Tina Mariane Krogh Madsen: vibrational difference # III (a remembrance of collapse) concert,
part of Block 4 dialogues I at Toinen Kerros by Äänen Lumo(Nokiantie 2), Helsinki (FI)
vibrational difference is a series of sound performances based on Madsen's geological field recordings from mine explosions undertaken at the iron mine Malmberget, Sabmé in June 2024, where sound waves are activated by human-induced seismic events which in the piece are the foundation for a gradual drone composition which bear witness to a dynamic and violent transformation of the landscape. The dynamite blastings are here witnesses of a resonance moving across the geological and the socio-political. The fieldwork and recordings undertaken at Malmberget took place every night at midnight where Madsen visited different locations around the mine area with a geophone. The first recording was the closest possible to get to the main pit and the following recordings had varied degrees of intensity, also beyond the audible, and on the last day some rock-matter collapsed as a consequence which also became an evident rumble many kilometres away.
In the performance and piece vibrational difference # III, Madsen uses effect pedals to improvise with the recorded sounds to evoke a relation to both colonialism and human infrastructural damage through the sonic traces of mineral extraction from the mining industry. The low frequency sounds are thus extending themselves across the site of recording as pulsating sonic matter which connects the listener to both resonances of remembrance but also as an access to direct geological destruction.
Tina Mariane Krogh Madsen: electronics, field recordings.
Tina Mariane Krogh Madsen (DK) is an artist and researcher who works between performance art, sound, open technology, and matter, in a mode of practising and collaborating with philosophy and geological agency. Madsen holds a doctoral degree (Doctor of Arts) from Aalto University School of Arts, Design and Architecture (FI) at the Department of Art and Media, and has worked with facilitation and education in multiple frameworks. Madsen has presented their sound and performance work internationally and is the founder of performance protocols, a nomadic platform for instruction-based art and collaborative processes. Madsen is a member of the Finnish Bioart Society, the Eco- and Bioart Lab (LiU), and a certified facilitator of Deep Listening workshops from the Center for Deep Listening, Rensselaer Polytech Institute (US).
https://tmkm.dk
by herrsteiner (noreply@blogger.com) at March 23, 2026 10:43 AM

An MRI scan is never a pleasant occasion – even if you aren’t worried about the outcome, lying still in a confined, noisy space for long periods of time is at best an irksome experience. For hearing protection and to ameliorate boredom or claustrophobia, the patient wears headphones. Since magnets and wires can’t be used inside an MRI machine, the headphones have to literally pipe the sound in through tubes, which gives them poor sound quality and reduces the amount of noise they can block. [SomethingAboutScience], however, thinks that photoacoustic speakers could improve on these, and built some to demonstrate.
These speakers use the photoacoustic effect, which is mostly caused by surface heating when exposed to an intense light, then transferring the heat to the surrounding air, which expands. If the surface can transfer heat to the air quickly enough, and if the light source is modulated quickly, the rapid expansions and contractions in the surrounding air create sound waves. As a test, [SomethingAboutScience] shone a modulated 5-Watt laser on a piece of gold leaf, which produced recognizable music.
Gold leaf works because it absorbs blue light well and is thin enough to transfer heat to the air quickly. To cut out the absorbing surface, [SomethingAboutScience] also shone the laser directly into orange nitrogen dioxide gas, which produced a somewhat cleaner sound (in a purely auditory sense; nitrogen dioxide is quite dangerous, and calling it “a little toxic” is an understatement). Soot-coated glass also worked rather well, though a soot-coated glass smoking pipe didn’t provide the desired acoustics. He also 3D-printed an earphone shape with a gold leaf-lined cavity inside it, then used a fibre-optic cable to direct the laser light into it. We would be personally reluctant to couple a 5-Watt laser into a reflective cavity centimeters from our eardrums, but it didn’t appear to damage its surroundings.
We’ve seen the photoacoustic effect used before to perform long-range, almost silent command injection to voice assistants. It’s also possible to use lower-power lasers and beam sound directly into people’s ears.
Thanks to [Marble] for the tip!
