August 14, 2018

Talk Unafraid

Mapping Electromagnetic Field

This is part blog post, part prelude and part documentation.

At Electromagnetic Field (EMFCamp, being held later this month) I will be giving a talk on mobile mapping technologies, what the current state of the art looks like, precise location and some open source tools. We use mobile mapping and some of the tools I’ll discuss at my work, Gigaclear, to survey large areas of the rural UK for our fibre-to-the-home network build, which is how I’ve been able to wrangle a quick drive around the EMFCamp site at Eastnor from the survey vehicle.

That vehicle is equipped with fairly standard mobile mapping hardware, using a Ladybug5 camera for panoramic 30MP images (which I can’t distribute for privacy reasons) and a Riegl VUX-1HA scanner for LiDAR scanning. The Riegl captures 1 million points each second and rotates its scan head 250 times every second.

Words of caution and apology

LiDAR data is sometimes a pain to work with. Even with the best kit in the world, and a bunch of time spent processing, without control points and lots of manual marrying up of points in overlapping passes of the scanner, there’s noise and variation in the output. This isn’t a project that Gigaclear have done in our usual manner – I’ve had no such time in preparing this in my evenings, and so this dataset is presented as a “best effort” dataset, likely riddled with all sorts of errors and inaccuracies that we wouldn’t usually accept and which professional users will, rightly, sneer at!

In absolute terms the x/y accuracy of this dataset is pretty good, and an upper bound of 5cm RMS error from OSGB36 (the British National Grid) can be expected throughout most of the scan. Within the scanner output the accuracy is around 3mm between points – but only within the same pass. This dataset contains multiple overlapping and automatically aligned passes (you can see these as point source ID in the LAS file), and so there are some errors and anomalies. On top of this, the colour in this dataset comes from the overlaying of images on the points, using a calibration file and alignment – and I know the alignment I used wasn’t great. And the drivers didn’t go down the middle of the campsite, so there’s a bit of a void there. So, expectations set!

Sensible scale

Often, very dense point clouds can be counterproductive. In the case of our initial dataset there were over 1 billion points returned. Most of the subsequent processing was done on this dataset, thinned to a 5mm grid (still about a billion points). This dataset is about 32 gigabytes and is a real pain to work with.

Intensity view – the infrared brightness of the reflection from the laser

What I’m publishing here is therefore a reduced dataset; it is the same dataset, thinned using simple decimation (taking 1 in every 10 points), making it about 3.2 gigabytes in size and containing 92 million points – something that will fit in RAM on most modern PCs. In terms of detail, it’s still pretty fantastic for many uses. It’s a LAS 1.4 file, georeferenced to the UK National Grid (OSTN15 flavour, for those who care) with some fairly imprecise classifications, raw intensity and RGB data per point.

RGB colours – taking photo data and laying it onto the point cloud

This data can be post-processed for your needs, desires and interest. If you’ve never worked with LiDAR data before, CloudCompare is a great tool to start with – you’ll need the alpha version for liblas LAS 1.4 support. If you fancy generating rasters or generating filtered versions of the data (or writing your own Python code to work with it) then PDAL is a great tool.

Hillshade maps are easily produced by asking PDAL to write a GeoTIFF with the Z dimension

… interesting stuff, right?

If you do think this sort of stuff is downright fascinating from a technology standpoint, I’ll be doing a talk on the underlying technology at EMFcamp, whenever the schedule computer deems it so. Come along and find out more!

I’m personally really excited to see what comes of giving a gathering like EMFcamp this sort of data, and I’ve already heard some great ideas – let me know what you make with it!

And if you fancy a job working on software that works with this sort of stuff, and solving similar interesting problems in the geospatial world, drop me a line or check our website.

The Data!

Eastnor Deer Park – LAS 1.4 – Version 1, 1:10 Decimated – 3.2GB – Download here

This dataset is also available for online consumption here, but if you’re going to do anything interesting or serve it to many people please don’t do it off this server. The online version was produced with PotreeConverter and uses the excellent Potree web based renderer.

