazin. Thank you all!

I'd also like to thank the Video Operation Center ("VOC") for their amazing work on live-streaming the conference and making all talks available on YouTube. It's amazing how efficient the VOC is, it's simply stunning! Thank you guys!

In case you missed this year's iteration of the conference, please have a look at our YouTube Channel. You'll find all of this year's talks there, as well the ones from last year. (For example, my welcome talk is available here). Enjoy!

We hope to see you again next year, for systemd.conf 2017 in Berlin!

by Lennart Poettering at October 04, 2016 10:00 PM

October 03, 2016

GStreamer News

GStreamer Core, Plugins, RTSP Server, Editing Services, Python, Validate, VAAPI, OMX 1.10.0 release candidate 1 (1.9.90) (binaries)

Pre-built binary images of the 1.9.90 release candidate of GStreamer are now available for Windows 32/64-bit, iOS and Mac OS X and Android.

The builds are available for download from: Android, iOS, Mac OS X and Windows.

October 03, 2016 12:00 AM

October 01, 2016

Libre Music Production - Articles, Tutorials and News

Ardour 5.4 released

Ardour 5.4 released

Ardour 5.4 has just been released. The main news with this release is support for Ableton's Push 2 control surface. This control surface is designed to work with, and complement, Ableton Live's clip/scene workflow. Ardour does not currently support this type of workflow so Ardour's support, at least for now, is in relation to mixing, editing and musical performance.

by Conor at October 01, 2016 07:06 PM

ardour

Ardour 5.4 released

Ardour 5.4 is now available, with important bug fixes for MIDI (including looping), dozens of less significant but still noteworthy fixes and new features, plus the first version of our support for Ableton's Push 2 surface.

For full details, read more below ...

Download  

read more

by paul at October 01, 2016 03:25 PM

September 30, 2016

GStreamer News

GStreamer Core, Plugins, RTSP Server, Editing Services, Python, Validate, VAAPI, OMX 1.10.0 release candidate 1 (1.9.90)

The GStreamer team is pleased to announce the first release candidate of the stable 1.10 release series. The 1.10 release series is adding new features on top of the 1.0, 1.2, 1.4, 1.6 and 1.8 series and is part of the API and ABI-stable 1.x release series of the GStreamer multimedia framework.

Binaries for Android, iOS, Mac OS X and Windows will be provided in the next days.

Check out the release notes for GStreamer core, gst-plugins-base, gst-plugins-good, gst-plugins-ugly, gst-plugins-bad, gst-libav, gst-rtsp-server, gst-python, gst-editing-services, gst-validate, gstreamer-vaapi, or gst-omx, or download tarballs for gstreamer, gst-plugins-base, gst-plugins-good, gst-plugins-ugly, gst-plugins-bad, gst-libav, gst-rtsp-server, gst-python, gst-editing-services, gst-validate, gstreamer-vaapi, or gst-omx.

September 30, 2016 10:00 AM

September 29, 2016

Libre Music Production - Articles, Tutorials and News

John Option release new song, "Lifestyle obsession"

John Option have just released a new song called "Lifestyle obsession", accompanied as always by a video. Their new song, as with all of John Option releases, is published under the terms of the Creative Commons License Attribution Share Alike.

by Conor at September 29, 2016 11:10 AM

AMSynth sees new release

AMSynth sees new release

AMSynth version 1.7.0 has just been released. AMSynth is an open source realtime software synthesizer for Linux. Its operation is similar to analog Moog Minimoog and Roland Juno-60, which are considered classic synthesizers from the 1970s. It is available in various formats, including LV2 and DSSI plugins as well as JACK/ALSA standalone clients.

Changes in this release include -

by Conor at September 29, 2016 11:02 AM

September 28, 2016

ardour

Ardour Solar Powered Development

Some Ardour users and other interested readers may be intrigued to know that almost all of Ardour's lead developer's work on the program right now is powered by photovoltaic panels. 540W panel capacity and 510Ah of lead-acid AGM batteries generally provides enough power to keep a 4 core i7-3370US 3.10GHz system running, with occasional use of a Mac Mini. It also runs the fridge, lighting, music and pump systems in the Sprinter van that he and his wife are living in until June 2017. With the exception of the Mac Mini, all other computing equipment is 12V DC native (no power bricks), including the 40W Topping amplifier used to power a pair of Micca monitors.

It is unlikely that the solar power available in the UK during the winter (where the van will be located) will be enough to keep things running, so at some point reverting to a cable and mains power seems likely. But for now, all of Paul's work is powered by the sun. Welcome to the future!

(ps. as a footnote, the other systems intimately involved in Ardour development, while connected to the grid, are also powered via contracts that guarantee 100% renewable energy sources.)

read more

by paul at September 28, 2016 10:16 PM

September 25, 2016

digital audio hacks – Hackaday

Sending Music Long Distance Using A Laser

This isn’t the first time we’ve seen DIYers sending music over a laser beam but the brothers [Armand] and [Victor] are certainly in contention for sending the music the longest distance, 452 meter/1480 feet from their building, over the tops of a few houses, through a treetop and into a friend’s apartment. The received sound quality is pretty amazing too.

