planet.linuxaudio.org

March 31, 2015

Create Digital Music » open-source

Now littleBits Modules Play with MIDI, USB, CV: Videos

Hirumi_IMG_0091LR

littleBits’ Synth Kit began as a lot of fun. Snap together small bare boards connected by custom magnets, and you can create basic synthesizers, or mix and match more exotic littleBits modules light light sensors. No soldering or cable connections are required.

But while you could use various littleBits components, your options were comparatively limited as far as connecting to other gear. That changes today with the release of new modules for MIDI, USB, and analog Control Voltage (CV), ranging $35-40 each.

There are three modules, each made in collaboration with KORG:

You can also buy a US$139.95 “Synth Pro Pack” that includes two of the CV modules, a MIDI module, a USB module, mounting boards, and cables.

propack

Let’s look at the modules one by one, then see what they can do:

IMG_5669_03_LR

MIDI

Costs US$39.95. This is the most useful of the three, to me, and the easiest no-brainer purchase if you’ve got a Synth Kit. You can route MIDI in and out of a littleBits rig to any other MIDI hardware – though you have to choose one or the other, by setting the single minijack to either “in” or “out.” And you can run MIDI in and out over micro USB to a computer. (The module operates driver-free, or you can install an optional driver from KORG – probably only if you’re on Windows would you want to do that.)

In effect, this module also works as a littleBits CV-to-MIDI converter, translating any analog input from a module to MIDI messages.

Applications: you can now use littleBits sensors or sequencers to play any MIDI instrument. Or you can play your littleBits rig using a MIDI controller or your computer sequencer.

IMG_5657_02_LR

Control Voltage

Cost: US$34.95. The CV module is basically the same idea, but with CV instead of MIDI. It couldn’t be simpler: you get one CV in, one out. Remember that CV connection for “littleBits” on KORG’s SQ-1 sequencer? Now we get to see it in action.

Now, because littleBits is already built around control voltages, this is a bit of fun. littleBits modules become a toolkit of various sensors and the like, as outputs to gear. And anything you have that generates control voltage – like a modular rig, for instance – now can be used to play synths you build with littleBits. Of the two, I suspect the former is more interesting than the latter, just because if you have a modular rig already, you can build something quite a lot more interesting and powerful than with littleBits. On the other hand, littleBits has all sorts of interesting motors and sensors, and if you don’t want to muck around with Arduino and the like, you can now snap together some strange sensors and quickly connect them to your modular rig with a $35 module.

IMG_5670_02_LR

USB I/O

Costs US$34.95. USB I/O handles just audio. But you can both route audio from your computer and to your computer. That makes it easier to record what you’ve made with your Synth Kit, if you don’t have an audio interface handy.

Also, because you can use an audio stream for control voltage, you can use the USB I/O kit to control modules.

So, in other words: the MIDI and I/O modules make it easier to integrate synths you’ve built with your computer and/or MIDI gear. The CV module I think will be most useful as a way of making strange new inputs for a modular synth.

Also interesting: today, littleBits has a bunch of partner videos showing off how these modules interoperate with other products. For instance, here’s Tony Rolando, of modular maker MakeNoise:

Or Peter Speer, showing some ideas for how to build interesting synths:

Patch ideas with the new littleBits Synth modules from Peter Speer on Vimeo.

Lysandre Follet shows how you might add a littleBits synth instrument to a larger Eurorack modular setup:

Icaro Ferre from Spectro Audio uses his software CV Toolkit to demonstrate how that powerful tool can be used to control other gear via CV. And… well, really, this is relevant to anyone interested in that software whether or not you want to use it with littleBits:

Cycling ’74 shows what they can do with Max/MSP:

Here’s a video Theremin:

And here’s the application I thought was sort of most cool, which is using the littleBits sensor modules to quickly interface with software:

More information:

Introducing: MIDI, CV, and USB I/O [littleBits Blog]

modularlittle

synthstuff

The post Now littleBits Modules Play with MIDI, USB, CV: Videos appeared first on Create Digital Music.

by Peter Kirn at March 31, 2015 04:48 PM

March 30, 2015

Scores of Beauty

Managing Alternative Fonts with LilyPond

Oh my, it’s been quite some time since my last post – fortunately there has been at least a guest post recently and there are more in the pipeline. I have been working hard under the hood and there are exciting things going on, but nothing was in a state to be presented here. Now finally I can break the silence and write about one of the topics, at the same time providing some glimpses into other parts of current development in LilyPond’s ecosystem.

As you know (if not: it was announced in “LilyPond’s Look & Feel”) Abraham Lee has enabled LilyPond to use alternative notation fonts, and he already has provided an impressive range of fonts with various styles that are available from fonts.openlilylib.org. In a two part series I’ll introduce you to this new world of stylistic variety that has become possible through Abraham’s work and that openLilyLib makes easily accessible now.

Today we’ll take a first tour through LilyPond’s font handling in general – as it has originally been designed, as it has been until now, and as it will be from now on. In the next post I’ll take the presentation of “Arnold”, a new font Abraham created upon my suggestion, as an opportunity to dig slightly deeper into this topic and show you the tools provided by openLilyLib in some more detail.

Accessing Alternative Fonts – Then and Now

As mentioned in my earlier announcement LilyPond wasn’t originally designed to use alternative fonts, and this was one of the more severe limitations with LilyPond. When I had the opportunity to talk with representatives of several major publishing houses the option of integrating custom fonts to achieve their house styles was one of the first questions that usually arose. When Simon Tatham created the first available replacement font one had to actually exchange the font files so LilyPond wouldn’t even notice that the font had changed. This is a somewhat hacky and non-trivial approach that is described on the font’s home page.

As of Lilypond 2.19.12 this changed, and for the current stable version 2.18 there is a reasonably simple patch to make it work. Now there is a single function available to select any compatible notation font that has been copied to LilyPond’s font directories. The following example simply shows the default values.

\paper {
  #(define fonts
    (set-global-fonts
      #:music "emmentaler"
      #:brace "emmentaler"
      #:roman "Century Schoolbook L"
      #:sans "sans-serif"
      #:typewriter "monospace"
      #:factor (/ staff-height pt 20)
  ))
}

This syntax allows you to choose which fonts to change and which ones to leave at these default values, so the following would be sufficient to switch the notation font (general and brace) to the LilyJAZZ font:

\paper {
  #(define fonts
    (set-global-fonts
      #:music "lilyjazz"
      #:brace "lilyjazz"
      #:factor (/ staff-height pt 20)
  ))
}

The process of getting and using the alternative fonts is described in detail on the documentation page on fonts.openlilylib.org. However, getting the fonts to be recognized in the first place is still a little bit awkward, as you can’t simply “install” the fonts to your operating system but have to copy them inside LilyPond’s own font folders. Concretely you have to:

  • Download the archive file for a font from the website
  • Extract it to disk
  • Copy the font files from two folders to two folders inside your LilyPond installation

As this depends on the actual LilyPond installation you’ll have to repeat that step for any additional LilyPond installation you may have (and developers can have numerous different builds in parallel to test different features), and also you’d have to repeat this every time you update LilyPond. The issue can be slightly alleviated by creating symbolic links instead of physical copies inside the LilyPond installations – yet this has to be done again each time too.

Accessing Alternative Fonts – The Future

Well, all of this was yesterday – but the future is bright :-) .
Keeping your collection of alternative fonts up-to-date has become a breeze now, and using these fonts has become much simpler and even more powerful as well, thanks to two of my latest projects.

Automating Font Management

With install-lily-fonts managing a repository of alternative fonts has become a near-automatic process. This tool maintains a local repository and a catalog of fonts and versions and uses this to automatically detect any new or updated versions on the server. It then downloads new archives if necessary and “installs” them to one or multiple LilyPond installation(s). So regularly running this program (at least after updating or installing LilyPond versions) is all you need to make sure that you always have the complete and newest set of alternative fonts available for use with LilyPond! I think this should really encourage anybody to experiment with and use this newly available stylistic variety in music engraving.

So far I haven’t prepared an official “binary” release or included it into a Python repository, and I haven’t had the opportunity to incorporate this functionality in Frescobaldi (any help with this would be greatly appreciated). But you can download/clone/fork the tool from its repository on Github. Please visit that site for a more detailed description too.

Note: unfortunately I haven’t got any assistance yet to deal with this process on Windows too. So I assume that currently the program only works on Mac and Linux. If anyone has experience with handling symbolic links (or circumventing the need for that) on Windows with Python I’d be more than happy to accept help to make the tool available for all.

A New Library To Use Alternative Fonts

Now that we have the set of fonts available we also want to actually use them in scores. I’m pleased to tell you that this has become even more simple and powerful with the new interface provided by openLilyLib. Today I’ll only give you a short “teaser” about this, and in the next post I’ll go into more detail and present you the new functionality as well as differently styled engraving examples.

