DOCSLIB.ORG

Sound Synthesis with Periodic Linear Time-Varying Filters

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Sound Synthesis with Periodic Linear Time-Varying Filters Sound Synthesis with Periodic Linear Time-Varying Filters Antonio GOULART Joseph TIMONEY Marcelo QUEIROZ Victor LAZZARINI Computer Science Department Sound and Digital Music Technology Group Sonology Research Center National University of Ireland - Maynooth University of S~aoPaulo Maynooth - Co. Kildare - Ireland S~aoPaulo - Brazil fjoseph.timoney, [email protected] fag, [email protected] Abstract Linear Time-Varying (PLTV) systems. With In this survey we explore implementations of re- these new approaches we operate by modulat- cently proposed distortion synthesis techniques, ing the coefficients of a filter, and it was shown namely the Feedback Amplitude Modulation (1st [Pekonen, 2008] that it results in a kind of and 2nd order cases) and Allpass filter coefficient dynamic version of phase distortion [Ishibashi, modulation. These techniques are based on Periodic 1987]. A thorough study of time-varying sys- Linear Time-Varying systems, in which we operate tems applied to these techniques [Cherniakov, by finding a suitable modulation function to obtain 2003] [Timoney et al., 2014] discloses the ap- a desired spectrum. In order to illustrate this survey and encourage exploration of these new techniques propriate tools for properly understanding and we present examples in the Csound language. using these new synthesis processes. These sys- tems are intended to operate differently than Keywords audio effects such as time-varying delay lines allpass filter coefficient modulation, feedback ampli- used in flanging [Zolzer, 2011] and allpass filters tude modulation, periodic linear time-varying sys- used to obtain variable fractional delays [Peko- tems, distortion synthesis nen et al., 2010]. Additionally, they do not re- place another type of variation within musical 1 Introduction systems where users manually change (e.g. with Knowledge of a good set of synthesis techniques a knob) parameter values to achieve a sonic ef- is a must for electronic / electroacoustic / com- fect, such as mentioned in [Wishnick, 2014]. puter musicians, sound designers and synthe- Our motivation for presenting this survey siser builders. Audio effects plugins developers comes from the fact that most audio program- also benefit from dealing with synthesis tech- mers' work is supported by classic Linear Time- niques that can also be used in an audio effect Invariant (LTI) systems theory [Oppenheim and context, such as the ones that will be presented. Schafer, 1975], but Linear Time Varying (LTV) In a previous survey, classic and recent dis- systems theory is less well covered in the liter- tortion synthesis techniques along with their ature [Huang and Aggarwal, 1982]. Also, time- implementations were presented at the LAC varying tools were indeed considered a long time [Lazzarini, 2009]. Waveshaping [LeBrun, 1979], ago [Layzer, 1971] [Risset, 1969] for audio appli- phaseshaping [Ishibashi, 1987], and summation cations within our context, but only recently are formulae [Moorer, 1976], some of the classic ap- being tackled in a more comprehensive fashion. proaches to distortion synthesis, were analysed A good understanding of LTV theory can bring mathematically and demonstrated in Csound us new kinds of synthesis/effects techniques and code. More recent or unusual approaches like different ways for implementing established ones asymmetrical FM [Palamin et al., 1988], Phase (which can bring nice variations or reduce com- Aligned Formants [Puckette, 1995], and Modi- putational costs). fied FM synthesis [Lazzarini and Timoney, 2010] We will dedicate each of the next sections to were also exposed. Other, more common dis- one technique and then conclude the text. The tortion techniques, are also widely presented in aim of this paper is not to delve into the the- computer music textbooks [Dodge and Jerse, ory of LTV systems; our intention, instead, is 1997] [Moore, 1990] [Puckette, 2007]. to present another look at some techniques and In this paper, we address some recent tech- also provide code1 for their implementation. niques which extend the distortion synthesis 1 family, namely techniques based on Periodic http://www.ime.usp.br/~ag/dl/lac15-code.zip 2 Allpass coefficient modulation In order to get an