In case you’ve never encountered this before, the light of the laser is modulated with a signal directly from the audio source, making it an analog transmission. The laser is a 250mW diode laser bought from eBay. It’s powered through a 5 volt 7805 voltage regulator fed by a 12V battery. The signal from the sound source enters the circuit through a step-up transformer, isolating it so that no DC from the source enters. The laser’s side of the transformer feeds the base of a transistor. They included a switch so that the current from the regulator can either go through the collector and emitter of the transistor that’s controlled by the sound source, giving a strong modulation, or the current can go directly to the laser while modulation is provided through just the transistor’s base and emitter. The schematic for the circuit is given at the end of their video, which you can see after the break.

They receive the beam in their friend’s apartment using solar cells, which then feed a fairly big amplifier and speakers. From the video you can hear the surprisingly high quality sounds that results. So check it out. It also includes a little Benny Hill humor.

And when have we seen laser communication before? Why yours truly demonstrated a shorter range transmission using a dollar store pet toy laser sending to a solar cell and homemade amplifier. If you want to dig deeper, Gigabit laser Ethernet is the one for you.


Filed under: digital audio hacks, laser hacks

by Steven Dufresne at September 25, 2016 05:01 PM

September 24, 2016

digital audio hacks – Hackaday

Now is the Golden Age of Artisanal, Non-Traditional Tube Amps

Earlier in the month, [Elliot Williams] quipped that it had been far too long since we saw a VFD-based amplifier build. Well, that dry spell is over. This week, [kodera2t] started showing off his design for a VFD headphone amp.

Here’s the thing, this isn’t using old surplus vacuum fluorescent displays. This is actually a new part. We first covered it about 18 months ago when Korg and Noritake announced the NuTube. It’s the VFD form factor you would find in old stereo and lab equipment, but housed in the familiar glass case is a triode specifically designed for that purpose.

Check out [kodera2t’s] video below where he walks through the schematic for his amplifier. Since making that video he has populated the boards and taken it for a spin — no video of that yet but we’re going to keep a watchful eye for a follow-up. Since these parts can be reliably sourced he’s even planning to sell it in his Tindie store. If you want to play around with this new tube that’s a pretty easy way to get the tube and support hardware all in one shot. This is not a hack, it’s being used for exactly what Korg and Noritake designed it to do, but we hope to see a few of these kits hacked for specific tastes in amp design. If you do that (or any other VFD hacking) we want to hear about it!

And now for the litany of non-traditional VFD amps we’ve grown to love. There is the Nixie amp where [Elliot] made the quip I mentioned above, here’s an old radio VFD amp project, in this one a VCR was the donor, and this from wayback that gives a great background on how this all works.


Filed under: classic hacks, digital audio hacks, slider

by Mike Szczys at September 24, 2016 11:01 AM

September 21, 2016

rncbc.org

Qtractor 0.7.9 - A Snobbier Graviton release


So it's last equinox'16...

And the ultimate last of the Qstuff* End of Summer'16 release parties.

Qtractor 0.7.9 (snobbier graviton) is now released!

Release highlights:

  • Audio/MIDI metronome anticipatory offset (NEW)
  • Current clip highlighting (NEW)
  • SFZ sample file archive/zip bundling (NEW)
  • MIDI transpose Reverse tool (NEW)
  • MIDI (N)RPN running status and NULL support (NEW)
  • MIDI Controllers catch-up algorithm (FIX)
  • MIDI track Instrument menu (FIX)
  • JACK shutdown and buffer-size changes (FIX)

Enjoy && Have (lots of) fun.

Qtractor is an audio/MIDI multi-track sequencer application written in C++ with the Qt framework. Target platform is Linux, where the Jack Audio Connection Kit (JACK) for audio and the Advanced Linux Sound Architecture (ALSA) for MIDI are the main infrastructures to evolve as a fairly-featured Linux desktop audio workstation GUI, specially dedicated to the personal home-studio.

Website:

http://qtractor.sourceforge.net

Project page:

http://sourceforge.net/projects/qtractor

Downloads:

http://sourceforge.net/projects/qtractor/files

Git repos:

http://git.code.sf.net/p/qtractor/code
https://github.com/rncbc/qtractor.git
https://gitlab.com/rncbc/qtractor.git
https://bitbucket.org/rncbc/qtractor.git

Wiki (help wanted!):

http://sourceforge.net/p/qtractor/wiki/

License:

Qtractor is free, open-source Linux Audio software, distributed under the terms of the GNU General Public License (GPL) version 2 or later.