The original idea of setting up openLilyLib had been to have a place to store snippets of useful LilyPond code, similar to the official LilyPond Snippet Repository but not depending on a specific LilyPond version and having a Git interface for easier collaboration. Quite soon it was improved as to be includable – you can directly \include modules from openLilyLib instead of having to copy & paste code from the LSR and integrate that into your own files. But right now openLilyLib is undergoing a fundamental redesign, and the new Font Interface I’m presenting today is part of it. So you will see examples of the new way of using LilyPond extensions, but I won’t go into any detail about that new infrastructure as it is not ready for a general release and proper announcement (of course the readers of Scores of Beauty will be the first to know about any breaking news ;-) ). All you have to know now is that in order to use the new font interface you need the latest version of openLilyLib and make its root directory and the ly directory inside available to LilyPond’s include path.

The following code, inserted at the top of the input file, will change the notation font to the Improviso font:

\include "openlilylib"
\useLibrary Stylesheets
\useNotationFont Improviso
Improviso default appearance (click to view PDF)

Improviso default appearance (click to view PDF)

  • The first line loads the general openLilyLib infrastructure, and I think putting this at the top of the input file will become a second nature for most, just as it is a no-brainer to start each file with a \version statement.
  • The second line loads the “Stylesheets” library – the new openLilyLib is organized around the concept of coherent libraries. The “Stylesheet” library so far only implements the font stuff but we plan to do much more with it in the not-too-distant future.
  • The last line finally switches the notation and the brace font to Improviso.

Maybe you noticed that the example doesn’t look like LilyPond’s default output with just the font replaced? Well, this is part of the additional horsepower I promised and that we’ll take a closer look at in the next post. So stay tuned …

Investigating installed fonts

So you know how easy it is to switch the notation font to one of the numerous alternatives that are available by now. But what if you just don’t have the list of installed fonts at your fingertips? Well, you might go to the font website to have a look, or you might investigate LilyPond’s font folder (if you know where this is). But fortunately openLilyLib provides a much more convenient way, and this is the last item for today’s post before I let you wait for the next post with more details and examples about the new fonts. As you may already guess the “Stylesheets” library provides a command for that purpose:

\include "openlilylib"
\useLibrary stylesheets
\displayNotationFonts

which will produce something similar to the following on the console:

Installed notation fonts:
OpenType:
- arnold
- beethoven
- cadence (no brace font)
- emmentaler
- gonville
- gutenberg1939
- haydn
- improviso
- lilyboulez (no brace font)
- lilyjazz
- paganini (no brace font)
- profondo
- ross
- scorlatti (no brace font)
- sebastiano

OK, next time we’ll see more examples and you’ll get the opportunity to taste some of the power that lies in the new infrastructure of openLilyLib. Controlling the wealth of new styles with a simple interface is just what makes life continuously easier with LilyPond. I always pointed out “programmability” as a unique advantage of text based systems. You may want to have a look at the underlying programming work that makes all this possible, so you can read the source code. The beauty of LilyPond is that such elaborate functionality can be made available for the “end user” with such elegant simplicity as \useNotationFont Improviso

by Urs Liska at March 30, 2015 07:37 PM

Libre Music Production - Articles, Tutorials and News

Audacity 2.1.0 Released

Version 2.1.0 of Audacity, the free audio editor and recorder, was just released. Here are some of the improvements:

by Eduardo at March 30, 2015 01:14 PM

Create Digital Music » Linux

Free Audacity Audio Editor Gets Spectral Edits, Live Plug-ins

Spectral_03a

Dedicated wave editor Audacity has found enduring popularity, as a free and open source tool for working with sound. It runs on Linux, Windows, and OS X – with support for older Mac operating systems, which these days is sometimes tough to find. But just being free and open isn’t reason enough to use something, particularly when a lot of DAWs do a pretty decent job of wave editing.

This latest version of Audacity, 2.1.0, comes with some additions that might make it worth revisiting.

First, there’s spectral editing. In most software, audio editing is performed by time only. Here, you can drag over particular frequency ranges to select just those portions, for audio repair or simply highlighting certain portions of sonic content. That’s been available in some commercial tools, but it’s not normally found in DAWs and now you get it for free. See the spectral selection additions to the manual.

Second, you can now preview VST and Audio Unit effects (plus the open LADSPA format) in real-time. That’s useful for making Audacity an effect host, and can combine nicely with chains and batch processing. That is, you can preview effects live to adjust them (as you can do in a DAW) and then batch-process a bunch of sound (which your DAW can’t do easily). Plug-in hosting in general is improved, including the ability to work with multiple VST and add any effects to chains.

There’s also a new Noise Reduction effect.

Audacity still isn’t the prettiest software ever (ahem) – aesthetically and functionally, it seems the UI is due for a reboot. But I know it’s an important tool, especially for musicians on a budget. And this version is worth adding to your toolset.

Need another reason to use Audacity? How about the fact that the extreme time shifting capabilities of Paulstretch are built right in?

Check out the Audacity download page:
http://audacity.sourceforge.net/

(Manual links there are broken as I write this, so you can use my links above for that.)

Also worth considering is ocenaudio (note “ocen,” not “ocean”!):
http://www.ocenaudio.com.br/features

It isn’t as full-featured as Audacity – real-time effects preview is limited to VST, for instance, and the spectral view is not editable. It’s also free-as-in-beer; the code is closed. But the UI is substantially cleaner, and it has some nice features like multi-edit support. Thanks to Tom D in comments for the tip.

The post Free Audacity Audio Editor Gets Spectral Edits, Live Plug-ins appeared first on Create Digital Music.

by Peter Kirn at March 30, 2015 12:00 PM

Libre Music Production - Articles, Tutorials and News

Q-stuff release frenzy

Rui Nuno Capela has been on a pre-LAC2015 release frenzy with his Q-stuff suite of software. In the past week he has released updates for QjackCtl, Qsynth, Qsampler, QmidiNet, QmidiCtl and of course Qtractor. You can find full details about these releases over at rncbc.org.

by Conor at March 30, 2015 06:40 AM

March 29, 2015

rncbc.org

Qtractor 0.6.6 - The Lazy Tachyon is out!

And finally, for the wrap of the pre-LAC2015@JGU-Mainz release party, no other than the crown jewel of the whole Qstuff bunch ;)

Qtractor 0.6.6 (lazy tachyon beta) is out!

Release highlights:

  • LV2 and VST plugins GUI position persistence (NEW)
  • MIDI clip editor record/overdub note rendering (FIX)
  • VST plugin recursive discovery/search path (NEW)
  • VST-shell sub-plugins support (FIX)
  • also some old and new lurking bugs squashed.

Qtractor is an audio/MIDI multi-track sequencer application written in C++ with the Qt4 framework. Target platform is Linux, where the Jack Audio Connection Kit (JACK) for audio and the Advanced Linux Sound Architecture (ALSA) for MIDI are the main infrastructures to evolve as a fairly-featured Linux desktop audio workstation GUI, specially dedicated to the personal home-studio.

Flattr this

Website:

http://qtractor.sourceforge.net

Project page:

http://sourceforge.net/projects/qtractor

Downloads:

License:

Qtractor is free, open-source software, distributed under the terms of the GNU General Public License (GPL) version 2 or later.

Change-log:

  • MIDI clip record/reopen to/from SMF format 0 has been fixed.
  • LV2 and VST plugins GUI editor widget position is preserved across hide/show cycles.
  • Added application description as freedesktop.org's AppData.
  • Added a "Don't ask this again" prompt option to zip/archive extrated directory removal/replace warning messages.
  • MIDI clip editor (aka. piano-roll) gets lingering notes properly shown while on record/overdubbing.
  • Current highlighted client/port connections are now drawn with thicker connector lines.
  • Fixing segfaults due to QClipboard::mimeData() returning an invalid null pointer while on Qt5 and Weston.
  • Return of an old hack/fix for some native VST plugins with GUI editor, on whether to skip the explicit shared library unloading on close and thus avoid some mysterious crashes on session and/or application exit.
  • Force reset of plugin selection list when any of the plugin search paths change (in View/Options.../Plugins/Paths).
  • Recursive VST plugin search is now in effect for inventory and discovery on path sub-directories (VST only).
  • Non-dummy scannig for regular VST, non-shell plugins, were doomed to infinite-loop freezes on discovery, now fixed.

Enjoy && keep the fun.

by rncbc at March 29, 2015 04:30 PM

Libre Music Production - Articles, Tutorials and News

Calf 0.0.60 Released!

The Calf team have just announced the release of version 0.0.60 of the very popular Calf Studio Gear plugins.

There are many bug fixes, new plugins as well as new features.