approximation of a sawtooth An allpass filter contains poles and zeros at re- from a cosine, we must read the rising part of ciprocal distances from the origin, so their ef- the cosine in a shorter time, and take more time fects on all frequencies are balanced [Moore, to read the decaying portion. The function we 1990]. A typical 1st order invariant allpass must add to the phase generator, in this case, would have a fixed coefficient, but a time- is drawn on the upper panel of Figure 1 and is varying one has the transfer function given by [Lazzarini et al., 2009b] ( −m(t) + z−1 ( 1 − d) x ; x < d g(x) = 2 d (6) H(z; t) = −1 ; (1) 1 1−x 1 − m(t)z ( 2 − d) 1−d ; x ≥ d; with m(t) as the modulating function which where d is how long it takes to read from the drives the coefficient. Using this filter, a time- start of the cosine table up to its maximum, varying phase distortion given by [Timoney et and the smaller it is the more abrupt the rising al., 2009] [Laakso et al., 1996] ramp will be and the more distortion we will obtain. If we want to implement g(x) using a mod- −m(t) sin (!) φ(!; t) = −!+2 tan−1 (2) ulated allpass filter we will get better results if 1 − m(t) cos (!) φ(!; t) goes from −! to −π [Lazzarini et al., 2009b], so we make is introduced in the signal. If we know how we want the phase to be distorted { in other words, if we know φ(!; t) { we can use the ap- g(t)((1 − 2d)π − !) φ(!; t) = − (1 − 2d)π − !: proximation tan (x) ≈ x [Timoney et al., 2009] (1 − 2d)π and determine the modulating signal as (7) The resulting modulation function is shown on the lower panel of Figure 1. On Figures 2 −(φ(!; t) + !) m(t) = : (3) and 3 we can see the waveforms and spectra 2 sin (!) − (φ(!; t) + !) cos (!) of the sawtooths generated with both the origi- The allpass filtering described can be imple- nal technique and the modulated allpass based mented with the difference equation [Lazzarini one. Notice that the missing components of the et al., 2009b] classic phase distortion technique are actually present in the spectrum of the modulated all- pass output. We can also see and hear that y(n) = x(n − 1) − m(n)(x(n) − y(n − 1)): (4) the latter spectrum is richer. The code for im- plementing this example is given in Listing 1, The condition jm(n)j < 1; 8n; assures stability where we can see two instruments; the first one [Cherniakov, 2003] and a DC offset works as a synthesis instrument, distorting the sinusoid and producing richer spectra; the sec- 1 − m(n) ond one applies the same technique as an au- DC(n) = (5) 1 + m(n) dio effect, distorting the sound of a pre-recorded flute (any sound file can be used, or even a mi- is introduced in the signal [Pekonen, 2008]. crophone input). 2.1 Classic phase distortion emulation Listing 1: Classic phase distortion emulation as In [Pekonen, 2008] [Lazzarini et al., 2009b] [Ti- synthesis (instrument 1) and technique used as money et al., 2014], we find as an example for an audio effect (instrument 2) this technique the emulation of the classic phase distortion [Ishibashi, 1987]. The phase distor- 1 <CsoundSynthesizer> 2 tion algorithm consists of reading a cosine table 3 <CsOptions> in an unusual way. Instead of getting indexes 4 −o dac from a regular phase generator (which goes from 5 </CsOptions> 0 to 1 in a period related to the chosen funda- 6 7 <CsInstruments> mental frequency) multiplied by the table size, 8 we add another function to the phase genera- 9 0 dbfs=1 tor values and then read the cosine wavetable. 10 11 /∗ audio−rate coeff allpass ∗/ 12 opcode Allpass , a , aa 13 adel i n i t 0 14 setksmps 1 15 audio , a c o e f xin 16 aw = audio + a c o e f ∗ adel 17 ay = −aw∗ a c o e f + adel 18 adel = aw 19 xout ay 20 endop 21 22 23 /∗ PD f u n c t i o n ∗/ 24 /∗ inflection point ∗/ 25 gip = 0 . 