And the boring complete change-log follows:

  • JACK buffer-size change handling has been deeply improved, now doing an immediate session restart, while preserving all external connections as much as possible.
  • Introducing an audio and MIDI metronome anticipatory offset, kind of latency compensation, to respective option settings cf. View/Options.../Audio, MIDI/Metronome/Offset (latency).
  • Fixed LADSPA plug-in preset switching, incidentally broken as NOP, ever since late Haziest Photon's crash-landed.
  • MIDI Track/Instrument cascading menus have been found empty broken on Qt5 builds, now fixed.
  • MIDI RPN/NRPN running status and RPN NULL reset command are now supported (input only).
  • Fixed a sure immediate crash on removing audio buses that are current targets of any active Aux-send inserts.
  • Fixed yet another old bummer that was reaping off assigned MIDI controllers on existing track's gain/volume or panning controls, when adding any single new track.
  • Fixed missing feedback on MIDI controllers assigned to any of monitor, record, mute and solo track/bus state buttons.
  • Eye-candy warning: the current clip, not necessarily the one currently selected, is now highlighted with a solid outline; linked MIDI clips are also highlighted with an alternate dashed outline.
  • SFZ file conversion, and bundling of the respective sample files, is now supported when saving as zip/archive (*.qtz).
  • Fixed track monitor, record, mute and solo dangling states, on Track/Duplicate command.
  • Slight regression on the LV2 State Files abstract/relative file-path mapping, trading QFileInfo::canonicalFilePath() for QFileInfo::absoluteFilePath(), and thus skipping all symlink dereferences in the process.
  • Fixed a one first linking/ref-counting glitch, affecting recently recorded MIDI clips which might have their initial clip length still un-quantized to MIDI resolution (BBT).
  • A brand new and discrete MIDI clip editor command tool has been added: MIDI Tools/Transpose/Reverse.
  • Discretely fixed MIDI Controllers catch-up algorithm.
  • Fixed a borderline mistake on plug-in parameter port index mapping to its corresponding symbolic name, especially if newer plug-in versions are loaded on older saved sessions.

Flattr this

 

Enjoy && Have (lots of) fun.

by rncbc at September 21, 2016 05:00 PM

Libre Music Production - Articles, Tutorials and News

Qtractor 0.7.9 - A Snobbier Graviton release

Qtractor 0.7.9 - A Snobbier Graviton release

Rui Nuno Capela continues his end of summer release frenzy. This time around he is pushing out Qtractor 0.7.9.

Release highlights include -

by Conor at September 21, 2016 03:50 PM

September 20, 2016

drobilla.net

Sratom 0.6.0

sratom 0.6.0 has been released. Sratom is a library for serialising LV2 atoms to/from RDF, particularly the Turtle syntax. For more information, see http://drobilla.net/software/sratom.

Changes:

  • Add sratom_set_env() for setting prefixes
  • Fix padding of constructed vectors (thanks Hanspeter Portner)
  • Support round-trip serialisation of relative paths
  • Support sequences with beat time stamps
  • Fix warnings when building with ISO C++ compilers
  • Upgrade to waf 1.8.14

by drobilla at September 20, 2016 02:25 AM

Lilv 0.24.0

lilv 0.24.0 has been released. Lilv is a C library to make the use of LV2 plugins as simple as possible for applications. For more information, see http://drobilla.net/software/lilv.

Changes:

  • Add new hand-crafted Pythonic bindings with full test coverage
  • Add lv2apply utility for applying plugins to audio files
  • Add lilv_world_get_symbol()
  • Add lilv_state_set_metadata() for adding state banks/comments/etc (based on patch from Hanspeter Portner)
  • Fix crash when state contains non-POD properties
  • Fix crash when NULL predicate is passed to lilv_world_find_nodes()
  • Fix state file versioning
  • Unload contained resources when bundle is unloaded
  • Do not instantiate plugin when data fails to parse
  • Support re-loading plugins
  • Replace bundles if bundle with newer plugin version is loaded (based on patch from Robin Gareus)
  • Fix loading dyn-manifest from bundles with spaces in their path
  • Check lv2:binary predicate for UIs
  • Add LILV_URI_ATOM_PORT and LILV_URI_CV_PORT defines
  • Fix documentation installation
  • Fix outdated comment references to lilv_uri_to_path()

by drobilla at September 20, 2016 02:24 AM

September 19, 2016

rncbc.org

Vee One Suite 0.7.6 - The Eleventh beta release


Hello again!

The Vee One Suite aka. the gang of three old-school homebrew software instruments, respectively synthv1, as a polyphonic subtractive synthesizer, samplv1, a polyphonic sampler synthesizer and drumkv1 as yet another drum-kit sampler, are here released on their eleventh beta iteration, joining the so called Qstuff* End of Summer'16 release frenzy.

All still available in dual form:

  • a pure stand-alone JACK client with JACK-session, NSM (Non Session management) and both JACK MIDI and ALSA MIDI input support;
  • a LV2 instrument plug-in.

The common change-log says:

  • MIDI RPN/NRPN running status and RPN NULL reset command are now supported (input only).
  • The core engine implementation is now delivered as a shared object library, common to both the JACK stand-alone client and the LV2 instrument plug-in.
  • Discretely fixed MIDI Controllers catch-up algorithm.

The Vee One Suite are free, open-source Linux Audio software, distributed under the terms of the GNU General Public License (GPL) version 2 or later.

