# planet.linuxaudio.org

## October 16, 2017

### open-source – CDM Create Digital Music

#### Jazzari lets you sketch musical ideas in your browser, with JavaScript

Open up a browser tab, use code sketch musical loops and grooves (using trigonometry, even), and play / export – all in this free tool.

Jazzari has been making the rounds among passionate music tech nerds, as a lovely free code toy. There are a bunch of easy-to-modify tutorial examples, so you don’t necessarily have to know any JavaScript or code. But there’s no graphical control at all – that visualization and the cute cartoon characters are just to give you feedback on what the code does.

So — why?

Developer Jack Schaedler is quick to caution that this is neither intended for teaching code nor teaching music, that better tools exist for each. (Sonic Pi is a particularly accessible entry for learning how to express musical ideas as code, used even by kids!)

Then again, you don’t have to believe him. That same spirit that made him decide to do this for fun seems to be infectious. And this might be an entry into making this stuff.

For coders, it’s yet another chance to discover some code and libraries and perhaps bits and pieces and inspiration for your own next project. For everyone else, well, it’s a terrific distraction.

And you can export MIDI, so this could start a new musical project.

https://jackschaedler.github.io/jazzari/

By the way, someone want to join me in building this actual inspiration for Jazzari? It could be killer by next summer, at least.

The name is a riff on the 12th century scholar and inventor Ismail al-Jazari. al-Jazari is thought to have invented one of the first programmable musical machines, a “musical automaton, which was a boat with four automatic musicians that floated on a lake to entertain guests at royal drinking parties.”

Bonus, for my Arabic, Kurdish, and Persian friends in electronic music – no one knows which of those accurately can claim this guy. We clearly need to get something going.

The post Jazzari lets you sketch musical ideas in your browser, with JavaScript appeared first on CDM Create Digital Music.

## October 07, 2017

### OpenAV

#### 03: OpenAV @ Sonoj

Hey folks!

Some of you are probably aware of the Sonoj Convention, well OpenAV is going to be talking about hardware and software there – demonstrating the latest progress in integrating hardware controllers with audio software! Are you in the Cologne area the 4th or 5th of November? You should attend too  : )

Interested in details? We’re gonna talk about what ~2000 lines of code means to the user of Ctlra enabled software, and how 13 lines of code make that useful to a user! It enables integration of hardware in novel ways… even if you don’t have access to the hardware!

Looking forward to seeing you all at Sonoj! -Harry of OpenAV

## October 04, 2017

### aubio

#### 0.4.6 released

A new version of aubio, 0.4.6, is now available.

This version includes:

• yinfast, a new version of the YIN pitch detection algorithm, that uses spectral convolution to compute the same results as the original yin, but with a cost O(N log(N)), making it much faster than the plain implementation (O(N^2))

• Intel IPP optimisations (thanks to Eduard Mueller), available for Linux, MacOS, Windows, and Android

• improved support for emscripten (thanks to Martin Hermant), which compiles the aubio library as a javascript module and lets you run aubio's algorithm directly from within a web-page.

0.4.6 also comes with several bug fixes and improvements.

Many thanks to Eduard Mueller (@emuell), Martin Hermant (@MartinHN), Hannes Fritz (@hztirf), Stuart Axon (@stuaxo), Jörg (@7heW4yne), ssj71 (@ssj71), Andreas Borg (@borg), Rob (@mlrobsmt) and everyone else for their valuable contributions and input.

#### Analyzing songs online

When built with ffmpeg or libav, aubio can read most existing audio and video formats, including compressed and remote video streams. This feature lets you analyze directly audio streams from the web.

A powerful tool to do this is youtube-dl, a python program which downloads video and audio streams to your hard-drive. youtube-dl works not only from youtube, but also from a large number of sites.

Here is a quick tutorial to use aubio along with youtube-dl.

## October 03, 2017

#### Suil 0.10.0

Changes:

• Add support for X11 in Gtk3
• Add support for Qt5 in Gtk2
• Add suil_init() to support early initialization and passing any necessary information that may be needed in the future (thanks Stefan Westerfeld)
• Fix minor memory errors
• Fix building with X11 against custom LV2 install path (thanks Robin Gareus)

## September 29, 2017

### Audio – Stefan Westerfeld's blog

#### SpectMorph 0.3.4 released

A new version of SpectMorph, my audio morphing software is now available on www.spectmorph.org.

The biggest addition is an ADSR-Envelope which is optional, but when enabled allows overriding the natural instruments attack and volume envelope (full list of changes).

I also created a screencast of SpectMorph which gives a quick overview of the possibilities.

## September 20, 2017

### rncbc.org

#### Qtractor 0.8.4 - End of Summer'17 release!

Yes, it's been like clockwork...

Every two months or so, you stumbled with a brand new dot release, code-named after some of the same adjective-plus-noun (or vice versa) code-names. You knew the thrill and yet it lands no more.

First, the code-naming joke has been just a parody--or was it the other way around?--to some well known Linux-distro alimalistic code-name series. Then on it got rogue into some directed puns--remember the date when BitWig Studio 1.0 was first released? Yeah, the "Byte Bald" was there for the pun, on the very same day :)

Well, that's all gone by now.

Northern hemisphere seasons are the new norm and that's about two main reasons: first, it's where I live; second, due to an undeniable global warming effect pervading the globe, all geographical temperate zones are simply on the edge of extinction. More or less in a couple of decades or so. For the sake of brevity, I will just leave it like paying homage to those natural concepts that are facing an inexorable fate.

And yet, there're still the good news:

Qtractor 0.8.4 (end of summer'17) released!

Change-log:

• Assigned MIDI Controllers to plug-in's Activate switch are now finally saved and (re)loaded properly across sessions.
• Audio clip panning option property is now being introduced.
• Out-of-process (aka. dummy) VST plug-in inventory scanning now restarts automatically and resumes processing in case of a premature exit/crash; VST plug-in inventory scan/cache persistency is now in place.
• Desktop entry specification file is now finally independent from build/configure template chains.
• Changing the View/Options.../Display/Custom/Style theme takes effect immediately unless it's back to "(default)".
• Slightly slower but better approximation to IEEE 32bit floating point cubic root ie. cbrtf().

Description:

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.org
http://qtractor.sourceforge.net
https://qtractor.sourceforge.io

Project page:

http://sourceforge.net/projects/qtractor

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/

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

Enjoy && Keep having fun.

## September 18, 2017

### GStreamer News

#### GStreamer 1.12.3 stable release

The GStreamer team is pleased to announce the second bugfix release in the stable 1.12 release series of your favourite cross-platform multimedia framework!

This release only contains bugfixes and it should be safe to update from 1.12.x.

See /releases/1.12/ 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.

## September 17, 2017

### OpenAV

#### 02: Ctlra Virtual Devices

Virtual Ctlra devices? But why do you need or care about that? Read on – this is going to change how you (and the community) work with hardware and software controllers. To state the problem: we all own hardware controllers – MIDI, USB, or something else. Some DAWs support them – allow them to even “map” to different functionality – but it is often difficult and error prone. Whats worse is that if you ask the developer of the DAW for help, they can’t help you because they don’t have access to the hardware… or do they?

### Virtual Ctlras!

So this is where virtual devices come in – and save the day. The Ctlra library allows any fully supported Ctlra device to be “virtualized” or simulated by the developer. If a user has an issue with a particular device, the developer has access to the software version of it! A mock-up created by the Ctlra library, can be used instead of real hardware to test and reproduce the users issue.

### Developers and Musicians?

What else can be done using a virtual ctlra? Well say you are a musician – and you want your hardware controller to map to an audio looper in a specific way. It doesn’t currently work correctly, and you don’t have the time or experience to create the mapping yourself. With the virtual devices any developer can help you, simulating your controller hardware, and implementing the mapping for you. Perhaps you’re happy with their work, so buy them a beverage in return. The hardware accessibility problem solved!

### More More Moarrr!

How about creating a prototype controller using the Ctlra library, testing it for its workflow using a software interface, and later building a physical mockup using an Arduino or RaspberryPi? What if hardware vendors supplied Ctlra drivers with their newly created hardware – the options to utilize and customize how you use their hardware with your favorite software becomes amazing.

Think we’re biting off more than we can chew? Nope – the 84 commits in the last 2 weeks (in the Ctlra repo alone!!) beg to differ: virtual devices are available! Don’t believe we’re going to be able to create UIs on various platforms, and embed them into host applications? Yes we can – checkout the purpose-built AVTKA UI library for creating virtual Ctlra interfaces!

### Signoff and Next Up

We hope you’re as excited as us about this whole concept – OpenAV has been working towards this for a long time – and its great to finally get pushing this code out to the community! So what next? Well we can take an in-depth look at the integration of the hardware and virtual controller – that might showcase some of the awesomeness that will be when real-world audio-software gets Ctlra functionality integrated…

-Harry of OpenAV

## September 16, 2017

### Libre Music Production - Articles, Tutorials and News

#### Ardour 5.12 released

Ardour 5.12 has just been released! The main new features in this release involve session/track template management and improvements to MIDI patch changing, as well as the usual bug fixes.

## September 15, 2017

### ardour

#### Ardour 5.12 released

Ardour 5.12 is now available.

Although when Ardour 5.11 was released, we expected a significant gap until 6.0 will be announced, enough notable features and fixes accumulated that it seemed better for us to push out a 5.12 release before we embark on the major code changes that will mark the real start of the development process for 6.0.

Much of the work in this release was sponsored by Harrison Consoles.

Two of the most notable new features are the improvements in functionality to the new session and new track/bus dialogs, which now offer much easier and more powerful ways to use templates. These include dynamic "track wizard" templates that allow you to interactively setup sessions and/or groups of new track/busses very quickly and very easily. This builds on the new template manager dialog introduced in 5.11, and a new less obvious feature: the ability to create dynamic templates with Lua scripts.

Also notable is the new patch selection dialog for MIDI tracks/instruments, which provides an easy and convenient way to preview patches in software and hardware instruments. Naturally, it integrates fully with Ardour's support for MIDNAM (patch definition files), so you will named programs/patches for both General MIDI synths and those with MIDNAM files.

## September 11, 2017

### OpenAV

#### 01: Ctlra

Hey! With this new site online, we’d better post some actual content! So we are going to post a articles to show what the summer time was spent developing. There’s a range of projects always going on, but usually we focus on a particular topic. Right now that’s the Ctlra project!

### Ctlra

Ctlra is a library to allow software developers interface with hardware devices. Technically, it “abstracts” the details of the hardware device away, and provides the application with “generic events”. Great. But what does it mean to you – the musician on stage? It means any Ctlra enable application (more on that in a future post!) will be easy to control from your hardware control surface. More importantly, not just “input” will work well – its also about feedback – lighting up the controller, displaying useful info on the devices’ integrated screen!

So what is OpenAV actually doing for this? During the last year (since Nov ’16!) we’re writing code, lots of code. Sometimes this code enables your hardware device to actually work on the Linux platform, sometimes it exposes the device in a different way – to allow your audio software easily interact with the device. Checkout the youtube video of the presentation at the LAC (Demo’s start at 23:30!):

### Next UP

In the next posts, OpenAV is going to show you what Proof-of-Concept work we’re doing – to demonstrate the value of the Ctlra library. Right now, you need hardware to test if Ctlra support is working as expected… that’s about to change!

Stay tuned, -Harry from OpenAV

## September 07, 2017

### News – Ubuntu Studio

#### 17.10 Beta 1 Release

Ubuntu Studio 17.10 Artful Aardvark Beta 1 is released! It’s that time of the release cycle again. The first beta of the upcoming release of Ubuntu Studio 17.10 is here and ready for testing. You may find the images at cdimage.ubuntu.com/ubuntustudio/releases/artful/beta-1/. More information can be found in the Beta 1 Release Notes. Reporting Bugs If […]

## September 06, 2017

### digital audio hacks – Hackaday

#### Hackaday Prize Entry: SNAP Is Almost Geordi La Forge’s Visor

Echolocation projects typically rely on inexpensive distance sensors and the human brain to do most of the processing. The team creating SNAP: Augmented Echolocation are using much stronger computational power to translate robotic vision into a 3D soundscape.

The SNAP team starts with an Intel RealSense R200. The first part of the processing happens here because it outputs a depth map which takes the heavy lifting out of robotic vision. From here, an AAEON Up board, packaged with the RealSense, takes the depth map and associates sound with the objects in the field of view.

Binaural sound generation is a feat in itself and works on the principle that our brains process incoming sound from both ears to understand where a sound originates. Our eyes do the same thing. We are bilateral creatures so using two ears or two eyes to understand our environment is already part of the human operating system.

In the video after the break, we see a demonstration where the wearer doesn’t need to move his head to realize what is happening in front of him. Instead of a single distance reading, where the wearer must systematically scan the area, the wearer simply has to be pointed the right way.

Another Assistive Technology entry used the traditional ultrasonic distance sensor instead of robotic vision. There is even a version out there for augmented humans with magnet implants covered in Cyberpunk Yourself called Bottlenose.

Filed under: digital audio hacks, wearable hacks

## September 02, 2017

### OpenAV

#### 00: New OpenAV Website!

Hey Everybody!

The OpenAV website had been quiet for a while – but OpenAV has been as busy as ever! We just haven’t been keeping up with posting to social media – that’s all 🙂 So whats been going on? Good question! Lots of coding, learning and re-working of crucial components of the linux-audio world, in order to enable next gen software. Sounds lame, but building novel software requires well designed building-blocks, and sometimes they’re lacking. Stay tuned for future blog posts where we will talk trough some of the cool stuff we’ve been working on.

Of course we attended the Linux Audio Conference (or just LAC) again this year, which was held in France for the first time. OpenAV presented about the Ctlra project – more info available on the Code – Ctlra page!

Thats all for now, stay tuned for the next update! -OpenAV

### fundamental code

#### Total Variation Denoising

Working with data is an important part of my day-to-day work. No matter if it’s speech, music, images, brain waves, or some other stream of data there’s plenty of it and there’s always some quality issue associated with working with the data. In this post I’m interested in providing an introduction to one technique which can be utilized to reduce the amount of noise present in some of these classes of signals.

