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Products of Interest Products of Interest Gibber JavaScript Live-Coding background, auditioning it through Overtone is available as a free Environment headphones and pushing it to the download. Contact: Sam Aaron, master computer when they wish to. University of Cambridge Computer Gibber is a live-coding environment A number of video demonstrations Laboratory, William Gates Build- for Google Chrome. It is written of Gibber being used in performance ing, 15 JJ Thomson Avenue, Cam- completely in JavaScript and can be is available on the developer’s Web bridge CB3 0FD, UK; electronic mail used within any Web page. It uses the site. [email protected]; Web overtone audioLib.js library, which was created Gibber is available as a free down- .github.io/. by Finish musician and programmer load. Contact: Charlie Roberts, elec- Jussi Kalliokoski. Gibber extends tronic mail charlie@charlie-roberts this library to add extra effects, .com; Web www.charlie-roberts.com/ TIAALS Analysis Tools sequencing, and automated audio gibber/ and github.com/charlieroberts/ for Electroacoustic Music graph management. The environment Gibber/. provides the user with a simple Tools for the Interactive Aural Analy- syntax, sample accurate timings sis (TIAALS) of Electroacoustic music for synthesis and sequencing, and a Overtone Live-Coding Audio is the result of a research project be- simple model for networked use, and Environment tween the University of Huddersfield it supports music notes and chords and Durham University in the UK. It through the teoria.js library. Overtone is an open source audio is a set of tools for analysis and in- Six types of oscillators are avail- environment designed for live coding. teraction with electroacoustic pieces. able: sine, triangle, pulse, saw, inverse It is implemented in Clojure, a The new tools are based on Michael saw, and square waves. A synthesizer modern Lisp dialect that runs on Clarke’s earlier work on IAA in which object can be used to wrap an oscil- the Java Virtual Machine, and acts he produced analysis software written lator and envelope together to play as an Open Sound Control (OSC) in Max/MSP for Jonathan Harvey’s notes with defined attack and decay client for the SuperCollider synthesis Mortuos Plango, Vivos Voco, Denis envelopes. Three types of sequencers server. Overtone supports multiple Smalley’s Wind Chime, and Pierre are included in Gibber. The first is simultaneous users, providing them Boulez’s Anthemes 2. His analysis a generic sequencer for changing pa- with abstractions that facilitate allowed the user to interactively lis- rameters of JavaScript objects such live performance and the ability to ten to the works, viewing thematic, as synthesizers and effects, calling safely coordinate modifications of the harmonic and other charts, and to methods, and executing JavaScript system at run time. experiment with the techniques used functions. The ScaleSeq can be used The environment provides direct by the composers. In IAA, a sepa- to sequence notes in a scale, using access to SuperCollider’s basic unit rate analysis had to be painstakingly a given mode and base note. The generators and synthesizers but also produced for each piece. The tools third sequencer is an Arpeggiator ob- leverages Clojure’s functional empha- produced as part of TIAALS are de- ject for sequencing notes in a chord. sis to design more intuitive melody signed to be generic so that they can A delay, distortion, low-pass filter, and composition abstractions on top be used with any composition. ring modulator, reverberator, and bit of these. A simple single line function The TIAALS software is currently truncation effect are included and call can be used to play a specified at the beta stage and includes an In- can be used with any oscillator or MIDI note on an instrument, and teractive Sonogram and Chart Maker. synthesizer. The parameters of oscil- scales and chord representations Further pitch/frequency analysis, lators, synthesizers, and effects can can be created and manipulated. A spatialization tools, and an improved be modulated. metronome and timing system is interface is planned during the course Gibber can be used for networked included for sequencing and syn- of the research project. The Inter- performances in which multiple per- chronizing instruments during live active Sonogram allows the user to formers are involved. Each performer coding. MIDI input/output and OSC aurally as well as visually explore a works on their individual computer message handling is supported. Over- piece of music. The user can select but a master computer is connected tone also provides a fully concurrent and play regions, zoom in and out, to the amplification system. The event system that is capable of han- loop sections, and move through performers can work on