Enjoy && have (lots of) fun ;)

And here they come again!

synthv1 - an old-school polyphonic synthesizer

synthv1 0.7.6 (eleventh official beta) released!

synthv1 is an old-school all-digital 4-oscillator subtractive polyphonic synthesizer with stereo fx.

LV2 URI: http://synthv1.sourceforge.net/lv2

website:
http://synthv1.sourceforge.net

downloads:
http://sourceforge.net/projects/synthv1/files

git repos:
http://git.code.sf.net/p/synthv1/code
https://github.com/rncbc/synthv1.git
https://gitlab.com/rncbc/synthv1.git
https://bitbucket.org/rncbc/synthv1.git

Flattr this

samplv1 - an old-school polyphonic sampler

samplv1 0.7.6 (eleventh official beta) released!

samplv1 is an old-school polyphonic sampler synthesizer with stereo fx.

LV2 URI: http://samplv1.sourceforge.net/lv2

website:
http://samplv1.sourceforge.net

downloads:
http://sourceforge.net/projects/samplv1/files

git repos:
http://git.code.sf.net/p/samplv1/code
https://github.com/rncbc/samplv1.git
https://gitlab.com/rncbc/samplv1.git
https://bitbucket.org/rncbc/samplv1.git

Flattr this

drumkv1 - an old-school drum-kit sampler

drumkv1 0.7.6 (eleventh official beta) released!

drumkv1 is an old-school drum-kit sampler synthesizer with stereo fx.

LV2 URI: http://drumkv1.sourceforge.net/lv2

website:
http://drumkv1.sourceforge.net

downloads:
http://sourceforge.net/projects/drumkv1/files

git repos:
http://git.code.sf.net/p/drumkv1/code
https://github.com/rncbc/drumkv1.git
https://gitlab.com/rncbc/drumkv1.git
https://bitbucket.org/rncbc/drumkv1.git

Flattr this

Enjoy && have (lots of) fun ;)

by rncbc at September 19, 2016 05:00 PM

Libre Music Production - Articles, Tutorials and News

Vee One Suite 0.7.6 released

 Vee One Suite 0.7.6 released

Days after his Qstuff* end of Summer'16 release frenzy, Rui Nuno Capela releases the Eleventh beta release of his Vee One Suite, version 0.7.6. This suite of plugins includes -

by Conor at September 19, 2016 04:35 PM

open-source – CDM Create Digital Music

MeeBlip triode synth gets even bigger bass

Our MeeBlip synth is back. It’s still a tiny box you can add to a synth setup. It’s still just US$139.95. But now, it packs some improved features – and bigger-than-ever bass.

The most important thing I can tell you about this is, when you flip the “sub” switch on and enable its new third oscillator, its bass sound is simply enormous.

And that makes me really glad to share it with you, the latest fruits of CDM’s collaboration with engineer James Grahame — the brains behind MeeBlip.

James has selected some sounds I made with it. A few seconds into that first sound, I power up that sub oscillator. You’ll need something other than laptop speakers to hear.

We sold out of the Triode’s award-winning predecessor, the MeeBlip anode. So it’s been impossible to get a MeeBlip for a few months unless you were buying second-hand.

But if you missed out, you’ve got a second chance with Triode. And there are some improvements – apart from just the red color.

NEW sub oscillator
NEW red color
NEW 8 additional custom wavetables, for 24 in total
Tuned envelopes for more response
Front-panel glide
MIDI control of analog filter resonance

All of this digital grunge is combined with the same Twin-T analog filter from the anode. It’s a vintage filter design intended for things like guitar pedals, which adds aggressive resonance to your synth sound.

And you can now add Triode alongside other stuff you might find useful as a mobile musician – like our new BlipCase (which is designed to fit instruments like the Korg volca series), and an excellent driver-free USB MIDI interface.

When we started developing the MeeBlip project, there really weren’t compact MIDI synths you could get for this price. But every time I switch the MeeBlip on in my studio, I’m reminded of why I believe in this project. Apart from the fact that the MeeBlip remains open source hardware – every circuit, every line of code – it’s still an instrument with a personality all its own. There’s nothing dirty in quite the same way. And when you need a box to add something grimy and heavy on top of all the other wonderful toys we’ve got, it’s there for you.

In stock.

Shipping now, worldwide, direct from us – hand-tested by the engineer at his studio in Calgary, Canada.

http://meeblip.com

MeeBlip_Anastasia_Muna

meeblip_triode_beautyshot

triode_top

triode_back

http://meeblip.com

The post MeeBlip triode synth gets even bigger bass appeared first on CDM Create Digital Music.

by Peter Kirn at September 19, 2016 02:37 PM

MOD Devices Blog

MOD travels around the world

MOD team has participated in numerous international events throughout the years of the company. Events like NAMM and Linux Audio conference are of great importance for us as it gives great insights of what is happening in the music industry in a global perspective. Linux Audio Conference was actually the very first event we participated at in 2013 and have been coming back every year since.