Noise might seem abstract at first, but it’s relatively simple to quantify it. If the original signal, $x$, is known, then the noise, $n$, is any deviation in the observation, $y$, from the original signal.

$$y = x + n$$

Typically the deviation is measured via the squared error across all elements in a given signal:

$$\text{error} = ||x-y||^2_2 = \sum_i (x_i-y_i)^2$$

When only the noisy signal, $y$, is observed it is difficult to separate the noise from the signal. There is a wealth of literature on separating noise and many algorithms focus on identifying underlying repeating structures. The algorithm that this post focuses on is one which reduces the total variation over a given signal. One example of a signal with little variation is a step function:

A step function only has one point where a sample of the signal varies from the previous sample. The Total Variation denoising technique focuses on minimizing the number of points where the signal varies and the amount the signal varies at each point. Restricting signal variation works as an effective denoiser as many types of noise (e.g. white noise) contain much more variation than the underlying signal. At a high level Total Variation (TV) denoising works by minimizing the cost of the output $y$ given input signal $x$ as described below:

$$\text{cost} = \text{error}(x, y) + \text{weight}*\text{sparseness}(\text{transform}(y))$$

Mathematically the full cost of TV denoising is:

\begin{aligned} \text{cost} &= \text{error} + \text{TV-cost} \\ \text{cost} &= ||x-y||_2^2 + \lambda ||y||_{TV} \\ ||y||_{TV} &= \sum |y_i-y_{i-1}| \end{aligned}

To see how the above optimization can recover a noisy signal, lets look at a noisy version of the step function:

After using the TV norm to denoise only a few points of variation are left:

The process of getting the final TV denoised output involves many iterations of updating where variations occur. Over the course of iterations opposing variations cancel out and smaller variations are driven to $\Delta y = 0$. As the number of non-zero points increase a sparse solution is produced and noise is eliminated. For higher values of the TV weight, $\lambda$, the solution will be more sparse. For the noisy step function, $y$ and $\Delta y$ over several iterations look like:

For piecewise constant signals, the TV norm alone works quite well, however there are problems which arise with the output when the original signal is not a series of flat steps. To illustrate this consider a piecewise linear signal. When TV denoising is applied a stair stepping effect is created as shown below:

One of the extensions to TV based denoising is to add 'group sparsity' to the cost of variation. Standard TV denoising results in a sparse set of points where there is non-zero variation, resulting in a few piecewise constant regions. With the TV norm, the cost of varying at point $\Delta y_i$ within the signal does not depend upon which other, $\Delta y_j,\Delta y_k,\text{etc}$, points vary. Group Sparse Total Variation, GSTV, on the other hand reduces the cost for smaller variation in nearby points. GSTV therefore generally produces smoother results with more gentle curves for higher order group sparsity values as variation occurs over several nearby points rather than a singular one. Applying GSTV to the previous example results in a much smoother representation which more accurately models the underlying data.

Now that some artificial examples have been investigated, lets take a brief look at some real world data. One example of data which is expected to have relatively few points of abrupt change is the price of goods. In this case we’re looking at the price of corn in the United States 2000 to 2017 in USD per bushel as retrieved from http://www.farmdoc.illinois.edu/manage/uspricehistory/USPrice.asp . With real data it’s harder to define noise (or what part of the signal is unwanted); However, by using higher levels of denoising the overall trends can be observed within the time-series data:

If this short into was interesting I’d recommend trying out TV/GSTV techniques on your own problems. For more in depth information there’s a good few papers out there on the topic with the original GSTV work being:

• I. W. Selesnick and P.-Y. Chen, 'Total Variation Denoising with Overlapping Group Sparsity', IEEE Int. Conf. Acoust., Speech, Signal Processing (ICASSP). May, 2013.

• http://eeweb.poly.edu/iselesni/gstv/ - contains above paper as well as a MATLAB implementation

And if you’re using Julia, feel free to grab my re-implementation of Total Variation and Group Sparse Total Variation at https://github.com/fundamental/TotalVariation.jl

## August 29, 2017

### GStreamer News

#### GStreamer Conference 2017: Registration now open

The GStreamer Conference 2017 will take place on 21-22 October 2017 in Prague (Czech Republic), just before the Embedded Linux Conference Europe.

It is a conference for developers, contributors, decision-makers, students, hobbyists, and anyone else interested in the GStreamer multimedia framework or open source multimedia technologies.

Registration now open

You can now register for the GStreamer Conference 2017 via the conference website.

Early-bird registration for professionals is available until 15th September.

We hope to see you there!

## August 28, 2017

### digital audio hacks – Hackaday

#### Turning On Your Amplifier With A Raspberry Pi

Life is good if you are a couch potato music enthusiast. Bluetooth audio allows the playing of all your music from your smartphone, and apps to control your hi-fi give you complete control over your listening experience.

Not quite so for [Daniel Landau] though. His Cambridge Audio amplifier isn’t quite the latest generation, and he didn’t possess a handy way to turn it on and off without resorting to its infrared remote control. It has a proprietary interface of some kind, but nothing wireless to which he could talk from his mobile device.

His solution is fairly straightforward, which in itself says something about the technology available to us in the hardware world these days. He took a Raspberry Pi with the Home Assistant home automation package and the LIRC infrared subsystem installed, and had it drive an infrared LED within range of the amplifier’s receiver. Coupled with the Home Assistant app, he was then able to turn the amplifier on and off as desired. It’s a fairly simple use of the software in question, but this is the type of project upon which so much more can later be built.

Not so many years ago this comparatively easy project would have required a significant amount more hardware and effort. A few weeks ago [John Baichtal] took a look at the evolution of home automation technology, through the lens of the language surrounding the term itself.

Via Hacker News.

Filed under: digital audio hacks, home hacks

## August 27, 2017

### Libre Music Production - Articles, Tutorials and News

#### LMP Asks #24: An interview with Luciano Dato

This time we talk to Luciano Dato, creator of Noise Repellent, a realtime noise reduction plugin.

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

I live in Santa Fe, Argentina and I work as a sysadmin/technician in a small IT company.

## August 23, 2017

### open-source – CDM Create Digital Music

#### What if you used synthesizers to emulate nature and reality?

Bored with making presets for instruments, one sound designer decides to make presets for ambient reality – and you can learn from the results.

“Scapes” is a multi-year, advanced journey into the idea that the synthesizer could sound like anything you imagine. Once you’ve grabbed this set of Ableton Live projects, you can bliss out to the weirdly natural results. Or you can tear apart the innards, finding everything from tricks on how to make cricket sounds synthetically to a veritable master class in using instruments like Ableton’s built-in FM synthesizer Operator. The results are Creative Commons-licensed (and of course, you can also grab individual presets).

The project is the brainchild of sound designer Francis Preve. Apart from his prolific writing career and Symplesound soundware line, Fran has put his sound design work all over presets for apps, software (including Ableton Live), and hardware.

As a result, no one knows better than Fran how much of the work of making presets focuses on particular, limited needs. And that’s too bad. The thing is, there’s no reason to be restricted to the stuff we normally get in synth presets. (You know the type: “lush, succulent pads” … “crisp leads…” “back-stabbing basslines…” “chocolate-y, creamy nougat horn sections…” “impetuous, slightly condescending 80s police drama keyboard stacks…” or, uh, whatever. Might have made some of those up.)

No, the promise of the synthesizer was supposed to be unlimited sonic possibilities.

If we tend to recreate what we’ve heard, that’s partly because we’re synthesizing something we’ve taken some care in hearing. So, why not go back to the richness and complexity of sound as we hear it in everyday life? Why not combine the active listening of a soundwalk or field recording with the craft of producing something using synthesis, in place of a recording?

Scapes does that, and the results are – striking. There’s not a single sample anywhere in the four ambient environments, which cover a rainy day in the city, a midsummer night, a brook echoing with bird song, and a more fanciful haunted house (with a classic movie origin). Instead, these are multitrack compositions, constructed with a bunch of instances of Operator and some internal effects. Download the Ableton Live project files, and you see a set of MIDI tracks and internal Live devices.

You might not be fooled into thinking the result sounds exactly like a field recording, but you would certainly let it pass for Foley in film. (I think that fits, actually – film uses constructed Foley partly because we expect in that context for the sounds to be constructed, more the way we imagine we hear than what literally passes into our ears.)

You wouldn’t think this was internal Ableton devices – not by a longshot – but of course it is.

And that’s where Scapes is doubly useful. Whether or not you want to create these particular sounds, every layer is a master class in sound design and synthesis. If you can understand a cricket, a bottle rocket, a rainstorm, and a car alarm, then you’re closer not only to emulating reality, but to being able to reconstruct the sounds you hear in your imagination and that you remember from life. That opens up new galaxies of potential to composers and musicians.

It might be just what electronic music needs: to think of sound creatively, rather than trying to regurgitate some instrumentation you’ve heard before. This might be the opposite of how you normally think of presets: here, presets can liberate you from repetitive thought.

I’ve seen this idea before – but just once before, that I can think of. Andy Farnell’s Designing Sound, which began life as a PDF that was floating around in draft form before it matured into a book at MIT Press, took on exactly this idea. Fran’s scapes are “tracks,” collaged compositions that turn into entire environments; Farnell looks only at the component sounds one by one.

Otherwise, the two have the same philosophy: understand the way you hear sound by starting from scratch and building up something that sounds natural. Scapes does it with Ableton Live projects you can easily walk through. Designing Sound demonstrates this on paper with patches in the free and open source environment Pure Data. As Richard Boulanger describes that book, “with hundreds of fully working sound models, this ‘living document’ helps students to learn with both their eyes and their ears, and to explore what they are learning on their own computer.”

But yes – create sounds by really listening, actively. (Pauline Oliveros might have been into this.)

Designing Sound | The MIT Press

Sound examples

A PDF introducing Pure Data (the free software you can use to pull this off)

But grabbing Scapes and a PDF or paper edition of Designing Sound together would give you a pairing you could play with more or less for the rest of your life.

Scapes is free (only Ableton Live required), and available now.

https://www.francispreve.com/scapes/

For background on how this came about: THE ORIGIN OF SCAPES [TL;DR EDIT]

The post What if you used synthesizers to emulate nature and reality? appeared first on CDM Create Digital Music.

## August 22, 2017

### rncbc.org

#### Vee One Suite 0.8.4 - A Late-Summer'17 release

Greetings!

The Vee One Suite of old-school software instruments, respectively synthv1, as a polyphonic subtractive synthesizer, samplv1, a polyphonic sampler synthesizer and drumkv1 as yet another drum-kit sampler, welcomes a brand new and fourth member, padthv1 as a polyphonic additive synthesizer, now joining the late-summer'17 release party.

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 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.

And now being the gang-of-four!

## synthv1 - an old-school polyphonic synthesizer

synthv1 0.8.4 (late-summer'17) is out!

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

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

change-log:

• Disabled "Custom style theme" option on LV2 plug-in form.
• Brand new LFO Balance parameter introduced.

website:
http://synthv1.sourceforge.net

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

## samplv1 - an old-school polyphonic sampler

samplv1 0.8.4 (late-summer'17) is out!

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

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

change-log:

• Disabled "Custom style theme" option on LV2 plug-in form.

website:
http://samplv1.sourceforge.net

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

## drumkv1 - an old-school drum-kit sampler

drumkv1 0.8.4 (late-summer'17) is out!

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

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

change-log:

• Disabled "Custom style theme" option on LV2 plug-in form.

website:
http://drumkv1.sourceforge.net

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

padthv1 0.8.4 (late-summer'17) is out! (NEW!)

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

change-log:

• First public release.

website:

git repos:

Enjoy && have fun ;)

### digital audio hacks – Hackaday

Have a beautiful antique radio that’s beyond repair? This ESP8266 based Internet radio by [Edzelf] would be an excellent starting point to get it running again, as an alternative to a Raspberry-Pi based design. The basic premise is straightforward: an ESP8266 handles the connection to an Internet radio station of your choice, and a VS1053 codec module decodes the stream to produce an audio signal (which will require some form of amplification afterwards).

Besides the excellent documentation (PDF warning), where this firmware really shines is the sheer number of features that have been added. It includes a web interface that allows you to select an arbitrary station as well as cycle through presets, adjust volume, bass, and treble.

If you prefer physical controls, it supports buttons and dials. If you’re in the mood for something more Internet of Things, it can be controlled by the MQTT protocol as well. It even supports a color TFT screen by default, although this reduces the number of pins that can be used for button input.

The firmware also supports playing arbitrary .mp3 files hosted on a server. Given the low parts count and the wealth of options for controlling the device, we could see this device making its way into doorbells, practical jokes, and small museum exhibits.

To see it in action, check out the video below:

[Thanks JeeCee]

Filed under: digital audio hacks, radio hacks

## August 19, 2017

### open-source – CDM Create Digital Music

#### Here are some of our favorite MeeBlip triode synth jams

We say “play” music for a reason – synths are meant to be fun. So here are our favorite live jams from the MeeBlip community, with our triode synth.

And, of course, whether you’re a beginner or more advanced, this can give you some inspiration for how to set up a live rig – or give you some idea of what triode sounds like if you don’t know already. We picked just a few of our favorites, but if we missed you, let us know! (audio or video welcome!)

First, Olivier Ozoux has churned out some amazing jam sessions with the triode, from unboxing to studio. (He also disassembled our fully-assembled unit to show the innards.)

The amazing Gustavo Bravetti is always full of virtuosity playing live; here, that distinctive triode sound cuts through a table full of gear. Details:

Again ARTURIA’s Beat Step Pro in charge of randomness (accessory percussions and subtle TB303). Practically all sounds generated on the black boxes, thanks Elektron, and at last but no least MeeBlip’s [triode] as supporting melody synth. Advanced controls from Push and Launch Control using Performer , made with Max by Cycling ’74.

Here’s a triode with the Elektron Octatrack as sequencer, plus a Moog Minitaur and Elektron Analog RYTM. That user also walks through the wavetable sounds packed into the triode for extra sonic variety.

Novation’s Circuit and MeeBlip triode pair for an incredible, low power, low cost, ultra-portable, all-in-one rig. We get not one but two examples of that combo, thanks to Pete Mitchell Music and Ken Shorley. It’s like peanut butter and chocolate:

One nice thing about triode is, that sub oscillator can fatten up and round out the one oscillator of a 303. We teamed up with Roland’s Nick de Friez when the lovely little TB-03 came out to show how these two can work together. Just output the distinctive 303-style sequencer to triode’s MIDI in, and have some fun:

Here’s triode as the heart of a rig with KORG’s volca series (percussion) and Roland’s TB-03 (acid bass) – adding some extra bottom. Thank you, Steven Archer, for your hopeful machines:

Get yours:
http://meeblip.com

The post Here are some of our favorite MeeBlip triode synth jams appeared first on CDM Create Digital Music.

## August 16, 2017

### ardour

#### Ardour 5.11 released

We are pleased to announce the availability of Ardour 5.11. Like 5.10, this is primarily a bug-fix release, though it also includes VCA automation graphical editing, a new template management dialog and various other useful new features.

Read more below for the full list of features, improvements and fixes.

### digital audio hacks – Hackaday

#### The Best Stereo Valve Amp In The World

There are few greater follies in the world of electronics than that of an electronic engineering student who has just discovered the world of hi-fi audio. I was once that electronic engineering student and here follows a tale of one of my follies. One that incidentally taught me a lot about my craft, and I am thankful to say at least did not cost me much money.

