Developing Csound Plugins with Cabbage Introduction 1
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Institut Für Musikinformatik Und Musikwissenschaft
Institut für Musikinformatik und Musikwissenschaft Leitung: Prof. Dr. Christoph Seibert Veranstaltungsverzeichnis für das Sommersemester 2021 Stand 9.04.2021 Vorbemerkung: Im Sommersemester 2021 werden Lehrveranstaltungen als Präsenzveranstaltungen, online oder in hybrider Form (Präsenzveranstaltung mit der Möglichkeit auch online teilzunehmen) durchgeführt. Die konkrete Durchführung der Lehrveranstaltung hängt ab von der jeweils aktuellen Corona-Verordnung Studienbetrieb. Darüber hinaus ausschlaggebend sind die Anzahl der Teilnehmerinnen und Teilnehmer, die maximal zulässige Personenzahl im zugewiesenen Raum und inhaltliche Erwägungen. Die vorliegenden Angaben hierzu entsprechen dem aktuellen Planungsstand. Für die weitere Planung ist es notwendig, dass alle, die an einer Lehrveranstaltung teilnehmen möchten, sich bis Mittwoch, 07.04. bei der jeweiligen Dozentin / dem jeweiligen Dozenten per E-Mail anmelden. Geben Sie bitte auch an, wenn Sie aufgrund der Pandemie-Situation nicht an Präsenzveranstaltungen teilnehmen können oder möchten, etwa bei Zugehörigkeit zu einer Risikogruppe. Diese Seite wird in regelmäßigen Abständen aktualisiert, um die Angaben den aktuellen Gegebenheiten anzupassen. Änderungen gegenüber früheren Fassungen werden markiert. Musikinformatik Prof. Dr. Marc Bangert ([email protected]) Prof. Dr. Paulo Ferreira-Lopes ([email protected]) Prof. Dr. Eckhard Kahle ([email protected]) Prof. Dr. Christian Langen ([email protected]) Prof. Dr. Damon T. Lee ([email protected]) Prof. Dr. Marlon Schumacher ([email protected]) Prof. Dr. Christoph Seibert ([email protected]) Prof. Dr. Heiko Wandler ([email protected]) Tobias Bachmann ([email protected]) Patrick Borgeat ([email protected]) Anna Czepiel ([email protected]) Dirk Handreke ([email protected]) Daniel Höpfner ([email protected]) Daniel Fütterer ([email protected]) Rainer Lorenz ([email protected]) Nils Lemke ([email protected]) Alexander Lunt ([email protected]) Luís A. -
Extending the Faust VST Architecture with Polyphony, Portamento and Pitch Bend Yan Michalevsky Julius O
Extending the Faust VST Architecture with Polyphony, Portamento and Pitch Bend Yan Michalevsky Julius O. Smith Andrew Best Department of Electrical Center for Computer Research in Blamsoft, Inc. Engineering, Music and Acoustics (CCRMA), [email protected] Stanford University Stanford University [email protected] AES Fellow [email protected] Abstract VST (Virtual Studio Technology) plugin stan- We introduce the vsti-poly.cpp architecture for dard was released by Steinberg GmbH (famous the Faust programming language. It provides sev- for Cubase and other music and sound produc- eral features that are important for practical use of tion products) in 1996, and was followed by the Faust-generated VSTi synthesizers. We focus on widespread version 2.0 in 1999 [8]. It is a partic- the VST architecture as one that has been used tra- ularly common format supported by many older ditionally and is supported by many popular tools, and newer tools. and add several important features: polyphony, note Some of the features expected from a VST history and pitch-bend support. These features take plugin can be found in the VST SDK code.2 Faust-generated VST instruments a step forward in Examining the list of MIDI events [1] can also terms of generating plugins that could be used in Digital Audio Workstations (DAW) for real-world hint at what capabilities are expected to be im- music production. plemented by instrument plugins. We also draw from our experience with MIDI instruments and Keywords commercial VST plugins in order to formulate sound feature requirements. Faust, VST, Plugin, DAW In order for Faust to be a practical tool for generating such plugins, it should support most 1 Introduction of the features expected, such as the following: Faust [5] is a popular music/audio signal pro- • Responding to MIDI keyboard events cessing language developed by Yann Orlarey et al. -
Graphical Design of Physical Models for Real-Time Sound Synthesis