1 26 27 /∗ ftgen producing line segments ∗/ Figure 1: Phase distortion function (up- 28 ipdfun ftgen 1,0,16384,7,0,16384∗ gip per panel) and coefficient modulation function ,1 ,16384∗(1 − gip ) ,0 (lower panel). Source: [Timoney et al., 2014] 29 30 /∗ 31 i n s t r 1 : 32 PD s y n t h e s i s 33 using s i n e wave input 34 ∗/ 35 36 i n s t r 1 37 i f r = p5 38 iamp = p4 39 40 /∗ regular phase generator ∗/ 41 aph phasor i f r 42 /∗ phase distortion signal ∗/ 43 apd tablei aph, 1, 1, 0, 1 44 45 /∗ scaling of pd signal (eq.7) ∗/ 46 iw = 2∗$M PI∗ i f r / s r /∗omega value ∗/ 47 i a = (1 − 2∗ gip ) ∗$M PI 48 apd = apd∗ i a Figure 2: Waveforms generated with the classic 49 apd = apd ∗( i a − iw ) / i a − i a − iw technique (solid line) and the modulated allpass 50 (dashed line). Source: [Timoney et al., 2014] 51 /∗ coefficient modulation function 52 obtained from phase distortion 53 s i g n a l ( equation 3) ∗/ 54 /∗ envelope for modulation ∗/ 55 kmod l i n s e g 0 , 1 , 1 , p3 −2 ,1 ,1 ,0 56 amod = −kmod∗(apd + iw)/(2∗ s i n ( iw ) − ( apd+iw ) ∗ cos ( iw ) ) 57 58 /∗ s i n e input ∗/ 59 a s i n t a b l e i aph , −1 ,1 ,0 ,1 60 61 /∗ a l l p a s s ∗/ 62 asig Allpass asin,amod 63 64 /∗ envelope ∗/ 65 aout l i n e n r a s i g ∗ iamp, 0.01, 0.1, 0.01 66 67 outs aout , aout 68 endin Figure 3: Spectra obtained with the classic tech- 69 nique (upper panel) and with modulated allpass 70 /∗ (lower panel).
Load more

Recommended publications
  • 62 Years and Counting: MUSIC N and the Modular Revolution
    62 Years and Counting: MUSIC N and the Modular Revolution By Brian Lindgren MUSC 7660X - History of Electronic and Computer Music Fall 2019 24 December 2019 © Copyright 2020 Brian Lindgren Abstract. MUSIC N by Max Mathews had two profound impacts in the world of music ​ synthesis. The first was the implementation of modularity to ensure a flexibility as a tool for the user; with the introduction of the unit generator, the instrument and the compiler, composers had the building blocks to create an unlimited range of sounds. The second was the impact of this implementation in the modular analog synthesizers developed a few years later. While Jean-Claude Risset, a well known Mathews associate, asserts this, Mathews actually denies it. They both are correct in their perspectives. Introduction Over 76 years have passed since the invention of the first electronic general purpose computer,1 the ENIAC. Today, we carry computers in our pockets that can perform millions of times more calculations per second.2 With the amazing rate of change in computer technology, it's hard to imagine that any development of yesteryear could maintain a semblance of relevance today. However, in the world of music synthesis, the foundations that were laid six decades ago not only spawned a breadth of multifaceted innovation but continue to function as the bedrock of important digital applications used around the world today. Not only did a new modular approach implemented by its creator, Max Mathews, ensure that the MUSIC N lineage would continue to be useful in today’s world (in one of its descendents, Csound) but this approach also likely inspired the analog synthesizer engineers of the day, impacting their designs.
    [Show full text]
  • The Computational Attitude in Music Theory
    The Computational Attitude in Music Theory Eamonn Bell Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Graduate School of Arts and Sciences COLUMBIA UNIVERSITY 2019 © 2019 Eamonn Bell All rights reserved ABSTRACT The Computational Attitude in Music Theory Eamonn Bell Music studies’s turn to computation during the twentieth century has engendered particular habits of thought about music, habits that remain in operation long after the music scholar has stepped away from the computer. The computational attitude is a way of thinking about music that is learned at the computer but can be applied away from it. It may be manifest in actual computer use, or in invocations of computationalism, a theory of mind whose influence on twentieth-century music theory is palpable. It may also be manifest in more informal discussions about music, which make liberal use of computational metaphors. In Chapter 1, I describe this attitude, the stakes for considering the computer as one of its instruments, and the kinds of historical sources and methodologies we might draw on to chart its ascendance. The remainder of this dissertation considers distinct and varied cases from the mid-twentieth century in which computers or computationalist musical ideas were used to pursue new musical objects, to quantify and classify musical scores as data, and to instantiate a generally music-structuralist mode of analysis. I present an account of the decades-long effort to prepare an exhaustive and accurate catalog of the all-interval twelve-tone series (Chapter 2). This problem was first posed in the 1920s but was not solved until 1959, when the composer Hanns Jelinek collaborated with the computer engineer Heinz Zemanek to jointly develop and run a computer program.