There are 16 new plugins included in this release, bringing the total number of Calf plugins up to 45. The new plugins are as follows -

by Conor at March 29, 2015 03:56 PM

New release of Giada Loop Machine

Version 0.9.5 of Giada Loop Machine has been released. This version, codename 'Nabla Symbols', has a number of refinements, as well as permanent MIDI mapping.

by Conor at March 29, 2015 03:42 PM

Recent changes to blog

J Hendrix Fuzz Face

Today is raining here, so I play around with our Ampsim toolkit.
Well, lets try to emulate the Fuzz Face of J. Hendrix, I said to myself.
First step is to create the schematic of the unit.
Here it is:

Fuzz Face

Now, create a (python) build script to generate faust source code
with our DK simulator in our Ampsim toolkit.

import os
from analog import *

schema = "Fuzzface2.sch"
path = "tmp"
module_id = "fuzzface"
mod = os.path.join(path, module_id+".so")

# create plugin
c1 = Circuit()
c1.plugindef = dk_simulator.PluginDef(module_id)
c1.plugindef.name = "Fuzz Face"
c1.plugindef.description = "J Hendrix Fuzz Face simulation"
c1.plugindef.category = "Distortion"
c1.plugindef.id = "fuzzface"
c1.set_module_id(module_id)
c1.read_gschem(schema)
c1.create_faust_module()

and yep, start guitarix and found the new plug in the Distortion category. Wow, sounds great. That will be enough for me to play with today. :D

Maybe the one or the other will try it, no problem, it's in the guitarix git repository allready.
And for those how use faust by themselves, here is the resulting faust source:

 // generated automatically
// DO NOT MODIFY!
declare id "fuzzface";
declare name "Fuzz Face";
declare category "Distortion";
declare description "J Hendrix Fuzz Face simulation";

import("filter.lib");

process = pre : iir((b0/a0,b1/a0,b2/a0,b3/a0,b4/a0,b5/a0),(a1/a0,a2/a0,a3/a0,a4/a0,a5/a0)) with {
    LogPot(a, x) = if(a, (exp(a * x) - 1) / (exp(a) - 1), x);
    Inverted(b, x) = if(b, 1 - x, x);
    s = 0.993;
    fs = float(SR);
    pre = _;

        Volume = 1.0 - vslider("Volume[name:Volume]", 0.5, 0, 1, 0.01) : Inverted(0) : LogPot(0) : smooth(s);

        Fuzz = 1.0 - vslider("Fuzz[name:Fuzz]", 0.5, 0, 1, 0.01) : Inverted(0) : LogPot(0) : smooth(s);

    b0 = Fuzz*(Fuzz*(Volume*pow(fs,3)*(4.76991513499346e-20*fs + 5.38351707988916e-15) + pow(fs,3)*(-4.76991513499346e-20*fs - 5.38351707988916e-15)) + Volume*pow(fs,3)*(-4.76991513499346e-20*fs + 5.00346713698171e-13) + pow(fs,3)*(4.76991513499346e-20*fs - 5.00346713698171e-13)) + Volume*pow(fs,2)*(-5.05730339185222e-13*fs - 1.16162215422261e-12) + pow(fs,2)*(5.05730339185222e-13*fs + 1.16162215422261e-12);

    b1 = Fuzz*(Fuzz*(Volume*pow(fs,3)*(-1.43097454049804e-19*fs - 5.38351707988916e-15) + pow(fs,3)*(1.43097454049804e-19*fs + 5.38351707988916e-15)) + Volume*pow(fs,3)*(1.43097454049804e-19*fs - 5.00346713698171e-13) + pow(fs,3)*(-1.43097454049804e-19*fs + 5.00346713698171e-13)) + Volume*pow(fs,2)*(5.05730339185222e-13*fs - 1.16162215422261e-12) + pow(fs,2)*(-5.05730339185222e-13*fs + 1.16162215422261e-12);

    b2 = Fuzz*(Fuzz*(Volume*pow(fs,3)*(9.53983026998693e-20*fs - 1.07670341597783e-14) + pow(fs,3)*(-9.53983026998693e-20*fs + 1.07670341597783e-14)) + Volume*pow(fs,3)*(-9.53983026998693e-20*fs - 1.00069342739634e-12) + pow(fs,3)*(9.53983026998693e-20*fs + 1.00069342739634e-12)) + Volume*pow(fs,2)*(1.01146067837044e-12*fs + 2.32324430844522e-12) + pow(fs,2)*(-1.01146067837044e-12*fs - 2.32324430844522e-12);

    b3 = Fuzz*(Fuzz*(Volume*pow(fs,3)*(9.53983026998693e-20*fs + 1.07670341597783e-14) + pow(fs,3)*(-9.53983026998693e-20*fs - 1.07670341597783e-14)) + Volume*pow(fs,3)*(-9.53983026998693e-20*fs + 1.00069342739634e-12) + pow(fs,3)*(9.53983026998693e-20*fs - 1.00069342739634e-12)) + Volume*pow(fs,2)*(-1.01146067837044e-12*fs + 2.32324430844522e-12) + pow(fs,2)*(1.01146067837044e-12*fs - 2.32324430844522e-12);

    b4 = Fuzz*(Fuzz*(Volume*pow(fs,3)*(-1.43097454049804e-19*fs + 5.38351707988916e-15) + pow(fs,3)*(1.43097454049804e-19*fs - 5.38351707988916e-15)) + Volume*pow(fs,3)*(1.43097454049804e-19*fs + 5.00346713698171e-13) + pow(fs,3)*(-1.43097454049804e-19*fs - 5.00346713698171e-13)) + Volume*pow(fs,2)*(-5.05730339185222e-13*fs - 1.16162215422261e-12) + pow(fs,2)*(5.05730339185222e-13*fs + 1.16162215422261e-12);

    b5 = Fuzz*(Fuzz*(Volume*pow(fs,3)*(4.76991513499346e-20*fs - 5.38351707988916e-15) + pow(fs,3)*(-4.76991513499346e-20*fs + 5.38351707988916e-15)) + Volume*pow(fs,3)*(-4.76991513499346e-20*fs - 5.00346713698171e-13) + pow(fs,3)*(4.76991513499346e-20*fs + 5.00346713698171e-13)) + Volume*pow(fs,2)*(5.05730339185222e-13*fs - 1.16162215422261e-12) + pow(fs,2)*(-5.05730339185222e-13*fs + 1.16162215422261e-12);

    a0 = Fuzz*(Fuzz*fs*(fs*(fs*(fs*(-3.73292075290073e-29*fs - 1.05633134620746e-20) - 3.11506369039915e-14) - 2.30719916990074e-11) - 1.07493164710329e-9) + fs*(fs*(fs*(fs*(3.73292075290073e-29*fs + 1.01643277726662e-20) + 2.91602352831988e-14) + 2.29636966370042e-11) + 1.07449105454163e-9)) + fs*(fs*(fs*(3.98985774247549e-22*fs + 1.99042653510896e-15) + 1.83615604104971e-13) + 5.31230624730483e-11) + 2.44402781742033e-9;

    a1 = Fuzz*(Fuzz*fs*(fs*(fs*(fs*(1.86646037645036e-28*fs + 3.16899403862238e-20) + 3.11506369039915e-14) - 2.30719916990074e-11) - 3.22479494130986e-9) + fs*(fs*(fs*(fs*(-1.86646037645036e-28*fs - 3.04929833179984e-20) - 2.91602352831988e-14) + 2.29636966370042e-11) + 3.22347316362488e-9)) + fs*(fs*(fs*(-1.19695732274265e-21*fs - 1.99042653510896e-15) + 1.83615604104971e-13) + 1.59369187419145e-10) + 1.22201390871017e-8;

    a2 = Fuzz*(Fuzz*fs*(fs*(fs*(fs*(-3.73292075290073e-28*fs - 2.11266269241492e-20) + 6.2301273807983e-14) + 4.61439833980148e-11) - 2.14986329420657e-9) + fs*(fs*(fs*(fs*(3.73292075290073e-28*fs + 2.03286555453323e-20) - 5.83204705663976e-14) - 4.59273932740084e-11) + 2.14898210908325e-9)) + fs*(fs*(fs*(7.97971548495099e-22*fs - 3.98085307021793e-15) - 3.67231208209942e-13) + 1.06246124946097e-10) + 2.44402781742033e-8;

    a3 = Fuzz*(Fuzz*fs*(fs*(fs*(fs*(3.73292075290073e-28*fs - 2.11266269241492e-20) - 6.2301273807983e-14) + 4.61439833980148e-11) + 2.14986329420657e-9) + fs*(fs*(fs*(fs*(-3.73292075290073e-28*fs + 2.03286555453323e-20) + 5.83204705663976e-14) - 4.59273932740084e-11) - 2.14898210908325e-9)) + fs*(fs*(fs*(7.97971548495099e-22*fs + 3.98085307021793e-15) - 3.67231208209942e-13) - 1.06246124946097e-10) + 2.44402781742033e-8;

    a4 = Fuzz*(Fuzz*fs*(fs*(fs*(fs*(-1.86646037645036e-28*fs + 3.16899403862238e-20) - 3.11506369039915e-14) - 2.30719916990074e-11) + 3.22479494130986e-9) + fs*(fs*(fs*(fs*(1.86646037645036e-28*fs - 3.04929833179984e-20) + 2.91602352831988e-14) + 2.29636966370042e-11) - 3.22347316362488e-9)) + fs*(fs*(fs*(-1.19695732274265e-21*fs + 1.99042653510896e-15) + 1.83615604104971e-13) - 1.59369187419145e-10) + 1.22201390871017e-8;