Construction more suited to 1962 than 1992.

It must have been some time in the winter of 1991/92, and being immersed in student radio and sound-and-light I was party to an intense hi-fi arms race among the similarly afflicted. Some of my friends had rich parents or jobs on the side and could thus afford shiny amplifiers and the like, but I had neither of those and an elderly Mini to support. My only option therefore was to get creative and build my own. And since the ultimate object of audio desire a quarter century ago was a valve (tube) amp, that was what I decided to tackle.

Pulling the amplifier out of storage in 2017, I’m going in blind. I remember roughly what I did, but the details have been obscured by decades of other concerns. So in an odd meeting with my barely-adult self, it’s time to take a look at what I made. Where did I get it right, and just how badly did I get it wrong?

Lovingly hand-drawn from life, missing the PSU components.

The amp itself sits in the removable portion of the Dymar chassis, I can’t remember what the dead instrument was, but Dymar produced a range of instruments as modules for a backplane. The front panel is a piece of sheet steel I cut myself, and is still painted in British Leyland Champagne Beige, the colour of that elderly Mini. It has a volume control, a DIN input socket which must have seemed cool to only me in 1992, and a Post Office Telephones terminal block for the speakers. Inside the chassis the amp is mounted on a piece of aluminium sheet, on top a pair of PCL86 triode/pentode valves, a pair of output transformers and a supply smoothing capacitor, and underneath all the smaller components on tag strips. Though I say it myself, it’s a tidier job than I remember.

1969’s hot new device, already obsolete by 1980.

The circuit is simple enough, a single-ended Class A audio amplifier that I lifted along with the PCL86 and the original output transformers, from a commonly available (at the time) scrap ITT TV set. These triode/pentodes were the integrated amplifier device of their day, as ubiquitous as an LM386 in later decades, containing a triode as preamplifier and a power output pentode, and capable of delivering a few watts of audio at reasonable quality with very few external components. They were also dirt cheap, the “P” signifying a 300mA series heater chain as used in TV sets that was considerably less desirable than the “E” versions which had the standard 6.3V heaters. Not a problem for me, as the Dymar PSU had a 12V rail that could happily give almost the 300mA each to a couple of PCL86s.

My choice of parts must have been limited to those my university’s RS trade counter had in stock that had the required working voltage, and are a mixed bag that you wouldn’t remotely class as audio grade. There are a couple of enormous 450V 33μF electrolytics, and 250VAC Class Y 0.1μF polymer capacitors intended for use in power supply filters. I seem to have followed the idea of using a small and a large capacitor in parallel, probably for some youthful hi-fi mumbo-jumbo idea about frequency response. Otherwise the resistors look like carbon film components, something that probably made more sense to me in the early 1990s than it does now.

On top of the chassis, the original transformers taken from scrap TV sets turned out to be of such low quality that they tended to “sing” at any kind of volume, so I shelled out on a pair of the only valve audio output transformers I could find at the time, something that must have been a relic of a bygone era in the RS catalogue. The original valves were a pair of PCL86s from old TVs, but I replaced them with a “matched” pair of brand new PCL86s. I remember these cost me 50p (about 90¢ in ’92) each at a radio rally, and were made in Yugoslavia with a date code of January 1980. The new valves didn’t make any difference, but they made me feel better.

### How did this amplifier perform, and what did I learn from it?

Under the hood, and it’s all a bit messy.

In the first instance, it performed 110%, because I had a valve amp and nobody else did. The air of mystique surrounding this rarest of audio devices neatly sidestepped the fact that it wasn’t the best of valve amps, but that didn’t matter. Being a class A amplifier with new components, it came to the party with the lowest theoretical distortion it could have had due to its circuit topology. Another area of shameless bragging rights for my younger self, but in reality all it meant was that it got hot.

The sound at first power-on was crisp and sibilant, but with an obvious frequency response problem, it was bass-to-mid heavy, and not in a good way. Here was my first learning opportunity, I had just received an object lesson in real audio transformers not behaving like theoretical audio transformers. It had an impressive impulse response though, square waves came through it beautifully square on my battered old ‘scope.

I could only go so far listening to a hi-fi that might have been a little fi but certainly wasn’t hi. My attention turned to that frequency response problem, and since we’d just been through the series of lectures that dealt with negative feedback I considered myself an expert in such matters who could fix it with ease. I cured the frequency response hump with a feedback resistor from output to input, playing around with values until I lit upon 330K as about right.

### The Best Stereo Valve Amp In The World. Yeah, right.

Here was my second learning experience. I’d made a pretty reasonable amplifier as it happens, and it sounded rather good through my junk-shop Wharfedale Linton speakers with cheap Maplin bass drivers. I could indulge my then-held taste in tedious rock music, and pretend that I’d reached a state of hi-fi Higher Being. But of course, I hadn’t. I’d got my flat frequency response, but I’d shot my phase response to hell, and thus my impulse response had all the timing of a British Rail local stopping service. The ‘scope showed square waves would eventually get there, but oh boy did they take their time. The sound had an indefinable wooliness to it, it was clear as a bell but the sibilance had gone. I came away knowing more about the complex and unexpected effects of audio circuitry than I ever expected to, and with an amp that still had some bragging  rights, but not as the audio genius I had hoped I might be.

The amplifier saw me through my days as a student, and into my first couple of years in the wider world. Eventually the capacitor failed in the Dymar PSU, and I bought a Cambridge Audio amp that has served me ever since. The valve amp has sat forlornly on the shelf, a reminder of a past glory that maybe one day I’ll resuscitate. Perhaps I’ll give it a DSP board programmed to cure its faults. Fortunately I have other projects from my student days that have better stood the test of time.

So. There’s my youthful folly, and what I learned from it. How about you, are there any projects from your past that seemed a much better idea at the time than they do now?

Filed under: classic hacks, digital audio hacks, Hackaday Columns, Interest, Original Art

## August 12, 2017

### Libre Music Production - Articles, Tutorials and News

#### FLOSS music convention in Germany in November

On the 4th and 5th of November 2017 you can attend the Sonoj Convention in Cologne, Germany. Admission is free. You will be able to enjoy demonstrations, talks and workshops about music production through open source software. Hands-on tutorials and workflow presentations can be expected. The Sonoj Convention is a great opportunity to meet like-minded people, maybe even to have engaging discussions! Every man and woman is welcome, no matter your musical or technological background.

## August 11, 2017

### digital audio hacks – Hackaday

#### We Should Stop Here, It’s Bat Country!

[Roland Meertens] has a bat detector, or rather, he has a device that can record ultrasound – the type of sound that bats use to echolocate. What he wants is a bat detector. When he discovered bats living behind his house, he set to work creating a program that would use his recorder to detect when bats were around.

[Roland]’s workflow consists of breaking up a recording from his backyard into one second clips, loading them in to a Python program and running some machine learning code to determine whether the clip is a recording of a bat or not and using this to determine the number of bats flying around. He uses several Python libraries to do this including Tensorflow and LibROSA.

The Python code breaks each one second clip into twenty-two parts. For each part, he determines the max, min, mean, standard deviation, and max-min of the sample – if multiple parts of the signal have certain features (such as a high standard deviation), then the software has detected a bat call. Armed with this, [Roland] turned his head to the machine learning so that he could offload the work of detecting the bats. Again, he turned to Python and the Keras library.

With a 95% success rate, [Roland] now has a bat detector! One that works pretty well, too. For more on detecting bats and machine learning, check out the bat detector in this list of ultrasonic projects and check out this IDE for working with Tensorflow and machine learning.

Filed under: digital audio hacks

## August 03, 2017

### open-source – CDM Create Digital Music

#### Export to hardware, virtual pedals – this could be the future of effects

If your computer and a stompbox had a love child, MOD Duo would be it – a virtual effects environment that can load anything. And now, it does Max/MSP, too.

MOD Devices’ MOD Duo began its life as a Kickstarter campaign. The idea – turn computer software into a robust piece of hardware – wasn’t itself so new. Past dedicated audio computer efforts have come and gone. But it is genuinely possible in this industry to succeed where others have failed, by getting your timing right, and executing better. And the MOD Duo is starting to look like it does just that.

What the MOD Duo gives you is essentially a virtualized pedalboard where you can add effects at will. Set up the effects you want on your computer screen (in a Web browser), and even add new ones by shopping for sounds in a store. But then, get the reliability and physical form factor of hardware, by uploading them to the MOD Duo hardware. You can add additional footswitches and pedals if you want additional control.

Watch how that works:

For end users, it can stop there. But DIYers can go deeper with this as an open box. Under the hood, it’s running LV2 plug-ins, an open, Linux-centered plug-in format. If you’re a developer, you can create your own effects. If you like tinkering with hardware, you can build your own controllers, using an Arduino shield they made especially for the job.

And then, this week, the folks at Cycling ’74 take us on a special tour of integration with Max/MSP. It represents something many software patchers have dreamed of for a long time. In short, you can “export” your patches to the hardware, and run them standalone without your computer.

This says a lot about the future, beyond just the MOD Duo. The technology that allows Max/MSP to support the MOD Duo is gen~ code, a more platform-agnostic, portable core inside Max. This hints at a future when Max runs in all sorts of places – not just mobile, but other hardware, too. And that future was of interest both to Cycling ’74 and the CEO of Ableton, as revealed in our interview with the two of them.

Even broader than that, though, this could be a way of looking at what electronic music looks like after the computer. A lot of people assume that ditching laptops means going backwards. And sure enough, there has been a renewed interest in instruments and interfaces that recall tech from the 70s and 80s. That’s great, but – it doesn’t have to stop there.

The truth is, form factors and physical interactions that worked well on dedicated hardware may start to have more of the openness, flexibility, intelligence, and broad sonic canvas that computers did. It means, basically, it’s not that you’re ditching your computer for a modular, a stompbox, or a keyboard. It’s that those things start to act more like your computer.

Anyway, why wait for that to happen? Here’s one way it can happen now.

Darwin Grosse has a great walk-through of the MOD Duo and how it works, followed by how to get started with

The MOD Duo Ecosystem (an introduction to the MOD Duo)

Content You Need: The MOD Duo Package (into how to work with Max)

An alternative: the very affordable OWL Pedal is similar in function, minus that slick browser interface. It can load Max gen~ code, too:

https://hoxtonowl.com/

New Tutorials including Max MSP on the OWL!

Pd users, that works, too – via Heavy (I think on the MOD, as well):

OWL & Heavy – a Pd patch on the OWL

The post Export to hardware, virtual pedals – this could be the future of effects appeared first on CDM Create Digital Music.

## August 02, 2017

### Libre Music Production - Articles, Tutorials and News

#### MOD Duo and Max/MSP integration

Max/MSP users can now easily convert their Gen objects into LV2 plugins, add them to the roster of MOD Duo plugins and bring them to the stage!

## August 01, 2017

### MOD Devices Blog

#### NEW! MOD Duo and Max/MSP integration!

Max/MSP users can now easily convert their gen~ objects into LV2 plugins, add them to the roster of MOD Duo plugins and bring them to the stage!

## More power to performing digital musicians

There’s no shortage of signal processing environments available to musicians who want to manipulate digital audio. Their use has spread to homes, studios and even stages everywhere. We’ve all seen this revolution take place, with computers popping up at concerts and the advent of laptop music performance. But a computer is not an instrument and a musician shouldn’t become a mere button pusher or mouse handler.

That’s where we come in. The MOD Duo is a computing platform for performing musicians, it’s a computer in a box, optimised to process audio during live performances. And since our creative platform is based on an open format, it can be useful to scores of artists and developers.

The Max/MSP software is one of the greatest and most powerful tools in this field and it has become one of the most used visual programming languages for music and multimedia since its inception in the 1980s. For months now, we’ve been collaborating with Cycling’74, the developers and maintainers of Max/MSP, in order to provide a new stage experience for their users and encourage developers to port their patches and objects into the MOD Duo plugin store.

We’ve come up with a Max package that takes the code exported from Max/MSP gen~ objects and takes care of compiling an LV2 plugin and putting it into the Duo. The whole idea is to simplify the process of having Max/MSP patches and turning them into plugins that can be used on stage without the burden of the computer and with the added controllability provided by the Duo.

## “Wait a minute… I’m confused. What is Gen?”

If you’re not familiar with Max or have never heard of Gen, here’s an overview, courtesy of our friends over at Cycling’74:

“Gen is a new approach to the relationship between patchers and code. The patcher is the traditional Max environment – a graphical interface for linking bits of functionality together. With embedded scripting such as the js object, text-based coding became an important part of working with Max as it was no longer confined to simply writing Max externals in C. Scripting however still didn’t alter the logic of the Max patcher in any fundamental way because the boundary between patcher and code was still the object box. Gen represents a fundamental change in that relationship. The Gen patcher is a new kind of Max patcher where Gen technology is accessed.”

If you are an aficionado and were just waiting for this kind of solution to appear, we’ve come up with documentation to make the process of getting your Gen-based plugins to the MOD Duo as effortless as possible, with a wiki entry and a tutorial that shows you how to create your own plugins.

You can export you gen~ code straight from Max, with the new MODDuo Package

## Why is it cool to have this integration?

This is no small feat.

We’re significantly speeding up the learning curve for adding personalized plugins to the Duo and also allowing digital musicians to take their Max/MSP objects to the stage without a computer. These new plugins will be fully compatible with the 200+ ones that are already available, allowing the creation of elaborate audio chains.

Right now, after being added to the users’ machines, these new plugins can be posted to the forum and we will publish them manually on the plugin store (we’re working on automating this process). Soon, when our commercial plugin store is setup and ready to go, Max/MSP wizards (and all of the MOD community) will be able to provide their creations for a fee, creating a new business in the process, but also promoting the development of more sophisticated audio apps by programmers. Until the commercial store arrives, demo version of these plugins can be published anyway.

In the future, we’ll keep adding new integrations and documentation for other languages and protocols such as Pure Data, Faust and OSC. Creating plugins for the Duo will be within everyone’s reach.

## What are the current plugins that come from Max/MSP gen~ objects?

It all started a while ago, with the official gen plugin export project that Cycling’74 created for building audio applications and plugins. Our software developer, the legendary falkTX, then started doing an implementation of that focused on LV2 and Linux, which he inserted in his own open-source project that provides Cross-Platform Audio Plugins called DISTRHO.

At that time, he and our intern Nino de Wit began to run some tests and develop plugins from gen~code. From this effort, the initial project was born. Shortly afterwards, Nino began developing his own, more complex plugins. As Cycling’74 became aware of this, they contacted us and we decided to make a seamless integration between both platforms.