These events are important for us not only to showcase our device and find investors but also to meet and discuss with the community that has always been the biggest part of our project. On events like this you never know who might stumble upon your booth and say “wow, this is amazing!” - that’s how new friendships begin. We would like to dedicate this post for these wonderful people that have been pushing us towards our goal, thank you for believing in us.

Linux Audio Conference

Let’s start with the previously mentioned Linux Audio Conference.

“The Linux Audio Conference (LAC) is the international conference about Free/Open-Source Software for music, sound and other media with GNU/Linux as the main platform.”

MOD Duo runs the linux based operating system, audio, and plugins, therefore, LAC event is just a perfect fit for us. Most of the plugins we have on MOD Duo come from the developers of linux audio community. The same developers are participating in the LAC on a regular basis.

It’s very nice to meet the developers whose software you are using daily. It’s a community of small teams and the bond between the developers and the users is close. Some developers communicate with the users every day.

We have been in contact with the developers over IRC channel and emails but met them personally only in the conference. Some of the great connections we made in LAC includes our two team members Filipe Coelho and Jeremy Jongepier. As well as that, we’re happy to have friends in the developer’s community, including, but not only, Harry van Haaren and Robin Gareus.

We are very much looking forward to attending next year’s LAC, we are awaiting for the announcement of the date and place of 2017 LAC.

LAC 2015 group picture


NAMM

Here’s the official NAMM description from their website:

“NAMM, the National Association of Music Merchants (NAMM), commonly called NAMM in reference to the organization’s popular NAMM trade shows, is the not-for-profit association that promotes the pleasures and benefits of making music and strengthens the $17 billion global music products industry. Our association — and our trade shows — serve as a hub for people wanting to seek out the newest innovations in musical products, recording technology, sound, and lighting. NAMM’s activities and programs are designed to promote music making to people of all ages.”

NAMM is one of the biggest trading shows in United States. Since a big majority of our audience is from the US, it’s only natural that we would go to where we already have interest in our product. The event is great for meeting possible distributors, learning about other great events, for example Stompbox show NYC in which we hope to participate next year. The summer NAMM was a great success and we are happy to announce that we will be going to next winter NAMM show on January 2017 in California.

Alt


Musikmesse

Musikmesse in Frankfurt is the international trade fair for musical instruments, sheet music, music production, and marketing. Our company is located in Berlin so it comes as no surprise to go showcase MOD Duo to the biggest music fair in Germany. Musikmesse is a great place to meet a broad scope of people in the music industry. Actually, we met our current testing intern Jesse Verhage in Musikmesse while he was visiting the event with his friends from University. We would like to attend the event in 2017 as well.

Check out this great video that AinTheMachine produced for us in Musikmesse.




Music Tech Fest

Music tech fest is an event of many great things and different creative disciplines. Here’s a description from their website

“Music Tech Fest is the global festival of music ideas and a giant creative laboratory featuring cutting edge performance, music hacking, and industry showcases that connect artists, technologists and business in a vibrant environment. Unique collaborations, new works created on site, premieres of future technology, and a visionary community, make each event an exciting landmark gathering. MTF is cross-genre, international, enriching, and inclusive.”

This is the event where music meets technology. In short, that’s what MOD is all about. It connects musicians with engineers. The music tech fest hackathon, which we sponsored, brings the people with technical and musical background together. In 24 hours they create ideas and prototypes of what could possibly become the next big thing in the music industry.

We met many talented musicians and had a chance to catch up with our friends that joined the event with us. Few musicians that had the chance to try MOD Duo didn’t want to let go of it and now have fully integrated it to their sets, musicians such as Steve Lawson, Eska, and Simon Goff. We met Thomas Lidy, Waves Vienna hackathon organizer and as a result, we are also sponsoring and going to the hackathon in Vienna on October 1st, 2016. As well as that, one of the connections has lead to a new team member in our company - Adam John Williams. We are so happy to have made all of these friendships that will hopefully last years to come. We are looking forward to the next Music Tech Fest and the organic joys that the festival brings.

Alt


Sonar

Over the years, Sonar has become one of the biggest and well-known electronic music festivals in Europe.

“Created in 1994, Sónar is a pioneering cultural event with a unique format and content. Its first class reputation as a leading reference for international festivals is thanks to its attention in curation, combining a playful nature, the avant-garde, and experimentation with newest trends in dance and electronic music.”

It’s the second time we were participating in Sonar+D. The first time, in 2015, we only had the prototype of MOD Duo. When we got back in 2016 we already had a working Duo which was in production and available for purchase on our website. Many of the participants are coming back each year. It was a pleasure to meet new and familiar faces that came to our stand to see and test MOD Duo.

In 2015 we had success in the investor’s round and in 2016 we started collaborations with Perfect Entropy Productions and Elektron. Sonar is definitely a valuable event to make great connections and meet musicians from all over the world. It’s a great possibility to learn first hand about the great musical technology that is emerging - from ideas, prototypes, to working projects. We are planning to come back to Barcelona for 2017 Sonar.

Alt


Futur En Seine

Futur en Seine is an event about innovation, happening yearly at the beginning of June in Paris.

