Audio Visual Instrument in Puredata
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Synchronous Programming in Audio Processing Karim Barkati, Pierre Jouvelot
Synchronous programming in audio processing Karim Barkati, Pierre Jouvelot To cite this version: Karim Barkati, Pierre Jouvelot. Synchronous programming in audio processing. ACM Computing Surveys, Association for Computing Machinery, 2013, 46 (2), pp.24. 10.1145/2543581.2543591. hal- 01540047 HAL Id: hal-01540047 https://hal-mines-paristech.archives-ouvertes.fr/hal-01540047 Submitted on 15 Jun 2017 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. A Synchronous Programming in Audio Processing: A Lookup Table Oscillator Case Study KARIM BARKATI and PIERRE JOUVELOT, CRI, Mathématiques et systèmes, MINES ParisTech, France The adequacy of a programming language to a given software project or application domain is often con- sidered a key factor of success in software development and engineering, even though little theoretical or practical information is readily available to help make an informed decision. In this paper, we address a particular version of this issue by comparing the adequacy of general-purpose synchronous programming languages to more domain-specific -
Confessions-Of-A-Live-Coder.Pdf
Proceedings of the International Computer Music Conference 2011, University of Huddersfield, UK, 31 July - 5 August 2011 CONFESSIONS OF A LIVE CODER Thor Magnusson ixi audio & Faculty of Arts and Media University of Brighton Grand Parade, BN2 0JY, UK ABSTRACT upon writing music with programming languages for very specific reasons and those are rarely comparable. This paper describes the process involved when a live At ICMC 2007, in Copenhagen, I met Andrew coder decides to learn a new musical programming Sorensen, the author of Impromptu and member of the language of another paradigm. The paper introduces the aa-cell ensemble that performed at the conference. We problems of running comparative experiments, or user discussed how one would explore and analyse the studies, within the field of live coding. It suggests that process of learning a new programming environment an autoethnographic account of the process can be for music. One of the prominent questions here is how a helpful for understanding the technological conditioning functional programming language like Impromptu of contemporary musical tools. The author is conducting would influence the thinking of a computer musician a larger research project on this theme: the part with background in an object orientated programming presented in this paper describes the adoption of a new language, such as SuperCollider? Being an avid user of musical programming environment, Impromptu [35], SuperCollider, I was intrigued by the perplexing code and how this affects the author’s musical practice. structure and work patterns demonstrated in the aa-cell performances using Impromptu [36]. I subsequently 1. INTRODUCTION decided to embark upon studying this environment and perform a reflexive study of the process. -
FAUST Tutorial for Functional Programmers
FAUST Tutorial for Functional Programmers Y. Orlarey, S. Letz, D. Fober, R. Michon ICFP 2017 / FARM 2017 What is Faust ? What is Faust? A programming language (DSL) to build electronic music instruments Some Music Programming Languages DARMS Kyma 4CED MCL DCMP LOCO PLAY2 Adagio MUSIC III/IV/V DMIX LPC PMX AML Elody Mars MusicLogo POCO AMPLE EsAC MASC Music1000 POD6 Antescofo Euterpea Max MUSIC7 POD7 Arctic Extempore Musictex PROD Autoklang MidiLisp Faust MUSIGOL Puredata Bang MidiLogo MusicXML PWGL Canon Flavors Band MODE Musixtex Ravel CHANT Fluxus MOM NIFF FOIL Moxc SALIERI Chuck NOTELIST FORMES MSX SCORE CLCE Nyquist FORMULA MUS10 ScoreFile CMIX OPAL Fugue MUS8 SCRIPT Cmusic OpenMusic Gibber MUSCMP SIREN CMUSIC Organum1 GROOVE MuseData SMDL Common Lisp Outperform SMOKE Music GUIDO MusES Overtone SSP Common HARP MUSIC 10 PE Music Haskore MUSIC 11 SSSP Patchwork Common HMSL MUSIC 360 ST Music PILE Notation INV MUSIC 4B Supercollider Pla invokator MUSIC 4BF Symbolic Composer Csound PLACOMP KERN MUSIC 4F Tidal CyberBand PLAY1 Keynote MUSIC 6 Brief Overview to Faust Faust offers end-users a high-level alternative to C to develop audio applications for a large variety of platforms. The role of the Faust compiler is to synthesize the most efficient implementations for the target language (C, C++, LLVM, Javascript, etc.). Faust is used on stage for concerts and artistic productions, for education and research, for open sources projects and commercial applications : What Is Faust Used For ? Artistic Applications Sonik Cube (Trafik/Orlarey), Smartfaust (Gracia), etc. Open-Source projects Guitarix: Hermann Meyer WebAudio Applications YC20 Emulator Thanks to the HTML5/WebAudio API and Asm.js it is now possible to run synthesizers and audio effects from a simple web page ! Sound Spatialization Ambitools: Pierre Lecomte, CNAM Ambitools (Faust Award 2016), 3-D sound spatialization using Ambisonic techniques. -
DVD Program Notes