Here are the plugins derived from Max/MSP gen~ objects, conceived during Nino’s internship at MOD HQ in Berlin. These little gems have been making many MOD users happy since they came around. Here’s a glimpse at the type of plugin this integration will enable users to create:

### Shiroverb

Shiroverb is a shimmer-reverb based on the “Gigaverb”-genpatch, ported from the implementation by Juhana Sadeharju, and the “Pitch-Shift”-genpatch, both in Max MSP.

### Modulay

Modulay is an analog-style delay with variable types of modulation based on the setting of the morph control. All the way counterclockwise is chorus, 12 o’clock is vibrato, and all the way clockwise is flanger. With every setting in between morphing from one effect to the other.

### Larynx

Larynx is a simple sine-modulated vibrato with a tone control.

### Harmless

Harmless is a wave-shapeable harmonic tremolo with a stereo phase control.

## Pedalboards section!

You can check out and listen to the Shiro plugins in action in these sweet pedalboards that our community has created and shared (and load them into your Duo at the click of a button):

### Swell Boost:

Everything a multi-layered guitarist needs in their arsenal: a succulent and smooth shimmer swell pad on one path, and a shrieking shrill boost on another path that cuts through the mix like a Japanese ginsu knife! The best part is that there’s a 4-way toggle switch at the start of the chain that allows the source signal to constantly flow, but the 1st and 4th switches toggle either the pad or the boost (or BOTH if you want the NUCLEAR option!). This allows the guitarist to cut the pad or boost, but results in the pad’s trails to remain in the mix as the source signal never changes.

### ShimmerMachine:

Using the Harmless plugin combined with the Larynx on a Novation Circuit.

### Harmless JCM:

Guitarix JCM-800 and the Shiro Harmless modulator. Such a beautiful sound! Add a little looper and you’re good to go

### Soap Bubbles:

Psychedelic sound based on Larynx, Chorus and some Panning.

Enjoy the Modulay in a simple guitar setup.

Huge pad sound with a parallel path for melody, played on a bass.

### KalimbaJammSessionMOD

Pedalboard used during the Startup Garden at Wallifornia Music Tech. We wanted to show visitors that you can also use the MOD Duo with acoustic instruments and created this nice pad using a synth, a sequencer and a kalimba with a pickup for some solo play. Listen to that tremolo!

### Makeshift Pitchshift:

Using the ‘shimmer’ in the Shiroverb as a pitch-shifter on the bass.

We want to know if you are as thrilled as we are with this integration. Do you look forward to creating your own plugins from Max/MSP? Are you excited about the commercial store? Share your thoughts in the comments below!

## PS: Special Offer

If you buy a MOD Duo before September 30th 2017, you get Max7 for 9 months COMPLETELY FREE.

If you are already a MOD user, you can get Max7 for 9 months for free as well by completing the Great Book of Pedalboards form.

## July 31, 2017

### open-source – CDM Create Digital Music

#### The Viktor NV-1 is a powerful synth running in your browser

Its name is Viktor, and it’s a synth you can play with for free in a browser – with a mouse, or finger, or keyboard, or even MIDI.

Not news, but – heck of a lot of fun to play with.

Now part of a growing number of Web Audio (and even Web MIDI) synths, the Viktor NV-1 is a surprisingly powerful diversion. You get three oscillators, two envelopes (one for amplitude, one for filter), a filter, LFO, reverb, delay, compressor, and loads of controls.

Because it lives in a browser, it’s also easy to save and share presets with others. So, for instance, here you go:

https://goo.gl/ugqbkT

The developer also has a lovely explanation of how this works:

It’s Built on-top of the Web Audio API (WAA). The WAA is very nicely organized and easy to use. Basically it provides a variety of NodeTypes (responsible for sound generation, editing or analysis) which you combine in your liking, creating a graph through which your sound is being shaped.

Also worth noting – how it was built:

Web Audio API, Web MIDI API, Local Storage (through npm module “store”). For the effects section I used Tuna.js.

AngularJS, webaudio-controls (I am regretting this decision, since these controls are full of bugs and had to fix several of them before releasing), Bootstrap, Font Awesome, Font Orbitron and Stylus is what I used for the UI.

Instead of using Angular alone, for dependency management, I use Browserify, which provides the nice CommonJS format/style of module creation and requiring.

Angular isn’t very Browserify-friendly so I had to do some stitching in my initial setup (browserify-shim, browserify-ng-html2js etc.) but once the setup was ready development really felt a breeze.

Grunt and multiple grunt-contrib-‘s are used for the build (and development rebuild).

I drew the images on Pixelmator.

Try it:

http://nicroto.github.io/viktor/

Or grab the code (fully open source):

https://github.com/nicroto/viktor

The browser synth is the work of Nikolay Tsenkov.

The post The Viktor NV-1 is a powerful synth running in your browser appeared first on CDM Create Digital Music.

### blog4

#### new exclusive Notstandskomitee track released

The new Notstandskomitee track Ungetuem can be found exclusive on this compilation by Silent Method Records, currently as download but soon also on vinyl and cassette.
https://silentmethodrecords.bandcamp.com/album/z-e-n-va-compilation

## July 29, 2017

### digital audio hacks – Hackaday

#### Bessel Filter Design

Once you fall deep enough into the rabbit hole of any project, specific information starts getting harder and harder to find. At some point, trusting experts becomes necessary, even if that information is hard to find, obtuse, or incomplete. [turingbirds] was having this problem with Bessel filters, namely that all of the information about them was scattered around the web and in textbooks. For anyone else who is having trouble with these particular filters, or simply wants to learn more about them, [turingbirds] has put together a guide with all of the information he has about them.

For those who don’t design audio circuits full-time, a Bessel filter is a linear, passive bandpass filter that preserves waveshapes of signals that are within the range of the filter’s pass bands, rather than distorting them in some way. [turingbirds]’s guide goes into the foundations of where the filter coefficients come from, instead of blindly using lookup tables like he had been doing.

For anyone else who uses these filters often, this design guide looks to be a helpful tool. Of course, if you’re new to the world of electronic filters there’s no reason to be afraid of them. You can even get started with everyone’s favorite: an Arduino.

Filed under: digital audio hacks

## July 26, 2017

### MOD Devices Blog

#### Top 5 Greatest Things About Our Time at Wallifornia Music Tech

We were at Wallifornia Music Tech during Les Ardentes festival in Liège and it was a memorable week. Here’s a short account of our adventures.

Greetings MOD Community,

There’s a lot going on and the next weeks will be full of unveilings, but we had to take some time to share with you some of the brilliant moments we had earlier this month at Wallifornia Music Tech, during the Les Ardentes music festival in Liège, Belgium.

These are the 5 greatest things that happened during the Startup Acceleration Program, the Wallifornia Music Tech hackathon and the Startup Program, and some of the concerts we attended.

### 5 – Spending Time in the Lovely Liège

I had been to Liège once, a couple of years ago, and spent the whole time at the university for a conference. The weather was not good and I didn’t get to see much of the city. This time, however, the weather was surprisingly warm and we went out to see some of the sites and enjoy what the town has to offer. We stayed at a quaint little place at Rue Pierreuse, in an artsy neighbourhood on top of a hill.

In general, Belgian people were just incredibly friendly and thoughtful, making sure that we had everything we needed at all times and always proud to show us the hidden gems in their city. In this sense, a special acknowledgement must go to the team from Leansquare – Alice, Clémentine, Gérôme, Roald and Ben, in particular – who were responsible for the excellent organisation of the Startup Acceleration Program. They have an amazing co-working space in the heart of the city and took care of every little detail like a well-tuned machine and with a constant smile.

Everyone is happy in Belgium.

Also, Les Ardentes music festival in itself was a spectacular event, in a wonderful location by the river, with an awesome lineup mixing nostalgic headliners, up-and-coming favourites and fresh new acts (more on that later!). The logistics and infrastructure were super well handled for such a big festivity and we managed to enjoy some nice concerts along the way.

### 4 – Seeing Some Sweet Hackathon Action

We were partners and sponsors of the hackathon during the Wallifornia Music Tech Living Lab and provided some MOD Duos and our API for the hackers to use in their projects. The hackathon was masterfully organised and conducted by Luann Williams and Travis Laurendine, who are, among other things, the people responsible for the SXSW hackathon.

They did a great job motivating the teams and guaranteeing a smooth sail for the tens of hard-at-work and exhausted hackers.

Travis and Luann counting the jury’s votes for best hack.

During this hackathon, we met two amazing lords of bits, bytes and bobs, Tom Brückner and Jean-Michel Dewez, who decided to include a little bit of MOD in their hacks. Tom made a web app that provided information on a given song based on Musimap‘s artificial intelligence API. He used data from our pedalboard feed API in order to propose the corresponding pedalboard and ended up as second runner-up.

Jean-Michel, aka Chantal Goret, an 8-bit virtuoso, wanted to use the Duo with Beatmotor, his crafted MIDI controller and instrument. It was built using an old cigar box, an Arduino board, some knobs, buttons and an ultrasound sensor. He used a teensy board to send MIDI notes to the Duo. For this superb retro hack, he won first prize!

Chatting about 8-bit music hacks and the Duo with Jean-Michel, winner of the hackathon, with his cigar-case 8-bit MIDI instrument/controller.

### 3 – Sharing an Intense Week With Eight Fantastic Startups

We spent the whole week with an outstanding group of startuppers from all over the world. There was so much creativity flowing in these intensive training sessions that we all came out fueled with ideas and benefitted from our shared experiences.

I’ll try to summarise all their projects because you should definitely keep an eye out for these gals and guys:

• Beatlinks: It’s a whole living Musiverse in a game that teaches DJ skills to kids  and an animation.
• Big Boy Systems: The first recording system that unites binaural sound and a 3D camera in order to create the ultimate immersive experience.
• Paperchain: They provide data services for the music industry, from the collection and organisation of rights information to the identification of unclaimed royalties.
• Roadie: An app that uses an AI to help bands with tour schedules, based on data from streaming services and social media.
• Sofasession: They have developed an app for online music collaboration and another that connects music students with music schools.
• Soundbops: A toy that teaches the fundamentals of music theory to young children. Their Kickstarter is coming out soon – stay tuned!
• Warm: A huge real-time radio monitor that allows musicians to find out where their songs are being played.
• WIP Music: The so-called Tinder for Music. An app that connects musicians to their audience and the venues that can host them.

### 2 – Meeting Trombone Shorty and His Band Backstage

Thanks to our new friend Travis Laurendine, aka Roi Lion d’Orléans, aka Ideas Gardener, we went backstage to meet Trombone Shorty and his band after their concert.

First, a brief word about their performance. It’s been awhile since I’ve seen such energy on stage and there were several mind-blowing moments when I sort of lost it. The whole band is an example of groove, joy and technique.

We met them all: guitarist Pete Murano, drummer Joey Peebles, bass player Mike Bass-Bailey, tenor sax BK Jackson, baritone sax Dan Oestreicher and the man himself, Troy “Trombone Shorty” Andrews. Travis had sent them a video of the previous day at the hackathon with a short demo of the device and they had gone looking on the website.

Suffice to say, they wanted a Duo. Dan even knew about the MOD Duo from before and is now preparing some demos for us. He plays baritone sax but also has a one-man band so we’re very excited.

Magical moment: Dan Oestreicher (baritone sax, centre left) and Mike Bass-Bailey (bass. centre right) from Trombone Shorty’s band after the concert with their new companion Duo and footswitch extension.

### 1 – Winning the Startup Acceleration Program

We spent the whole week learning and gathering input from a tremendous team of coaches and experts. We were expected to hone our pitches and enthral a jury of investors and affluent music business advisors.

We all worked very hard to perfect our presentations and find a way to squeeze every last bit of information in under 7-minutes. Gianfranco was selected as the first speaker and gave it all.

You can see his pitch for the MOD Duo below:

He was asked questions from industry experts such as Rishi Patel, Virgine Berger and Ted Cohen, and later sat down to meet with them and other investors.

In the end, we were honoured to take home the title of best startup of the Accelerate & Invest program, which coronated a great week and we hope is a presage of even greater things to come.

Receiving a sizable check from Armonia CEO Virginie Berger and music industry legend Ted Cohen

Honourable mentions: the Ramen at the restaurant next to Leansquare and the Boulets avec Frites, the jam sessions we held with our Dutch acolytes Pjotr Lasschuit and Jesse Verhage at our booth during the Startup Garden using kalimbas, Novation Circuits, synths and a wide assortment of controllers, meeting Belgian geniuses Hermutt Lobby, La Femme’s retro-punk concert…

## July 25, 2017

### digital audio hacks – Hackaday

#### Designing the Atom Smasher Guitar Pedal

[Alex Lynham] has been creating digital guitar pedals for a while and after releasing the Atom Smasher, a glitchy lo-fi digital delay pedal, he had people start asking him how he designed digital effects pedals rather than analog effects. In fact, he had enough interest, that he wrote an article on it.

The article starts with some background on [Alex], the pedals he’s built and why he chose not to work on pedals full-time. Eventually, the article gets to the how [Alex] designed the Atom Smasher. He starts by describing the chip he used, the same one that many hobbyists, as well as commercial builders, use for delay based effects – the SpinSemi FV-1.

The FV-1 is a SMD chip used for digital delays and other effects that require a delay line – reverbs, choruses, flangers, etc. It’s programmed with an assembly-style language called SpinASM. [Alex] goes over some of the tools and references he used when designing for the pedal. He also has a list of tips for would-be effect pedal designers which work whether you’re designing digital or analogue effects.

[Alex] ends his article saying that, in the future, he might make the schematic and code available, but for the moment he’s not. The FV-1 is an interesting chip, and [Alex]’s article gives a nice high-level look at its features and how to develop for it. For some interesting guitar pedal related articles, check out this one using effects pedals to get better audio in your car, and here’s one about playing with DSP and designing a pedal with it.

Filed under: digital audio hacks, musical hacks

## July 24, 2017

### Libre Music Production - Articles, Tutorials and News

#### LMP Asks #23: An interview with Jacek from ZARAZA

This time we talk to Jacek from ZARAZA, one of the two members of this experimental/industrial doom/death/sludge metal band.

## Where do you live and what do you do for a living?

I (Jacek) currently live in Ecuador, after immigrating here from Canada about 1.5 years ago. Originally I am Polish, immigrated to Canada in 1990 when I was 20.

## July 21, 2017

### Linux – CDM Create Digital Music

#### Aphex Twin gave us a peek inside a 90s classic. Here’s what we learned.

Aphex Twin’s “Vordhosbn” just got a surprising video reveal, showing how the track was made. So let’s revisit trackers and 90s underground music culture.

You’re probably familiar with the term “white label,” but where did that term originate?”? Back in the early days of DJing, DJs were very territorial about their crate digging. Sometimes, in order to avoid rival DJs looking at their decks to ID their selections (this is way before the days of Shazam, remember), DJs would rip off the labels of a particularly rare record, leaving the white label residue with no identifying information.