“Futur en Seine is the largest free and open meeting on innovation in Europe. An event where creators, developers and other major players in French and international innovation gather from around the world. Demos, conferences, workshops, business appointments: Futur en Seine is an immersion in the world of digital innovation.”

We were invited to participate in Futur en Seine Start-up Boot Camp organized by ACE Creative. We had a unique opportunity to practice pitching for investors and meet other start-ups and innovative technology.

Alt


Betahaus summer party

This summer we participated in Betahaus summer party.

“Betahaus is a coworking space for individuals who want to choose and share their ideas of work.”

Our previous office was located in Betahaus Berlin, where we made many great connections and got introduced to Berlins Start-up scene. We are still very close friends with people from Betahaus and are happy to get invited to their events.

Alt


Start-Up Night Berlin

We were invited to participate in Startup night by Schleicher, the company where we assemble our MOD Duo units and also we are part of their Sizzle office space.

“Startup night is THE event for the Berlin startup scene, where startups have the chance to present themselves. It was launched in 2013 and will take place for the fourth time this year<…>”

Alt


Our next upcoming event where you can meet us and try MOD Duo will be in Waves Vienna festival on September 30 - October 1st.

Waves Vienna hackathon

If you know interesting events where you would like to see us, please don’t hesitate to contact us with your suggestions over contact@moddevices.com

September 19, 2016 05:57 AM

September 17, 2016

Pid Eins

systemd.conf 2016 Workshop Tickets Available

Tickets for systemd 2016 Workshop day still available!

We still have a number of ticket for the workshop day of systemd.conf 2016 available. If you are a newcomer to systemd, and would like to learn about various systemd facilities, or if you already know your way around, but would like to know more: this is the best chance to do so. The workshop day is the 28th of September, one day before the main conference, at the betahaus in Berlin, Germany. The schedule for the day is available here. There are five interesting, extensive sessions, run by the systemd hackers themselves. Who better to learn systemd from, than the folks who wrote it?

Note that the workshop day and the main conference days require different tickets. (Also note: there are still a few tickets available for the main conference!).

Buy a ticket here.

See you in Berlin!

by Lennart Poettering at September 17, 2016 10:00 PM

September 15, 2016

GStreamer News

GStreamer Conference 2016: Last chance for early-bird discount on tickets

This is a quick reminder that registration for the GStreamer conference 2016 is open, and if you register today you can still benefit from the discounted early-bird registration fee, which is only available until Thursday 15 September 2016 (inclusive). After that the registration fee for professional tickets will rise to 340 EUR.

Register now for the GStreamer Conference!

GStreamer Conference 2016 Berlin

About the GStreamer Conference

The GStreamer Conference 2016 will take place on 10-11 October 2016 in Berlin (Germany), and will take place in the same week as the Embedded Linux Conference Europe. More information and details how to register can be found on the conference website.

September 15, 2016 10:00 AM

September 14, 2016

rncbc.org

The QStuff* End of Summer'16 Release

Howdy!

Modesty on the side, this is the ultimate Qstuff* End of Summer'16 release frenzy.

Nothing less than the following gems:

are now released to the masses.

Enjoy and have (lots of) fun!

 

QjackCtl - JACK Audio Connection Kit Qt GUI Interface

QjackCtl 0.4.3 (end of summer'16) released!

QjackCtl is a(n ageing but still) simple Qt application to control the JACK sound server, for the Linux Audio infrastructure.

Website:
http://qjackctl.sourceforge.net
Project page:
http://sourceforge.net/projects/qjackctl
Downloads:
http://sourceforge.net/projects/qjackctl/files

Git repos:

http://git.code.sf.net/p/qjackctl/code
https://github.com/rncbc/qjackctl.git
https://gitlab.com/rncbc/qjackctl.git
https://bitbucket.com/rncbc/qjackctl.git

Change-log:

  • Fix build error caused by variable length array.
  • Fix some tooltip spelling (patch by Jaromír Mikeš, thanks).
  • Translation (not) fix for the default server name "(default)".
  • Old "Start minimized to system tray" option returns to setup.
  • Dropped the --enable-qt5 from configure as found redundant given that's the build default anyway (suggestion by Guido Scholz, while for Qtractor, thanks).
  • Late again French (fr) translation update (by Olivier Humbert aka. trebmuh, thanks).

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Qsynth - A fluidsynth Qt GUI Interface

Qsynth 0.4.2 (end of summer'16) released!

Qsynth is a FluidSynth GUI front-end application written in C++ around the Qt framework using Qt Designer.

Website:
http://qsynth.sourceforge.net
Project page:
http://sourceforge.net/projects/qsynth
Downloads:
http://sourceforge.net/projects/qsynth/files

Git repos:

http://git.code.sf.net/p/qsynth/code
https://github.com/rncbc/qsynth.git
https://gitlab.com/rncbc/qsynth.git
https://bitbucket.com/rncbc/qsynth.git

Change-log:

  • Old "Start minimized to system tray" option returns to setup.
  • Dropped the --enable-qt5 from configure as found redundant given that's the build default anyway (suggestion by Guido Scholz, while for Qtractor, thanks).