    [Show full text]
  • LAC-07 Proceedings
    LINUX AUDIO CONFERENCE BERLIN Lectures/Demos/Workshops Concerts/LinuxSoundnight P roceedin G S TU-Berlin 22.-25.03.07 www.lac.tu-berlin.de5 Published by: Technische Universität Berlin, Germany March 2007 All copyrights remain with the authors www.lac.tu-berlin.de Credits: Cover design and logos: Alexander Grüner Layout: Marije Baalman Typesetting: LaTeX Thanks to: Vincent Verfaille for creating and sharing the DAFX’06 “How to make your own Proceedings” examples. Printed in Berlin by TU Haus-Druckerei — March 2007 Proc. of the 5th Int. Linux Audio Conference (LAC07), Berlin, Germany, March 22-25, 2007 LAC07-iv Preface The International Linux Audio Conference 2007, the fifth of its kind, is taking place at the Technis- che Universität Berlin. We are very glad to have been given the opportunity to organise this event, and we hope to have been able to put together an interesting conference program, both for developers and users, thanks to many submissions of our participants, as well as the support from our cooperation partners. The DAAD - Berliner Künstlerprogramm has supported us by printing the flyers and inviting some of the composers. The Cervantes Institute has given us support for involving composers from Latin America and Spain. Tesla has been a generous host for two concert evenings. Furthermore, Maerz- Musik and the C-Base have given us a place for the lounge and club concerts. The Seminar für Medienwissenschaften of the Humboldt Universität zu Berlin have contributed their Signallabor, a computer pool with 6 Linux audio workstations and a multichannel setup, in which the Hands On Demos are being held.
    [Show full text]
  • International Computer Music Conference (ICMC/SMC)
    Conference Program 40th International Computer Music Conference joint with the 11th Sound and Music Computing conference Music Technology Meets Philosophy: From digital echos to virtual ethos ICMC | SMC |2014 14-20 September 2014, Athens, Greece ICMC|SMC|2014 14-20 September 2014, Athens, Greece Programme of the ICMC | SMC | 2014 Conference 40th International Computer Music Conference joint with the 11th Sound and Music Computing conference Editor: Kostas Moschos PuBlished By: x The National anD KapoDistrian University of Athens Music Department anD Department of Informatics & Telecommunications Panepistimioupolis, Ilissia, GR-15784, Athens, Greece x The Institute for Research on Music & Acoustics http://www.iema.gr/ ADrianou 105, GR-10558, Athens, Greece IEMA ISBN: 978-960-7313-25-6 UOA ISBN: 978-960-466-133-6 Ξ^ĞƉƚĞŵďĞƌϮϬϭϰʹ All copyrights reserved 2 ICMC|SMC|2014 14-20 September 2014, Athens, Greece Contents Contents ..................................................................................................................................................... 3 Sponsors ..................................................................................................................................................... 4 Preface ....................................................................................................................................................... 5 Summer School .......................................................................................................................................