Similarly, the 90s were an interesting time for music production. With the advent of computer sequencers, music became more complex – and in the wild west days before YouTube tutorials, concert phone vids, and everyone using Ableton Live, there was legitimate mystery behind how some of the most complex electronic music was made. Max? SuperCollider? Some homebrew software unavailable to the plebs?

If mystery in electronic music production was a game in the 90s, then Richard D. James was its undisputed winner. As Aphex Twin and a host of other pseudonyms, he created mind-bending sequences. As an interview subject, he was equal parts prankster and cagey. Sure, there was an idea of what the IDM greats were up to – Autechre and Plaid used Max, Squarepusher used Reaktor, Aphex used…something? The mystery has always been part of James’ appeal – here is a man who has claimed to sleep only four hours a night, or to have built or heavily modified all of his hardware, or to be sitting on hundreds if not thousands of unreleased tracks, among other tall tales.

Around 2014, something flipped with Richard D. James. After releasing Syro, his first album in 13 years as Aphex Twin, he unleashed the floodgates with a massive hard drive dump onto SoundCloud – seems he wasn’t lying about all those tracks after all. Following up with this, today you can see the debut of a custom Bleep store for Aphex Twin, including loads of unreleased bonus tracks to go with his albums.

Of most interest to the nerds, however, has got to be this seemingly innocuous video, in which we get a trollingly-effected screencast video of Drukqs track “Vordhosbn”, playing out in the vintage tracker PlayerPro. James had previously identified PlayerPro as his main environment for making Drukqs – now we have video of it in action:

So, there we have it. A classic Aphex Twin track with the curtain drawn up. What can we learn from this video? A few things:

• PlayerPro’s tracks were all monophonic, so the chords in “Vordhosbn” had to be made using multiple tracks
• As expected with a tracker, it’s largely built from samples – likely from James’ substantial hardware collection
• Hey, those oscilloscopes and spectral displays are fun

Perhaps what’s best about this video is that it shows an Aphex classic for what it is – a track, composed in much the same way as any other electronic musician might do it. It doesn’t detract from the special qualities of Aphex’s music, but it does show us what was really going on behind all the mystery – music-making.

### Keep Track of It

It’s worth spending a moment to celebrate trackers. Long before the days of piano rolls, trackers were the best way to make intricate sequences using a computer. YouTube is riddled with classic jungle tracks from the mid-90s using software like OctaMed:

For a dedicated community, trackers are still the way to go. And there’s no better tracker around now than Renoise – whose developers have done a fantastic job bringing the tracker workflow into the 21st century. Check out this video of Venetian Snares’ “Vache” done in Renoise:

Like most trackers, Renoise has something of a steep learning curve to get all the key commands right; once you’re there, however, you’ll find it to be a very nimble environment for wild micro-edits and crazy sequences. There’s definitely a reason why it remains a tool of choice for breakcore producers!

Do you use a tracker? What do you think of the workflow? What’s the best way for someone to get started with a tracker? Let us know in the comments!

Ed.: PlayerPro is available as free software for Mac, Windows, Linux … and yes, even FreeBSD.

https://sourceforge.net/projects/playerpro/

Returning CDM contributor David Abravanel is a marketer, musician, and technologist living in New York. He loves that shiny digital crunch. Follow him at http://dhla.me

The post Aphex Twin gave us a peek inside a 90s classic. Here’s what we learned. appeared first on CDM Create Digital Music.

## July 16, 2017

### GStreamer News

#### Orc 0.4.27 bug-fix release

The GStreamer team is pleased to announce another maintenance bug-fix release of liborc, the Optimized Inner Loop Runtime Compiler. Main changes since the previous release:

• sse: preserve non volatile sse registers, needed for MSVC
• x86: don't hard-code register size to zero in orc_x86_emit_*() functions
• Fix incorrect asm generation on 64-bit Windows when building with MSVC
• Support build using the Meson build system

## July 15, 2017

### GStreamer News

#### GStreamer 1.12.2 stable release (binaries)

Pre-built binary images of the 1.12.2 stable release 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.

## July 14, 2017

### open-source – CDM Create Digital Music

SoundCloud’s financial turmoil has prompted users to consider, what would happen if the service were switched off? Would you lose some of your own music?

Frankly, we all should have been thinking about that sooner. Clarification: To be very clear: there is no reason you should ever have a file that you care about in just one location, no matter how secure and reliable you imagine that location may be. Key files are best kept in at least one online backup and in at least one locally accessible location (so you can get at it even without a fast connection).

There’s also no reason at this point to think SoundCloud is going to disconnect without warning – or indeed any indication from SoundCloud executives, publicly or privately, that they expect the service is going away. While recent staff cuts were painful for the whole organization, both those who remained and those who left, every suggestion is that the service is going to continue.

SoundCloud publicly has said as much. (Though, sorry – SoundCloud, you really shouldn’t be surprised. Vague messaging, no solid numbers on revenue, and a tendency not to go on record and talk to the press have made apocalyptic leaks the main picture people get of the company. In a week when you cut nearly half your staff and have limited explanation of what your plan is, then yeah, you wind up having to use the Twitter airhorn because people will panic.)

But the question of what’s happening to SoundCloud is immaterial. If you’ve got content that’s on SoundCloud and nowhere else, you’re crazy. This is really more like a wake up call: always, always have redundancy redundancy..

The reality is, with any cloud service, you’re trusting someone else with your data, and your ability to get at that data is dependent on a single login. You might well be the failure point, if you lock yourself out of your own account or if someone else compromises it.

There’s almost never a scenario, then, where it makes sense to have something you care about in just one place, no matter how secure that place is. Redundancy neatly saves you from having to plan for every contingency.

Okay, so … yeah, if you are then nervous about some music you care about being on SoundCloud and aren’t sure if it’s in fact backed up someplace else, you really should go grab it.

Here’s one open source tool (hosted on GitHub, too) that downloads music.

(DownThemAll, the Firefox add-on, also springs to mind.)

Two services offering similar features are hoping they can attract SoundCloud users by helping them migrate their accounts automatically. (I don’t know what the audio fidelity of that copy is, if it includes the original file; I have to test this – and test whether these offerings really boast a significant competitive advantage.)
https://www.orfium.com/
http://hearthis.at

Could someone create a public mirror of the service? Yes, though – it wouldn’t be cheap. Jason Scott (of Internet Archive fame) tweets that it could cost up to $2 million, based on the amount of data: (Anybody want to call Martin Shkreli? No?) My hope is that SoundCloud does survive independently. Any acquisition would likewise be crazy not to maintain users and content; that’s the whole unique value proposition of the service, and there’s still nothing else quite like it. (The fact that there’s nothing quite like it, though, may give you pause on a number of levels.) My guess is that the number of CDM readers and creators is far from enough to overload a service built to stream to millions of users, so I feel reasonably safe endorsing this use. That said, of course, SoundClouders also read CDM, so they might choose to limit or slow API access. Let’s see. My advice, though: do grab the stuff you hold dear. Put it on an easily accessible drive. And make sure the media folders on that drive also have an automated backup – I really like cloud backup services like Crashdrive and Backblaze (or, if you have a server, your own scripts). But the best backup plan is one that you set and forget, one you only have to think about when you need it, and one that will be there in that instance. Let us know if you find a better workflow here. Thanks to Tom Whitwell of Music thing for raising this and for the above open source tip. I expect … this may generate some comments. Shoot. The post Here’s how to download your own music from SoundCloud, just in case appeared first on CDM Create Digital Music. ### GStreamer News #### GStreamer 1.12.2 stable release The GStreamer team is pleased to announce the second bugfix release in the stable 1.12 release series of your favourite cross-platform multimedia framework! This release only contains bugfixes and it should be safe to update from 1.12.x. See /releases/1.12/ 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. ## July 11, 2017 ### MOD Devices Blog #### MOD Duo 1.4 Update Now Available Dearest community, After several weeks of testing, our latest software update is available! This one took a bit longer since the testing period largely involved the Beta testing of our first peripheral, the footswitch extension (soon to receive its official name – stay tuned!), and also of the Arduino shield. As usual, you can upgrade your MOD Duo by clicking on the update icon on the bottom right-hand corner, then on ‘Download’ and finally ‘Upgrade Now’. Wait for a few minutes while the MOD updates itself automatically and enjoy your added features. Here’s the rundown of release 1.4: #### Control Chain Control Chain is MOD’s custom way of doing external devices. It is an open standard (including hardware, communication protocol, cables and connectors). You can do with Control Chain what the MOD Duo’s hardware actuators are doing right now. Comparing to MIDI, Control Chain is way more powerful. For example, instead of using hard-coded values as MIDI does, Control Chain has what is called device descriptor and its assignment (or mapping) message contains the full information about the parameter being assigned, such as parameter name, absolute value, range and any other data. Having all that information on the device side allows developers to create powerful peripherals that can, for example, show the absolute parameter value on a display, use different LED colours to indicate a specific state, etc. And remember: you can daisy chain up to 4 Control Chain peripherals to your MOD Duo! You can read more about Control Chain here. #### Usability Changes Some small but very handy usability changes were made, following user requests. These include: • It’s now possible to MIDI learn using pitchbend • You can change parameter ranges without having to re-learn a MIDI CC • You can delete the initial/first pedalboard preset (to better organise your “scenes”) • And we’ve also reduced the CPU usage with control-output intensive plugins. #### Web Interface • Plugins now have an information icon on top of them on the builder, that shows their info when clicked (they hide when the screen is too small) • The Duo’s own actuators now have the “MOD:” prefix to differentiate them from those of Control Chain devices • You can now always close addressing and pedalboard presets dialogues with the “ESC” key, independent of focus There’s also quite a few more changes and tweaks. Visit our changelog on the wiki to see all changes since v1.3.2. That’s it! The next upgrade is already being tested, lots of cool new features on the horizon… Remember: many of these tweaks and new features were added because of your comments on our forum. So, keep making sweet music with your MOD Duos and let us know of any issues or improvements you’d desire! ## July 10, 2017 ### GStreamer News #### GStreamer Conference 2017 - Call for Papers This is a formal call for papers (talks) for the GStreamer Conference 2017, which will take place on 21-22 October 2017 in Prague (Czech Republic), just before the Embedded Linux Conference Europe (ELCE). The GStreamer Conference is a conference for developers, community members, decision-makers, industry partners, and anyone else interested in the GStreamer multimedia framework and open source multimedia. The call for papers is now open and talk proposals can be submitted. You can find more details about the conference on the GStreamer Conference 2017 web page. Talk slots will be available in varying durations from 20 minutes up to 45 minutes. Whatever you're doing or planning to do with GStreamer, we'd like to hear from you! We also plan on having another session with short lightning talks / demos / showcase talks for those who just want to show what they've been working on or do a mini-talk instead of a full-length talk. The deadline for talk submissions is Sunday 13 August 2017, 23:59 UTC. We hope to see you in Prague! ## July 05, 2017 ### blog4 #### new Notstandskomitee music video First official video for the new album The Golden Times by Notstandskomitee, made for the track Exhaust. Listen to the album at https://notstandskomitee.bandcamp.com ## July 04, 2017 ### fundamental code #### Linux &amp; Multi-Screen Touch Screen Setups While working on the Zyn-Fusion UI I ended up getting a touch screen to help with the testing process. After getting the screen, buying several incorrect HDMI cables, and setting up the screen I found out that the touch events weren’t working as expected. In fact they were often showing up on the wrong screen. If I disabled my primary monitor and only used the touch screen, then events were spot on, so this was only a multi-monitor setup issue. So, what caused the problem and how can it be fixed? Well, by default the mouse/touch events which were emitted by the new screen were scaled to the total available area treating multiple screens as a single larger screen. Fortunately X11 provides one solution through xinput. Just running the xinput tool lists out a collection of devices which provide mouse and keyboard events to X11. mark@cvar:~$ xinput
| Virtual core pointer                          id=2    [master pointer  (3)]
|   > Virtual core XTEST pointer                id=4    [slave  pointer  (2)]
|   > PixArt USB Optical Mouse                  id=8    [slave  pointer  (2)]
|   > ILITEK Multi-Touch-V3004                  id=11   [slave  pointer  (2)]
| Virtual core keyboard                         id=3    [master keyboard (2)]
> Virtual core XTEST keyboard               id=5    [slave  keyboard (3)]
> Power Button                              id=6    [slave  keyboard (3)]
> Power Button                              id=7    [slave  keyboard (3)]
> AT Translated Set 2 keyboard              id=9    [slave  keyboard (3)]
> Speakup                                   id=10   [slave  keyboard (3)]

In this case the monitor is device 11 which has it’s own set of properties.