Flattr this

 

Qsampler - A LinuxSampler Qt GUI Interface

Qsampler 0.4.1 (end of summer'16) released!

Qsampler is a LinuxSampler GUI front-end application written in C++ around the Qt framework using Qt Designer.

Website:
http://qsampler.sourceforge.net
Project page:
http://sourceforge.net/projects/qsampler
Downloads:
http://sourceforge.net/projects/qsampler/files

Git repos:

http://git.code.sf.net/p/qsampler/code
https://github.com/rncbc/qsampler.git
https://gitlab.com/rncbc/qsampler.git
https://bitbucket.com/rncbc/qsampler.git

Change-log:

  • Fixed a race condition on creating sampler channels that ended in duplicate channel strips; also fixed channel auto-arrange.
  • Dropped the --enable-qt5 from configure as found redundant given that's the build default anyway (suggestion by Guido Scholz, while for Qtractor, thanks).
  • Automake: set environment variable GCC_COLORS=auto to allow GCC to auto detect whether it (sh/c)ould output its messages in color.

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QXGEdit - A Qt XG Editor

QXGEdit 0.4.1 (end of summer'16) released!

QXGEdit is a live XG instrument editor, specialized on editing MIDI System Exclusive files (.syx) for the Yamaha DB50XG and thus probably a baseline for many other XG devices.

Website:
http://qxgedit.sourceforge.net
Project page:
http://sourceforge.net/projects/qxgedit
Downloads:
http://sourceforge.net/projects/qxgedit/files

Git repos:

http://git.code.sf.net/p/qxgedit/code
https://github.com/rncbc/qxgedit.git
https://gitlab.com/rncbc/qxgedit.git
https://bitbucket.com/rncbc/qxgedit.git

Change-log:

  • Dropped the --enable-qt5 from configure as found redundant given that's the build default anyway (suggestion by Guido Scholz, while for Qtractor, thanks).

Flattr this

 

QmidiCtl - A MIDI Remote Controller via UDP/IP Multicast

QmidiCtl 0.4.1 (end of summer'16) released!

QmidiCtl is a MIDI remote controller application that sends MIDI data over the network, using UDP/IP multicast. Inspired by multimidicast (http://llg.cubic.org/tools) and designed to be compatible with ipMIDI for Windows (http://nerds.de). QmidiCtl has been primarily designed for the Maemo enabled handheld devices, namely the Nokia N900 and also being promoted to the Maemo Package repositories. Nevertheless, QmidiCtl may still be found effective as a regular desktop application as well.

Website:
http://qmidictl.sourceforge.net
Project page:
http://sourceforge.net/projects/qmidictl
Downloads:
http://sourceforge.net/projects/qmidictl/files

Git repos:

http://git.code.sf.net/p/qmidictl/code
https://github.com/rncbc/qmidictl.git
https://gitlab.com/rncbc/qmidictl.git
https://bitbucket.com/rncbc/qmidictl.git

Change-log:

  • Dropped the --enable-qt5 from configure as found redundant
    given that's the build default anyway (suggestion by Guido
    Scholz, while for Qtractor, thanks).

Flattr this

 

QmidiNet - A MIDI Network Gateway via UDP/IP Multicast

QmidiNet 0.4.1 (end of summer'16) released!

QmidiNet is a MIDI network gateway application that sends and receives MIDI data (ALSA-MIDI and JACK-MIDI) over the network, using UDP/IP multicast. Inspired by multimidicast and designed to be compatible with ipMIDI for Windows.

Website:
http://qmidinet.sourceforge.net
Project page:
http://sourceforge.net/projects/qmidinet
Downloads:
http://sourceforge.net/projects/qmidinet/files

Git repos:

http://git.code.sf.net/p/qmidinet/code
https://github.com/rncbc/qmidinet.git
https://gitlab.com/rncbc/qmidinet.git
https://bitbucket.com/rncbc/qmidinet.git

Change-log:

  • Dropped the --enable-qt5 from configure as found redundant given that's the build default anyway (suggestion by Guido Scholz, while for Qtractor, thanks).

Flattr this

 

License:

All of the Qstuff* are free, open-source Linux Audio software, distributed under the terms of the GNU General Public License (GPL) version 2 or later.

 

Enjoy && keep the fun, always!

by rncbc at September 14, 2016 07:00 PM

Libre Music Production - Articles, Tutorials and News

QStuff* End of Summer'16 Release

Fans of Rui Nuno Capela's Qstuff* take heed, he has just released the following end of summer updates to his suite of software -

  • QjackCtl 0.4.3
  • Qsynth 0.4.2
  • Qsampler 0.4.1
  • QXGEdit 0.4.1
  • QmidiCtl 0.4.1
  • QmidiNet 0.4.1

For a full run down of the changelogs, check out Rui's announcement over at rncbc.org

by Conor at September 14, 2016 03:46 PM

GStreamer News

GStreamer Conference 2016: Collabora Platinum Sponsor

The GStreamer project is pleased to welcome back Collabora as Platinum level sponsor at this year's GStreamer Conference in Berlin.