As the creator of this dataset, I license this dataset under a Creative Commons BY-SA license. The dataset may be used for any purpose, so long as it is attributed in some way and any derivative works are shared alike.

Creative Commons License
Eastnor Park LiDAR Survey is licensed under a Creative Commons Attribution-ShareAlike 4.0 International License.

by James Harrison at August 14, 2018 08:05 PM

August 13, 2018

Linux – CDM Create Digital Music

Tracktion 7: powerful, free audio production tool (Mac, Windows, Linux)

So you want to start recording, mixing, arranging, and your budget is … you don’t have one. Tracktion runs on every OS, and the latest update adds still more powerful features.

Free production tools are invaluable – not only are they a refuge for the cash-strapped, but they can be a useful common denominator when you want to exchange projects, or if you need to get up and running quickly on something other than your main machine. Tracktion isn’t the only option out there. Notably GarageBand is available to macOS and iOS users. The excellent Cakewalk (formerly called Cakewalk SONAR) is an optimal choice on Windows, now available free from BandLab. For cross-platform tools, there’s the completely free and open source Ardour, though it can be a bit hacky to install and use. And while it’s not free, Reaper has an unlimited demo, meaning you can use the full version for free and send the developer some money after you sell that first TV score.

Where Tracktion stands out: it’s a modern, friendly, single-window DAW that runs on any OS (Mac, Windows, Linux). And of all of these, it may be the friendliest option – with some power features not available from other options.

T7, released this week, sweetens the pot with some unique new additions – including a couple that might even sway you from the DAW you’ve already paid for.

The UI has been refreshed, with a new scheme called “Blue Steel.” (Okay, enough Zoolander references already. Or at least they missed the opportunity to say the new color scheme will help you “Relax.”)

Browsing is also easier, with a visual browser for plug-ins (the likes of which we’ve seen in Reason, but more rarely elsewhere), plus a multi-browser for auditioning and placing multiple audio files.

The real magic, though, is in the ability to get some power over automation and routing:

Modular racks let you create custom signal processing chains.

Clip Layer Effects let you stack on effects and plug-in processing on specific clips, not just on tracks. That makes for a different workflow – no more making a new track every time you want to change audio routing. Tracktion says they’re applying for a patent here.

Clip Layer Effects: no more duplicating tracks just because one section needs a different effects routing than another bit.

Automation patterns are modulation and envelopes that you can apply to any parameter repeatedly. And there’s optional tempo sync support for them. That sounds especially handy for keeping favorite gestures at the ready, and for remixes and dance music (or to go the opposite direction, hyperactive microediting). Speaking of which, you also get….

Automation patterns can now be stored an applied anywhere – including with tempo sync.

LFO Modifiers can be applied to any parameter in the channel strip or in any third-party plug-in. We’ve seen powerful modifiers in Bitwig Studio – and in Ableton Live, though limited to somewhat simple Max for Live add-ons – but here, combined with those Clip Layers and Automation Patterns, they make Tracktion into a powerful DAW for editing.

LFO Modifiers now work with plug-ins.

Okay, so since this is free, how do the developers make any money? They hope you’ll upgrade to Waveform, their next-generation DAW. It’s got all these features, but adds more extensive instrument support, a multi-sampler, Melodyne pitch correction, a fully modular mix environment, more detailed MIDI editing and pattern generation, and other additions.

Also significant: master mix DSP, chord track, track loops, track presets, quick render, Rack ‘stack’ editor,’ plug-in faceplates, plug-in macros, and free online support. And only Waveform has ready-to-play Raspberry Pi support.

That still means Tracktion is a good way to give this approach a try.

The post Tracktion 7: powerful, free audio production tool (Mac, Windows, Linux) appeared first on CDM Create Digital Music.

by Peter Kirn at August 13, 2018 04:12 PM

August 09, 2018

digital audio hacks – Hackaday

The VU Meter and How It Got That Way

Given its appearance in one form or another in all but the cheapest audio gear produced in the last 70 years or so, you’d be forgiven for thinking that the ubiquitous VU meter is just one of those electronic add-ons that’s more a result of marketing than engineering. After all, the seemingly arbitrary scale and the vague “volume units” label makes it seem like something a manufacturer would slap on a device just to make it look good. And while that no doubt happens, it turns out that the concept of a VU meter and its execution has some serious engineering behind that belies the really simple question it seeks to answer: How loud is this audio signal?