mark@cvar:~xinput list-props 11 Device 'ILITEK Multi-Touch-V3004': Device Enabled (152): 1 Coordinate Transformation Matrix (154): 1.000000, 0.000000, 0.000000, 0.000000, 1.000000, 0.000000, 0.000000, 0.000000, 1.000000 Device Accel Profile (282): 0 Device Accel Constant Deceleration (283): 1.000000 Device Accel Adaptive Deceleration (284): 1.000000 Device Accel Velocity Scaling (285): 10.000000 Device Product ID (272): 8746, 136 Device Node (273): "/dev/input/event13" Evdev Axis Inversion (286): 0, 0 Evdev Axis Calibration (287): <no items> Evdev Axes Swap (288): 0 Axis Labels (289): "Abs MT Position X" (689), "Abs MT Position Y" (690), "None" (0), "None" (0) Button Labels (290): "Button Unknown" (275), "Button Unknown" (275), "Button Unknown" (275), "Button Wheel Up" (158), "Button Wheel Down" (159) Evdev Scrolling Distance (291): 0, 0, 0 Evdev Middle Button Emulation (292): 0 Evdev Middle Button Timeout (293): 50 Evdev Third Button Emulation (294): 0 Evdev Third Button Emulation Timeout (295): 1000 Evdev Third Button Emulation Button (296): 3 Evdev Third Button Emulation Threshold (297): 20 Evdev Wheel Emulation (298): 0 Evdev Wheel Emulation Axes (299): 0, 0, 4, 5 Evdev Wheel Emulation Inertia (300): 10 Evdev Wheel Emulation Timeout (301): 200 Evdev Wheel Emulation Button (302): 4 Evdev Drag Lock Buttons (303): 0 Notably xinput provides a property to describe a coordinate transformation which can be used to remap the x and y values of the cursor events. The transformation matrix here is a 3x3 matrix used to transform 2D coordinates and is a fairly common sight in computer graphics. It translates from $$(x,y)$$ to $$(x',y')$$ as defined by: $$\begin{bmatrix} x' \\ y' \\ 1 \end{bmatrix} = \begin{bmatrix} a & b & c\\ d & e & f\\ h & i & j \end{bmatrix} \times \begin{bmatrix} x \\ y \\ 1 \end{bmatrix}$$ The transformation matrix allows for stretching, shearing, translation, flipping, scaling, etc. For the sorts of problems you may see introduced by a multi-monitor setup I would only expect people to care about translating ($$t$$) the events and then re-scaling ($$s$$) them to the offset area. Using these two parameters, the transformation matrix equation is simplified to: $$\begin{bmatrix} x' \\ y' \\ 1 \end{bmatrix} = \begin{bmatrix} s_x & 0 & t_x\\ 0 & s_y & s_y\\ 0 & 0 & 1 \end{bmatrix} \times \begin{bmatrix} x \\ y \\ 1 \end{bmatrix}$$ Or without the matrix representation: \begin{aligned} x' &= s_x x + t_x\\ y' &= s_y y + t_y \end{aligned} With that background out of the way, let’s see how this applied to my specific monitor setup: As I mentioned earlier the touch events were scaled to the dimensions of the larger virtual screen. Since the touch screen is larger this means the y axis is mapped correctly and the x axis is mapped for pixels 0..3200 (both screens) instead of pixels 1281..3200 (left screen only). Since the xinput scales theses parameters based upon the total screen size, we can divide by the total x size (3200) to learn that the x axis maps to 0..1 rather than 0.4..1.0. Solving the above equations we can remap the touch events using $$s_x=0.6$$ and $$t_x=0.4$$. This results in the transformation matrix: $$\begin{bmatrix} 0.6 & 0 & 0.4\\ 0 & 1 & 0\\ 0 & 0 & 1 \end{bmatrix}$$ The last step is to provide the new transformation matrix to xinput: xinput set-prop 11 'Coordinate Transformation Matrix' 0.6 0 0.4 0 1 0 0 0 1 Now cursor events map onto the correct screen accurately and the code to change the xinput properties can be easily put into a shell script. ## June 30, 2017 ### rncbc.org #### Qtractor 0.8.3 - The Stickiest Tauon is out! Howdy! Qtractor 0.8.3 (stickiest tauon) is out! Changes for this mostly just a bug-fix beta release:: • Make sure any just recorded clip filename is not reused while over the same track and session. (CRITICAL) • LV2 Plug-in worker/schedule interface ring-buffer sizes have been increased to 4KB. • Fixed track-name auto-incremental numbering suffix when modifying any other track property. • WSOLA vs. (lib)Rubberband time-stretching options are now individualized on a per audio clip basis. • Long overdue, some brand new and fundamental icons revamp. • Fixed a tempo-map node add/update/remove rescaling with regard to clip-lengths and automation/curve undo/redo. • Fixed a potential Activate automation/curve index clash, or aliasing, for any plug-ins that change upstream their parameter count or index order, on sessions saved with the old plug-in versions and vice-versa. Description: 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.org 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 still 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. Enjoy && Keep the fun, always. ## June 28, 2017 ### blog4 #### TMS concert in Hamburg 1.7.2017 after Saturdays blast of a noise night at XB Liebig, getting ready for the next gig at Primal Uproar in Hamburg, where TMS will perform on Saturday 1.7.2017 https://www.tixforgigs.com/site/Pages/Shop/ShowEvent.aspx?ID=18672 we put a recording of the XB Liebig concert on Mixcloud: ## June 27, 2017 ### Audio – Stefan Westerfeld's blog #### 27.06.2016 beast-0.11.0 released Beast is a music composition and modular synthesis application. beast-0.11.0 is now available at beast.testbit.eu. Support for Soundfont (.sf2) files has been added. On multicore CPUs, Beast now uses all cores for synthesis, which improves performance. Debian packages also have been added, so installation should be very easy on Debian-like systems. And as always, lots of other improvements and bug fixes went into Beast. Update: I made a screencast of Beast which shows the basics. ### autostatic.com #### RPi 3 and the real time kernel As a beta tester for MOD I thought it would be cool to play around with netJACK which is supported on the MOD Duo. The MOD Duo can run as a JACK master and you can connect any JACK slave to it as long as it runs a recent version of JACK2. This opens a plethora of possibilities of course. I’m thinking about building a kind of sidecar device to offload some stuff to using netJACK, think of synths like ZynAddSubFX or other CPU greedy plugins like fat1.lv2. But more on that in a later blog post. So first I need to set up a sidecar device and I sacrificed one of my RPi’s for that, an RPi 3. Flashed an SD card with Raspbian Jessie Lite and started to do some research on the status of real time kernels and the Raspberry Pi because I’d like to use a real time kernel to get sub 5ms system latency. I compiled real time kernels for the RPi before but you had to jump through some hoops to get those running so I hoped things would have improved somewhat. Well, that’s not the case so after having compiled a first real time kernel the RPi froze as soon as I tried to runapt-get install rt-tests. After having applied a patch to fix how the RPi folks implemented the FIQ system the kernel compiled without issues: Linux raspberrypi 4.9.33-rt23-v7+ #2 SMP PREEMPT RT Sun Jun 25 09:45:58 CEST 2017 armv7l GNU/Linux And the RPi seems to run stable with acceptable latencies: Histogram of the latency on the RPi with a real time kernel during 300000 cyclictest loops So that’s a maximum latency of 75 µs, not bad. I also spotted some higher values around 100 but that’s still okay for this project. The histogram was created with mklatencyplot.bash. I used a different invocation of cyclictest though: cyclictest -Sm -p 80 -n -i 500 -l 300000 And I ran hackbench in the background to create some load on the RPi: (while true; do hackbench > /dev/null; done) & Compiling a real time kernel for the RPi is still not a trivial thing to do and it doesn’t help that the few howto’s on the interwebs are mostly copy-paste work, incomplete and contain routines that are unclear or even unnecessary. One thing that struck me too is that the howto’s about building kernels for RPi’s running Raspbian don’t mention the make deb-pkg routine to build a real time kernel. This will create deb packages that are just so much easier to transfer and install then rsync’ing the kernel image and modules. Let’s break down how I built a real time kernel for the RPi 3. First you’ll need to git clone the Raspberry Pi kernel repository: git clone -b 'rpi-4.9.y' --depth 1 https://github.com/raspberrypi/linux.git This will only clone the rpi-4.9.y branch into a directory called linux without any history so you’re not pulling in hundreds of megs of data. You will also need to clone the tools repository which contains the compiler we need to build a kernel for the Raspberry Pi: git clone https://github.com/raspberrypi/tools.git This will end up in the tools directory. Next step is setting some environment variables so subsequent make commands pick those up: export KERNEL=kernel7 export ARCH=arm export CROSS_COMPILE=/path/to/tools/arm-bcm2708/gcc-linaro-arm-linux-gnueabihf-raspbian/bin/arm-linux-gnueabihf- export CONCURRENCY_LEVEL=(nproc)

The KERNEL variable is needed to create the initial kernel config. The ARCH variable is to indicate which architecture should be used. The CROSS_COMPILE variable indicates where the compiler can be found. The CONCURRENCY_LEVEL variable is set to the number of cores to speed up certain make routines like cleaning up or installing the modules (not the number of jobs, that is done with the -j option of make).

Now that the environment variables are set we can create the initial kernel config:

cd linux
make bcm2709_defconfig

This will create a .config inside the linux directory that holds the initial kernel configuration. Now download the real time patch set and apply it:

cd ..
wget https://www.kernel.org/pub/linux/kernel/projects/rt/4.9/patch-4.9.33-rt23.patch.xz
cd linux
xzcat ../patch-4.9.33-rt23.patch.xz | patch -p1

Most howto’s now continue with building the kernel but that will result in a kernel that will freeze your RPi because of the FIQ system implementation that causes lock ups of the RPi when using threaded interrupts which is the case with real time kernels. That part needs to be patched so download the patch and dry-run it:

cd ..
cd linux
patch -i ../usb-dwc_otg-fix-system-lockup-when-interrupts-are-threaded.patch -p1 --dry-run

You will notice one hunk will fail, you will have to add that stanza manually so note which hunk it is for which file and at which line it should be added. Now apply the patch:

patch -i ../usb-dwc_otg-fix-system-lockup-when-interrupts-are-threaded.patch -p1

And add the failed hunk manually with your favorite editor. With the FIQ patch in place we’re almost set for compiling the kernel but before we can move on to that step we need to modify the kernel configuration to enable the real time patch set. I prefer doing that with make menuconfig. You will need the libncurses5-dev package to run this commando so install that with apt-get install libncurses5-dev. Then select Kernel Features - Preemption Model - Fully Preemptible Kernel (RT) and select Exit twice. If you’re asked if you want to save your config then confirm. In the Kernel features menu you could also set the the timer frequency to 1000 Hz if you wish, apparently this could improve USB throughput on the RPi (unconfirmed, needs reference). For real time audio and MIDI this setting is irrelevant nowadays though as almost all audio and MIDI applications use the hr-timer module which has a way higher resolution.

With our configuration saved we can start compiling. Clean up first, then disable some debugging options which could cause some overhead, compile the kernel and finally create ready to install deb packages:

make clean
scripts/config --disable DEBUG_INFO
make -j$(nproc) deb-pkg Sit back, enjoy a cuppa and when building has finished without errors deb packages should be created in the directory above the linux one. Copy the deb packages to your RPi and install them on the RPi with dpkg -i. Open up /boot/config.txt and add the following line to it: kernel=vmlinuz-4.9.33-rt23-v7+ Now reboot your RPi and it should boot with the realtime kernel. You can check with uname -a: Linux raspberrypi 4.9.33-rt23-v7+ #2 SMP PREEMPT RT Sun Jun 25 09:45:58 CEST 2017 armv7l GNU/Linux Since Rasbian uses almost the same kernel source as the one we just built it is not necessary to copy any dtb files. Also running mkknlimg is not necessary anymore, the RPi boot process can handle vmlinuz files just fine. The basis of the sidecar unit is now done. Next up is tweaking the OS and setting up netJACK. Edit: there’s a thread on LinuxMusicians referring to this article which already contains some very useful additional information. The post RPi 3 and the real time kernel appeared first on autostatic.com. ## June 22, 2017 ### GStreamer News #### GStreamer 1.12.1 stable release (binaries) Pre-built binary images of the 1.12.1 stable release 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. ## June 21, 2017 ### rncbc.org #### Vee One Suite 0.8.3 - A Summer'17 release Howdy! The Vee One Suite of old-school software instruments, respectively synthv1, as a polyphonic subtractive synthesizer, samplv1, a polyphonic sampler synthesizer and drumkv1 as yet another drum-kit sampler, are into a hot Summer'17 release! 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 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 again! ## synthv1 - an old-school polyphonic synthesizer synthv1 0.8.3 (summer'17) released! synthv1 is an old-school all-digital 4-oscillator subtractive polyphonic synthesizer with stereo fx. LV2 URI: http://synthv1.sourceforge.net/lv2 change-log: • Added StartupWMClass entry to desktop file. • Long overdue, some brand new and fundamental icons revamp. 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 ## samplv1 - an old-school polyphonic sampler samplv1 0.8.3 (summer'17) released! samplv1 is an old-school polyphonic sampler synthesizer with stereo fx. LV2 URI: http://samplv1.sourceforge.net/lv2 change-log: • Added StartupWMClass entry to desktop file. • Long overdue, some brand new and fundamental icons revamp. • Play (current sample) menu item has been added to sample display right-click context-menu as for triggering it as an internal MIDI note-on/off event. 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 ## drumkv1 - an old-school drum-kit sampler drumkv1 0.8.3 (summer'17) released! drumkv1 is an old-school drum-kit sampler synthesizer with stereo fx. LV2 URI: http://drumkv1.sourceforge.net/lv2 change-log: • Added StartupWMClass entry to desktop file. • Long overdue, some brand new and fundamental icons revamp. • Left-clicking on each element fake-LED now triggers it as an internal MIDI note-on/off event. Play (current element) menu item has been also added to the the element list and sample display right-click context-menu. 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 Enjoy && have fun ;) ## June 20, 2017 ### Audio – Stefan Westerfeld's blog #### 20.06.2017 spectmorph-0.3.3 released A new version of SpectMorph, my audio morphing software is now available on www.spectmorph.org. The main improvement is that SpectMorph supports now portamento and vibrato. For VST hosts with MPE (Bitwig), the pitch of each note can be controlled by the sequencer. So sliding from a C major chord to a D minor chord is possible. There is also a new portamento/mono mode, which should work with any host. ### GStreamer News #### GStreamer 1.12.1 stable release The GStreamer team is pleased to announce the first bugfix release in the stable 1.12 release series of your favourite cross-platform multimedia framework! This release only contains bugfixes and it should be safe to update from 1.12.x. See /releases/1.12/ 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. ## June 18, 2017 ### GStreamer News #### GStreamer 1.10.5 stable release (binaries) Pre-built binary images of the 1.10.5 stable release 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. ## June 17, 2017 ### KXStudio News #### DPF-Plugins v1.1 released With some minor things finally done and all reported bugs squashed, it's time to tag a new release of DPF-Plugins. The initial 1.0 version was not really advertised/publicized before, as there were still a few things I wanted done first - but they were already usable as-is. The base framework used by these plugins (DPF) will get some deep changes soon, so better to have this release out now. I will not write a changelog here, it was just many small changes here and there for all the plugins since v1.0. Just think of this release as the initial one. :P The source code plus Linux, macOS and Windows binaries can be downloaded at https://github.com/DISTRHO/DPF-Plugins/releases/tag/v1.1. The plugins are released as LADSPA, DSSI, LV2, VST2 and JACK standalone. As this is the first time I show off the plugins like this, let's go through them a little bit... The order shown is more or less the order in which they were made. Note that most plugins here were made/ported as a learning exercise, so not everything is new. Many thanks to António Saraiva for the design of some of these interfaces! ### Mini-Series This is a collection of small but useful plugins, based on the good old LOSER-Dev Plugins. This collection currently includes 3 Band EQ, 3 Band Splitter and Ping Pong Pan. ### MVerb Studio quality, open-source reverb. Its release was intended to provide a practical demonstration of Dattorro’s figure-of-eight reverb structure and provide the open source community with a high quality reverb. This is a DPF'ied build of the original MVerb plugin, allowing a proper Linux version with UI. ### Nekobi Simple single-oscillator synth based on the Roland TB-303. This is a DPF'ied build of the nekobee project, allowing LV2 and VST builds of the plugin, plus a nicer UI with a simple cat animation. ;) ### Kars Simple karplus-strong plucked string synth. This is a DPF'ied build of the karplong DSSI example synth, written by Chris Cannam. It implements the basic Karplus-Strong plucked-string synthesis algorithm (Kevin Karplus & Alex Strong, "Digital Synthesis of Plucked-String and Drum Timbres", Computer Music Journal 1983). ### ndc-Plugs DPF'ied ports of some plugins from Niall Moody. See http://www.niallmoody.com/ndcplugs/plugins.htm for the original author's page. This collection currently includes Amplitude Imposer, Cycle Shifter and Soul Force plugins. ### ProM projectM is an awesome music visualizer. This plugin makes it work as an audio plugin (LV2 and VST). ### glBars This is an OpenGL bars visualization plugin (as seen in XMMS and XBMC/Kodi). Adapted from the jack_glbars project by Nedko Arnaudov. ## June 15, 2017 ### ardour #### Ardour 5.10 released We are pleased to announce the availability of Ardour 5.10. This is primarily a bug-fix release, with several important fixes for recent selection/cut/copy/paste regressions along with fixes for many long standing issues large and small. This release also sees the arrival of VCA slave automation, along with improvements in overall VCA master/slave behaviour. There are also significant extensions to Ardour's OSC support. Read more below for the full list of features, improvements and fixes. read more ### GStreamer News #### GStreamer 1.10.5 stable release The GStreamer team is pleased to announce the fifth 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. It is most likely the last release in the stable 1.10 release series 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. ## June 14, 2017 ### blog4 #### new sound installation by Tina Madsen opens in Liebig1, Berlin Block 4 artist Tina Mariane Krogh Madsen presents her new sound installation in Berlin in Liebig12 this Thursday, the 15. June: http://www.liebig12.net/15-06-tina-mariane-krogh-madsenbody-resonance-sound-installation/ ## June 10, 2017 ### KXStudio News #### KXStudio 14.04.5 release and future plans Hello there, it's time for another KXStudio ISO release! KXStudio 14.04.5 is here! Lots have changed in the applications and plugins for Linux Audio (even in KXStudio itself), so it was about time to see those ISO images updated. Behind the scenes, from what the user can see, it might appear as nothing has truly changed. After all, this is an updated image still based on Ubuntu 14.04, like those from 2 years ago. But we had a really big amount of releases for our beloved software, enough to deserve this small ISO update. There is no list of changes this time, sorry. The main thing worth mentioning is that base system is exactly the same, with only applications and plugins updated. You know the saying - if ain't broken, don't fix it! Before you ask.. no, there won't be a 16.04 based ISO release. When 2016 started KDE5 was not in a good enough shape, and it would need a lot of work (and time) to port all the changes made for KDE4 into KDE5. KDE5 is a lot better now than it used to be, but we missed the opportunity there. The current plan is to slowly migrate everything we have into KDE5 (meta-packages, scripts, tweaks, artwork, etc) and do a new ISO release in May 2018. (Yes, this means using Ubuntu 18.04 as base) The choice of KDE Plasma as desktop environment is not set in stone, other (lighter) desktops have appeared recently that will be considered. In the end it depends if it will be stable and good enough for audio production. You can download the new ISOs on the KXStudio website, at http://kxstudio.linuxaudio.org/Downloads#LiveDVD. And that's it for now. We hope you enjoy KXStudio, being it the ISO "distribution" release or the repositories. ## June 09, 2017 ### Linux – CDM Create Digital Music #### Ableton have now made it easy for any developer to work with Push 2 You know Ableton Push 2 will work when it’s plugged into a computer and you’re running Ableton Live. You get bi-directional feedback on the lit pads and on the screen. But Ableton have also quietly made it possible for any developer to make Push 2 work – without even requiring drivers – on any software, on virtually any platform. And a new library is the final piece in making that easy. Even if you’re not a developer, that’s big news – because it means that you’ll likely see solutions for using Push 2 with more than just Ableton Live. That not only improves Push as an investment, but ensures that it doesn’t collect dust or turn into a paperweight when you’re using other software – now or down the road. And it could also mean you don’t always need a computer handy. Push 2 uses standards supported on every operating system, so this could mean operation with an iPad or a Raspberry Pi. That’s really what this post-PC thing is all about. The laptop still might be the best bang-for-your-buck equation in the studio, but maybe live you want something in the form of a stompbox, or something that goes on a music stand while you sing or play. If you are a developer, there are two basic pieces. First, there’s the Push Interface Description. This bit tells you how to take control of the hardware’s various interactions. https://github.com/Ableton/push-interface Now, it was already possible to write to the display, but it was a bit of work. Out this week is a simple C++ code library you can bootstrap, with example code to get you up and running. It’s built in JUCE, the tool of choice for a whole lot of developers, mobile and desktop alike. (Thanks, ROLI!) https://github.com/Ableton/push2-display-with-juce Marc Resibois created this example, but credit to Ableton for making this public. Here’s an example of what you can do, with Marc demonstrating on the Raspberry Pi: This kind of openness is still very much unusual in the hardware/software industry. (Novation’s open source Launchpad Pro firmware API is another example; it takes a different angle, in that you’re actually rewriting the interactions on the device. I’ll cover that soon.) But I think this is very much needed. Having hardware/software integration is great. Now it’s time to take the next step and make that interaction more accessible to users. Open ecosystems in music are unique in that they tend to encourage, rather than discourage sales. They increase the value of the gear we buy, and deepen the relationships makers have with users (manufacturers and independent makers alike). And these sorts of APIs also, ironically, force hardware developers to make their own iteration and revision easier. It’s also a great step in a series of steps forward on openness and interoperability from Ableton. Whereas the company started with relatively closed hardware APIs built around proprietary manufacturer relationships, Ableton Link and the Push API and other initiatives are making it easier for Live and Push users to make these tools their own. The post Ableton have now made it easy for any developer to work with Push 2 appeared first on CDM Create Digital Music. ## June 08, 2017 ### Linux – CDM Create Digital Music #### ROLI now make a$299, ultra-compact expressive keyboard