Elektronengehirn audiovisual concert Hardware 13. February 2026 as part of Block 4 dialogues I at Toinen Kerros / Äänen Lumo, Helsinki (FI) https://block4.com/dialogues1.php
Malte Steiner initiated Elektronengehirn in 1996 as an experiment to create music exclusively using software-based sound synthesis. The name Elektronengehirn is an old German term from the 1960s for computers, which were then referred to as electronic brains. What sounds trivial today was, back then, a pretty radical idea, especially when one lacked access to the computational resources of institutions like universities. Computer sound synthesis for the masses was in its infancy, and not much was possible in real time. Meanwhile, Block 4 studio added more and more hardware over the years, like the ever-growing Eurorack Modular system since 2002. The album Hardware from 2024 breaks with the initial Elektronengehirn concept and features tracks which are also done with Eurorack modular synthesizer and custom electronic instruments that Steiner has been developing since 2022. During the concert pieces from the album are performed live on computer and DIY modular synthesizer. The Linux computer runs Pure Data for the audio and a custom software created with the game engine Godot for visuals.
by herrsteiner (noreply@blogger.com) at March 22, 2026 09:15 PM
The GStreamer team is pleased to announce the first development snapshot in the API/ABI-unstable 1.29 release series.
The API/ABI-unstable 1.29 release series is for testing and development purposes in the lead-up to the stable 1.30 series which is scheduled for release in Q4 2026. Any newly-added API can still change until that point.
This development release is primarily for developers and early adopters, and distros should probably not package it.
Highlighted changes:
Binaries for Android, iOS, Mac OS X and Windows will be made available shortly at the usual location.
Release tarballs can be downloaded directly here:
As always, please give it a spin and let us know of any issues you run into by filing an issue in GitLab.
Change-log:
Description:
Website:
Project page:
Downloads:
Git repos:
Wiki:
License:
Enjoy && Keep the fun!
The GStreamer project is thrilled to announce that there will be a spring hackfest on Friday-Sunday 29-31 May 2026 in Nice, France.
For more details and latest updates check out the announcement on Discourse.
We will announce any further updates on Discourse, but you can also follow us on Bluesky and on on Mastodon.
We hope to see you in Nice!
Please spread the word!
The year was 1996. And Trent Reznor and NIN loved id Software so much that they made a deep, dark, legendary soundtrack for the breakthrough game Quake, for no fee — just for “friendship.” At a time when creativity can feel under attack, and the real world is starting to seem a little, uh, Quake-like, […]
The post That time NIN made a perfect ambient industrial soundtrack for Quake appeared first on CDM Create Digital Music.
Hi everybody,
The Vee One Suite, the gang-of-four old-school software instruments,
Are here released for the (northern) Early-Spring'26 season update...
All delivered in dual form:
Change-log:
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.
synthv1 - an old-school polyphonic synthesizersynthv1 is an old-school all-digital 4-oscillator subtractive polyphonic synthesizer with stereo fx.
samplv1 - an old-school polyphonic samplersamplv1 is an old-school polyphonic sampler synthesizer with stereo fx.
drumkv1 - an old-school drum-kit samplerdrumkv1 is an old-school drum-kit sampler synthesizer with stereo fx.
padthv1 - an old-school polyphonic additive synthesizerpadthv1 is an old-school polyphonic additive synthesizer with stereo fx
padthv1 is based on the PADsynth algorithm by Paul Nasca, as a special variant of additive synthesis.
Enjoy && Have fun.
What if you could remake Ableton Move to do anything, using Max -- the audio engine, I/O, every pad, button, encoder, and even the display? That's RNBO support on Move. It's labeled "experimental alpha," but I've been testing RNBO Takeover Mode on Move, and it's already really usable. There's even a lot you can do without patching at all, like running Robert Henke's now-iconic Granulator III. Here's a first look.
The post Max for Move: run RNBO patches on Ableton Move — like Granulator III appeared first on CDM Create Digital Music.

They say you should never throw out old clothes because they will come back in style one day. Maybe they are right. We noted in a recent BBC post that, apparently, wired headphones are making a comeback. Like many people, we were dismayed when Apple took the headphone jack out of the iPhone and, as [Thomas Germain] notes, even Google eventually ejected the normal headphone jack. (Although, in fairness, most of the Pixel phones we’ve seen come with a pair of USB-C earbuds.)
On the face of it, though, wireless seems to be a good idea. You can get cheap Bluetooth earbuds now, although maybe still not as cheap as wired buds. Sure, they sound terrible, but so do cheap buds. It is a pain to charge them, of course, but not having to untangle wires is a benefit. On the other hand, you never have to charge your wired headphones.
So why are people suddenly going back to wires? According to the BBC and analytics firm Circana, the second half of 2025 saw an explosion in wired headphone sales, and sales continued to rise in 2026.