peter vasil GRAPHICALDESIGNOFPHYSICALMODELSFOR REAL-TIMESOUNDSYNTHESIS Masterarbeit Audiokommunikation und -technologie GRAPHICALDESIGNOFPHYSICALMODELS FORREAL-TIMESOUNDSYNTHESIS Implementation of a Graphical User Interface for the Synth-A-Modeler compiler vorgelegt von peter vasil Matr.-Nr.: 328493 Technische Universität Berlin Fakultät 1: Fachgebiet Audiokommunikation Abgabe: 25. Juli 2013 Peter Vasil: Graphical Design of Physical Models for Real-Time Sound Synthesis, Implementation of a Graphical User Interface for the Synth- A-Modeler compiler, © July 2013 supervisors: Prof. Dr. Stefan Weinzierl Dr. Edgar Berdahl ABSTRACT The goal of this Master of Science thesis in Audio Communication and Technology at Technical University Berlin, is to develop a Graph- ical User Interface (GUI) for the Synth-A-Modeler compiler, a text-based tool for converting physical model specification files into DSP exter- nal modules. The GUI should enable composers, artists and students to use physical modeling intuitively, without having to employ com- plex mathematical equations normally necessary for physical model- ing. The GUI that will be developed in the course of this thesis allows the creation of physical models with graphical objects for physical masses, links, resonators, waveguides, terminations, and audioout objects. In addition, this tool will be used to create a model for an Arabic oud to demonstrate its functionality. ZUSAMMENFASSUNG Das Ziel dieser Master Arbeit am Fachgebiet Audiokommunikation der TU Berlin, ist die Entwicklung einer graphischen Umgebung für die textbasierte Software, Synth-A-Modeler compiler, welche es erlaubt, ein speziell dafür entwickeltes Datei Format für physikalische Mod- elle, in externe DSP Module umzuwandeln. Die Software macht es Komponisten, Künstlern und Studenten möglich, physikalische Modellierung intuitiv zu anzuwenden, ohne die komplexen mathe- matischen Formeln, welche normalerweise für physikalische Model- lierung nötig sind, anwenden zu müssen. -
Implementing a Parametric EQ Plug-In in C++ Using the Multi-Platform VST Specification
2003:044 C EXTENDED ESSAY Implementing a parametric EQ plug-in in C++ using the multi-platform VST specification JONAS EKEROOT SCHOOL OF MUSIC Audio Technology Supervisor: Jan Berg 2003:044 • ISSN: 1402 – 1773 • ISRN: LTU - CUPP - - 03/44 - - SE Implementing a parametric EQ plug-in in C++ using the multi-platform VST specification Jonas Ekeroot Division of Sound Recording School of Music in Pite˚a Lule˚aUniversity of Technology April 23, 2003 Abstract As the processing power of desktop computer systems increase by every year, more and more real-time audio signal processing is per- formed on such systems. What used to be done in external effects units, e.g. adding reverb, can now be accomplished within the com- puter system using signal processing code modules – plug-ins. This thesis describes the development of a peak/notch parametric EQ VST plug-in. First a prototype was made in the graphical audio program- ming environment Max/MSP on MacOS, and then a C++ implemen- tation was made using the VST Software Development Kit. The C++ source code was compiled on both Windows and MacOS, resulting in versions of the plug-in that can be used in any VST host application on Windows and MacOS respectively. Writing a plug-in relieves the programmer of the burden to deal directly with audio interface details and graphical user interface specifics, since this is taken care of by the host application. It can thus be an interesting way to start developing audio DSP algorithms, since the host application also provides the op- portunity to listen to and measure the performance of the implemented plug-in algorithm. -
How to Create Music with GNU/Linux