Miles of Cable

Unsurprisingly, the modern VU meter can trace its roots back to the twin formative technologies of the 20th century: telephone and radio. For the first time in history, the human voice was projecting further than the distance the loudest person could shout, and doing so by means of electrical signals. Finding a way to quantify that signal and turn it into a value that represented the perceived volume of the original sound was crucial to design a system that could faithfully transmit it.

Given the nature of their network, the early telephone pioneers’ efforts at sound level metering were based on line losses over a “standard mile” of cable. Meters calibrated to this standard made it easy for them to adjust their vacuum tube repeaters to compensate for the speech power loss over a known length of wire.

As radio became commercialized and more widespread, the correlation between sound levels and loop length began to make less sense. In the 1920s, radio and telephone engineers began to converge on a better solution. The transmission unit (TU) was used to measure the power ratio between two different sound sources. It’s a logarithmic measure, and as such better reflects how the human ear perceives sounds. The TU measurement also had the advantage of being usable at any frequency since it doesn’t factor in the inductance and capacitance of a miles-long loop of wire.

Many TU meters were marketed over the 1920s and 1930s to sound engineers, whose ranks swelled when the film industry introduced “talkies.” There was no real standardization, however, and it was becoming increasingly hard to compare sound levels between industries, and often between different pieces of sound equipment. In the late 1930s broadcasters, motion picture companies, and the telephone industry all got together to hammer out a standard that could be used for all audio signal measurement needs. They dubbed the new measurement “Volume Units,” and the VU meter was born.

Follow the Bouncing Needle

Given the technology of the time, the definition of what exactly constitutes a volume unit was based on the characteristics of the moving coil meter. The standard device was a microammeter with a 200 μA full-scale deflection. Because the incoming signal is actually an alternating current, the meter was specified to have an internal full-wave bridge rectifier. Zero on the meter scale was defined as where the needle points when a 1-mW pure sine wave audio signal at 1000 Hz is placed across a 600 Ω load. This point ends up about two-thirds of the way across the scale.

Typical VU meter. Source: Hoyt Meter

The scale to the left of the zero point is generally in black, with a value of -20 dB all the way at the bottom of the scale. Past the 0 dB point, the scale is usually shown as a solid red region that ranges up to 3 dB at the top. Some VU meters include a second scale in arbitrary units where the 0-dB point is shown as 100%.

The original spec for the VU meter recognized the fact that it takes a finite amount of time for the needle to deflect from rest to 0 dB. It limits the time to get to within 99% of 0 dB to 300 milliseconds and allows for a little overshoot — about 1%. The lag that an electromechanical meter introduces might seem like a bug, but it’s really a feature because it imitates the way the human ear perceives sound. Think about that 1000 Hz tone that’s used as a standard for the VU meter spec. If you have an audio oscillator set to 1 kHz and turn it on really loud, it won’t be too long before everyone within earshot tells you to turn it off. But if you take that same tone through the same amp at the same volume, but only play it for half a second, it won’t seem nearly as loud. The VU meter perfectly reflects that — the continuous tone will bring the needle to 0 dB quickly and leave it there, but a single pip of the same tone will barely move the needle.

Of course in the 80 years or so that VU meters have been around, the moving coil meter upon which it’s based has become somewhat passe. Alternate meters have come into use, from fully electronic LED bar graph displays to meters that just exist as software. These meters still need to mimic the lag of a physical meter to be useful as a VU meter, and perform so-so either through software or via circuitry that mimics the ballistic nature of a mechanical meter.

