Automatic Loudspeaker Location Detection for Use in Ambisonic Systems
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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 (+ -
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. -
Manual for the Timefreezer Instrument Introduction
Manual for the TimeFreezer instrument Introduction - The Idea of Time Freezing Infinite sound... Did you ever want to stop a sound just like a snapshot, so that it stays forever, without looping effects and without sounding like a synthesizer? I found a solution. Here it is: the TimeFreezer that freezes all kind of audio material and plays with it. Manual for the TimeFreezer instrument Analysis and Resynthese. Searching in all available Plugins and software in the world I couldn´t find a tool that provides this in such high quality. I found a way of making an analysis of the sound and resynthesis that sounds so near to the original. And it is fast: depending on your system you will get a response within a few miliseconds. Manual for the TimeFreezer instrument Two versions of TimeFreezer: The first version is an instrument that browses through a sound file. You can see the wave, place your cursor on a moment and immediately hear what it sounds like. After you can manipulate it with basic parameters like pitch, volume, bandpass filter, denoiser and the analysis size. The second is a life effect. Instead of reading from a file it analyses the sound input of whatever you feed it with. This can be again any kind of audio material, like an instrument, a noise, a full orchestra or a sound scape of your choice. The description of this effect is here. Manual for the TimeFreezer instrument The software realisation is now made with the VST technology from Steinberg. This means that it is a plugin that you can use in every host that supports VST. -
Usermanual.Wiki
TruePianos User Manual Version 1.0 © 2006-2007 4Front Technologies All rights reserved Manual version: v1.0 / 24.01.2007 Products of 3rd party companies are mentioned solely for information purposes. Microsoft, Microsoft Windows © Microsoft Corporation Ableton Live © Ableton AG Acid © Sony Media Software Audiomulch Interactive Music Studio © Sonic Fritter Forte © brainspawn Cantabile © Topten Software Chainer © Xlutop CakeWalk Project 5 Version 2, Sonar, Sonar Producer, Sonar Home Studio XL © Twelve Tone Systems Console © ART Teknika Cubase, Cubase Studio, CuBase SL, Cubase SX, Steinberg, VST, ASIO © Steinberg Media Technologies GmbH energyXT © Jørgen Aase FL Studio © Image-Line Software KarSyn © Open Labs Kore © Native Instruments Logic © Apple Madtracker © Yannick Delwiche MiniHost © Tobybear n-Track Studio 5 Audio Editor © Flavio Antonioli Orion Platinum © Synapse Audio Software Renoise © Renoise Phrazor © Sonicbytes Tracktion © Mackie VST Host © Hermann Seib All software and hardware terms not specified, as well as brand names, are registered trademarks or trademarks of their respective owners. TruePianos User Manual 2 LICENSE AGREEMENT 1. This End-User License Agreement is a legal agreement between 4Front Technologies and the end-user ("Licensee") for the accompanied products ("Software") and the content material ("Content"), and it is covered by the laws of California. 2. The Licensed Software is protected by copyright laws and international copyright treaties, as well as other intellectual property laws and treaties. The Licensed Software is licensed, not sold. 3. The agreement unless entirely satisfactory is a subject for a negotiation and we are willing to provide the reasonably altered agreement on request. Any alterations to the agreement should be explicitly approved by 4Front Technologies. -
Integra Live: a New Graphical User Interface for Live Electronic Music
