DOCSLIB.ORG

Mt-Djing: Multitouch Djing Table

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Mt-Djing: Multitouch Djing Table Mt-Djing: Multitouch DJing Table Pedro Lopes Dissertation for the degree of Master in Information Systems and Computer Engineering J´uri Chairman: Professor Doutor Jos´eManuel Nunes Salvador Tribolet Adviser: Professor Doutor Jo~aoAnt´onioMadeiras Pereira Co-adviser: Professor Doutor Alfredo Manuel dos Santos Ferreira Junior Jury Member: Professor Doutor Nuno Manuel Robalo Correia October 2010 Acknowledgements As DJ history itself, this thesis has been a long journey, full of turning points and milestones. The astonishing number of people I would like to acknowledge shows how numerous were the dark alleys and obstacles I had to transpose during this last year. Firstly, to my father and mother for outstanding support, not only through this work but for the two decades before. To my advisor and co-advisor, Prof. Jo~aoMadeiras Pereira and Prof. Alfredo Ferreira Jr., for strong belief on Mt-Djing from square one. Moreover I kindly acknowledge the contribution of my colleague Diogo Mariano, whom I thank for all the support given, endless brainstorming sessions and late work nights. A word of appreciation to Ricardo Jota and Bruno de Ara´ujo,for the interest and support to this work, shown in the form of the many conversations exchanged upon this subject. Other colleagues have their place within this thank-you note, namely Tiago Ribeiro and Guilherme Fernandes, for their help in reviewing and discussing the contents. And at last, but (definitely) not least, to all DJs and accompanying group, that took the time and effort to contribute so much to this work - that ultimately is theirs more than it is mine - specially: Pedro Farinha, Pedro Sousa (aka Alfredo Carajillo), Jo~aoGomes (aka Mush Von Namek), Igor Sousa and Nuno Moita. This work was funded in part by the European Commission's Seventh Framework Programme (FP7/2007-2013) through project MAXIMUS, grant agreement IST-2007-1-217039 and through FCT MIVIS PTDC/EIA/104031/2008. Lisboa, October 2010 Pedro Lopes To the role of DJs in modern music. Towards becoming part of music itself. Resumo A hist´oriado DJing encontra-se repleta de inova¸c~oesao n´ıvel tecnol´ogico. Contudo, apesar destes dispositivos permitirem novas funcionalidades aos DJs, existe uma lacuna em produtos que ofere¸cam uma interac¸c~aot´actilsob uma aplica¸c~aode DJing Virtual, encontrando-se estas tipicamente reduzidas aos dispositivos de entrada tradicionais. Recentemente diversas propostas endere¸camt´opicosco-relacionados com a actividade do DJing; contudo, as met´aforasapresentadas n~aos~aocoerentes com o l´exicogestual do DJ, exigindo um extenso per´ıodo de treino. Atrav´esdo envolvimento de um grupo de DJs peritos, desenvolvemos uma solu¸c~aomulti-toque que possibilita o mapeamento directo dos conceitos fundamentais do modelo mental dos DJs numa aplica¸c~ao Virtual. Na solu¸c~aoproposta, a interac¸c~aogestual do setup Tradicional apresenta-se coerente com as met´aforasdesenhadas; e herdam-se as vantagens da virtualiza¸c~aodo dom´ıniodo DJing. O sistema aborda os principais requisitos do DJ contempor^aneo,como identificado na nossa investiga¸c~ao,salientando-se: robustez, baixa-lat^encia,controlo externo, adaptabilidade, suporte a plugins ´audioe assente em normas para a comunica¸c~aocom solu¸c~oesexistentes. A solu¸c~aoproposta permite ainda melhorias no desempenho das tarefas de DJing, contribuindo com uma interface totalmente reconfigur´avel em tempo real e adapt´avel `asnecessidades do utilizador. O sistema permite aos DJs exercerem a sua criatividade, criando cen´ariosde uma forma natural, que de outra maneira n~aoseriam poss´ıveis nos setups t´ıpicos.A compara¸c~aoda nossa proposta relativamente aos setups Virtuais, Tradicionais e H´ıbridascomprova a adequabilidade de uma superf´ıciemulti-toque para utilizadores experientes que desejem abandonar o setup Virtual em prol duma interac¸c~aomais natural. Abstract Disc-jockeys have come a long way, through technological evolutions. This path