The biggest reason cited was sound quality. While Bluetooth has made huge strides in sound quality, you are still trading something for wireless. We have to admit, we get annoyed when the Bluetooth drops out, but we wonder how many people can really hear much difference in audio quality? If you care about latency, maybe that’s a point in the wired gear’s favor. But if your song starts 250 milliseconds late, you probably don’t care. It is only an issue when you have video or games.
Many people, when using a modern Bluetooth stack, can’t tell the difference in audio quality between wired and wireless, especially with normal source material and in typical listening environments.
According to [SoundGuys], while Bluetooth is technically worse, if you are over 24 or not in a perfectly quiet environment, you probably can’t tell the difference. Another study found that casual listeners could only guess which headphones were wireless 50% of the time. Even two pro audio people got it wrong 30% of the time.
The problem historically with Bluetooth is that it creates a digital stream to the headphones, which is compressed and decompressed using a codec. The original codec was SBC (Subband Codec), and it didn’t sound that great.
However, as technology gets better, so do the codecs. AAC, LDAC, and others sound great. LDAC, for example, transmits audio at roughly 990 kbps and with very little distortion.
So when you are looking at Bluetooth sound, you have to account for several things. If your source or destination doesn’t support modern codecs, it might not sound as good as it could. In addition, you are dealing with the headphone’s internal digital-to-analog converter. If you think your $10 earbuds have a converter that matches the audio output from your phone or motherboard, you will probably be disappointed. But that’s not a fault inherent with Bluetooth. Cheap sound devices sound worse than expensive ones, in general.
There are other reasons to go wired. Apparently, some social media influencers have decided that the right pair of wires dangling from your ears is a fashion accessory. Maybe some of it is like the resurgence of vinyl records or typewriters: nostalgia. Or, perhaps it is just a fad. As a practical matter, it does help people see that you are just sitting at your desk swaying for no reason.
Apparently, even the brand and design of headphones are important to fashionistas. For example, the three-year-old video below shows how old Koss headphones with some color changes went viral. (Although of course you can also get a Bluetooth variant.)
While this might not make sense to a Hackaday crowd, headphones have long been a fashion accessory, and headphones like Beats were, at least at one point, the must-have accessory for some people.
Of course, if you really want to make a statement, you can check whether any of the 10 $135,000 headphones are in stock. Or, try a $750,000 pair of Beats, which probably don’t sound as good as you would hope for that price.
There are people who swear they need gold-plated cables or ones with no oxygen or whatever to get the perfect sound. Tests involving sending audio through a banana don’t back that up.
So, sure, you need to invest in good-quality gear. You really need to make sure the whole setup supports something like aptX, LDAC, or even AAC. You also need a good source. Old movies don’t look better on an 8K TV; after all, why should your headphones improve your 1979 mix tape digitized at 32k?
Unless you are worried about latency or you experience dropouts for some reason, there is very little difference for most people. Of course, if you want to use a wired headphone on a modern phone, you probably need an adapter or USB headphones, which basically have the adapter built in. And your audio will only be as good as that adapter, too, so choose wisely. Don’t forget to pick the right cables, too.
If you are experiencing dropouts, you may need better equipment. Or maybe just take your phone out of your pocket with the keys and the RFID-blocking wallet. Bluetooth can, in theory, travel 30 ft, but reality is something else, and interference from other devices can also be a problem, especially if you have a dual WiFi/Bluetooth device in your computer. We’ve heard, too, that unpairing and repairing can sometimes help, although you wouldn’t think it should matter.
One thing we do suggest. As long as wired headphones are a fad, it is probably a great time to list your old wired gear on eBay, Facebook Marketplace, or a similar site. Fads drive prices up, and the old cans may never be worth so much again.
So what do you think? Can you really tell the difference? What’s your daily driver? Let us know in the comments.
The main goal of liquidsfz is to implement a library that supports playing .sfz files and is easy to integrate into other projects. We also provide a JACK client and a LV2 plugin.
A new version, liquidsfz-0.4.0 is now available.
The release adds support for parametric equalizers and some other new opcodes. It implements some extended CCs and generators (like sample=*sine), as well as parsing and loading programs from AriaBank .bank.xml files. A custom UI for the LV2 plugin was added to be able to select AriaBank programs in the LV2 plugin.
For a full list of changes, see the github release.
oscmix is a relatively new free/libre control program for RME Fireface audio interfaces. It’s both a desktop application (GTK3) and a web app with the same functionality.
Most vendors of audio hardware either don’t bother with Linux support or, in some cases, provide gear and guidance to FOSS developers. I don’t really know which camp RME is in these days, but oscmix seems to be getting there as a free/libre replacement for RME TotalMix FX.