Collabora (https://www.collabora.com) is a consultancy with more than 10 years of experience in open source technologies. As well as employing several core contributors, they have been sponsoring the GStreamer conference for every year since the very first conference.

Thanks Collabora!

Collabora

About the GStreamer Conference

The GStreamer Conference 2016 will take place on 10-11 October 2016 in Berlin (Germany), and will take place in the same week as the Embedded Linux Conference Europe. More information and details how to register can be found on the conference website.

September 14, 2016 01:00 PM

Linux – CDM Create Digital Music

Jamming standard: Ableton is opening Link to everyone, starting today

Ableton Link is coming to desktops, and going completely open source. And that means the best tool for wireless sync and jamming is about to get a lot more popular.

On iOS and for Ableton Live users, Ableton Link is already a revelation. It allows any number of different apps to sync up with one another without fuss. That includes two more machines running Ableton Live, of course. But it could also be two apps on an iPad, or an iPhone and an iPad, or an iPad and a copy of Ableton Live. It completely changes live jamming: instead of needing tech and setup, you only need friends.

And this is what was unique about Ableton Link. Almost from day one, it was something that embraced developers outside Ableton’s own offices.

Well, that’s about to accelerate – a lot. Ableton Link goes from being a tool for Ableton Live that happens to have an iOS mobile SDK to a lot more. You can actually look at this as several things happening at once.

Ableton Link is desktop-ready. There’s now a complete desktop SDK available on GitHub, complete with example apps for Windows, macOS, and Linux.

Ableton Link is open source, free software. All the source code for Ableton Link is available on GitHub. (It’s written in C++.) It’s also liberally licensed, under a GPLv2 license – free as in freedom. And if you do want to build proprietary software, there’s a licensing option. (There’s more to discuss here for those of us in the free software community as far as license compatibility, but I’m also less worried about that precisely because I feel the team at Ableton are flexible enough to have a discussion if the legal license itself doesn’t answer a question.)

Meet

Meet “other platforms.”

There are desktop partners – Propellerhead, Cycling ’74, and Serato. Um, wow. Not only are these the developers of three flagship apps, but they each represent essential music making communities (the Reason, Max, and Serato DJ communities being some of the most passionate anywhere). And they mean the launch partnership covers three categories of tools (a music studio, a DIY music toolkit, and a DJ app).

And each has been involved in various kinds of innovation. Propellerhead have played a key role in the evolution of the ideas we have today about software as instruments, as well as how software could interoperate (with ReWire). Max/MSP has been an environment where new ideas in music software often emerge, and was even the playground used by the founders of Ableton before they founded Ableton. And Serato is notable because they helped contribute to how sync works in Live today. (The planned integration for The Bridge having failed is itself significant; I think these days, we’d be happy just to have simple sync and not worry about something so over-ambitious.)

Obviously, more will follow. I’m disappointed not to see Native Instruments here, for instance, as I think being involved is important to NI’s stated mission of pushing standards.

Serato joins Ableton. All photos courtesy Ableton.

Serato joins Ableton. All photos courtesy Ableton.

The iOS SDK has also been updated, and will continue to grow. There’s a 2.0 SDK, improved example apps, and of course Link is becoming a standard in iOS tools that use sync.

More platforms can follow. Now, here’s where things get interesting. Linux support means all kinds of unique platforms, like the Raspberry Pi. (The Link team has already tested a RasPi; I will, too, for sure.) That opens up sync-able hardware. And while there’s no official Android SDK or example apps, I’m certain we’ll see some intrepid Android developers make their own in a hurry – there’s already everything they need in the SDK.

Just making something open source doesn’t magically make stuff happen. (Trust me on this. Apart from using open source tools every single day, I’ve been involved in the management of both open source hardware and software.) So this isn’t a “build this and they will come” sort of deal. And that’s why I’m excited by the team at Ableton working on this. Not only did they create the best technology in the business for sync and jamming, but I trust them to manage this as an open source tool. Florian Goltz, with whom CDM spoke on background for this article, is now Link Open Source Project Owner, and Michaela Buergle remains Link Product Owner. (Michaela was I think one of the most eloquent speakers at Loop, which is important – making technology successful is not just an engineering problem, but a communication problem, as well.)

abletonlink_workspace

Now, having heaped that praise on Ableton, I think the next step is up to us. We have to build interesting apps with this tech, and find ways of playing with tools and with each other to make better music. I also hope those of us advocating open source software and education (cough, uh, like me) can find ways of helping people realize their own ideas for new tools with this platform.

For users:
https://www.ableton.com/en/link/

For developers:
https://ableton.github.io/link/

Find software:
https://www.ableton.com/en/link/apps/

The post Jamming standard: Ableton is opening Link to everyone, starting today appeared first on CDM Create Digital Music.

by Peter Kirn at September 14, 2016 11:18 AM