led them to the status and recognition they have achieved in our society. But as impressive as those technological evolutions are, as far as DJing is concerned, there are still few applications that support hands-on interaction over virtual DJ applications, and those are typically reduced to the traditional input devices. Furthermore, recent proposals apply new DJ metaphors, but are not successful in maintaining coherence with traditional DJ lexicon of gestures and concepts, thus requiring an extensive learning period. Accounting user feedback from an accompanying group of DJ experts, we devised a multitouch so- lution that maps physical core DJ concepts into a virtual application. In the proposed solution, gestural interaction from Traditional Setups remains coherent while inheriting advantages from the virtualization of the DJing domain. The system addresses typical requirements of contemporary DJing, as identi- fied by our research, namely: robustness, low-latency, external control, adaptability, audio plugins and connectivity standard-compliance. Additionally, we support task improvements, such as dynamic re-routing of music flow, seamlessly merging edit with DJ-performance mode and rearrangement of interface layout according to user needs. Our system allows DJs to exercise creativity with a natural interaction, creating scenarios that are not possible in the real world. Comparison against Traditional, Virtual and Hybrid DJ setups showed how a multitouch DJing surface developed with DJ involvement, can suit experienced users changing to Virtual setups. Palavras Chave Keywords Palavras Chave Interac¸c~aoMulti-toque DJing Concep¸c~aoCentrada no Utilizador Interface Natural de Utilizador Keywords Multitouch Interaction DJing User-centered Design Natural User Interface Index 1 Introduction 3 1.1 Context and Motivation . .3 1.2 Problem Statement . .4 1.3 Contributions of our work . .4 1.4 Publications . .4 1.5 Outline . .5 2 Background 7 2.1 Historical Developments on Djing . .7 2.2 Traditional DJ Setup . .9 2.2.1 Sound Sources: Turntable and CD players . 11 2.2.2 DJ mixer evolution . 11 2.2.3 Setup Layout . 12 2.3 DJ Performance Analysis . 12 2.3.1 DJ Research and Literature . 13 2.3.2 Accompanying DJ group . 13 2.4 DJ Requirements . 14 3 Related Work 17 3.1 Virtual DJ Setup . 17 3.1.1 Ableton Live . 18 3.1.2 Virtual DJing Applications . 19 3.1.3 Discussion on Virtual DJ setups . 21 i 3.1.4 Virtual towards Vynil Tracking . 21 3.2 Hybrid DJ Setup . 22 3.2.1 Discussion on Hybrid Setups . 26 3.3 Tangible Approach . 27 3.3.1 AudioPad . 27 3.3.2 BlockJam . 28 3.3.3 Reactable . 28 3.3.3.1 Scratch Implementation on the Reactable . 29 3.3.4 Pin & Play & Perform . 30 3.3.5 Discussion on Tangible approaches . 31 3.4 Wearable approach . 32 3.4.1 Sensor-Glove for Skipproof . 32 3.4.2 DJammer . 32 3.4.3 MusicGlove . 33 3.4.4 Discussion on Wearable approaches/devices . 33 3.5 Haptic approach . 34 3.5.1 D'Groove . 34 3.5.2 ColorDex . 34 3.5.3 Discussion on Haptic approaches . 35 3.6 Multitouch Controllers . 36 3.6.1 Lemur . 36 3.6.2 Attigo . 38 3.6.3 Stanton SCS.3d and 3m . 39 3.6.4 Multitrack scratch controller . 40 3.6.5 Discussion on Multitouch Controllers . 40 3.7 Setup Comparison and Conclusions . 41 ii 4 MtDjing 43 4.1 DJ Technical Requirements . 43 4.2 Mt-Djing Architecture . 44 4.2.1 Module Implementation . 46 4.3 Multi-touch DJ Interactions . 47 4.3.1 Understanding DJ gestures . 47 4.3.2 Outline of Interface Objects . 48 4.3.3 Generic Object Behaviour . 50 4.3.4 Object Connectivity . 51 4.3.5 DJ Object Handling . 54 4.3.6 Interface Canvas . 58 4.4 Extending Interactions . 60 4.4.1 External Control . 60 4.4.1.1 Footcontrollers . 60 4.4.1.2 Drumpads . 61 4.4.2 Integration with the professional DJ workbench . 62 4.5 Summary . 63 5 Evaluation 65 5.1 Test Environment . 65 5.1.1 Participants . 65 5.1.2 Apparatus . 66 5.2 Preliminary Evaluation . 66 5.2.1 Test Description . 66 5.2.2 Results and Discussion . 67 5.3 Final Evaluation . 68 5.3.1 Test Description . 69 iii 5.3.2 Results and Discussion . 70 5.4 Questionnaire and Open Speech Comments . ..