DVD Program Notes Part One: Thor Magnusson, Alex Click Nilson is a Swedish avant McLean, Nick Collins, Curators garde codisician and code-jockey. He has explored the live coding of human performers since such Curators’ Note early self-modifiying algorithmic text pieces as An Instructional Game [Editor’s note: The curators attempted for One to Many Musicians (1975). to write their Note in a collaborative, He is now actively involved with improvisatory fashion reminiscent Testing the Oxymoronic Potency of of live coding, and have left the Language Articulation Programmes document open for further interaction (TOPLAP), after being in the right from readers. See the following URL: bar (in Hamburg) at the right time (2 https://docs.google.com/document/d/ AM, 15 February 2004). He previously 1ESzQyd9vdBuKgzdukFNhfAAnGEg curated for Leonardo Music Journal LPgLlCe Mw8zf1Uw/edit?hl=en GB and the Swedish Journal of Berlin Hot &authkey=CM7zg90L&pli=1.] Drink Outlets. Alex McLean is a researcher in the area of programming languages for Figure 1. Sam Aaron. the arts, writing his PhD within the 1. Overtone—Sam Aaron Intelligent Sound and Music Systems more effectively and efficiently. He group at Goldsmiths College, and also In this video Sam gives a fast-paced has successfully applied these ideas working within the OAK group, Uni- introduction to a number of key and techniques in both industry versity of Sheffield. He is one-third of live-programming techniques such and academia. Currently, Sam the live-coding ambient-gabba-skiffle as triggering instruments, scheduling leads Improcess, a collaborative band Slub, who have been making future events, and synthesizer design. -
Live Coding for Human-In- The-Loop Simulation
Live coding for Human-in- the-Loop Simulation Ben Swift Research School of Computer Science Australian National University live coding the practice of writing & editing live programs Outline • Extempore: a software environment for live coding • Live demo: particle-in-Cell (PIC) simulation • Future directions: human-in-the-loop processing in simulation, modelling & decision support extempore • Open-source (MIT Licence) & available for OSX, Linux & Windows (http://github.com/digego/extempore) • Lisp-style syntax (Scheme-inspired) • High-performance compiled code (LLVM JIT) • Toll-free interop with C & Fortran • Hot-swappable at a function level programmer TCP extempore (local or remote) extempore Extempore code assembler & LLVM IR machine code any function can be redefined on-the-fly programmer extempore extempore extempore extempore extempore extempore extempore extempore extempore C/Fortran output main Extempore program C/Fortran output main extempore Extempore program changes main C/Fortran output init push solve extempore Extempore program changes main push C/Fortran output solve init extempore Extempore program changes main push C/Fortran output print init solve extempore Extempore program changes main push C/Fortran output print init solve extempore Extempore program changes main push C/Fortran output print init solve extempore Extempore program changes main push C/Fortran vis init solve extempore Extempore program changes main init push vis solve extempore The power of live programming • Change parameters on the fly, with feedback • Interactively add debug output (no loss of state) • Switch optimisers/solvers etc. on-the-fly (modularity in codebase & libraries helps) what does this have to do with DSI? Similarities • Numerical modelling (HPC-style problems) • High-dimensional, non-linear parameter spaces • Long-running jobs = long delays for feedback Opportunities • Joint simulation, experimentation and wargaming (e.g. -
Alistair Riddell
[email protected] [email protected] [email protected] http://www.alistairriddell.com au.linkedin.com/in/alistairriddell? https://www.researchgate.net https://independent.academia.edu/AlistairRiddell Alistair Riddell Brief Biography Over the past 40 years Melbourne born Alistair Riddell has been active as a musician, composer, performer, creative coder, installation artist, collaborator, educator, supervisor, writer and promoter of evolving digital creative practices. Beginning with a focus on music composition using technology in the 1980s, his interests have ranged widely over the digital domain where he developed particular interests in the processes of interaction between the creative mind and physical objects. He has spent considerable time experimenting with technology and ideas, and many of his completed works have been publicly presented in a diverse range of curated contexts. Alistair holds degrees in Music and Computer Science from La Trobe University and a PhD in music composition from Princeton University. He lectured in Sound Art and Physical Computing at the Australian National University after which he returned to Melbourne and has worked as a freelance artist/researcher collaborating on projects around Australia. 2 Education Princeton University (New Jersey, USA) Naumberg Fellowship 1993 PhD Thesis title: Composing the Interface 1991 Master of Fine Arts La Trobe University (Melbourne, Australia) 1989 Master of Arts Thesis title: A Perspective on the Acoustic Piano as a Performance Medium under Machine Control 1986 Post Graduate Diploma in Computer Science 1981 BA (Hons) Job History/Appointments/Projects (2000 onwards) Carillon Keyboard Project. National Capital Authority. Canberra. (October/November 2019) Collective Social Intelligence (@ foysarcade.com ) Research work (June 2017 – Nov 2019) Australian Catholic University. -