The VU meter is not the only game in town when it comes to measuring audio levels, of course. The peak-program meter (PPM) is common internationally and as the name suggests, measure the audio peaks rather than the average signal like a VU meter. Pro audio engineers and audiophiles debate the relative merits of the two metering methods with an intensity only pro audio engineers and audiophiles can understand, but it’s clear that both meters have their place.

by Dan Maloney at August 09, 2018 02:01 PM

August 07, 2018

open-source – CDM Create Digital Music

Vectors are getting their own festival: lasers and oscilloscopes, go!

It’s definitely an underground subculture of audiovisual media, but lovers of graphics made with vintage displays, analog oscilloscopes, and lasers are getting their own fall festival to share performances and techniques.

Vector Hack claims to be “the first ever international festival of experimental vector graphics” – a claim that is, uh, probably fair. And it’ll span two cities, starting in Zagreb, Croatia, but wrapping up in the Slovenian capital of Ljubljana.

Why vectors? Well, I’m sure the festival organizers could come up with various answers to that, but let’s go with because they look damned cool. And the organizers behind this particular effort have been spitting out eyeball-dazzling artwork that’s precise, expressive, and unique to this visceral electric medium.

Unconvinced? Fine. Strap in for the best. Festival. Trailer. Ever.

Here’s how they describe the project:

Vector Hack is the first ever international festival of experimental vector graphics. The festival brings together artists, academics, hackers and performers for a week-long program beginning in Zagreb on 01/10/18 and ending in Ljubljana on 07/10/18.

Vector Hack will allow artists creating experimental audio-visual work for oscilloscopes and lasers to share ideas and develop their work together alongside a program of open workshops, talks and performances aimed at allowing young people and a wider audience to learn more about creating their own vector based audio-visual works.

We have gathered a group of fifteen participants all working in the field from a diverse range of locations including the EU, USA and Canada. Each participant brings a unique approach to this exiting field and it will be a rare chance to see all their works together in a single program.

Vector Hack festival is an artist lead initiative organised with
support from Makerspace as a collaborative international project alongside Ljubljana’s Ljudmila Art and Science Laboratory and Projekt Atol Institute. It was conceived and initiated by Ivan Marušić Klif and Derek Holzer with assistance from Chris King.

Robert Henke is featured, naturally – the Berlin-based artist and co-founder of Ableton and Monolake has spent the last years refining his skills in spinning his own code to control ultra-fine-tuned laser displays. But maybe what’s most exciting about this scene is discovering a whole network of people hacking into supposedly outmoded display technologies to find new expressive possibilities.

One person who has helped lead that direction is festival initiator Derek Holzer. He’s finishing a thesis on the topic, so we’ll get some more detail soon, but anyone interested in this practice may want to check out his open source Pure Data library. The Vector Synthesis library “allows the creation and manipulation of vector shapes using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays, and oscilloscope emulation software using the Pure Data programming environment.”

The results are entrancing – organic and synthetic all at once, with sound and sight intertwined (both in terms of control signal and resulting sensory impression). That is itself perhaps significant, as neurological research reveals that these media are experienced simultaneously in our perception. Here are just two recent sketches for a taste:

They’re produced by hacking into a Vectrax console – an early 80s consumer game console that used vector signals to manipulate a cathode ray screen. From Wikipedia, here’s how it works:

The vector generator is an all-analog design using two integrators: X and Y. The computer sets the integration rates using a digital-to-analog converter. The computer controls the integration time by momentarily closing electronic analog switches within the operational-amplifier based integrator circuits. Voltage ramps are produced that the monitor uses to steer the electron beam over the face of the phosphor screen of the cathode ray tube. Another signal is generated that controls the brightness of the line.

Ted Davis is working to make these technologies accessible to artists, too, by developing a library for coding-for-artists tool Processing.

Oscilloscopes, ready for interaction with a library by Ted Davis.

Ted Davis.

Here’s a glimpse of some of the other artists in the festival, too. It’s wonderful to watch new developments in the post digital age, as artists produce work that innovates through deeper excavation of technologies of the past.

Akiras Rebirth.

Alberto Novell.

Vanda Kreutz.

Stefanie Bräuer.

Jerobeam Fenderson.