Load more

Recommended publications
  • ISP 13 INVISIBL SKRATCH PIKLZ the 13Th Floor LP
    INVISIBL SKRATCH PIKLZ THE 13TH FLOOR Holy Crap…Who Goes There? Fresh Out of FVCKS Kenny G's Perm CATALOG: ISP13-LP Ultimate FORMAT: 2xLP STREET: 12/09/16 Black Hole vs. Brown Hole LABEL: THUD RUMBLE Reverse Cowgirl Polka Fist Pump The Freestyle Fanatic Booby Trap Universally acknowledged as some of the most skilled scratch DJs in the world, turntable legends the Invisibl Skratch Piklz are releasing their first ever full-length album: The 13th Floor. After nearly 16 years apart, original members Qbert, Shortkut, and D-Styles have come together again to record The 13th Floor. Composed with a heavy jazz sound in mind, the roughly 35-minute LP is an amazing homage to what true DJing is – and the perfect embodiment of the iconic Invisibl Skratch Piklz sound. Recorded using three DJ mixers and three turntables, the album showcases the trio’s deft skills and inspired talent, and displays how they have progressed and perfected their sound all while pushing the art of turntablism into brave new dimensions. The 13th Floor deftly blends the abstract artistry of scratching with undeniable musicality: lush synths, warm horns, solid basslines, and fat vibes. It’s easy to feel “Fresh Out of FVCKS” – a track that creeps up the keys and slowly shoves its way in. “Kenny G’s Perm” is surprisingly relaxed, a mellow and sludge-covered jam. From the aggressive roughness of “Polka Fist Pump” to the thick sound of “The Freestyle Fanatic,” the LP flips, knocks, twists, and finds truth on the turntables. Fusing elements of jazz, rock and hip hop, the album demonstrates true artistry, creative composition, and masterful turnta- blism.
    [Show full text]
  • Nightlife, Djing, and the Rise of Digital DJ Technologies a Dissertatio
    UNIVERSITY OF CALIFORNIA, SAN DIEGO Turning the Tables: Nightlife, DJing, and the Rise of Digital DJ Technologies A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in Communication by Kate R. Levitt Committee in Charge: Professor Chandra Mukerji, Chair Professor Fernando Dominguez Rubio Professor Kelly Gates Professor Christo Sims Professor Timothy D. Taylor Professor K. Wayne Yang 2016 Copyright Kate R. Levitt, 2016 All rights reserved The Dissertation of Kate R. Levitt is approved, and it is acceptable in quality and form for publication on microfilm and electronically: _____________________________________________ _____________________________________________ _____________________________________________ _____________________________________________ _____________________________________________ _____________________________________________ Chair University of California, San Diego 2016 iii DEDICATION For my family iv TABLE OF CONTENTS SIGNATURE PAGE……………………………………………………………….........iii DEDICATION……………………………………………………………………….......iv TABLE OF CONTENTS………………………………………………………………...v LIST OF IMAGES………………………………………………………………….......vii ACKNOWLEDGEMENTS…………………………………………………………….viii VITA……………………………………………………………………………………...xii ABSTRACT OF THE DISSERTATION……………………………………………...xiii Introduction……………………………………………………………………………..1 Methodologies………………………………………………………………….11 On Music, Technology, Culture………………………………………….......17 Overview of Dissertation………………………………………………….......24 Chapter One: The Freaks
    [Show full text]
  • DJ Skills the Rise of the Hip-Hop DJ 3
    The Rise of the Hip-Hop DJ 1 74 The Rise of The Hip-hop DJ DJs were Hip-hop’s original architects, and remain crucial to its contin- ued development. Hip-hop is more than a style of music; it’s a culture. As with any culture, there are various artistic expressions of Hip-hop, the four principal expressions being: • visual art (graffiti) • dance (breaking, rocking, locking, and popping, collectively known in the media as “break dancing”) • literature (rap lyrics and slam poetry) • music (DJing and turntablism) Unlike the European Renaissance or the Ming Dynasty, Hip-hop is a culture that is very much alive and still evolving. Some argue that Hip-hop is the most influential cultural movement in history, point- ing to the globalization of Hip-hop music, fashion, and other forms of expression. Style has always been at the forefront of Hip-hop. Improvisation is called free styling, whether in rap, turntablism, breaking, or graf- fiti writing. Since everyone is using the essentially same tools (spray paint for graffiti writers, microphones for rappers and beat boxers, their bodies for dancers, and two turntables with a mixer for DJs), it’s the artists’ personal styles that set them apart. It’s no coincidence that two of the most authentic movies about the genesis of the move- ment are titled Wild Style and Style Wars. There are also many styles of writing the word “Hip-hop.” The mainstream media most often oscillates between “hip-hop” and “hip hop.” The Hiphop Archive at Harvard writes “Hiphop” as one word, 2 DJ Skills The Rise of the Hip-Hop DJ 3 with a capital H, embracing KRS-ONE’s line of reasoning that “Hiphop Kool DJ Herc is a culture with its own foundation narrative, history, natives, and 7 In 1955 in Jamaica, a young woman from the parish of Saint Mary mission.” After a great deal of input from many people in the Hip-hop community, I’ve decided to capitalize the word but keep the hyphen, gave birth to a son who would become the father of Hip-hop.