How to create music with GNU/Linux Emmanuel Saracco [email protected] How to create music with GNU/Linux by Emmanuel Saracco Copyright © 2005-2009 Emmanuel Saracco How to create music with GNU/Linux Warning WORK IN PROGRESS Permission is granted to copy, distribute and/or modify this document under the terms of the GNU Free Documentation License, Version 1.2 or any later version published by the Free Software Foundation; with no Invariant Sections, no Front-Cover Texts, and no Back-Cover Texts. A copy of the license is available on the World Wide Web at http://www.gnu.org/licenses/fdl.html. Revision History Revision 0.0 2009-01-30 Revised by: es Not yet versioned: It is still a work in progress. Dedication This howto is dedicated to all GNU/Linux users that refuse to use proprietary software to work with audio. Many thanks to all Free developers and Free composers that help us day-by-day to make this possible. Table of Contents Forword................................................................................................................................................... vii 1. System settings and tuning....................................................................................................................1 1.1. My Studio....................................................................................................................................1 1.2. File system..................................................................................................................................1 1.3. Linux Kernel...............................................................................................................................2 -
Radium: a Music Editor Inspired by the Music Tracker
Radium: A Music Editor Inspired by the Music Tracker Kjetil Matheussen Norwegian Center for Technology in Music and the Arts. (NOTAM) Sandakerveien 24D, Bygg F3 N-0473 Oslo Norway [email protected] Abstract Musical events are defined with pure text. Radium is a new type of music editor inspired by The event C#3 5-32-000 plays the note C the music tracker. Radium's interface differs from sharp at octave 3 using instrument number 5 at the classical music tracker interface by using graphi- volume 32. The last three zeroes can be used cal elements instead of text and by allowing musical for various types of sound effects, or to set new events anywhere within a tracker line. tempo. Chapter 1: The classical music tracker interface The tables are called patterns, and a song and how Radium differs from it. Chapter 2: Ra- usually contains several patterns. To control dium Features: a) The Editor; b) The Modular the order patterns are playbed back, we use a Mixer; c) Instruments and Audio Effects; d) In- strument Configuration; e) Common Music Nota- playlist. For example, if we have three patterns, tion. Chapter 3: Implementation details: a) Paint- a typical song could have a playlist like this: ing the Editor; b) Smooth Scrolling; c) Embed- 1, 2, 1, 2, 3, 1, 2. ding Pure Data; d) Collecting Memory Garbage in C and C++. Chapter 4: Related software. 1.1 How Radium Differs from the Classical Tracker Interface Keywords Radium4 differs from the music tracker inter- Radium, Music Tracker, GUI, Pure Data, Graphics face by using graphical elements instead of text Programming. -
Audio Software Developer (F/M/X)
Impulse Audio Lab is an audio company based in the heart of Munich. We are an interdisciplinary team of experts in interactive sound design and audio software development, working on innovative and pioneering projects focused on sound. We are looking for a Software Developer (f/m/x) for innovative audio projects You are passionate about audio and DSP algorithms and want to work on new products and solutions. The combination of audio processing and e-mobility sounds exciting to you. You want to solve complex problems through state-of-the-art software solutions and apply your knowledge and expertise to all aspects of the software development lifecycle. What are you waiting for? These could be your future responsibilities: • Handling complex audio software projects, from conception and architecture to implementation • Working on both client-oriented projects as well as our own growing product portfolio • Development, implementation and optimization of new algorithms for processing and generating audio • Sharing your experiences and knowledge with your colleagues This should be you: • You are educated to degree level or have equivalent experience in relevant fields such as Electrical Engineering, Media Technology or Computer Science • You have multiple years of experience programming audio software in C/C++, using frameworks such as Qt or JUCE and Audio Plug-in APIs • You are a team player and are also comfortable taking responsibility for your own projects • You are able to work collaboratively, from requirements to acceptance and in the corresponding tool landscape (Git, unit testing, build systems, automation, debugging, etc.) This could be a plus: • You have programming experience on embedded architectures (e.g. -