Hrvoslava Brkušić.

Andrew Duff.

More on the festival:

The post Vectors are getting their own festival: lasers and oscilloscopes, go! appeared first on CDM Create Digital Music.

by Peter Kirn at August 07, 2018 03:47 PM

August 02, 2018


#ardour IRC channel web access restored

There is currently a massive, widespread and long-lived spam attack taking place against Freenode, who run the IRC channels we use to discuss Ardour, provide support and chat among developers and users.

After several days, Freenode has been unable to stop the flow of spam, which comes every few minutes and is at risk of destroying the #ardour channel's usability.

Until they have found some way to stop the problem, the #ardour channel is being set to require an SSL (Secure Socket Layer) connection, which will prevent any access via the web-based interface that this page and Ardour itself links to. You can still access #ardour as usual with an actual IRC client.

Thanks to Julien Rivaud, we now have a bot monitoring our IRC channels, and it is taking care of any further spam of this type. The bot will make other things possible in the future too.

Web access restored.

read more

by paul at August 02, 2018 02:19 PM

digital audio hacks – Hackaday

Shell Script Synthesizer Knocks Your SoX Off

Sound eXchange, or SoX, the “Swiss Army knife of audio manipulation” has been around for as long as the Linux kernel, and in case you’re not familiar with it, is a command line tool to play, record, edit, generate, and process audio files. [porkostomus] was especially interested about the generating part, and wrote a little shell script that utilizes SoX’s built-in synthesizer to compose 8-bit style music.

The script comes with a simple yet straightforward user interface to record the lead and bass parts into a text file, and play them back later on. Notes from C2 to C5 are currently supported, and are mapped to the keyboard in a two-row piano layout. The output file format itself is just a plain text listing of the played note, wave form, and note length. This lets you easily edit the song or even generate it from an alternative source, for example MIDI. Also note that there are no initial audio files required here, SoX will generate them as needed.

Admittedly, the command line interface may not be the most convenient way to create music, but nevertheless, it is a way — and that is [porkostomus]’s main mission here. Also, SoX is fun — and versatile, you can apply its audio effects even on images, or decode strange signals sent from a helicopter with it.

by Sven Gregori at August 02, 2018 08:00 AM

August 01, 2018

News – Ubuntu Studio

Ubuntu Studio 18.10 Wallpaper Contest

As we begin getting closer to the next release date of Ubuntu Studio 18.10, now is a great time to show what the best of the Ubuntu Studio Community has to offer! We know that many of our users are graphic artists and photographers and we would like to see their/your talent also reflected more […]

by eeickmeyer at August 01, 2018 04:18 PM

July 24, 2018


FAUST Conf + Luppp 1.2!

Hey All,

You may have seen the posts about IFC ’18, which was a great event! Lots of discussions about FAUST, about using FAUST and generally just making FAUST even more awesome than it already is. As you know OpenAV is working on the Ctlra device library – and there is some good progress being made with Mappa / Ctlra integration and FAUST. Exciting things to come to fruition soon in this area!

An apart from that, the 1.2 release of Luppp is just finished! There’s an email on the way to Linux Audio Announce etc already, @Packagers work your magic!

Stay tuned – lots of things happening just under the surface – and they’re about to start landing and becoming really cool! Chat soon, -Harry of OpenAV

by Harry at July 24, 2018 10:25 PM

Vee One Suite 0.9.2 - A Summer'18 Release


The Vee One Suite of so called old-school software instruments, synthv1, as a polyphonic subtractive synthesizer, samplv1, a polyphonic sampler synthesizer, drumkv1 as yet another drum-kit sampler and padthv1 as a polyphonic additive synthesizer, are here released for the northern Summer'18.

All available in dual standard forms:

  • 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 mostly common change-log for the hot-season is as follows:

    • Frame-time display format option added to new offset, loop-start and loop-end spin-boxes. (applies to samplv1 and also partially to drumkv1)
    • Sample start point (offset) added as a brand new property parameter. (samplv1 and drumkv1 only)
    • Add LV2 UI Resize extension data support.
    • Process MIDI Controlllers even though the channel filter is on (DEF Channel is set anything but "Omni").
    • AppData/AppStream metadata is now settled under an all permisssive license (FSFAP).