    [Show full text]
  • Turntablism and Audio Art Study 2009
    TURNTABLISM AND AUDIO ART STUDY 2009 May 2009 Radio Policy Broadcasting Directorate CRTC Catalogue No. BC92-71/2009E-PDF ISBN # 978-1-100-13186-3 Contents SUMMARY 1 HISTORY 1.1-Defintion: Turntablism 1.2-A Brief History of DJ Mixing 1.3-Evolution to Turntablism 1.4-Definition: Audio Art 1.5-Continuum: Overlapping definitions for DJs, Turntablists, and Audio Artists 1.6-Popularity of Turntablism and Audio Art 2 BACKGROUND: Campus Radio Policy Reviews, 1999-2000 3 SURVEY 2008 3.1-Method 3.2-Results: Patterns/Trends 3.3-Examples: Pre-recorded music 3.4-Examples: Live performance 4 SCOPE OF THE PROBLEM 4.1-Difficulty with using MAPL System to determine Canadian status 4.2- Canadian Content Regulations and turntablism/audio art CONCLUSION SUMMARY Turntablism and audio art are becoming more common forms of expression on community and campus stations. Turntablism refers to the use of turntables as musical instruments, essentially to alter and manipulate the sound of recorded music. Audio art refers to the arrangement of excerpts of musical selections, fragments of recorded speech, and ‘found sounds’ in unusual and original ways. The following paper outlines past and current difficulties in regulating these newer genres of music. It reports on an examination of programs from 22 community and campus stations across Canada. Given the abstract, experimental, and diverse nature of these programs, it may be difficult to incorporate them into the CRTC’s current music categories and the current MAPL system for Canadian Content. Nonetheless, turntablism and audio art reflect the diversity of Canada’s artistic community.
    [Show full text]
  • Informatique Et MAO 1 : Configurations MAO (1)
    Ce fichier constitue le support de cours “son numérique” pour les formations Régisseur Son, Techniciens Polyvalent et MAO du GRIM-EDIF à Lyon. Elles ne sont mises en ligne qu’en tant qu’aide pour ces étudiants et ne peuvent être considérées comme des cours. Elles utilisent des illustrations collectées durant des années sur Internet, hélas sans en conserver les liens. Veuillez m'en excuser, ou me contacter... pour toute question : [email protected] 4ème partie : Informatique et MAO 1 : Configurations MAO (1) interface audio HP monitoring stéréo microphone(s) avec entrées/sorties ou surround analogiques micro-ordinateur logiciels multipistes, d'édition, de traitement et de synthèse, plugins etc... (+ lecteur-graveur CD/DVD/BluRay) surface de contrôle clavier MIDI toutes les opérations sont réalisées dans l’ordinateur : - l’interface audio doit permettre des latences faibles pour le jeu instrumental, mais elle ne nécessite pas de nombreuses entrées / sorties analogiques - la RAM doit permettre de stocker de nombreux plugins (et des quantités d’échantillons) - le processeur doit être capable de calculer de nombreux traitements en temps réel - l’espace de stockage et sa vitesse doivent être importants - les périphériques de contrôle sont réduits au minimum, le coût total est limité SON NUMERIQUE - 4 - INFORMATIQUE 2 : Configurations MAO (2) HP monitoring stéréo microphones interface audio avec de nombreuses ou surround entrées/sorties instruments analogiques micro-ordinateur Effets logiciels multipistes, d'édition et de traitement, plugins (+
    [Show full text]
  • Rane DJ Products Catalog
    dj 2015 catalog MP2015 New! Welcome to the rotary mixer revival. The MP2015 represents a perfect marriage of high-quality rotary control surface, state-of-the-art digital signal processing and dual 24-channel USB sound cards. This assortment of analog and digital I/O supports mixing vinyl, CD, S/PDIF and USB streaming audio content in any combination, with pristine audio quality and massive headroom that's never been seen in a DJ mixer before. Rane DJ Products - 2 Different music genres often require different lter and Each PH/CD input can be Two USB ports can connect two EQ congurations to properly deal with song content. switched to Phono level, CD computers, each supporting 10 playback The MP2015 allows performers to adjust Filters, EQs deck