Proceedings of the International Conference on New Interfaces for Musical Expression, 30 May - 1 June 2011, Oslo, Norway Integra Live: a new graphical user interface for live electronic music Jamie Bullock Daniel Beattie Jerome Turner Birmingham Conservatoire Beelion Interactive User-lab, BIAD Birmingham, UK London, UK Birmingham, UK [email protected] [email protected] [email protected] ABSTRACT acoustic instrumental study or composition and simply want In this paper we describe a new application, Integra Live, to experiment with live electronics. As a tool for dataflow designed to address the problems associated with software programming and DSP, Max may be highly usable, but for usability in live electronic music. We begin by outlining musicians with little experience in this area, Max presents the primary usability and user-experience issues relating to an unreasonably steep learning curve. A number of existing projects seek to address this prob- the predominance of graphical dataflow languages for the 3 composition and performance of live electronics. We then lem. For example, the Jamoma project provdes ‘a system discuss the specific development methodologies chosen to for developing high-level modules in the Max/MSP/Jitter address these issues, and illustrate how adopting a user- environment’[9], and more recently, a set of frameworks centred approach has resulted in a more usable and humane for developing Jamoma modules outside of Max[10, 11]. interface design. The main components and workflows of Jamoma offers significant advantages for both users and de- the user interface are discussed, giving a rationale for key velopers, presenting itself as a complete ‘platform’ within design decisions. -
INTRODUCTION to COMPUTER MUSIC Composer: Nichifor, Serban Licence: Copyright (C) Serban Nichifor Instrumentation: Music Theory Style: Contemporary
Serban Nichifor Composer, Teacher Roumania, Bucarest About the artist http://www.voxnovus.com/composer/Serban_Nichifor.htm Born: August 25, 1954, in Bucharest, Romania Married to Liana Alexandra, composer: http://www.free-scores.com/partitions_gratuites_lianaalexandra.htm# Studies National University of Music, Bucharest, Doctor in Musicology Theology Faculty, University of Bucharest International courses of composition at Darmstadt, Weimar, Breukelen and Munchen USIA Stipendium (USA) Present Position Professor at the National University of Music, Bucharest (Chamber Music Department); Member of UCMR (Romania), SABAM (Belgium), ECPMN (Holland) Vice-president of the ROMANIA-BELGIUM Association Cellist of the Duo INTERMEDIA and co-director of the NUOVA MUSICA CONSONANTE-LIVING MUSIC FOUNDATION INC.(U.S.A) Festival, with Liana ALEXANDRA Selected Works OPERA, SYMPHONIC, VOCAL-SYMPHONIC AND CONCERTANTE MUSIC: Constellations for Orchestra (1977) Symphony I Shadows (1980) Cantata Sources (1977) Cantata Gloria Heroum Holocausti (1978) Opera Miss Christina (libretto by Mircea ELIADE,1981... (more online) Qualification: PROFESSOR DOCTOR IN COMPOSITION AND MUSICOLOGY Personal web: http://romania-on-line.net/whoswho/NichiforSerban.htm Associate: SABAM - IPI code of the artist : I-000391194-0 About the piece Title: INTRODUCTION TO COMPUTER MUSIC Composer: Nichifor, Serban Licence: Copyright (c) Serban Nichifor Instrumentation: Music theory Style: Contemporary Serban Nichifor on free-scores.com http://www.free-scores.com/Download-PDF-Sheet-Music-serbannichifor.htm ■ Contact the artist ■ Write feedback comments ■ Share your MP3 recording ■ Web page and online audio access with QR Code : First added the : 2008-11-28 Last update : 2008-11-28 11:16:55 Thank you so much for sending me your updated Introduction to Computer Music. -
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. -
About This Issue