    Also, let it be known here, that there are a few and notable contributions currently evolving on the user documentation area, as follows:

    Please help if you can ;)

    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.

    In order of (chronological) appearance:

    synthv1 - an old-school polyphonic synthesizer

    synthv1 0.9.2 (summer'18) is released!

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

    LV2 URI:



    git repos:


    samplv1 - an old-school polyphonic sampler

    samplv1 0.9.2 (summer'18) is released!

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

    LV2 URI:



    git repos:


    drumkv1 - an old-school drum-kit sampler

    drumkv1 0.9.2 (summer'18) is released!

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

    LV2 URI:



    git repos:


    padthv1 - an old-school polyphonic additive synthesizer

    padthv1 0.9.2 (summer'18) is released!

    padthv1 is an old-school polyphonic additive synthesizer with stereo fx

    padthv1 is based on the PADsynth algorithm by Paul Nasca, as a special variant of additive synthesis.

    LV2 URI:



    git repos:


    Donate to

    Enjoy && have fun.

    by rncbc at July 24, 2018 07:00 PM

    July 23, 2018 - LAD

    Sratom 0.6.2

    sratom 0.6.2 has been released. Sratom is a library for serialising LV2 atoms to/from RDF, particularly the Turtle syntax. For more information, see


    • Various minor code cleanups

    by drobilla at July 23, 2018 12:48 AM

    Lilv 0.24.4

    lilv 0.24.4 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


    • Fix saving state when broken links are encountered
    • Don't attempt to load remote or non-Turtle files
    • lv2apply: Activate plugin before running
    • lv2apply: Use default values when they are not nan
    • lv2bench: Improve support for plugins with sequence ports
    • lv2bench: Support running a single plugin given on the command line
    • Gracefully handle plugins with missing binary URIs
    • Remove use of deprecated readdir_r
    • Install Python bindings when configured without tests (thanks Clement Skau)

    by drobilla at July 23, 2018 12:42 AM

    July 22, 2018

    KXStudio News

    Carla 2.0 beta7 is here!

    Hello again everyone, I am glad to bring you the 7th beta of the upcoming Carla 2.0 release.
    Last time I said beta6 would be the last beta, but let's ignore that for now... ;)

    This release focuses on bug-fixes rather than new features.
    Most of the new features were added because of contributions, which are very appreciated.
    There are no big flashy screenshots this time, sorry.

    One breaking change for this release is the removal of most of the plugins bundled in Carla's code.
    They were moved into a separate repository, to keep Carla's code-base smaller.
    If you are building Carla yourself and you want those extra internal plugins, make sure to enable git submodules.

    Here is a list of the most relevant changes and fixes for this release:

    • Add confirmation dialog for quitting Carla
    • Add confirmation dialog for "Remove All" and "New File" actions
    • Add internal MIDI Channel A/B plugin
    • Add semitones parameter to internal midi-transpose plugin
    • Implement move up/down plugins in rack (right-click menu)
    • Implement LV2 UI port notifications to feedback messages to UI
    • Implement more libjack stubs, Catia now loads inside Carla :)
    • Transport controls are now considered stable and always enabled, no longer in experimental settings
    • Disable ableton-link and audio kits search UI elements if not built/enabled
    • Do not capture logs if running in nogui mode
    • Do not use or check for kVstParameterUsesIntegerMinMax VST property
    • Do not lockup on close in case audio driver stops working
    • Export LV2 window is now a simple combo-box, making it more usable
    • Save plugin author name in exported LV2 plugin
    • Increase polling rate for non-gui mode (30 Hz), fixes slow OSC handling
    • Fix mouse position offset of Carla-embed mouse events
    • Fix processing of internal plugins with multi MIDI inputs
    • Fix crash when closing a session containing bridges with Ctrl+C
    • Fix patchbay/graph to work with variable buffer sizes
    • Fix some issues regarding integer parameter control
    • Fix controlling logarithmic parameters with MIDI CC
    • Fix "MIDI CC 0x01" not selectable in some systems
    • Fix loading of VST plugin parameters and LV2 state for plugin bridges
    • Fix carla-single usage under ladish
    • Fix file dialog filter of the internal MIDI file plugin