    [Show full text]
  • Compositional and Analytic Applications of Automated Music Notation Via Object-Oriented Programming
    UC San Diego UC San Diego Electronic Theses and Dissertations Title Compositional and analytic applications of automated music notation via object-oriented programming Permalink https://escholarship.org/uc/item/3kk9b4rv Author Trevino, Jeffrey Robert Publication Date 2013 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California UNIVERSITY OF CALIFORNIA, SAN DIEGO Compositional and Analytic Applications of Automated Music Notation via Object-oriented Programming A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in Music by Jeffrey Robert Trevino Committee in charge: Professor Rand Steiger, Chair Professor Amy Alexander Professor Charles Curtis Professor Sheldon Nodelman Professor Miller Puckette 2013 Copyright Jeffrey Robert Trevino, 2013 All rights reserved. The dissertation of Jeffrey Robert Trevino is approved, and it is acceptable in quality and form for publication on mi- crofilm and electronically: Chair University of California, San Diego 2013 iii DEDICATION To Mom and Dad. iv EPIGRAPH Extraordinary aesthetic success based on extraordinary technology is a cruel deceit. —-Iannis Xenakis v TABLE OF CONTENTS Signature Page .................................... iii Dedication ...................................... iv Epigraph ....................................... v Table of Contents................................... vi List of Figures .................................... ix Acknowledgements ................................. xii Vita .......................................... xiii Abstract of the Dissertation . xiv Chapter 1 A Contextualized History of Object-oriented Musical Notation . 1 1.1 What is Object-oriented Programming (OOP)? . 1 1.1.1 Elements of OOP . 1 1.1.2 ANosebleed History of OOP. 6 1.2 Object-oriented Notation for Composers . 12 1.2.1 Composition as Notation . 12 1.2.2 Generative Task as an Analytic Framework . 13 1.2.3 Computational Models of Music/Composition .
    [Show full text]
  • The Sndobj Sound Object Library
    The SndObj Sound Object Library VICTOR E. P. LAZZARINI Department ofMusic, National University ofIreland, Maynooth, Co. Kildare, Ireland E-mail: [email protected] The SndObj Sound Object Library is a C++ Programming libraries constitute a lower-level in object-oriented audio processing framework and toolkit. computer music practice, when compared to sound com- This article initially examines some of the currently pilers. The context where they appear is more general, available sound processing packages,including sound and consequently their use is more complex. This can compilers,programming libraries and toolkits. It reviews be easily demonstrated by the differences in coding of a the processes involved in the use of these systems and their strengths and weaknesses. Some application similar instrument under csound and cmix (or clm), examples are also provided. In this context,the SndObj which will be shown later. It involves not only the library is presented and its components are discussed in knowledge ofthe syntax ofa particular language, but detail. The article shows the library as composed of a set also the grasp ofconcepts not necessarily needed when of classes that encapsulate all processes involved in using a sound compiler. For instance, with cmix, the synthesis,processing and IO operations. Programming user has to understand variable declaration, memory examples are included to show some uses of the system. allocation, header files, object code linking and other These,together with library binaries,source code and C-related concepts in order to build a sound processing complete documentation,are included in the or synthesis ‘instrument’. The advantage is that, in this downloadable package,available on the Internet.
    [Show full text]
  • Analytical Techniques of Electroacoustic Music”
    David Huff Proposal for “Analytical Techniques of Electroacoustic Music” Introduction The foundations of musical analysis have long been tested by the weight of music from the periods of tonal practice. There is a rich and expansive repertory of techniques from which the analyst may choose in approaching music composed in the tonal tradition of the Eighteenth and Nineteenth Centuries. The Twentieth Century saw an expansion of compositional strategies, which in turn charged theorists and musicologists with the tasks of developing and adopting new methods of analysis. Analysts met these challenges by employing a range of techniques nearly as varied as the post-tonal compositions themselves. Pitch-class set theory and twelve-tone serial techniques have been the most widely adopted analytical methods for the post- tonal repertory, representing rigorous, quasi-scientific approaches to what is often extremely complex music. This expansion of compositional and analytical techniques coincided with the development of technology that eventually made its way into the hands of composers. Technology’s influence on composition in the mid-Twentieth Century formed in the concurrent strands of musique concrète and elektronische Musik, one concerned with the use of recorded sound as a malleable medium, the other with generating sounds themselves through electronic means. The two approaches eventually converged, with varying degrees of cohesion, into what is generally referred to as electroacoustic music.1 1 Leigh Landy discusses various titles applied to strands of electronic-based music in Landy 2006. While the proposed dissertation will summarize these terminological aspects the present proposal will simply use the term “electroacoustic music” to mean any music composed with the full or partial use of electronic means.