About This Issue A map can be viewed as a projection Feller and Margaret Cahill, respec- George Tzanetakis from CMJ.James of the points in one space onto the tively. Mr. Feller analyzes a disc by Harley has been a major asset to the points of another space that does not computer music composer Matthew Journal for the better part of two necessarily have the same number Burtner, and Louis Bigo reviews a decades, serving at various times as of dimensions. Mapping is a general conference at McGill University on reviews editor, products editor, and concept in mathematics. In computer mathematics and computation in CD or DVD producer. In addition to music, the term is most often used in music. The concluding product an- his excellent editing and production the specific context of digital musical nouncements report on a wide variety work, he wrote many insightful instruments, typically to refer to the of audio equipment and controllers, reviews himself. He also guest-edited correspondence between the parame- as well as a more unusual item: con- a special issue of CMJ in memory ter values of a controller and those of ductive paint with which one can of Iannis Xenakis (which included asoundsynthesizer.Wearepleased draw circuits, repair electronics, and his own article surveying Xenakis’s to present here a special issue on so on. electronic music) and served as a mapping in computer music, guest- The past year has seen some curator for the CMJ CD. He passed edited by two authorities in the field: changes in the Journal’s editorial staff. -
Bangbook.Pdf
Th is book is base d on th e First Inte rnational Pd-Conve ntion 2004, Graz/Austria, a coope ration of: pd-graz Th is w ork is lice nse d unde r th e Cre ative Com m ons Attribution- Noncom m e rcial-No D e rivative W ork s 2.5 Lice nse . To vie w a copy of th is lice nse , visit h ttp://cre ative com m ons.org/lice nse s/by-nc-nd/2.5/ or se nd a le tte r to Cre ative Com m ons, 543 H ow ard Stre e t, 5th Floor, San Francisco, California, 9 4105, USA. bang Pure Data bang Pure Data wolke First Edition 2006 © by pd-graz Verein zur Förderung der Open Source Software Pure Data All rights reserved by the publisher Wolke Verlag, Hofheim Coordination: Fränk Zimmer Translations: Aileen Derieg and Maureen Levis Lectors: Aileen Derieg, Florian Hollerweger, IOhannes m zmölnig Cover design: pd-graz Photographs: Uwe Vollmann and Irmgard Jäger Photo selection: Reni Hofmüller Typesetting: michon, Hofheim Printing: Fuldaer Verlagsanstalt pd-graz is: Lukas Gruber, Reni Hofmüller, Florian Hollerweger, Georg Holzmann, Karin Koschell, Thomas Musil, Markus Noisternig, Renate Oblak, Michael Pinter, Peter Plessas, Nicole Pruckermayr, Winfried Ritsch, Romana Rust, Uwe Vollmann, Franz Xaver, Ales Zemene, Fränk Zimmer, IOhannes m zmölnig. http://pd-graz.mur.at Sponsored by: ISBN-10: 3-936000-37-9 ISBN-13: 978-3-936000-37-5 Content WINFRIED RITSCH Does Pure Data Dream of Electric Violins? _011 REINHARD BRAUN Media Environments as Cultural Practices: Open Source Communities, Art and Computer Games _021 ANDREY SAVITSKY An Exciting Journey of Research and Experimentation _029 ANDREA MAYR Pd as Open Source Community _033 THOMAS MUSIL / HARALD A. -
Warren Burt: Windows Shareware Update
CHROMA Newsletter of the Australasian Computer Music Association, Inc. PO Box 284, Fitzroy, Victoria, Australia 3065 Issue Number 28 June 2000 ISSN 1034-8271 EDITORIAL ACMC 2000 CONFERENCE SCHEDULE ERNIE ALTHOFF: CCI ROSS BENCINA: THE DECOMPOSING INTERFACE ALAN DORIN: FIRST ITERATION LAWRENCE HARVEY: CANOPIES WARREN BURT: WINDOWS SHAREWARE UPDATE TRISTRAM CARY: NEW DOUBLE CD EDITORIAL Welcome to Issue 28 of Chroma. The big news, of course, is the upcoming Australasian Computer Music Conference, to be held from 4 - 8 July at Queensland University of Technology's Kelvin Grove, Brisbane campus, capably organized by Andrew Brown and his team. The conference looks to be very exciting, with papers, workshops, and lots of concerts. Especially interesting is the involvement of the conference with the web and with radio. This should have the good effect of extending the reach of the conference well beyond the walls of QUT, and making it a more community oriented event. A