Schwachstellen Der Kostenfreien Digital Audio Workstations (Daws)
Schwachstellen der kostenfreien Digital Audio Workstations (DAWs) BACHELORARBEIT zur Erlangung des akademischen Grades Bachelor of Science im Rahmen des Studiums Medieninformatik und Visual Computing eingereicht von Filip Petkoski Matrikelnummer 0727881 an der Fakultät für Informatik der Technischen Universität Wien Betreuung: Associate Prof. Dipl.-Ing. Dr.techn Hilda Tellioglu Mitwirkung: Univ.Lektor Dipl.-Mus. Gerald Golka Wien, 14. April 2016 Filip Petkoski Hilda Tellioglu Technische Universität Wien A-1040 Wien Karlsplatz 13 Tel. +43-1-58801-0 www.tuwien.ac.at Disadvantages of using free Digital Audio Workstations (DAWs) BACHELOR’S THESIS submitted in partial fulfillment of the requirements for the degree of Bachelor of Science in Media Informatics and Visual Computing by Filip Petkoski Registration Number 0727881 to the Faculty of Informatics at the Vienna University of Technology Advisor: Associate Prof. Dipl.-Ing. Dr.techn Hilda Tellioglu Assistance: Univ.Lektor Dipl.-Mus. Gerald Golka Vienna, 14th April, 2016 Filip Petkoski Hilda Tellioglu Technische Universität Wien A-1040 Wien Karlsplatz 13 Tel. +43-1-58801-0 www.tuwien.ac.at Erklärung zur Verfassung der Arbeit Filip Petkoski Wienerbergstrasse 16-20/33/18 , 1120 Wien Hiermit erkläre ich, dass ich diese Arbeit selbständig verfasst habe, dass ich die verwen- deten Quellen und Hilfsmittel vollständig angegeben habe und dass ich die Stellen der Arbeit – einschließlich Tabellen, Karten und Abbildungen –, die anderen Werken oder dem Internet im Wortlaut oder dem Sinn nach entnommen sind, auf jeden Fall unter Angabe der Quelle als Entlehnung kenntlich gemacht habe. Wien, 14. April 2016 Filip Petkoski v Kurzfassung Die heutzutage moderne professionelle Musikproduktion ist undenkbar ohne Ver- wendung von Digital Audio Workstations (DAWs). -
Renoise 3.1 User Manual Renoise 3.1 User Manual Table of Contents 1 Welcome to the Renoise User Manual
Renoise 3.1 User Manual Renoise 3.1 User Manual Table of Contents 1 Welcome to the Renoise User Manual.......................................................1 2 Introduction To Renoise...........................................................................2 2.1 Main Screen Overview.....................................................................................2 2.1.1 Upper Status Bar.....................................................................................3 2.1.2 Global Song Control................................................................................3 2.1.3 Song Visualisation...................................................................................3 2.1.4 Loading & Saving Files............................................................................3 2.1.5 Selecting Instruments.............................................................................4 2.1.6 Creating & Editing Instruments...............................................................4 2.1.7 GUI presets.............................................................................................5 2.1.8 Sequencing Patterns...............................................................................5 2.1.9 Creating Patterns....................................................................................5 2.1.10 Applying Effects....................................................................................6 2.1.11 Lower Status Bar...................................................................................6 2.2 Guide -
Linux As a Mature Digital Audio Workstation in Academic Electroacoustic Studios – Is Linux Ready for Prime Time?