    [Show full text]
  • Audio Programming Book
    The Audio Programming Book edited by Richard Boulanger and Victor Lazzarini foreword by Max V. Mathews The MIT Press Cambridge, Massachusetts London, England ( 2010 Massachusetts Institute of Technology All rights reserved. No part of this book may be reproduced in any form by any electronic or mechanical means (including photocopying, recording, or information storage and retrieval) without permission in writing from the publisher. For information about quantity discounts, email [email protected]. Set in Stone Serif and Stone Sans on 3B2 by Asco Typesetters, Hong Kong. Printed and bound in the United States of America. Library of Congress Cataloging-in-Publication Data [to come] 10987654321 The Audio Programming Book DVD Contents Continuations of the Printed Text Chapters 1 Delay Lines and Noise Generation Richard Dobson 2 Digital Filters Richard Dobson 3 From C to C++ Richard Dobson 4 Audio Processing in C++ Richard Dobson 5 Audio Plugins in C++ Richard Dobson 6 APB & DVD Chapter Summaries: An Annotated Outline Richard Dobson 7 Continuing Down The Audio Stream Gabriel Maldonado 8 Working with Control Signals to Build a SoftSynth with a Cross-Platform GUI Gabriel Maldonado 9 More VST Plug-ins Victor Lazzarini 10 Algorithmic Patch Design for Synmod Eric Lyon 11 Algorithmic Sound Design Eric Lyon Foundations 12 Compiling Software in the OS X Terminal – UNIX-style Joo Won Park 13 Building Linux Audio Applications From Source: A User's Guide David L. Phillips 14 A Guide To Linux Audio Applications David L. Phillips MIDI Programming
    [Show full text]
  • Generative Processes for Audification
    Generative Processes for Audification Judy Jackson April 23rd, 2018 Abstract Using the JavaSerial library, I present a generative method for the digital signal processing technique of audification. By analyzing multiple test instances produced by this method, I demonstrate that a generative audification process can be precise and easily controlled. The parame- ters tested in this experiment cause explicit, one-to-one changes in the resulting audio of each test instance. 1 INTRODUCTION Beginning in the early twentieth century, composers have sought to utilize the sounds of a technologically evolving society in their musical practice. In 1913, the Italian Futurist composer, Luigi Russolo, famously called for the full in- corporation of industrialization sounds (`noise-sounds') into classical music. He captured these sentiments and ideas for their execution in his seminal manifesto, The Art of Noise [7]. Russolo's manifesto earned him the title of \the grandfa- ther of noise music" and laid the groundwork for generations of composers to interface with the various screeches and crashes of the future. This paper explores a new approach to generating complex sonic material for the purpose of composing electronic music. Through the use of the JavaSerial library, composers can craft small modules from data structures and arrange them into various combinations to create larger-scale pieces. Since 1913, various technological innovations have spurred the birth of a wide variety of electronic music disciplines. The invention of vacuum tubes permitted the creation of smaller, more efficient electronics, and marked the birth of analog synthesizers and synthesized music. Magnetic tape, a product of World War II, allowed composers to capture any sound in the real world and place it in space and time for playback as a musical composition.
    [Show full text]
  • Audio Programming Book
    The Audio Programming Book edited by Richard Boulanger and Victor Lazzarini foreword by Max V. Mathews The MIT Press Cambridge, Massachusetts London, England ( 2010 Massachusetts Institute of Technology All rights reserved. No part of this book may be reproduced in any form by any electronic or mechanical means (including photocopying, recording, or information storage and retrieval) without permission in writing from the publisher. For information about quantity discounts, email [email protected]. Set in Stone Serif and Stone Sans on 3B2 by Asco Typesetters, Hong Kong. Printed and bound in the United States of America. Library of Congress Cataloging-in-Publication Data [to come] 10987654321 Preface ‘‘But how does an oscillator really work?’’ My 40-year journey to The Audio Programming Book began with that question. Some of the answers came from Tom Piggott (my first electronic music teacher, and the one who got me started with analog synthesizers—an EML200 and an Arp2600). More answers came from Alan Pearlman, founder and president of the ARP Synthesizer Company, the man who commissioned my first symphony, Three Soundscapes for Synthesizers and Orchestra. Still more answers came from Dexter Morrill, who offered me a Visiting Composer’s Resi- dency at Colgate University, where I made my first computer music. It took days back then, but I rendered ‘‘Happy Birthday’’ in Music10 and played the rendered soundfile for my dad over the phone on his birthday. And more answers came from Bruce Pennycook, who was also in residence at Colgate. (We would work through the night and end our sessions with breakfast at a local diner; I picked his brain every spare minute; he taught me how to do stereo panning and gave me his sub- bass oscillator instrument, LOW.) I started to really answer the question in Barry Vercoe’s summer workshop at the Massa- chusetts Institute of Technology, in which I learned music11.