level, or S/PDIF with 128 and 14 record channels. Play stereo tracks and the Isolator to suit their needs. Channel, Submix dB dynamic range. An AUX into input channels 1-4 and the Session In. and Isolator Filters can be stacked for truly amazing input from RCA jacks can be Simultaneously record decks 1-4, Submix, isolation and manipulation of musical elements. assigned to any input channel. Session In and the Main mix. The Isolator EQ on The Main Mix has a the Main mix has 16-segment stereo powerful 3-band +10 LEFT RIGHT Meter, XLR Main 0 dB 0 dB 0 dB 5 dB to full-cut 24 dB OL 4 6 Outputs with a Level +10 3 7 +7 per octave filters 2 8 control and TRS 225 2.8k +5 ISO with fully adjustable +3 1 9 Booth Outputs with a 135 380 1.7k 4.75k +2 crossover points.
    [Show full text]
  • Photo Editing
    All recommendations are from: http://www.mediabistro.com/10000words/7-essential-multimedia-tools-and-their_b376 Photo Editing Paid Free Photoshop Splashup Photoshop may be the industry leader when it comes to photo editing and graphic design, but Splashup, a free online tool, has many of the same capabilities at a much cheaper price. Splashup has lots of the tools you’d expect to find in Photoshop and has a similar layout, which is a bonus for those looking to get started right away. Requires free registration; Flash-based interface; resize; crop; layers; flip; sharpen; blur; color effects; special effects Fotoflexer/Photobucket Crop; resize; rotate; flip; hue/saturation/lightness; contrast; various Photoshop-like effects Photoshop Express Requires free registration; 2 GB storage; crop; rotate; resize; auto correct; exposure correction; red-eye removal; retouching; saturation; white balance; sharpen; color correction; various other effects Picnik “Auto-fix”; rotate; crop; resize; exposure correction; color correction; sharpen; red-eye correction Pic Resize Resize; crop; rotate; brightness/contrast; conversion; other effects Snipshot Resize; crop; enhancement features; exposure, contrast, saturation, hue and sharpness correction; rotate; grayscale rsizr For quick cropping and resizing EasyCropper For quick cropping and resizing Pixenate Enhancement features; crop; resize; rotate; color effects FlauntR Requires free registration; resize; rotate; crop; various effects LunaPic Similar to Microsoft Paint; many features including crop, scale
    [Show full text]
  • Exploring Structural Sections in EDM DJ-Created Radio Mixes with the Help of Automatic Music Descriptors
    Exploring structural sections in EDM DJ-created radio mixes with the help of automatic music descriptors Vincent Zurita Turk Supervised by Perfecto Herrera and Giuseppe Bandiera Sound & Music Computing Music Technology Group - Universitat Pompeu Fabra Abstract Disc Jockeys are the most likely the ultimate experts at mixing music to “move the crowd”. In this work, structural sections based on “levels of emotional experience” in electronic dance music (EDM) are investigated by analyzing DJ-created radio mixes using automatic music descriptors in order to get audio content information. Mixes are first manually annotated to categorise structural sections and then, their characteristics and patterns between them are investigated. Finally, various evaluations are performed to explore the accuracy with which a system could automatically detect, with the given information, the different sections within randomly chosen independent ten seconds excerpts. Results prove the reliability of the chosen descriptors to achieve a successful classification with moderate number of errors. Moreover, a solution for improving the prediction’s accuracy by taking in account patterns between structural sections is proposed. Table of contents 1. INTRODUCTION ......................................................................................................................................... 1 BACKGROUND ................................................................................................................................................. 1 1.1 Basic
    [Show full text]
  • 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.