    To download Carla binaries or source code, jump on over to the KXStudio downloads section.
    If you're using the KXStudio repositories, you can simply install "carla-git" (plus "carla-lv2" and "carla-vst" if you're so inclined).
    Bug reports and feature requests are welcome! Jump on over to the Carla's Github project page for those.


    The next Carla release is meant to close the 2.0 features, and focus on feature parity between all OSes.
    It might take some time though (unless there is major regression that makes a new release required).

    For now I plan to focus on other things that have been on the backlog for some time, including DPF, KXStudio 18.04 ISO and JACK maintenance.
    News on that will be published when something is ready, please be patient.

    by falkTX at July 22, 2018 08:54 PM

    The Qstuff* Summer'18 Release


    The Qstuff* Summer'18 release is out! Grab it while it's hot!


    QjackCtl - JACK Audio Connection Kit Qt GUI Interface

    QjackCtl 0.5.3 (summer'18)is out!

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


    Project page:


    Git repos:


    • Portuguese (pt) translation added (by Heitor Rocha).
    • AppData/AppStream metadata is now settled under an all permisssive license (FSFAP).
    • Improved Graph rubberband add (Shift) and toggle (Ctrl) multiple (de)selections.
    • Added user preference option: Setup / Misc / Buttons / Replace Connections with Graph button (on main window).
    • Added a zoom slider control to the Graph view status bar.

    Donate to


    Qsynth - A fluidsynth Qt GUI Interface

    Qsynth 0.5.2 (summer'18)is out!

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


    Project page:


    Git repos:


    • AppData/AppStream metadata is now settled under an all permisssive license (FSFAP).

    Donate to


    Qsampler - A LinuxSampler Qt GUI Interface

    Qsampler 0.5.2 (summer'18)is out!

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


    Project page:


    Git repos:


    • AppData/AppStream metadata is now settled under an all permisssive license (FSFAP).

    Donate to


    QXGEdit - A Qt XG Editor

    QXGEdit 0.5.2 (summer'18)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.


    Project page:


    Git repos:


    • AppData/AppStream metadata is now settled under an all permisssive license (FSFAP).
    • Corrected default handling of MULTIPART > Main > Control > Volume and also MULTIPART > Control > Pitch Bend > LFO ...
    • Fixed for some g++ >= 8.1.1 warnings and quietness.

    Donate to


    QmidiNet - A MIDI Network Gateway via UDP/IP Multicast

    QmidiNet 0.5.2 (summer'18)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.


    Project page:


    Git repos:


    • AppData/AppStream metadata is now settled under an all permisssive license (FSFAP).
    • Fixed for some g++ >= 8.1.1 warnings and quietness.

    Donate to



    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 && have fun!

    by rncbc at July 22, 2018 07:00 PM

    July 21, 2018


    TMS concerts Berlin 23. July and 23. August

    In summer TMS is performing two concerts in Berlin, playing different pieces. The start is on Monday the 23. July performing their piece movement(al) distortion(s)at Madame Claude.

    On the 23. August they play at Loophole their piece 5-HT_five levels to zero

    by herrsteiner ( at July 21, 2018 05:36 PM

    TMS concert video Akusmata Finland

    The concert video of TMS performing movement(al) distortion(s) at Akusmata, Helsinki Finland June 8. 2018

    by herrsteiner ( at July 21, 2018 05:23 PM

    July 20, 2018

    News – Ubuntu Studio

    Ubuntu Studio 17.10 Reaches End-Of-Life

    Ubuntu Studio 17.10 “Artful Aardvark” has reached End-Of-Life (EOL). It is strongly urged that users of 17.10 upgrade to 18.04 in order to receive the latest updates, including security updates. 17.10 will no longer receive any updates. Ubuntu Studio users can look forward to a new release of Ubuntu Studio 18.10 in October, including new […]

    by eeickmeyer at July 20, 2018 03:21 PM

    GStreamer News

    GStreamer 1.14.2 stable bug fix release

    The GStreamer team is pleased to announce the second bug fix release in the stable 1.14 release series of your favourite cross-platform multimedia framework!