    a5 = Fuzz*(Fuzz*fs*(fs*(fs*(fs*(3.73292075290073e-29*fs - 1.05633134620746e-20) + 3.11506369039915e-14) - 2.30719916990074e-11) + 1.07493164710329e-9) + fs*(fs*(fs*(fs*(-3.73292075290073e-29*fs + 1.01643277726662e-20) - 2.91602352831988e-14) + 2.29636966370042e-11) - 1.07449105454163e-9)) + fs*(fs*(fs*(3.98985774247549e-22*fs - 1.99042653510896e-15) + 1.83615604104971e-13) - 5.31230624730483e-11) + 2.44402781742033e-9;
};

by brummer at March 29, 2015 01:12 PM

March 28, 2015

linux.autostatic.com » linux.autostatic.com

Wolfson Audio Card for Raspberry Pi

Just ordered a Wolfson Audio Card for Raspberry Pi via RaspberryStore. I asked them about this audio interface at their stand during the NLLGG meeting where I did a presentation about doing real-time audio with the RPi and they told me they would ship it as soon as it would become available. They kept their word so I'm hoping to mount this buddy on my RPi this very week. Hopefully it will be an improvement and allow me to achieve low latencies with a more stable RPi so that I can use it in more critical environments (think live on stage). It has a mic in so I can probably set up the RPi with the Wolfson card quite easily as a guitar pedal. Just a pot after the line output, stick it in a Hammond case, put guitarix on it and rock on.


Wolfson Audio Card for Raspberry Pi

by Jeremy at March 28, 2015 05:18 PM

March 27, 2015

linux.autostatic.com » linux.autostatic.com

LAC2014: submission accepted!

My submission for the Linux Sound Night at LAC2014 with The Infinite Repeat has been accepted. The Call for Papers page mentions the term "danceable" so I'm going to focus on that. Making danceable music is quite a challenge for me but it should definitely be doable to produce a solid set, especially now that I'm the proud owner of a Korg Volca Keys. I'm definitely going to integrate it in my current setup as the Volca reacts great on MIDI sent from my workstation. It has some fat sounds that just scream dance floor.


Korga Volca Keys

I'm really looking forward to this year's LAC. It seems falkTX and avlinux are going too, it'd be great to meet these guys in real life!

by Jeremy at March 27, 2015 11:13 AM

Libre Music Production - Articles, Tutorials and News

LAC 2015 program

This years Linux Audio Conference will be getting underway in just under two weeks time. The conference runs from April 9th to 12th and will be taking place in Mainz, Germany.

You can now check out the program for the conference over at the LAC website. Don't forget, if you have any questions, you can hop onto the the LAC2015 IRC channel.

by Conor at March 27, 2015 08:58 AM

March 26, 2015

Libre Music Production - Articles, Tutorials and News

Musescore 2.0 Released

After over four years of development and a lot of work from over 400 contributors, MuseScore 2.0 is finally available! You can download it from musescore.org.

by Eduardo at March 26, 2015 03:15 PM

Hackaday » digital audio hacks

SNES Headphones Cry for Bluetooth Has Been Answered

A year and a half ago we ran a post about a SNES controller modified into a pair of headphones. They were certainly nice looking and creative headphones but the buttons, although present, were not functional. The title of the original post was (maybe antagonistically) called: ‘SNES Headphones Scream Out For Bluetooth Control‘.

Well, headphone modder [lyberty5] is back with a vengeance. He has heeded the call by building revision 2 of his SNES headphones… and guess what, they are indeed Bluetooth! Not only that, the A, B, X and Y buttons are functional this time around and have been wired up to the controls on the donor Bluetooth module.

To get this project started, the SNES controller was taken apart and the plastic housing was cut up to separate the two rounded sides. A cardboard form was glued in place so that epoxy putty could be roughly formed in order to make each part completely round. Once cured, the putty was sanded and imperfections filled with auto body filler. Holes were drilled for mounting to the headband and a slot was made for the Bluetooth modules’ USB port so the headphone can be charged. The headphones were then reassembled after a quick coat of paint in Nintendo Grey. We must say that these things look great.

If you’d like to make your own set of SNES Bluetooth Headphones, check out the build video after the break.


Filed under: digital audio hacks, nintendo hacks

by Rich Bremer at March 26, 2015 08:01 AM

March 25, 2015

rncbc.org

QjackCtl 0.3.13, Qsynth 0.3.9, Qsampler 0.3.0 released!

The pre-LAC2015 release frenzy continues... ;)

Now for the next batch...

QjackCtl - A JACK Audio Connection Kit Qt GUI Interface

QjackCtl 0.3.13 is out.

QjackCtl is a simple Qt application to control the JACK sound server, for the Linux Audio infrastructure.

website:
http://qjackctl.sourceforge.net
downloads:
http://sourceforge.net/projects/qjackctl/files

Change-log:

  • Added application description as freedesktop.org's AppData.
  • Setup dialog form is now modeless.
  • Introducing brand new active patchbay reset/disconnect-all user preference option.
  • Current highlighted client/port connections are now drawn with thicker connector lines.
  • New user preference option on whether to show the nagging 'program will keep running in the system tray' message, on main window close.
  • Connections lines now drawn with anti-aliasing; connections splitter handles width is now reduced.
  • Drop missing or non-existent patchbay definition files from the most recent used list.

Flattr this


Qsynth - A FluidSynth Qt GUI Interface

Qsynth 0.3.9 is out.

Qsynth is a FluidSynth GUI front-end application written in C++ around the Qt4 toolkit using Qt Designer.

website:
http://qsynth.sourceforge.net
downloads:
http://sourceforge.net/projects/qsynth/files

Change-log:

  • Added application description as freedesktop.org's AppData.
  • New user preference option on whether to show the nagging 'program will keep running in the system tray' message, on main window close.
  • Application close confirm warning is now raising the main window as visible and active for due top level display, especially applicable when minimized to the system tray.
  • A man page has been added.
  • Translations install directory change.
  • Allow the build system to include an user specified LDFLAGS.
  • Czech (cs) translation updated (by Pavel Fric, thanks).

Flattr this


Qsampler - A LinuxSampler Qt GUI Interface

Qsampler 0.3.0 is out.

Qsampler is a LinuxSampler GUI front-end application written in C++ around the Qt4 toolkit using Qt Designer.

website:
http://qsampler.sourceforge.net
downloads:
http://sourceforge.net/projects/qsampler/files

Change-log:

  • Added application description as freedesktop.org's AppData.
  • Added this "Don't ask/show this again" option to some if not most of the nagging warning/error message boxes.
  • Mac OS X: Fixed default path of linuxsampler binary.
  • When closing qsampler and showing the user the dialog whether to stop the LinuxSampler backend, set the default selection to "Yes".
  • Master volume slider now getting proper layout when changing its main toolbar orientation.
  • Messages standard output capture has been slightly improved as for non-blocking i/o, whenever available.
  • Adjusted configure check for libgig to detect the new --includedir.
  • A man page has beed added (making up Matt Flax's work on debian, thanks).
  • Translations install directory change.
  • Added support for SF2 instrument names/preset enumeration.
  • Added instrument list popup on channel strip which shows up when the instrument name is clicked. Allows faster switching among instruments of the same file.
  • Adjusted configure check for libgig to detect its new --libdir (impolitely forcing the user now to have at least libgig 3.3.0).

Flattr this

License:

QjackCtl, Qsynth and Qsampler are free, open-source software, distributed under the terms of the GNU General Public License (GPL) version 2 or later.

Enjoy && have some fun!

by rncbc at March 25, 2015 06:30 PM

Hackaday » digital audio hacks

Logic Noise: Filters and Drums

Filters and Drums

Logic Noise is an exploration of building raw synthesizers with CMOS logic chips. This session, we continue to abuse the 4069UB as an amplifier. We’ll turn the simple unity-gain buffer of last session into a single-pole active lowpass filter with a single part. (Spoiler: it’s a capacitor.)

While totally useful, this simple filter is a bit boring and difficult to make dynamic. So we’ll look into an entirely different filter, the Twin-T notch filter, that turns out to be sharp enough to build a sine-wave oscillator on, and tweakable enough that we’ll make a damped-oscillator drum sound out of it.

Here’s a quick demo of where we’re heading. Read on to see how we get there.

Filters

Last session, we built an amplifier and played around with the gain: the ratio of how much voltage swing is output relative to how much is input. An active filter is an amplifier where this gain depends on the frequency of the incoming signal. This lets us carve out different frequency ranges that we’d either like more or less of. (In general, though, you don’t need an amplifier to filter. See passive filters versus active filters.)