ROLI are filling out their mobile line of controllers, Blocks, with a two-octave keyboard – and that could change a lot. In addition to the wireless Bluetooth, battery-powered light-up X/Y pad and touch shortcuts, now you get something that looks like an instrument. The Seaboard Block is an ultra-mobile, expressive keyboard for your iOS gadget or computer, and it’s available for $299, including in Apple Stores. If you wanted a new-fangled “expressive” keyboard – a controller on which you can move your fingers into and around the keys for extra expression – ROLI already had one strong candidate. The Seaboard RISE is a beautiful, futuristic, slim device with a familiar key layout and a price of US$799. It’ll feel a bit weird playing a piano sound on it if you’re a keyboardist, since the soft, spongy keys will be new to you. But you’ll know where the notes are, and it’ll be responsive. Then, switch to any more unusual sound – synths, physical modeled instruments, and the like – and it becomes simply magical. Finally, you have a new physical interface for your new, unheard sounds.

For me, the RISE was already a sweet spot. But I’ll be honest, I can still imagine holding back because of the price. And it doesn’t fit in my backpack, or my easyJet-friendly rollaway.

Size and price matter. So the Seaboard Block, if it feels good, could really be the winner. And even if you passed up that X/Y pad and touch controller, you might take a second look at this one. (Plus, it makes those Blocks make way more sense.)

We’ll get one in to test when they ship later this month. But ROLI also promise a touch and feel similar to the RISE (if not quite as deep, since the Block is slimmer). I found the previous Blocks to be responsive, but not as expressive as the RISE – so that’s good news.

What you get is a two-octave keyboard in a small-but-playable minikey form factor, USB-C for charging and MIDI out, and connectors for snap-and-play use with other Blocks.

For those of you not familiar, the Seaboard line also include what ROLI somewhat confusingly call “5D Touch.” (“Help! I’m trapped in a tesseract and wound up in a wormhole to an evil dimension and now there’s a version of me with an agonizer telling me to pledge allegiance to the Terran Empire!”)

What this means in practical terms is, you can push your fingers into the keys and make something happen, or slide them up and down the surface of the keys and make something happen, or wiggle and bend between notes, or run your finger along a continuous touch strip below the keys and get glissandi. And that turns out to be really, really useful. Also, I can’t overstate this enough – if you have even basic keyboard skills, having a piano-style layout is enormously intuitive. (By the same token, the Linnstrument seems to make sense to people used to frets.)

Add an iPhone or iPad running iOS 9 or later, and you instantly can turn this into an instrument – no wires required. The free Noise app gives you tons of sounds to start with. That means this is probably the smallest, most satisfying jam-on-the-go instrument I can imagine – something you could fit into a purse, let alone a backpack, and use in a hotel room or on a bus without so much as a wire or power connection. (With ten hours battery life, I’m fairly certain the Seaboard Block will run out of battery later than my iPhone does).

Regular CDM readers probably will want it to do more than that for three hundred bucks. So, you do get compatibility with various other tools. Ableton Live, FXpansion Strobe2, Native Instruments Kontakt and Massive, Bitwig Studio, Apple Logic Pro (including the amazing Sculpture), Garageband, SampleModeling SWAM, and the crazy-rich Spectrasonics Omnisphere all work out of the box.

You can also develop your own tools with a rich open SDK and API. That includes some beautiful tools for Max/MSP. Not a Max owner? There’s even a free 3-month license included. (Dedicated tools for integrating the Seaboard Block are coming soon.)

The SDK actually to me makes this worth the investment – and worth the wait to see what people come up with. I’ll have a full story on the SDK soon, as I think this summer is the perfect time for it.

The Touch block, which previously seemed a bit superfluous, also now looks useful, as it gives you additional hands-on control of how the keyboard responds. That X/Y pad makes a nice combo, too. But my guess is, for most of us, you may drop those and just use the keyboard – and of course modularity allows you to do that.

ROLI aren’t without competition (somewhat amazingly, given these devices were once limited to experimental one-offs). The forthcoming JOUE, from the creator of the JazzMutant Lemur, is an inbound Kickstarter-backed product. And I have to say, it’s truly extraordinary – the touch sensitivity and precision is unmatched on the market. But there isn’t an obvious controller template or app combo to begin with, so it’s more a specialist device. The ROLI instrument works out of the box with an app, and will be in physical Apple Stores. And the ROLI has a specific, fixed playing style the JOUE doesn’t quite match. My guess is the two will be complementary, and there’s even reason for JOUE lovers to root for ROLI – because ROLI are developing the SDK, tools, instrument integration, and user base that could help other devices to succeed. (Think JOUE, Linnstrument, Madrona Labs Soundplane, not to mention the additions to the MIDI spec.)

Anyway, this is all big news – and coming on the heels of news of Ableton’s acquisition of Max/MSP, this week may prove a historical one. What was once the fringe experimentation of the academic community is making a real concerted entry into the musical mainstream. Now the only remaining question, and it’s a major one, is whether the weirdo stuff catches on. Well, you have a hand in that, too – weirdos, assemble!

https://roli.com/products/blocks/seaboard-block

The post ROLI now make a $299, ultra-compact expressive keyboard appeared first on CDM Create Digital Music. #### Arturia AudioFuse: all the connections, none of the hidden settings After a long wait, Arturia’s AudioFuse interface has arrived. And on paper, at least, it’s like audio interface wish fulfillment. What do you want in an interface? You want really reliable, low-latency audio. You want all the connections you need. (Emphasis on what you need, because that’s tricky – not everyone needs the same thing.) And you want to be able to access the settings without having to dive through menus or load an application. That last one has often been a sticking point. Even when you do find an interface with the right connections and solid driver reliability and performance, a lot of the time the stuff you change every day is buried in some hard-to-access menus, or even more likely, on some application you have to load on your computer and futz around with. And oh yeah — it’s €/$599. That’s aggressively competitive when you read the specs.

I requested one of these for review when I met with Arturia at Musikmesse in Frankfurt some weeks ago, so this isn’t a review – that’s coming. But here are some important specs.

### Connections

Basically, you get everything you need as a solo musician/producer – 4 outs (so you can do front/rear sound live, for instance), 4 ins, plus phono pre’s for turntables, two mic pres (not just one, as some boxes annoyingly have), and MIDI.

Plus, there’s direct monitoring, separate master / monitor mix channels (which is great for click tracks, cueing for DJs or live, and anything that requires a separate monitor mix, as well as tracking), and a lot of sync and digital options.

It’s funny, this is definitely on my must-have list, but it’s hard to find a box that does this without getting an expansive (and expensive) interface that may have more I/O than one person really needs.

This is enough for pretty much all the tracking applications one or two people recording will need, plus the monitoring options you need for various live, DJ, and studio needs, and A/B monitor switching you need in the studio. It also means as a soloist, you can eliminate a lot of gear – also important when you’re on the go.

Their full specs:

2 DiscretePRO microphone preamps
2 RIAA phono preamps
2x Mic/Instrument/Line (XLR / 1/4″ TRS)
2x Phono/Line (RCA / 1/4″ TRS)
4 analog outputs (1/4″ TRS)
S/PDIF in/out
Word clock in/out
MIDI in/out
24-bit next-generation A-D/D-A converters at up to 192kHz sampling rate
Talkback with dedicated built-in microphone (up to 96 kHz Sample Rate)
A/B speaker switching
Direct monitoring
Separate master and monitor mix channels
USB interface with PC, Mac, iOS, Android and Linux compatibility
3-port USB hub
3 models: Classic Silver, Space Grey, Deep Black
Aluminum chassis, hard leather-covered top cover

Arturia also promise high-end audio performance, to the tune of “dual state-of-the-art mic preamps with a class-leading >131dB A-weighted EIN rating.” I’ll try to test that with some people who are better engineers than I am when we get one in.

Also cute – a 3-port USB hub. So this could really cut down the amount of gear I pack.

Now, my only real gripe is, while USB improves compatibility, I’d love a Thunderbolt 3/USB-C version of this interface, especially as that becomes the norm on Mac and PC. Maybe that will come in the future; it’s not hard to imagine Arturia making two offerings if this box is a success. USB remains the lowest common denominator, and this is not a whole lot of simultaneous I/O, so USB makes some sense. (Thunderbolt should theoretically offer stable lower latency performance by allowing smaller buffer sizes.)

### And dedicated controls

This is a big one. You’ll read a lot of the above on specs, but then discover that audio interfaces make you launch a clumsy app on your PC or Mac and/or dive into menus to get into settings.

That’s doubly annoying in studio use where you don’t want to break flow. How many times have you been in the middle of a session and lost time and concentration because some setting somewhere wasn’t set the way you intended, and you couldn’t see it? (“Hey, why isn’t this recording?” “Why is this level wrong?” “Why can’t I hear anything?” “Ugh, where’s the setting on this app?” … are … things you may hear if you’re near me in a studio, sometimes peppered with less-than-family-friendly bonus words.)

So Arturia have made an interface that has loads of dedicated controls. Maybe it doesn’t have a sleek, scifi minimalist aesthetic as a result, but … who cares?

Onboard dedicated controls that don’t require menu diving include: talking mic, dedicated input controls, A/B monitor switching, and a dedicated level knob for headphones.