Linux as a Mature Digital Audio Workstation in Academic Electroacoustic Studios – Is Linux Ready for Prime Time? Ivica Ico Bukvic College-Conservatory of Music, University of Cincinnati [email protected] http://meowing.ccm.uc.edu/~ico/ Abstract members of the most prestigious top-10 chart. Linux is also used in a small but steadily growing number of multimedia GNU/Linux is an umbrella term that encompasses a consumer devices (Lionstracks Multimedia Station, revolutionary sociological and economical doctrine as well Hartman Neuron, Digeo’s Moxi) and handhelds (Sharp’s as now ubiquitous computer operating system and allied Zaurus). software that personifies this principle. Although Linux Through the comparably brisk advancements of the most quickly gained a strong following, its first attempt at prominent desktop environments (namely Gnome and K entering the consumer market was a disappointing flop Desktop Environment a.k.a. KDE) as well as the primarily due to the unrealistic corporate hype that accompanying software suite, Linux managed to carve out a ultimately backfired relegating Linux as a mere sub-par niche desktop market. Purportedly surpassing the Apple UNIX clone. Despite the initial commercial failure, Linux user-base, Linux now stands proud as the second most continued to evolve unabated by the corporate agenda. widespread desktop operating system in the World. Yet, Now, armed with proven stability, versatile software, and an apart from the boastful achievements in the various markets, unbeatable value Linux is ready to challenge, if not in the realm of sound production and audio editing its supersede the reigning champions of the desktop computer widespread acceptance has been conspicuously absent, or market. -
Cross-Platform 1 Cross-Platform
Cross-platform 1 Cross-platform In computing, cross-platform, or multi-platform, is an attribute conferred to computer software or computing methods and concepts that are implemented and inter-operate on multiple computer platforms.[1] [2] Cross-platform software may be divided into two types; one requires individual building or compilation for each platform that it supports, and the other one can be directly run on any platform without special preparation, e.g., software written in an interpreted language or pre-compiled portable bytecode for which the interpreters or run-time packages are common or standard components of all platforms. For example, a cross-platform application may run on Microsoft Windows on the x86 architecture, Linux on the x86 architecture and Mac OS X on either the PowerPC or x86 based Apple Macintosh systems. A cross-platform application may run on as many as all existing platforms, or on as few as two platforms. Platforms A platform is a combination of hardware and software used to run software applications. A platform can be described simply as an operating system or computer architecture, or it could be the combination of both. Probably the most familiar platform is Microsoft Windows running on the x86 architecture. Other well-known desktop computer platforms include Linux/Unix and Mac OS X (both of which are themselves cross-platform). There are, however, many devices such as cellular telephones that are also effectively computer platforms but less commonly thought about in that way. Application software can be written to depend on the features of a particular platform—either the hardware, operating system, or virtual machine it runs on. -
Grierson, Mick and Fiebrink, Rebecca. 2018. User-Centred Design Actions for Lightweight Evaluation of an Interactive Machine Learning Toolkit
Bernardo, Francisco; Grierson, Mick and Fiebrink, Rebecca. 2018. User-Centred Design Actions for Lightweight Evaluation of an Interactive Machine Learning Toolkit. Journal of Science and Technology of the Arts (CITARJ), 10(2), ISSN 1646-9798 [Article] (In Press) http://research.gold.ac.uk/23667/ The version presented here may differ from the published, performed or presented work. Please go to the persistent GRO record above for more information. If you believe that any material held in the repository infringes copyright law, please contact the Repository Team at Goldsmiths, University of London via the following email address: [email protected]. The item will be removed from the repository while any claim is being investigated. For more information, please contact the GRO team: [email protected] Journal of Science and Technology of the Arts, Volume 10, No. 2 – Special Issue eNTERFACE’17 User-Centred Design Actions for Lightweight Evaluation of an Interactive Machine Learning Toolkit Francisco Bernardo Mick Grierson Rebecca Fiebrink Department of Computing Department of Computing Department of Computing Goldsmiths, University of London Goldsmiths, University of London Goldsmiths, University of London London SE14 6NW London SE14 6NW London SE14 6NW ----- ----- ----- [email protected] [email protected] [email protected] ----- ----- ----- ABSTRACT KEYWORDS Machine learning offers great potential to developers User-centred Design; Action Research; Interactive and end users in the creative industries. For Machine Learning; Application Programming example, it can support new sensor-based Interfaces; Toolkits; Creative Technology. interactions, procedural content generation and end- user product customisation. However, designing ARTICLE INFO machine learning toolkits for adoption by creative Received: 03 April 2018 developers is still a nascent effort.