When you pluck a string on a guitar, for instance, all sorts of frequencies are produced. But over time the string vibrations are damped out by the wood that the guitar is made of, and within a half-second or so, most of the vibrations left are related to the string’s fundamental vibrational frequency (determined by where your finger is on the frets). The higher frequency vibrations are the first to go. This suggests a sound synthesis strategy to make “natural” sounding instruments: generate all sorts of frequencies and then filter out the higher ones.

Single-pole Lowpass Filter

Given that we’ve already made a few simple amplifier circuits last time, it’s a quick step to understand the simplest of all filters: the single-pole filter. Here’s the circuit diagram:

filter.sch

Yeah, that’s an added capacitor. That’s all there is to it. But have a listen to the difference:

Remember the intuition about the negative-feedback amplifier from last time. We had two resistors, one between the input and the 4069, and the other in feedback between the (inverted) output and the input. When the input voltage wiggled around the 4069’s neutral voltage, the output wiggled in the opposite direction. And the ratio of the voltage swings, the gain, depends on how hard the feedback path has to work to cancel out the incoming signal current.

The same intuition works for the filter, as long as you understand one thing about capacitors. Capacitors pass current through them only reluctantly. The amount of current a capacitor passes before it’s “charged up” to a voltage that resists any further incoming current is referred to as its capacitance. Or, in electro-math: C = Q/V or V = Q/C, where Q is the charge on the capacitor, which is also the current (charge per second) summed up over time.

In short, the more charge you put into a capacitor, the higher voltage it develops to resist putting more charge into it. And how quickly this voltage ramps up is proportional to one over the capacitance and directly proportional to the current passing through.

For us, this means that it’s easy to pass a given current through a capacitor for a short while, harder to pass the same current through for a longer time, and impossible to get current through forever without increasing the input voltage to overcome the capacitor’s “charged-up” voltage. Or put another way: capacitors let high frequency current vibrations through easily, resist middle frequencies, and deny constant-voltage direct current.

So what happens when we put a capacitor in the feedback path of our unity-gain feedback amplifier? Since the capacitor nearly blocks very low frequencies, all of them have to pass through the resistor, and we get unity gain. As we increase the frequency, some of the current starts to pass through the capacitor and the total feedback resistance is lowered. This means that the output has an easier job cancelling out the input, and thus less gain at middle frequencies. At very high frequencies, the capacitor will pass currents so easily that almost none will even need to go through the resistor, and the gain drops even lower.

Put more succinctly, the capacitor resists lower frequencies more than higher ones. In a negative feedback amplifier, output gain increases when it’s harder to push current through the feedback path. So by putting a capacitor in the feedback path, we make an amplifier with more gain in the low frequencies and less gain for higher frequencies. Voila, a lowpass filter!

Variable Cutoff Lowpass Filter

What if we want to vary the cutoff frequency? In math, the cutoff frequency for a single pole lowpass filter like this is 1/(2 * pi * R * C). Practically, we can vary the cutoff frequency by changing the capacitor or by changing the input current through the resistor. So we’ll set the basic range by picking a capacitor value and vary the filter’s frequency response by turning a potentiometer. For the circuit here, the cutoff frequency ranges from 160 Hz at 100k ohms to 1600 Hz at 10k ohms.

But there’s one catch with varying the input resistor; we also change the overall gain which depends on the ratio of feedback resistor to input resistor. So if you’re going to be changing the frequency response by changing the input resistor a lot, you might also want to change the feedback resistor at the same time to track it, holding the overall (passband) gain roughly constant. For that, you’ll need a stereo / dual potentiometer, which is simply two potentiometers linked to the same shaft. With one knob, you control two identical resistors.

Before we leave the single pole filter, you can convert the lowpass filter here into a highpass filter simply by moving the capacitor out from the feedback loop and sticking it in front of the input resistor. Give it a shot!

Twin-T Filter

Our story gets significantly more interesting if we toss a more complicated filtering element in the feedback path, and one of our favorite filters is the Twin T. Instead of being a lowpass filter like the one above, the Twin T is a notch filter. Notch filters pass both high and low frequencies, but are tuned to knock out a particular frequency in the middle.

In its raw form, the Twin T filter is fairly useful for killing a specific nuisance frequency in a signal. Maybe you want to knock out power line noise (60Hz in the USA, 50Hz in Europe). Toss a Twin T filter that’s tuned to 60Hz into the chain, and you’ll get rid of most of the noise without damping down the rest of your signal very much. To see why it’s called a Twin T, have a look at the circuit diagram:

twint.sch

The Twin T works by combining two signal paths, each one T-shaped. The T with two resistors and a capacitor to ground is a simple lowpass filter, essentially a passive version of the one we made above. The other T with the series capacitors and resistor to ground is a highpass filter.

Highpass and lowpass sounds like everything should get through, right? Yes, but. At the frequency that the filter is tuned for (the “cutoff” frequency) the two outputs are exactly 90 degrees out of phase from the input, but in opposite directions. In theory, if both Ts are tuned to the same frequency the two paths exactly cancel each other out at the cutoff frequency and none that cutoff frequency makes it through at all. In reality, you can actually get the two branches fairly close to each other and get very good, but not perfect, cancellation of the tuned frequency.

What happens when we put a Twin T filter into the feedback path of an amplifier? Remember that the negative feedback logic requires the output to create more voltage the harder it is to push current back through the feedback path. So instead of knocking out the frequency that the filter is tuned to, we get that one particular frequency amplified. If there’s a little bit of noise entering the input at our tuned frequency, it’ll get amplified a lot and all of the other frequencies will get attenuated. And suddenly you’ve got a sine-wave oscillator.

Drums

Which brings us to today’s killer circuit, and a little bit of a refinement on the above explanation. The short version is that we detune the Twin T filter a little bit so that it only rings when it’s given an impulse and then dies out.

First let’s play a little bit and build up the Twin-T and 4069UB amplifier part of the circuit. It’s just the Twin-T filter from above set up in the feedback path of a 4069UB inverter stage, and then sent out directly through another 4069UB inverter as a buffer. It’s overdriven and you’ll hear the clicks of the trigger bleeding through, but it’s a start.

drums_simple.sch

Refinements

With the basic circuit working, let’s expand on it in two different ways. First, we’ll drive the drum with another oscillator circuit. Then, we’ll pass the audio out through a lowpass filter to knock off some of the trigger pulse bleedthrough.

Here’s the final circuit:

drums.sch

Starting on the left, we have a very low frequency oscillator set up on the 40106 and buffered using another 40106 stage. This simply puts out a nice reliable square wave. The signal then passes through a capacitor, which again has the effect of letting only the higher frequencies pass through. What makes it through looks basically like a quick pulse (in green).

drum_square_to_trigger

The trigger signal pulse is inserted into the feedback loop of the Twin T. It’s actually not crucial where you attach the trigger, but it’ll couple less with the Twin T section if you connect it here.

And finally, we’ll pass the signal through a lowpass filter to remove the clicky noise that comes from the raw trigger signal feeding through to the output.

Range

What values should we use for capacitors and resistors? Try to pick the component values so that the single capacitor in the lowpass T is twice as large as the two capacitors (2 C) and the single resistor is half as large as the paired resistors (1/2 R). This makes both Ts tune to the same frequency, given again by 1/(2*pi*R*C) where R and C are the values of the paired resistors and capacitors respectively.

In practice, try to get factor-of-two capacitors and leave the resistors adjustable wherever possible. Since we’ll be de-tuning the circuit on purpose to make the oscillations die out slowly, there’s not a reliable formula for the resistances. You’ll just have to pick capacitors and tweak the knobs until it works. That said, if you find you want frequencies outside of the range that you’re currently getting, don’t hesitate to swap out the capacitors.

Tweaking and Tuning

Detuning the Twin-T section is the secret to making this circuit work as a drum rather than as a sine-wave oscillator, and the approach you’ll have to take is a bit experimental, so let’s talk about tuning this circuit. If you align the two halves of the Twin T perfectly, as we mentioned before, only the one single frequency will be blocked, and thus only that one frequency will be amplified by the negative feedback circuit. You’ll get a very nice sine wave oscillator, but not drums.

If you detune the two halves of the Twin T from each other, especially if you do so by raising the cutoff frequency of the highpass filter so that it’s higher than the lowpass filter, a wider and wider band of frequencies are blocked by the Twin T, and thus receive the extra gain from the amplifier.

But as you spread the gain over a wider and wider band of frequencies, you get less gain at any given frequency. As you continue to detune the Ts from each other, you’ll reach a point where the circuit no longer amplifies any single frequency enough to oscillate indefinitely by itself. However, and this is the key here, the filter will oscillate for a while if you provide it with a strong enough impulse signal. And that’s exactly what we’re doing with the square wave coupled through the capacitor coming from the tempo oscillator. It’s nice to watch the damped waveforms on a scope if you’ve got one.

drum_trigger_and_pulse

So here’s a procedure for getting close to your desired sound. To enable oscillation over a wide range of frequencies, set the decay potentiometer as low as it will go. This sets the highpass leg of the T to a very high cutoff frequency, which means that it’s passing nearly nothing. This frees up the lowpass T section to determine the pitch, and for most of the tuning potentiometer’s range you’ll get oscillations. Pick the rough pitch you want by listening to the oscillator. Now you can tune up the decay pot until the oscillations are just damped out and you’ll be set.