Reflections on Learning Coding As a Musician V. 1
REFLECTIONS ON LEARNING LIVE CODING AS A MUSICIAN May Cheung LiveCode.NYC [email protected] ABSTRACT Live-coding music has become a large trend in recent years as programmers and digital artists alike have taken an interest in creating algorithmic music in live setings. Interestingly, a growing number of musicians are becoming live coders and they are becoming more aware of its potential to create live electronic music using a variety of coding languages. As a musician who live codes music, it became apparent to me that my process in creating musical structure, harmonic ideas and melodic ideas were different than live coders who came from a programming background. Using the live code environment Sonic Pi (based on the programming language Ruby, created by Dr. Sam Aaron) as a reference, we argue the parallels and differences between the experience of live coding music versus the experience of performing and playing music. In rare occasions, the dichotomy of the two worlds converge as we present the work of Anne Veinberg, a renown classically-trained pianist who uses a MIDI keyboard as an interface to code through a program created by composer-performer Felipe Ignacio Noriega. 1. INTRODUCTION Afer spending many years as a musician from a jazz performance background, I was excited to try a new method of creating music. Introduced to a live coding program called Sonic Pi through friends in January 2018, I have had many opportunities to live code and present in front of audiences: from sizable nightclub crowds to atentive teenagers during their coding summer camp at NYU. -
Pdates Actuator’S Outputs
M2 ATIAM – IM Graphical reactive programming Esterel, SCADE, Pure Data Philippe Esling [email protected] 1 M2 STL – PPC – UPMC First thing’s first Today we will see reactive programming languages • Theory • ESTEREL • SCADE • Pure Data However our goal is to see how to apply this to musical data (audio) and real-time constraints Hence all exercises are done with Pure Data • Pure data is open source, free and cross-platform • Works as Max/Msp (have almost all same features) • Can easily be embedded on UDOO cards (special distribution) So go now to download it and install it right away https://puredata.info/downloads/pure-data 2 M2 STL – PPC – UPMC Reactive programming: Basic notions Goals and aims Here we aim towards creating critical, reactive, embedded software. 3 M2 STL – PPC – UPMC Reactive programming: Basic notions Goals and aims Here we aim towards creating critical, reactive, embedded software. The mandatory notions that we should get first are • Embedded • Critical • Safety • Reactive • Determinism 4 M2 STL – PPC – UPMC Reactive programming: Basic notions Goals and aims Here we aim towards creating critical, reactive, embedded software. The mandatory notions that we should get first are ? • Embedded • Critical • Safety • Reactive • Determinism 5 M2 STL – PPC – UPMC Reactive programming: Basic notions Goals and aims Here we aim towards creating critical, reactive, embedded software. The mandatory notions that we should get first are • Embedded An embedded system is a computer • Critical system with a dedicated function • Safety within a larger mechanical or • Reactive electrical system, often with real- • Determinism time computing constraints. 6 M2 STL – PPC – UPMC Reactive programming: Basic notions Goals and aims Here we aim towards creating critical, reactive, embedded software. -
Kronos Reimagining Musical Signal Processing
Kronos Reimagining Musical Signal Processing Vesa Norilo March 14, 2016 PREFACE First of all, I wish to thank my supervisors; Dr. Kalev Tiits, Dr. Marcus Castrén and Dr. Lauri Savioja,thanks for guidanceand acknowledgements and some necessary goading. Secondly; this project would never have materialized without the benign influence of Dr Mikael Laurson and Dr Mika Kuuskankare. I learned most of my research skills working as a research assistant in the PWGL project, which I had the good fortune to join at a relatively early age. Very few get such a head start. Most importantly I want to thank my family, Lotta and Roi, for their love, support and patience. Many thanks to Roi’s grandparents as well, who have made it possible for us to juggle an improb- able set of props: freelance musician careers, album productions, trips around the world, raising a baby and a couple of theses on the side. This thesis is typeset in LATEX with the Ars Classica stylesheet generously shared by Lorenzo Pantieri. This report is a part of the portfolio required for the Applied Studies Program for the degree of Doctorthe applied of Music. It studies consists of an program introductory portfolio essay, supporting appendices and six internationally peer reviewed articles. The portfolio comprises of this report and a software package, Kronos. Kronos is a programming language development environment designed for musical signal processing. The contributions of the package include the specification and implementation of a compiler for this language. Kronos is intended for musicians and music technologists. It aims to facilitate creation of sig- nal processors and digital instruments for use in the musical context. -
Table of Contents Pure Data