    This release only contains bugfixes and it should be safe to update from 1.14.x.

    See /releases/1.14/ for the details.

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

    Download tarballs directly here: 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-sharp, gstreamer-vaapi, or gst-omx.

    July 20, 2018 03:00 PM

    July 15, 2018

    Linux Audio Conference 2018

    All videos now available

    The title says it all: We have finally finished up on the remaining videos.

    You can find them all either linked on the respective event pages in the schedule or in the collection of videos on (linked to in the menu).

    Due to holidays and other things in life, releasing the few remaining videos (mainly concerts, a few workshops and the keynote) took longer than anticipated. We hope they're worth the wait and are sure you will be able to enjoy them!

    As this website is going into a read-only mode now, we again encourage any authors to send in presentation slides or additional material, that they wish to have published on their event page as soon as possible (in case this has not already happened).

    So long and until next time!

    by Linux Audio Conference Team at July 15, 2018 06:29 PM

    June 17, 2018


    07: Post LAC Developing Frenzy

    Hey All!

    As you know last week there was the LAC ’18 held at C-Base, Berlin. It was again an awesome event (huge thanks to the organizers!) OpenAV done a quick lightning talk about Ctlra, checkout the video below (clicky the image to play the OpenAV section of the lightning talk session : ) There were some questions after the talk – even some questions for members of the audience!

    We discussed many aspects of the Ctlra library with other Linux Audio Developers – and we’re now in the “solution space” of mapping the hardware control surfaces to the many DAWs and audio-software projects that exist. In short; there’s a huge amount of development done in the last few days to enable complex multi-layered mappings with minimal host complexity! A showcase PR is available here for casual viewing… the ~1000 LOC that was added to prototype this..

    If you have input on the mapping strategy, or want to discuss mapping and hardware control surfaces, please do get in touch – now is the right time!

    Cheers and chat soon with more updates on Ctlra and Mappa, -Harry of OpenAV

    by Harry at June 17, 2018 08:55 PM

    June 16, 2018

    fundamental code

    MRuby-Zest: a Scriptable Audio GUI Framework

    Screenshot of framework in action

    zyn fusion osc

    Abstract/Intro from paper

    Audio tools face a set of uncommon user interface design and implementation challenges. These constraints make high quality interfaces within the open source realm particular difficult to execute on volunteer time. The challenges include producing a unique identity for the application, providing easy to use controls for the parameters of the application, and providing interesting ways to visualize the data within the application. Additionally, existing toolkits produce technical issues when embedding within plugin hosts. MRuby-Zest is a new toolkit that was build while the ZynAddSubFX user interface was rewritten. This toolkit possesses unique characteristics within open source toolkits which target the problems specific to audio applications.

    MRuby-Zest was created to address long standing issues in the ZynAddSubFX user interface. The MRuby-Zest framework was built with 5 characteristics in mind. MRuby-Zest should be:

    1. Scriptable: Implementation uses a first class higher level language

    2. Dynamically Resizable: Fluid layouts which do not have any fixed sizes

    3. Hot Reloadable: Reloads a modified implementation without restarting

    4. Embeddable: Can be placed within another UI without conflicts

    5. Maintainable: Relatively simple to read and write GUI code

    To do this MRuby-Zest takes Qt’s QML language, replaced the scripting language with Ruby, integrated it with the nanovg OpenGL rendering library, and began to leverage parameter metadata that ZynAddSubFX produces via the rtosc library. Building the toolkit within Ruby instead of on-top of a pre-existing C/C++ toolkit has made MRuby-Zest particularly flexible when it comes to expanding it’s feature-set.

    June 16, 2018 04:00 AM