But notice that the two potentiometers influence each other a little bit. That’s because the two legs of the T are simply electrically connected. So as you increase the decay to go from oscillator to drum, be ready to also tweak the frequency potentiometer to keep the drum tone at your desired pitch and decay rate.

Extensions

If you’re interested in exploring more active filter designs than just the single pole lowpass shown here, have a look at Rod Elliott’s great writeup on active filters. You can either break down and use op-amps and dual power supplies, or you can keep hacking and replace any of the op-amps in his circuits with a 4069UB stage as long as they only use negative feedback and have the op-amp’s positive terminal connected to ground. In particular, have a look at the multiple feedback topology and the biquad.

If you don’t need synth drums, you can simply tune the Twin T up and use the circuit as a sine wave oscillator. For a single set of capacitors it’s not very widely adjustable, but if all you need is a single frequency you can pick the right capacitors and you’re set. It’s not the best sine wave oscillator out there, but it’s hard to beat a one-chip build with a few passive components thrown in.

But don’t take our word for it: here’s a scope shot. The yellow line is the produced sine wave, and the purple is a FFT of the signal. Vertical bars are 20dBV, or a factor of ten. The first peak, at 150Hz is our sine wave, and the second peak is down in voltage by about a factor of 100. It’s not lab equipment, but it’s pretty solid for the abuse of a CMOS logic chip.

scope_0

And there’s nothing stopping you from feeding the circuit with audio-frequency trigger pulses if you want to freak out. The result is very similar to the sync oscillator we built before but it’s a lot mellower because the waveforms involved are fundamentally sine waves here.

Have fun!


Filed under: digital audio hacks, Featured, musical hacks

by Elliot Williams at March 25, 2015 02:01 PM

Scores of Beauty

Schemellis Gesangbuch

This month, March 2015, marks J.S.Bachs 330th birthday. For the occasion, the Pirate-Fugues team has published a new edition of 4-voiced transcriptions of the songs from Schemellis Musicalisches Gesang-Buch, BWV 439–507. LilyPond is among the tools in our production pipeline.

Some of the arias in Georg Christian Schemellis song book are fairly well known, for instance: Ich steh an deiner Krippe hier, BWV 469, and Komm süsser Tod, BWV 478.

Each original score from the collection consists of 2 voices:

  • a soprano voice with lyrics, and
  • a bass voice with Generalbass notation.

Here is an example: The first few measures of Mein Jesu, was für Seelenweh, BWV 487

bwv0487input

In order to create a 4-voiced transcription, we add 2 voices in between the 2 existing ones. The resulting score could look something like

bwv0487output

Transcriptions of these songs already exist. So what is special about our edition? Our goal was to create the 4-voiced transcriptions as faithful as possible to J.S.Bach’s own musical style. And, we want the computer to help us do it. Our composition approach is data-driven: Our custom made software harvests patterns from over 1700+ digitized scores by J.S.Bach.

The process is not fully automated, and we don’t think this is desirable anyways. Instead, the software computes between 10–30000 suggestions of up to 3 measures in duration. The suggestions are readily sorted according to intuitive mathematical criteria such as

  • voice coverage,
  • number of notes,
  • frequency of note constellations in database.

These and other categories allow the user to filter and narrow down the numerous possible insertions in a convenient and meaningful way.

The creative process usually takes 15–45 minutes for an entire song and requires a lot of user interaction. The video is only a summary to illustrate what the computed suggestions look like for the song BWV 487 already introduced above:

Note that, the sequential start-to-finish fashion is only to make the video align with the music. During the composition phase, the user can choose to edit the score in any order.

Before we elaborate on the role of LilyPond in our publication, we wrap up the description of the project:

Our software has a unique set of requirements:

  • the music notation (as shown in the video) requires precise control over the note placement in order to prevent jerkiness when browsing the suggestions;
  • extra information is drawn into the score: selected pitch range for computation, available pitches in the suggestions;
  • user interaction with the mouse filters and narrows down the suggestions.

No prior API was available to perform these tasks. So instead, we developed our own and called it The Pirate Fugues.

The audio for the collection of 69 songs is synthesized using 3rd party software Pianoteq, Ivory II, and Hauptwerk (all trademarked!, and to none of which we are affiliated). For each song, we provide an animation that visualizes the suggestions by our software and indicate the local correlation of the final score to the database. The website of our project is http://djtascha.de/schemellis-gesangbuch/ where you can listen to the results, download the sheet music, and find additional information on the technique.

Disclaimer: Faithful to J.S.Bach’s style is a bold claim and one that invariably sparks controversy. Although we have taken great care in compiling each score in the collection, there is room for improvement. Apart from creating the music, another objective of the project was to learn about the strengths and weaknesses of the software. Independent of your background in music, feel free to let us know what you think. Thank you!

Now, back to LilyPond:

We have introduced LilyPond to our workflow about 2 years ago. From Lilypond, we have adapted

  • the chord notation,
  • the ornament labelling and graphics, as well as
  • the Mensur note apparel.

Since then, all scores from our projects are algorithmically exported LilyPond for on-screen preview, and ready-to-print pdfs. We are not aware of any alternative to LilyPond that is as convenient and yields results of the same visual quality.

In the future, we hope that notation software like LilyPond will be able to imitate the handwriting of famous composers such as J.S.Bach.

by datahaki at March 25, 2015 08:01 AM

March 23, 2015

rncbc.org

QmidiNet 0.2.1, QmidiCtl 0.2.0 released!

The pre-LAC2015 pre-season has just been started!

Here goes the first batch... ;)

QmidiNet - A MIDI Network Gateway via UDP/IP Multicast

QmidiNet 0.2.1 released!

QmidiNet is a MIDI network gateway application that sends and receives MIDI data (ALSA-MIDI and JACK-MIDI) over the network, using UDP/IP multicast. Inspired by multimidicast and designed to be compatible with ipMIDI for Windows.

Website:

http://qmidinet.sourceforge.net

Project page:

http://sourceforge.net/projects/qmidinet

Downloads:

http://sourceforge.net/projects/qmidinet/files

Flattr this

QmidiCtl - A MIDI Remote Controller via UDP/IP Multicast

QmidiCtl 0.2.0 released!

QmidiCtl is a MIDI remote controller application that sends MIDI data over the network, using UDP/IP multicast. Inspired by multimidicast (http://llg.cubic.org/tools) and designed to be compatible with ipMIDI for Windows (http://nerds.de). QmidiCtl has been primarily designed for the Maemo enabled handheld devices, namely the Nokia N900 and also being promoted to the Maemo Package repositories. Nevertheless, QmidiCtl may still be found effective as a regular desktop application as well.

Website:

http://qmidictl.sourceforge.net

Project page:

http://sourceforge.net/projects/qmidictl

Downloads:

http://sourceforge.net/projects/qmidictl/files

Flattr this

Change-log:

  • Reset (to network defaults) button added to options dialog, which also gets some layout reform.
  • Added application description as freedesktop.org's AppData.
  • Previously hard-coded UDP/IP multicast address (225.0.0.37) is now an user configurable option.
  • A man page has beed added. (QmidiCtl backlog)
  • Allow the build system to include an user specified LDFLAGS. (QmidiCtl backlog)

License:

Both QmidiNet and QmidiCtl are free, open-source software, distributed under the terms of the GNU General Public License (GPL) version 2 or later.

Cheers && Enjoy!

by rncbc at March 23, 2015 06:30 PM

March 21, 2015

Libre Music Production - Articles, Tutorials and News

Libre Music Production tutorial features in Linux Format!

Libre Music Production's tutorial, "Ultimate Guide to Getting Started With Guitarix" is featured in this month's issue of Linux Format, out now! (Issue 196, April 2015)

This is our second time to feature in Linux Format. We'd like to again thank Neil Mohr and all at Linux Format for making this happen!

by Conor at March 21, 2015 06:48 PM

March 20, 2015

Hackaday » digital audio hacks

Auto-sleep Hacked in PC Speakers

We can commiserate with [HardwareCoder] who would rather not leave his PC speakers on all the time. The Creative T20 set that he uses turn off when you turn the volume knob all the way down until it clicks. So shutting them off means repositioning the volume each time they’re switched on again. This hack kills two birds with one stone by turning on and off automatically without touching that knob.

The system is based around an ATtiny45 and a few other simple components. It uses two ADCs to monitor the rear input channels of the PC speakers. If no sound is detected for more than one minute, the shutdown pin of the speakers’ amp chip is triggered. That’s not quite where the hack ends. We mentioned it monitors the rear input of the speakers, but it doesn’t monitor the front AUX input. An additional push button is used to disable the auto-sleep when using this front input. There is also a fancy PWM-based heartbeat on an LED when the speakers are sleeping.