code in the dling multiple simultaneous event the sonogram with a band-limited streams and supporting a functional scrubber. The earlier IAA software doi:10.1162/COMJ r 00219 reactive programming style. included interactive aural charts 94 Computer Music Journal Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/COMJ_r_00219 by guest on 29 September 2021 Figure 1. Roland’s Studio-Capture USB audio interface. such as taxonomies, thematic charts, harmonic charts, and paradigmatic charts, and featured interactive for playing marked extracts. The charts were created by hand, which was a laborious task. In TIAALS, the Chart Maker is designed to create these charts automatically using sections of the piece selected by the user. Re- gions to be included in the charts are selected on the Interactive Sonogram and added to a Palette of sounds. The regions can then be grouped on the Palette by the user before creating a chart. The software is available for telephone (+45) 481-428-28; fax jacks is also built in. A coaxial digital both Windows and Mac OS X. (+45) 481-427-00; electronic mail output and MIDI input/output is also TIAALS is available as a free down- [email protected]; Web available. A second Studio-Capture load. Contact: Michael Clarke, School www.dpamicrophones.com. Cus- can be used to expand the number of Music Humanities and Media, Uni- tomers in the United States con- of inputs and outputs. The interface versity of Huddersfield, Queensgate, tact: DPA Microphones, 1500 supports recording at sample rates up Huddersfield HD1 3DH, UK; elec- Kansas Avenue, Unit 3A, Long- to 192 kHz with 24-bit resolution. tronic mail [email protected]; mont, Colorado 80501, USA; tele- LED meters on the front panel Web www.hud.ac.uk/research/ phone (+1) 303-485-1025; fax (+1) allow the user to monitor individual researchcentres/tacem/. 303-485-6470; electronic mail info- input and output channels and the [email protected]. monitor output. A dedicated level knob is provided for the monitor DPA d:facto II Vocal Microphone output and a direct monitor control Roland Studio-Capture Audio allows the user to listen to selected DPA has released a new version of Interface input signals. A further two head- their d:facto vocal microphone. The phone outputs, each with dedicated pre-polarized condenser microphone Roland’s Studio-Capture is a compact level knobs, are also available. The in- has a supercardioid pattern. It offers USB audio interface with 16 audio terface has four independent mixers, high separation, linear frequency inputs, 10 audio outputs, and 12 mi- controlled by the software application and phase, and is suitable for both crophone pre-amplifiers (see Figure 1). provided. Each mix can be routed to stage performance and recording. The Twelve combination XLR/TRS inputs any output and the configurations microphone can be used wired or are provide for the pre-amplifiers. saved. wireless. It is compatible with wire- Four of these are located on the front Sixteen channels can be recorded less systems from Sony, Lectrosonics, panel of the interface. Each input and ten played back at sample rates Shure, Wisycom, and Sennheiser us- has phantom power, a low-cut filter, up to 96 kHz and the highest sup- ing a range of available adapters. Its phase invert, and digital compression ported sample rate of 192 kHz allows frequency range is 20 Hz to 20 kHz. controlled by software that is bundled for eight-channel recording and four- It has a dynamic range of 120 dB and with the interface. The microphone channel playback. The interface maximum sound pressure level (SPL) inputs can also be used as balanced or features Roland’s Auto-Sens tech- of 160 dB. It has a three-stage pop unbalanced line inputs and there are nology. This allows the interface to protection built in. The microphone a further four dedicated TRS jacks for set the recording level for each in- body is 8.1 in. long and it weighs line input on the rear panel. Two of put automatically at the touch of a 10.9 oz. the inputs can be used directly with button. The d:facto II microphone is guitars and basses and two can be An AC adaptor, USB cable, two listed for US$ 899.99. Contact: DPA used for coaxial digital input. Eight rackmount ears, owner’s manual, and Microphones A/S, Gydevang 42-44, analog outputs are provided on TRS software on a CD-ROM are included DK-3450 Alleroed, Denmark; jacks and a stereo output on XLR with the purchase. The interface Products of Interest 95 Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/COMJ_r_00219 by guest on 29 September 2021 Figure 2. The Yamaha Pocketrak PR7 handheld recorder with stereo microphones. measures 284 × 162 × 89 mm and weighs 82 g and measures 46.6 × weighs 1.9 kg. It is compatible with 132.1 × 28.7 mm. Windows and Macintosh platforms The PR7 is listed for US$ 249.
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