### And OS compatibility

This is the other thing – there are some great interfaces that lack support for Linux and mobile. So, for instance, if you want to rig up a custom Raspberry Pi for live use or something like that, this can double as the interface. Or you can use it with Android and iOS, which with increasingly powerful tablets starts to look viable, especially for mobile recording or stage use.

Arturia tell us performance, depending on your system, should be reliably in the territory of 4.5ms – well within what you’re likely to need, even for live (and you can still monitor direct). Some tests indicate performance as low as 3.5ms.

### Plus a nice case and cover

Here’s an idea that’s obviously a long time coming. The AudioFuse not only has an adorable small form factor and aluminum chassis, but there’s a cover for it. So no more damage and scratches or even breaking off knobs when you tote this thing around – that to me is an oddly huge “why doesn’t everyone do this” moment.

The lid has a doubly useful feature – it disables the controls when it’s on, so you can avoid bumping something onstage.

Dimensions:
69*126*126 mm.

Weight:
950 g

I’m very eager to get this in my hands. Stay tuned.

The post Arturia AudioFuse: all the connections, none of the hidden settings appeared first on CDM Create Digital Music.

## June 07, 2017

### MOD Devices Blog

#### MOD travels around the world – Part 2

Last year, Gianfranco wrote a post about the international events MOD Devices has attended and because there’s been a lot of activity recently and a lot more to come in the near future, we’re doing a Part Deux, with all the latest events recaps and news. Enjoy!

Ok, so we’re a music technology startup and these are three of the greatest words you can say whenever someone asks you “- and what do YOU do?” at an event. But we’re also part of the free/libre/open source software community, which is what makes us a bit of an exotic fish in certain environments. Yet this is what gives us our edge and the ability to try to change the game and provide a creative platform that empowers its users.

In every event we go, we’re constantly pitching and demonstrating the Duo (and, as of April, its new peripherals) to everyone we meet, and it’s interesting to see that each event has its own specificity, each crowd its expectations, each musician his or her own particular needs. As we have these conversations, we get some wonderful feedback, broaden the community and make some friends in the process. It’s both exhausting and really fascinating!

## Musikmesse 2017

Last April, we went back to Frankfurt and took part in the Musikmesse again. This time, we weren’t accompanied by the musical mastermind who thought of a world without musical instruments, but we had a great team composed of Pjotr, Jesse, Gian and myself. We were located in the electric guitar and relied on our beautiful Pedalboard Builder interface to lure the attendants to our booth. Also, Pjotr and Jesse’s trumpet and Circuit MOD jams were bound to get us some attention. At one point, they caught the eye of a French podcast crew and I ended up being interviewed for the great Les Sondiers channel (you can check it out below).

We made friends all around us but a special nod must go to luthier Jean-Luc Moscato and bass virtuoso Jeff Corallini who were right next to us. With his 7-string bass, he was always impressing everyone who walked by. Someone filmed a nice impromptu jam that happened at some point. Our own Pjotr Lasschuit got some trumpet action there as well:

With music booming everywhere, we were happy to explore some of the other (quieter) halls and check out the latest gear. I was particularly impressed by this super versatile MIDI wind instrument.

All in all, we got another great feeling of our place in this impressive and innovative industry and, like during NAMM earlier this year, we took another step forward in gathering momentum, creating some buzz and starting collaborations.

## LAC 2017

The Linux Audio Conference has been THE community event for us since our first time there in 2013. This year, it was held in Saint Etienne, co-organized by the GRAME from Lyon and the CIEREC from Saint Etienne’s Jean Monnet University. It’s always a great opportunity to meet, chat and have a drink or two with our community’s developers, enthusiasts and supporters.

This year, we held a workshop on the “Origins, features and roadmap of the MOD Duo” and were really thrilled with the dialogue it sparked.

There was also a very insightful keynote speech by Paul Davis, developer of JACK and Ardour among some other great achievements. He presented his view on the state of Linux Audio, open-source development in general and he even mentioned MOD Devices as an example of an open-source-based company striving to get proper marketing promotion (indeed we are!). I was also super excited about the music tutor developed by Marc Groenewegen from the Utrecht School of Music and Technology. We talked a little bit after his session and along with Robin Gareus we imagined how we could soon have a music tutor plugin for the Duo. You can check out these (and others’) talks on the Youtube channel of Université Jean Monnet here.

The evenings were filled with musical performances and our own Jeremy Jongepier, AKA AutoStatic, closed off the second night with a MOD-fueled concert. He totally owned the stage with his Duo, guitar and MIDI controllers, all the while downing a nice cold beer: very RocknRoll! The video for that is here and starts at around 2:40:00.

## Upcoming events

From attending these events we’ve come to realize that we’re really reconciling these two aspects – the investor-friendly and the idealistic FLOSS developer -, which isn’t always easy, but they’re actually two sides of the same coin. We’re looking to take the best from both worlds: bring some much needed investment and new business model to the FLOSS world and provide evolving and innovative devices based on FLOSS to the music market.

The next events we’ll attend are a perfect place to continue to position ourselves as a company with a different outlook and mindset on the musical effects game.

### Sónar+D MarketLab

Next week, we will be in Barcelona for a very exciting event. It will be our second participation at the Sónar+D after being selected as a finalist for the 2015 Startup Competition. We will have a booth at the MarketLab this time, which is, as the organizers put it, “a space where the creators of the year’s most outstanding technology initiatives present the projects that they have developed in creative labs, media labs, universities and businesses. A place for trying out innovations that explore new forms of creation, production and marketing, and which in turn fosters relationships between professionals in the creative industries and the general public”. Who knows, maybe Björk will come and test the Duo out…

### Les Ardentes Start-up Garden

In early July, we are headed to Liège, in Belgium, to be one of 30 startup at the Living Lab of the Wallifornia MusicTech that will be held during the Les Ardentes Music Festival. This will be another great opportunity to show the Duo to a broad audience, from musicians to investors. Good music and great conversations on the horizon, what more could we ask for?

That’s it for now, but there’ll be more on the next semester, for sure! And if any of you will be around in Spain or Belgium for our next two rendezvous, we’d love to see you, so drop us a line

## May 30, 2017

### blog4

#### Notstandskomitee concert video

The Notstandskomitee concert at Fraction Bruit #17, Loophole Berlin, 27.5.2017 with tracks from the new album The Golden Times:

## May 26, 2017

### blog4

#### The Golden Times are here

Block 4 released the new album by Notstandskomitee: The Golden Times

The Golden Times by Notstandskomitee

## May 23, 2017

### blog4

#### new Notstandskomitee album and Berlin concert

Block4 set the release date of the new Notstandskomitee album The Golden Times album to this Friday, the 26.May 2017! It will be released exclusively on Bandcamp on the usual address https://notstandskomitee.bandcamp.com
On Saturday the 27.May 2017 Malte Steiner will play a new Notstandskomitee set with new realtime visuals at the final Fraction Bruit event in Loophole, Berlin.

The Golden Times Are About To Come

#### Body Interfaces: 10.1.1 100 Continue

the performance Body Interfaces: 10.1.1 100 Continue of my better half Tina Mariane Krogh Madsen at Sofia Underground Performance Art Festival 28.4.2017

## May 19, 2017

### Libre Music Production - Articles, Tutorials and News

#### Paul Davis, Ardour and JACK creator/developer, talks at Linux Audio Conference 2017

The Linux Audio Conference 2017 is under way and this year, Ardour and JACK creator/developer, Paul Davis talked about Linux audio and his thoughts on where things currently stand with his presentation "20 years of open source audio: Success, Failure and the In-between".

#### LSP plugins 1.0.24 released

Vladimir Sadovnikov has just released version 1.0.24 of his audio plugin suite, LSP plugins. All LSP plugins are available in LADSPA, LV2, LinuxVST and standalone JACK formats.

#### Ardour 5.9 is released

Ardour 5.9 has recently been released with new features, including many improvements and fixes.

This release includes -

#### Drumgizmo 0.9.14 is released

The Drumgizmo team have officially announced version 0.9.14  of their drum sampling plugin.

DrumGizmo is an open source, multichannel, multilayered, cross-platform drum plugin and stand-alone application. It enables you to compose drums in MIDI and mix them with a multichannel approach. It is comparable to that of mixing a real drumkit that has been recorded with a multimic setup.

## May 15, 2017

### ardour

#### Ardour 5.9 released

Ardour 5.9 is now available, representing several months of development that spans some new features and many improvements and fixes.

Among other things, some significant optimizations were made to redraw performance on OS X/macOS that may be apparent if you are using Ardour on that platform. There were further improvements to tempo and MIDI related features and lots of small improvements to state serialization. Support for the Presonus Faderport 8 control surface was added (see the manual for some quite thorough documentation).

As usual, there are also dozens or hundreds of other fixes based on continuing feedback from wonderful Ardour users worldwide.

Read more below for the full list of features, improvements and fixes.

## May 10, 2017

### rncbc.org

#### Qtractor 0.8.2 - A Stickier Tauon release

And now for something ultimately pretty much expected: the Qstuff* pre-LAC2017 release frenzy wrap up!

Qtractor 0.8.2 (a stickier tauon) is released!

Change-log:

• Track-name uniqueness is now being enforced, by adding an auto-incremental number suffix whenever necessary.
• Attempt to raise an internal transient file-name registry to prevent automation/curve files to proliferate across several session load/save (re)cycles.
• Track-height resizing now meets immediate visual feedback.
• A brand new user preference global option is now available: View/Options.../Plugins/Editor/Select plug-in's editor (GUI) if more than one is available.
• More gradient eye-candy on main track-view and piano-roll canvases, now showing left and right edge fake-shadows.
• Fixed the time entry spin-boxes when changing time offset or length fields in BBT time format that goes across any tempo/time-signature change nodes.
• French (fr) translation update (by Olivier Humbert, thanks).

Description:

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.org
http://qtractor.sourceforge.net

Project page:

http://sourceforge.net/projects/qtractor

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 still wanted!):

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

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

Enjoy && Have fun, always.

## May 06, 2017

### Libre Music Production - Articles, Tutorials and News

#### ZARAZA releases new album entirely recorded with Libre Music tools

Ecuadorian / Canadian experimental veterans ZARAZA have just released their 3rd album Spasms of Rebirth.

It was entirely recorded using Libre Music tools:

• Fedora 25
• Ardour (all mixing)
• Guitarix (all guitars and bass)
• Hydrogen (drums)
• Calf plugins (for mixing in Ardour)
• Audacity (mastering)

#### DrumGizmo version 0.9.13 now available

DrumGizmo is an open source, multichannel, multilayered, cross-platform drum plugin and stand-alone application. It enables you to compose drums in midi and mix them with a multichannel approach. It is comparable to that of mixing a real drumkit that has been recorded with a multimic setup.

Included in this release is:

#### New Drumgizmo version released with major new feature, diskstreaming!

Version 0.9.13 of drum sampling plugin, Drumgizmo has recently been released with the much anticipated diskstreaming feature.

DrumGizmo is an open source, multichannel, multilayered, cross-platform drum plugin and stand-alone application. It enables you to compose drums in MIDI and mix them with a multichannel approach. It is comparable to that of mixing a real drumkit that has been recorded with a multimic setup.

### MOD Devices Blog

#### Tutorial: Arduino & Control Chain

Hi there once again fellow MOD-monsters! As some of you might know, we are currently in the beta testing phase for our new Control Chain footswitch extension. At the same time, we have also released the brand new Arduino Control Chain shield, allowing you to build your own awesome controllers.

If you’re thinking, hey Jesse, what is all that Control Chain talk about?

*Control Chain is an open standard, including hardware, communication protocol, cables and connectors, developed to connect external controllers to the MOD. For example, footswitch extensions, expression pedals and so on.
Comparing to MIDI, Control Chain is way more powerful. For example, instead of using hard-coded values as MIDI does, Control Chain has what is called device descriptor and its assignment (or mapping) message contains the full information about the parameter being assigned, such as parameter name, absolute value, range and any other data. Having all that information on the device side allows developers to create powerful peripherals that can, for example, show the absolute parameter value on a display, use different LED colors to indicate a specific state, etc. Pretty neat, right?

Until now, you could find two examples, for a simple momentary button and potentiometer, on our GitHub page, but today we will add a new example: we will build a Control Chain device with expression pedal inputs.

# What do I need?

1. One Arduino Uno or Due
2. One Arduino Control Chain shield
3. One stereo (TRS) jack for every expression pedal input that you want (Max: 4 (Uno), 8(Due))
4. A soldering iron, some wire and some soldering tin
5. (Optional) Something to put your final build in

# The schematic

Because the Arduino has very high impedance analog inputs, there is no need for any current limiting resistor. We can simply hook up the TRS jacks as follows: (Tip to 5V, ring to signal and sleeve to ground)*

(*) not all expression pedals are made equal, some manufacturers use a different mapping than the one described above.
Another common mapping is: Tip to signal, ring to 5V, sleeve to ground. (For example on the Roland EV-5)

# The code

The Arduino code is quite simple, it reads the ADC values using the analogRead() function, and stores it into a variable. The Control Chain library takes care of the rest.

The code is written in such a way that you can change the define at the top of the code to the amount of ports that you want, and not have to rewrite any code. Do you want 3 expression pedal ports?

#define amountOfPorts 3

The maximum amount of ports for an Arduino Uno is 4. The Arduino Due can provide a maximum of 8 ports.

# The build

1. Solder wires to your TRS jack inputs
2. Twist the wires together
3. Solder the sleeves to the ground strip on the CC shield
4. Solder the tips to the 5v strip on the CC shield
5. Solder the rings to the corresponding analog inputs on the CC shield

Attach the CC shield to the Arduino, now your device should look a little like this:

1. Follow the instructions on our Github Page and install the dependencies
2. Change the define in the code to the amount of ports connected
4. Time for a test drive!
1. Connect the MOD Duo to the “main” Control Chain port on your new device

2. Connect your expression pedals and try them out with your MOD Duo!
5. (Optional) Create an enclosure for (semi-)permanent installation, I used an old smartphone-box that I had laying around somewhere

# The end result

You just built your own Control Chain device, and we hope with many more to come. We are looking forward to seeing what all you wonderful people come up with! Don’t hesitate to come and talk to us on the forums if you have any questions about Control Chain devices, the Arduino shield or our favourite musicians.

Talk to you later!

P.S. Vulfpeck is great

### GStreamer News

#### GStreamer 1.12.0 stable release (binaries)

Pre-built binary images of the 1.12.0 stable release 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.

## May 04, 2017

### GStreamer News

#### GStreamer 1.12.0 stable release

The GStreamer team is pleased to announce the first release in the stable 1.12 release series. The 1.12 release series is adding new features on top of the 1.0, 1.2, 1.4, 1.6, 1.8 and 1.10 series and is part of the API and ABI-stable 1.x release series of the GStreamer multimedia framework.

Full release notes can be found here.

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.