[HardwareCoder] was worried that we wouldn’t be interested in this since it’s quite similar to a hack we ran a few years ago. We hope you’ll agree it’s worth another look. He also warned us that the demo video was boring. We watched it all anyway and can confirm that there’s not much action there but we embedded it below anyway.


Filed under: ATtiny Hacks, digital audio hacks, peripherals hacks

by Mike Szczys at March 20, 2015 05:00 AM

March 18, 2015

Libre Music Production - Articles, Tutorials and News

Libre Music Production Workshop in Barcelona

Andrés Pérez López is planning a workshop in Barcelona promoting free and open source software for making music. It will also feature some material published here on Libre Music Production. The workshop is planned to take place in CC Convent de Sant Agustí from 22nd April to 20th May. The program for the workshop is as follows -

by Conor at March 18, 2015 05:08 PM

Carla 2.0 beta4 is here!

Carla has just seen it's fourth beta release. This release is mostly focused on bug-fixing but there are some interesting new features.

The highlights are:

  • Updated plugin skins
  • New experimental plugins
  • MOD GUI Support

Also of note is a new MIDI sequencer plugin. This is experimental and in it's early stages but it is an interesting addition all the same.

by Conor at March 18, 2015 04:59 PM

PipeManMusic

Requiem for a Hero: Part II

A politician is a fickle thing, it changes allegiances as quickly as a wind blown $5 bill changes hands. Ownership means nothing to it. The crime bosses liked the systems of prohibition on certain common street drugs, it allowed their prices and profits to reach almost limitless heights. It fed the machinery that really ruled the world. The machinery, however, still has not found a solution to the problem it finds most troublesome. In spite of all it's efforts it still relies on the fickle voter to vote against their own best interest as they have done since they where given the gift of voting. Thankfully most the time the voter seems to have a deep-seated need to self sabotage, and only in very rare circumstances will they vote against the machinery that really runs the world. So it was a very rare case with the legalization of a certain common street drug. Enough voters had grown tired of the oppression and crime the drug's prohibition brought on the world and voted for the legalization. In response to the change in voter sentiment , and because a politician can change their allegiances in response to anything, the politicians all had very important meetings and collectively came to the conclusion it would be in everyone's best interest, mostly their own, to not fight the law. The result was a lot of temporarily unhappy criminals and a lot of tax revenue. The wind of popular opinion had blown the politicians into their own dark alley and on top of their own trash pile and they always did their best work in these types of situations.

The tax revenue from the now legal common street drug was, as decided by the voters, allotted to be used for the city's underfunded schools. This, of course, did not happen. The machinery that really ran the world hated schools. Schools teach people to vote in their own best interest. This is something that the machinery would never let happen. So the politicians found clever ways to divert the money to the recently upset criminals as a way to make up for having not prevented the voters from voting in their own best interest and so everyone, who mattered to the machinery, was happy.

Who wasn't happy where the future voters and current children at the local underfunded school. One of whom was the daughter of a recently deceased local hero that had been killed, unbeknownst to her, by a local crime boss. The daughter didn't even know her father was a hero. To her he was just another parent, preoccupied with the machinery that really ran the world and not very interested in the day to day dealings of his family's operation.

The daughter of the recently deceased local hero did well in her underfunded school. She always tried her hardest in everything she did. She was a good student, athlete, friend and daughter. She ate healthy, and in contrast to the other future voters and current children at the local underfunded school, she didn't drink sugary soda made from the chemically processed byproducts of inedible corn. She in every way lived up to the impeccable moral code of her recently deceased local hero father. She worried about the environment, and because of this she didn't  use disposable water bottles. She had written a report for a class at her underfunded school that the plastic from the disposable water bottles would pollute the local waterways of the city and that as an alternative everyone, like her, should carry a reusable water bottle with them. She took her ecologically friendly water bottle with her every where and filled it during the short period of time between classes at the water fountains in her underfunded school.

Unfortunately for the daughter of the recently deceased local hero, and the city, it was too late for the local waterways. They had all ready been polluted by the toxic and unfortunate side effect of a local business. The CEO of the company responsible for the dumping of the toxic and unfortunate side effect had recently been arrested and convicted of violating EPA regulations by illegally dumping substance and thus polluting city's local waterways. The representatives for the machinery that really ran the world asked him nicely to step down as CEO, pay a fine and spend 3 months in a local minimum security prison. The minimum security prison was much nicer than the other prison in the city that was mostly filled with the users of a formerly illegal common street drug. Most of whom suffered from formerly treatable chemical imbalances in their brain that had, at one time, been easily treated with prescription medication.

Little did the daughter of the recently deceased local hero know that her body didn't seem able to deal with the  toxic and unfortunate byproduct of a local business that had been dumped, illegally, into the local water ways and was now present in the drinking fountains of the underfunded school with which she filled the ecologically friendly water bottle she always had with her. Her young and athletic body was rapidly turning weak and frail like that of an old woman. She now possessed the kind of body that $5 worth of calories would make the difference between another week of living and escaping into the dark abyss of non-existence.

When the chief of police had told the daughter of the recently deceased local hero that her father was missing and presumed dead the daughter cried her toxic laden tears, fainted and crumpled out of her chair onto the floor. It was all too much for her frail body to take. The chief didn't even have time to give his well rehearsed speech about how they didn't have any solid leads in the case but that he would personally see to solving the matter and bring peace and justice to her and her family. Instead an ambulance took the daughter to a local hospital where she was placed on life support in a room next to a homeless man being treated for a variety of afflictions related to his homelessness.

The homeless man had an imbalance of brain chemicals that he self medicated with a now legal common street drug. While it was now legal to buy and use the common street drug it was not legal to use it in the street where the homeless man lived. So he had been arrested by the local police. He was being cleaned up and treated for his medical conditions, except of course the brain chemical imbalance, and would soon be transferred to a holding cell while he awaited conviction and sentencing to a local prison. He had no chance of going to the prison where the former CEO was serving his 3 month sentence for the illegally dumping of a toxic and unfortunate side effect of his former company's business.

The imbalanced chemicals in the homeless man's brain told him he would never make it in prison and that he would be better off in the dark abyss of non-existence. So when the nurse turned out the light and left him alone in his room to sleep he used a cord from the lamp in his hospital room to make his transition. So too did the girl in the the next room who was the daughter of the now deceased local hero and who's  frail body could no longer stand the strains of the toxic and unfortunate substance it had running through it. She joined the homeless man and her hero father in the dark abyss of non-existence.

A journalist, in contrast to a politician, doesn't simply change allegiances. They simply try to make the best of a bad situation. They are the hapless victims of changing times and a dying industry. The machinery that really runs the world was working hard on solving another problem that had caused voters to vote in their own best interest, newspapers. The machinery had invent all sorts of new devices and systems to distract voters and keep them from voting in their own self interest or reading pesky newspapers. In spite of the machinery's efforts, journalists have become reasonably good at doing their job with the bad hand the machinery ensured they where dealt.

In this specific case and with this specific journalist, the best that could be made of the situation was printing the story that would make his career. It had been handed to him by a local hero who had disappeared without a trace or police lead. The journalist knew nothing of the hero. Just that a package that contained all the information he'd been trying to coax out of the machinery about a local crime boss and all the proof of the illegal activity.

The story the journalist produced with this information could not have been better written. The case against the local crime boss could not have been better presented. The story however was not the most important to the editor of the newspaper that day. The most important story was that of a beautiful and smart young girl who had died of an unknown condition right after hearing the news that her father was missing and presumed dead. The story of the crime boss was pushed further back into the newspaper where no one read it, except frail old women, heroes and villains.

After being released from minimum security prison the former CEO was hired as a consultant by a former crime boss who was in the process of turning his criminal operation into a legal enterprise specializing in the sale of a now legal and formerly common street drug. The former CEO helped the former crime boss turn the former criminal enterprise into a highly profitable and publicly traded company. A local stock broker made a prudent investment in the now legal company shortly after the company's initial public offering and made a sizeable fortune when he later sold the stock to other representatives of the machinery that really ran the world. The three men, all fine representatives of the machinery that really ran the world in their own right, met regularly at a local pub a few doors down from a successful local company, to discuss the now legal business of selling a formerly common street drug and to eat ham sandwiches. They really loved those ham sandwiches.

by Daniel Worth (noreply@blogger.com) at March 18, 2015 04:45 PM

KXStudio News

Carla 2.0 beta4 is here!

Hello again everyone, we're glad to bring you the 4th beta of the upcoming Carla 2.0 release.
This release is mostly focused on bug-fixing, so there aren't many splashy new features to show compared to previous ones.
Still, here's the highlights:

Highlights

updated-skins

Updated plugin skins

The plugin skins received some updates once again.
They can now be collapsed in order to take less space.
More to come soon.


experimental-plugins

New experimental plugins

Some of the best linux-standalone tools are now working as internal Carla plugins.
And because Carla exports its internal plugins as LV2, you'll also get them as LV2.
Note that this is still experimental!
Also, there's no support whatsoever from the original authors...


mod-guis

MOD GUI Support

Carla can now show LV2 MOD GUIs, handled like a regular LV2 UI type.
Note that this only works on the right setups (you need MOD-UI to be working first).
It's not available on pre-compiled binaries, but you can get it via the KXStudio repositories.