The project was originally developed by Michael Forney. huddx01 picked up where Michael left off last year and started writing missing code and improving things. Nightly builds are now available and make it easier to test the program.
Much like with some other FOSS applications (Qtpfsgui, anyone?), the name reflects what the program actually does under the hood: use OSC over USB MIDI to control the following audio interfaces:
The lead developer doesn’t have a feature parity comparison against TotalMix FX but states this:
Most things work, but still needs a lot more testing, polish, cleanup. Some things still need to be hooked up in the UI or implemented in oscmix.
If you have one of those in the studio and are interested in helping the developer improve the software, check out nightly builds. oscmix is available for both Linux and macOS, both x86_64 and ARM64. The web version is a separate download there.
We released Ardour 9.2 today, a quick hotfix for a silly problem with ruler visibility. It also has a fix for an uncommon (we hope!) crash on Windows. The main release notes have been updated, and you can download at the usual place.
15 posts - 13 participants
David García Goñi released a new version of Elektroid, a sample and MIDI device manager for Elektron, Arturia, Eventide, Moog, and Novation devices.
Elektroid 3.3 adds support for several devices:
It also brings support for Elektron Digitakt (OG) track filesystem with optional timestreching in the track-loop filesystem and Digitakt II sample-stereo filesystem.
The Volca Sample support is possible thanks to general non-MIDI device support, which means more (especially old) devices can be supported in the future.
You can now tag samples, the data will be written into the IKEY data chunk in WAV files:
The system is configurable, you can tweak the default list of tags in the Preferences dialog:
Elektroid now tries to estimate tempo based on beats and sample length and displays it in the toolbar below the waveform. The waveform visualization has been improved and is now faster, there’s also a playback cursor.
The recording dialog now displays stereo monitoring:
Two new tools are available for editing samples: one splits stereo channels into separate monophonic audio files, the other one normalizes audio. Simply right-click on the waveform and go to the Tools submenu.
Here are other changes in this release:
acid chunk) with “tempo:x” and “note:x” search options (using locales)smpl chunk)Elektroid is available in source code and as a flatpak build (not yet up to day on flathub).
We are pleased to announce the release of Ardour 9.1. This is primarily a hotfix release intended to correct a number of bugs in the 9.0 release. Most significantly, we have corrected the behavior of the new bottom pane in the Editor which was notably broken by some last minutes changes before 9.0 was released. 9.1 also contain a couple of notable new features (MIDI note chasing and duplication) and several improvements too.
Full release notes are over here.
Download as usual from the usual place.
16 posts - 9 participants
Suil 0.10.26 has been released. Suil is a library for loading and wrapping LV2 plugin UIs. It provides wrappers that allow Gtk and Qt hosts to load, and potentially embed, plugin GUIs that use the "native" windowing API (Coca, WIN32, or X11).
Changes:
Lilv 0.26.4 has been released. Lilv is a C library to make the use of LV2 plugins as simple as possible for applications.
Changes:
Ardour 9.0 is now available for Linux, macOS and Window systems. This is a major release for us, seeing several substantive new features that users have asked for over a long period of time. Region FX, clip recording, a touch-sensitive GUI, pianoroll windows, clip editing and more, not to mention dozens of bug fixes, new MIDI binding maps, improved GUI performance on macOS (for most) …
Download from the usual place, and read the full (rather long) release notes …
75 posts - 44 participants
As of January 15, 2025, all flavors of Ubuntu 25.04, including Ubuntu Studio 25.04, codenamed “Plucky Puffin”, have reached end-of-life (EOL). There will be no more updates of any kind, including security updates, for this release of Ubuntu.
If you have not already done so, please upgrade to Ubuntu Studio 25.10 via the instructions provided here. If you do not do so as soon as possible, you will lose the ability without additional advanced configuration.
No single release of any operating system can be supported indefinitely, and Ubuntu Studio has no exception to this rule.
Interim Ubuntu releases, meaning those that are between the Long-Term Support releases, are supported for 9 months and users are expected to upgrade after every release with a 3-month buffer following each release.
Long-Term Support releases are identified by an even numbered year-of-release and a month-of-release of April (04). Hence, the most recent Long-Term Support release is 24.04 (YY.MM = 2024.April), and the next Long-Term Support release will be 26.04 (2026.April). LTS releases for official Ubuntu flavors (not Desktop or Server which are supported for five years) are three years, meaning LTS users are expected to upgrade after every LTS release with a one-year buffer.
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