schedule of the conference is given below. For late breaking information, see the ACMA website. Also in this issue we have a number of interesting articles and reviews. Ernie Althoff is a composer well known for his sculptural sound installation, but he hasn't worked all that much with computer music per se. His article here documents the processes he went through in creating his new composition CCI - Calcareous Cemented Invertebrates. Ross Bencina is well known as the creator of AudioMulch. His article takes a more philosophical look at the issues involved in creating software, and software performance environments. Alan Dorin was one of the organizers of the First Iteration conference on Systems in the Electronic Arts held at Monash University last year. -
Piz Midi Plugins
piz midi plugins By Insert Piz Here-> Introduction The Piz MIDI VST Plugins are a collection of VST 2.4 plugins for Windows, Mac OS X, and Linux. They are updated frequently (sort of), so check the website to make sure you have the latest version: http://thepiz.org/pizmidi The plugins do not have their own graphical user interface at this time, so the GUI will be provided by the VST host. For Windows, DarkStar has provided GUI versions based on mGUI. Get them here: http://asseca.com/wiki/MGUI/MdaPizmidi If you like these plugins, you can give me money. There is a PayPal donation link at the website. General Information To install, put the plugin files in your VST folder. Most hosts let you define where this is. For the plugins to work, a VST host is needed, and the host must be able to handle MIDI output from VST plugins. Supported: As VST Instruments Only: Not Supported: Aodix MaizeStudio SONAR Chainer AudioMulch Max/MSP Logic Bidule MiniHost Orion Buzz/Buzé/etc (via Polac VST loader) MU.LAB Podium Cantabile Pure Data Pro Tools Console REAPER As VST Effects Only: Project 5 Cubase/Nuendo SAVIHost Renoise Cubase LE 4 (no instrument rack) energyXT SynthEdit Samplitude FL Studio Temper Studio One forte Tracktion You need to force them to Jost Usine load as effects via pizmidi.ini. Untested: Kore VFX/V-Machine ACID Live VSTHost Phrazor Psycle Tunafish Vegas n-Track Studio everything else. Most plugins will load as "VST effects" except in hosts that need them as "VST instruments." You can override this in pizmidi.ini (see below). -
Accsone Crusher-X User Manual
accSone crusher-X User Manual Table of Contents Table of Contents 1 Welcome! 4 What changed in version 7.5? 4 What changed in version 7? 4 What changed in version 6.5? 5 What changed in version 6? 5 crusher-X Innovations 5 Installing crusher-X 6 Requirements 6 Installation 6 Install on macOS 6 Install on Windows 7 Introduction 8 Granular Synthesis 8 Getting an overview 8 Screenless control of crusher-X, e.g. for blind / sight impaired musicians 9 Vapor Modulations and Parameters 10 Vapor Modulations panel 10 Delay, Length and Birth parameter 11 Speed and Sweep parameter 11 X-Crush parameter 12 Overdrive parameter 12 Filter Freq. and Filter Q. parameter 12 Formant Filter mode 13 Volume and Pan parameter 13 Diffuse parameter 13 Global modulation 14 Modulation Overview & Adore parameters 14 Editor panels 15 Physical Modelling sliders 15 Program panel 15 Latency compensation system 15 Mixer panel 16 Level panel 17 Generators panel 17 Vapor panel 17 Quantization panel 18 Feed panel 19 - 1 - Trigger panel 19 Morphing panel 20 DCO panel 20 PM-Field 20 MIDI Modes, MPE and Scales 21 Pitch Tracker and Autotune 22 Grain view 22 Spline Editor 23 Step Editor 23 Compressor/Expander/Limiter Editor 24 Control Mappings 26 Remote control or automate crusher-X 26 Global settings 27 Grain to MIDI 27 Tutorial - MPE with crusher-X 28 Step 1: Connect your MPE keyboard 28 Step 2: Select testtone patch 28 Step 3: Set crusher-X to MPE MIDI mode 28 Step 4: Control Other Parameters with MPE Expressions 28 STEP 5: Create your own MPE patches 29 FAQ 30 Why I need