    [Show full text]
  • Traktor Dj Studio 3
    TRAKTOR DJ STUDIO 3 Operation Manual The information in this document is subject to change without notice and does not represent a commitment on the part of NATIVE INSTRUMENTS Software Synthesis GmbH. The software described by this document is subject to a License Agreement and may not be copied to other media. No part of this publication may be copied, reproduced or otherwise transmitted or recorded, for any purpose, without prior written permission by NATIVE INSTRUMENTS Software Synthesis GmbH. All product and company names are trademarks of their respective owners. And also, if you’re reading this, it means you bought the software rather than stole it. It’s because of people like you that we can continue to create great tools and update them. So, thank you very much. Authors and revisions: Friedemann Becker, R.D. White, Jan Hennig, Irmgard Bauer Special thanks to the Beta Test Team, who were invaluable not just in tracking down bugs, but in making this a better product. © Native Instruments Software Synthesis GmbH, 2005. All rights reserved. Second, revised run, 12/05 Germany USA Native Instruments GmbH Native Instruments USA, Inc. Schlesische Str. 28 5631 A Hollywood Boulevard D-10997 Berlin Los Angeles, CA 90028 Germany USA [email protected] [email protected] www.native-instruments.de www.native-instruments.com Table Of Contents 1 Manual Introduction ...................................................................... 5 2 Installing TRAKTOR DJ Studio 3 ..................................................... 7 2.1 Installing TRAKTOR DJ Studio 3 under Mac OS X ..................... 7 2.2 Installing TRAKTOR DJ Studio 3 under Windows ....................... 8 3 Product Authorization ...................................................................10 3.1 What is the Product Authorization? ........................................10 3.2 Performing the Product Authorization .....................................12 4 Quick Start ................................................................................
    [Show full text]
  • New and Improved?: from Analog Vinyl Records to DVS Technology
    New and Improved?: From Analog Vinyl records to DVS Technology MA Thesis New Media and Digital Culture – Graduate School of Humanities – University of Amsterdam Table of Contents Introduction ..................................................................................................................................... 2 1. Theoretical Framework ............................................................................................................... 4 1.1 Marshall McLuhan: Media as the extensions of man ............................................................ 4 1.2 Friedrich Kittler: New materialism and German media archaeology .................................... 8 1.3 Media Archaeology ............................................................................................................. 13 1.4 Cultural techniques .............................................................................................................. 17 1.5 Cultural and Subcultural Studies ......................................................................................... 20 2. Rewriting hip hop’s history ....................................................................................................... 24 3. Methodological Framework ...................................................................................................... 27 3.1 The Emergence of Digital Vinyl Systems and Mixvibes ‘Cross’ ........................................ 28 3.2 Software and Platform Analysis .........................................................................................
    [Show full text]
  • Qtractor – a Audio/MIDI Multi-Track Sequencer
    Qtractor – A Audio/MIDI multi-track sequencer Rui Nuno CAPELA rncbc.org [email protected] Abstract sequencer for MIDI, thus currently being a Linux- only application. There are not known intentions Qtractor is a MIDI/Audio multi-track sequencer on support to any other platforms. application written in C++ around the Qt4 toolkit Qtractor is free open-source software, licensed using Qt Designer. The initial target platform will be Linux, where the Jack Audio Connection Kit under the GPL and is welcoming all collaboration (JACK) for audio, and the Advanced Linux Sound and review from the Linux Audio developer and Architecture (ALSA) for MIDI, are the main user community in particular and the public in infrastructures to evolve as a fairly-featured Linux general. Desktop Audio Workstation GUI, specially dedicated to the personal home-studio. 2 Installation Keywords 2.1 Requirements Linux, audio, MIDI, JACK, ALSA, multi-track, The software requirements for build and run- recording, sequencer time are listed as follows: 1 Introduction Mandatory: As a new Linux Audio offering, Qtractor targets ● Qt4 (core, gui, xml) [2] and positions itself comfortably tagged as for the ● JACK [3] techno-boy bedroom home-studio. However, in ● ALSA [4] general, it is just yet another digital audio and ● libsndfile[5] MIDI multi-track composition and arranger software application. The design and functionality Optional (opted-in at build time): model takes as fundamental the now usual multi- track composing techniques for modern music- ● libvorbis (enc, file) [6] making. It aims to be intuitive and easy to use. ● libmad [7] Unfortunately, for the classic and erudite ● libsamplerate [8] musician, there are and will be no plans to integrate any kind of score editor.
    [Show full text]