Table of Contents Pure Data............................................................................................................................................................1 Real Time Graphical Programming..................................................................................................................2 Graphical Programming...........................................................................................................................2 Real Time.................................................................................................................................................3 What is digital audio? ........................................................................................................................................4 Frequency and Gain.................................................................................................................................4 Sampling Rate and Bit Depth..................................................................................................................4 Speed and Pitch Control..........................................................................................................................5 Volume Control, Mixing and Clipping....................................................................................................6 The Nyquist Number and Foldover/Aliasing...........................................................................................6 DC Offset.................................................................................................................................................7 -
Distributed Musical Decision-Making in an Ensemble of Musebots: Dramatic Changes and Endings
Distributed Musical Decision-making in an Ensemble of Musebots: Dramatic Changes and Endings Arne Eigenfeldt Oliver Bown Andrew R. Brown Toby Gifford School for the Art and Design Queensland Sensilab Contemporary Arts University of College of Art Monash University Simon Fraser University New South Wales Griffith University Melbourne, Australia Vancouver, Canada Sydney, Australia Brisbane, Australia [email protected] [email protected] [email protected] [email protected] Abstract tion, while still allowing each musebot to employ different A musebot is defined as a piece of software that auton- algorithmic strategies. omously creates music and collaborates in real time This paper presents our initial research examining the with other musebots. The specification was released affordances of a multi-agent decision-making process, de- early in 2015, and several developers have contributed veloped in a collaboration between four coder-artists. The musebots to ensembles that have been presented in authors set out to explore strategies by which the musebot North America, Australia, and Europe. This paper de- ensemble could collectively make decisions about dramatic scribes a recent code jam between the authors that re- structure of the music, including planning of more or less sulted in four musebots co-creating a musical structure major changes, the biggest of which being when to end. that included negotiated dynamic changes and a negoti- This is in the context of an initial strategy to work with a ated ending. Outcomes reported here include a demon- stration of the protocol’s effectiveness across different distributed decision-making process where each author's programming environments, the establishment of a par- musebot agent makes music, and also contributes to the simonious set of parameters for effective musical inter- decision-making process. -
Procedural Sequencing 1 Göran Sandström
Procedural Sequencing 1 Göran Sandström Bachelor Thesis Spring 2013 School of Health and Society Department Design and Computer Science Procedural Sequencing A New Form of Procedural Music Creation Author: Göran Sandström Instructor: Anders-Petter Andersson Examiner: Daniel Einarsson Procedural Sequencing 2 Göran Sandström School of Health and Society Department Design and Computer Science Kristianstad University SE-291 88 Kristianstad Sweden Author, Program and Year: Göran Sandström, Interactive Sound Design, 2010 Instructor: Anders-Petter Andersson, PhD. Sc., HKr Examination: This graduation work on 15 higher education credits is a part of the requirements for a Degree of Bachelor in Computer Science Title: Procedural Sequencing Language: English Approved By: _________________________________ Daniel Einarsson Date Examiner Procedural Sequencing 3 Göran Sandström Table of Contents List of Abbreviations and Acronyms............................................................................4 List of Figures...............................................................................................................4 Abstract.........................................................................................................................5 1. Introduction.............................................................................................6 1.1 Aim and Purpose.....................................................................................................6 1.2 Method....................................................................................................................6