    [Show full text]
  • LAC2006 4Th International Linux Audio Conference
    LAC2006 4th International Linux Audio Conference Lectures - Demos - Workshops Concerts - Linux Sound Night 27.–30.04.06 ZKM | Institute for Music and Acoustics Editorial It is already the fourth time that the Linux Audio Developers gather at the Institute for Music and Acoustics of the Center for Art and Media in Karlsruhe. All started with the presentation of ideas, concepts and results and quickly it became clear that the personal response towards the presentations increased the motivation and the quality of the developments. We were glad to welcome several key-developers here in Karlsruhe and to see how enthusiastically they all contributed to the conference. It turned out that the meetings filled the missing link in bet- ween the hard work of programming and communication in the discussion groups. Now the conference gained a quite professional level in its organisation structure: there are proceedings, papers, workshops and concerts and I hope that this time everything is happening as smooth as in the former years thanks to the preparations of Götz Dipper, Frank Neumann and Marc Riedel. The Technical University (TU) of Berlin has expressed their interest in hosting the conference. We are very glad about this and we take it as a further proof of the importance of the LAC conference. So, next year the conference will take place at the TU Berlin. We believe that the TU Berlin as a location of outstanding Linux Audio Development will offer us a great confe- rence next year! Ludger Bruemmer Head of the ZKM | Institute for Music and Acoustics Editorial Welcome! We would like to welcome you to the 4th International Linux Audio Conference (LAC2006), at the ZKM | Zentrum für Kunst und Medientechnologie (Center for Art and Media) in Karls- ruhe, Germany.
    [Show full text]
  • The Hybrid Mobile Instrument: Recoupling the Haptic, the Physical, and the Virtual
    THE HYBRID MOBILE INSTRUMENT: RECOUPLING THE HAPTIC, THE PHYSICAL, AND THE VIRTUAL A DISSERTATION SUBMITTED TO THE DEPARTMENT OF MUSIC AND THE COMMITTEE ON GRADUATE STUDIES OF STANFORD UNIVERSITY IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY Romain Pierre Denis Michon June 2018 © 2018 by Romain Pierre Denis Michon. All Rights Reserved. Re-distributed by Stanford University under license with the author. This work is licensed under a Creative Commons Attribution- Noncommercial 3.0 United States License. http://creativecommons.org/licenses/by-nc/3.0/us/ This dissertation is online at: http://purl.stanford.edu/rd318qn0219 ii I certify that I have read this dissertation and that, in my opinion, it is fully adequate in scope and quality as a dissertation for the degree of Doctor of Philosophy. Chris Chafe, Co-Adviser I certify that I have read this dissertation and that, in my opinion, it is fully adequate in scope and quality as a dissertation for the degree of Doctor of Philosophy. Julius Smith, III, Co-Adviser I certify that I have read this dissertation and that, in my opinion, it is fully adequate in scope and quality as a dissertation for the degree of Doctor of Philosophy. Ge Wang I certify that I have read this dissertation and that, in my opinion, it is fully adequate in scope and quality as a dissertation for the degree of Doctor of Philosophy. Matthew Wright, Approved for the Stanford University Committee on Graduate Studies. Patricia J. Gumport, Vice Provost for Graduate Education This signature page was generated electronically upon submission of this dissertation in electronic format.
    [Show full text]