More changes

  • LinuxSampler code has been reworked and it's working better, it now exposes 2 output parameters.
  • The plugin bridge code has been reworked; bridges are much more stable and MIDI-out is working.
  • NSM code has also been reworked, testers welcome.
  • OSC ports can be static by using CARLA_OSC_TCP_PORT and CARLA_OSC_UDP_PORT environment variables.
  • Time panel can be shown/hidden as needed.
  • DISTRHO-based internal plugins are back, specifically 3BandEQ/Splitter, PingPongPan, Nekobi, MVerb, VectorJuice and WoobleJuice.
  • carla-single script is back, allowing you to quickly test and run all plugins.
  • Carla as plugin allows new, open and save-as (export) menu actions.
  • Start of new midi-sequencer plugin, still experimental and Linux-only for now.
  • MIDI file internal plugin now saves the contents, so you can share projects without worrying if the file exists on the other system.
  • Added 6 basic parameters to the ZynAddSubFX internal plugin.
  • New MIDI channel filter plugin.
  • LV2 and AU plugins are cached and automatically updated when needed, no need for scanning.
  • Patchbay mode is now working for non-JACK drivers.
  • Carla saves internal and external connections, specially useful in patchbay mode.
  • Lots and lots of bug fixes.

Special Notes

  • Renaming plugins currently is not safe (unless using Rack mode).
  • GIG/SF2/SFZ skin still to be done, and some others...
  • Plugin bridges only work on Linux right now. They used to be working for OSX but stopped due to a OS limitation.
  • Windows 64bit builds a shows small console windows when discovering plugins. This is not intended and will hopefully be fixed soon.

Downloads

To download Carla binaries or source code, jump into the KXStudio downloads section.
If you're using the KXStudio repositories, you can simply install "carla-git" instead (plus "carla-lv2" and "carla-vst" if you're so inclined).
Bug reports and feature requests are welcome! Jump into the Carla's GitHub project page for those.

by falkTX at March 18, 2015 09:26 AM

March 16, 2015

Libre Music Production - Articles, Tutorials and News

JCM800 simulation plugin now available

Guitarix developer, Hermann Meyer has just announced a new LV2 plugin for the Guitarix LV2 plugin suite, Gxjcm800pre, a JCM800 simulation.

This simulation had previously been available within the Guitarix standalone program but is now also available as an LV2 plugin. The LV2 plugin includes tone, presence and master controls so that the full JCM800 is simulated.

by Conor at March 16, 2015 09:36 PM

DrumGizmo version 0.9.8.1-hotfix released!

The DrumGizmo developers have just pushed out a hot fix release, version 0.9.8.1. This fixes a rather serious bug in the resampling code that would cause sample skewing over the channels when resampling was enabled.

The latest version can be downloaded at drumgizmo.org

Don't forget you can visit the official DrumGizmo IRC channel at the Freenode network.

by Conor at March 16, 2015 09:07 PM

PipeManMusic

My first short story as an adult: An ode to Kurt Vonnegut

Requiem for a Hero Part I:

The satisfaction the hero felt in carrying out his personal brand of justice was scientifically comparable to the chemical reaction in the brain of an Olympic competitor winning a gold metal in their respective sport. He could, in many scientific circles, be described as an adrenaline junky. He was constantly chasing the natural rush of brain chemicals that came from delivering a quick and satisfying conclusion to the injustices of the world, no matter how minor.

He took great pride in himself and his impeccable morality. He did the right thing even if most people would think the ingression he was correcting was silly at best. One time he used his powers of deduction and reason to locate the owner of a $5 bill that he found windblown against a trash pile in an alley he happen to be in while surveilling an opportunity at getting those brain chemicals he so desperately needed. He had dreamed up a story while he searched for the owner of the cash. In his brain's narrative the person who lost the money was a little old lady on a fixed income who had out lived the rest of her family and the return of the cash would mean the difference between eating enough calories for her frail body to make another week and going hungry, risking escape into the dark abyss of non-existence. The hero imagined the old lady had been given the bill as change while filling a prescription at the local drug store and being too week to place it back into her billfold had opted to try and hold it feebly while still operating her walker and making her way slowly to the bus stop. He could see it clearly in his heroic minds eye that a burst of wind had torn the bill out of the old lady's age weakened hand and it landed neatly on the trash pile in the alley where he had found it.

The reality, as the hero soon found out, was that the owner of the bill was a stock broker who had given the bill to a homeless man holding a cardboard sign with a long and sad story about the various hardships that had befallen him written in black permanent marker. The stock broker hadn't read the sign, he'd simply dropped the bill on the top of the slouching man who had passed out from too much of his drug of choice, a common street drug sold to him by the low level employees of a local crime boss. The stock broker had given the money to the homeless man as a way of feeling slightly better about the large income he drew out of manipulating the worlds economy. He felt instantly better about himself and his place in the world and decided to treat himself to a beer and maybe a ham sandwich at a local pub as a reward for being so selfless. The stock broker had in fact played a small roll in the hardships listed on the homeless man's sign.

The homeless man had a minor mental disorder that was easily treated with prescription medication, but owing to a downsizing at his previous employer, he had been laid off, lost his health benefits and could not afford the medication his malfunctioning brain required. This event sent him into a spiral of self medicating with an addiction to a common street drug that worsened his brain's condition beyond the reach of modern medicine and led to his eventual homelessness. The cheap street drug released, temporarily, some chemicals in the homeless man's brain that made him forget that other brain chemicals where out of balance.The broker knew none of this because, as mentioned, he didn't read the sign the homeless man had propped against his unconscious body.

The downsizing at the homeless man's company had been triggered when the stock broker, seizing an opportunity at a large payday, had sold a very large portion of stock in the company based on a rumor he had heard from a colleague while peeing in an trough urinal at a baseball game. The colleague had told him that the companies earnings would be below market expectations. The large sell off of stock by the broker caused the machinery that actually operated the markets to view this trade as a trigger to sell more stock in the company and several other companies that did similar business. The drastic and sudden drop in the company's stock price triggered a panic in their upper management. The management thought they where doing a great job and in fact where in the process of preparing the annual earnings report that would inform the world that they had done such a great job at managing the company that it would, in spite of rumors to the contrary, be meeting market expectations. That didn't seem to matter to the stock market, and the CEO of the company in a very prudent and decisive move issued an order to downsize the corporate offices to ensure to the stock holders that management was making good use of their money and not wasting it on corporate excesses. None of the upper management where laid off, of course, and the company's stock quickly rebounded with the news of reduction in corporate overhead and solid earnings. They didn't rehire any of the employees that where laid off. They simply found a way to be just as profitable without them.

The bill the stock broker had dropped on the homeless man had simply blown away in one of the cities many and sporadic gusts caused by it's impossibly tall buildings. Neither of the last two owners of the bill had missed it's absence at all but the hero delivered it just the same, after all, it was the right thing to do.

The hero's next brain chemical fix, he hoped, would come from a taking down a local high level crime boss. This was the biggest and riskiest operation he'd ever taken on. It had taken him two years to gather the evidence and plan the villains take down. He could have finished the job six months earlier, but because of his impeccable morality he wanted to make absolute sure that the crime boss would end up, without a doubt, convicted by a jury of the his peers. His evidence was, at this moment, rock solid. There where indisputable pictures, audio recordings and video that was beyond the police's resources to acquire, but our hero, in his relentless determination and need for brain chemicals, had taken the time to prudently and legally amass an iron clad case the police would have in hand upon his single handed apprehension of the villain. He could see the accolades in his head now, the news stories, the adulation, maybe even a parade, and, of course, the sweet flood of endorphins and adrenaline he so desperately required.

The crime boss was an old hat at organized crime. He was handed the business by his father who had built it up from a local street gang in the decades previous. The crime boss had grown up in the crime business and was taught well by his successful criminal father in the day to day workings of such a complex and diversified crime organization. Much like the CEO of the homeless man's former employer, he didn't spend much time dwelling in the mundane day to day dealings of the criminals he employed. His job was to look at trends in the markets of the various criminal enterprises the crime family was involved in. He was very good at his job. There was no one better at crime than him. He would spend endless hours reading newspapers, looking for opportunities for his business in the headlines. He knew people at every company in town, including the homeless man's former employer, that gave him keen insight into how the city actually functioned. He knew every shipping container that could be exploited. How much inventory he could take off of it without making too many problems for himself. The exact amount of drugs and stolen goods he could place on the same ship as it headed towards it's outbound destination.

The crime boss had enough of the politicians and police force on his payroll to make his dealings all but invisible to the outside world. He even knew, in contrast to the CEO of the homeless man's former employer, how to deal with the unfortunate side effects of his criminal business. There was not a man in the city who's lifeless body could not be disposed of with shocking efficiency by employees of the crime boss. The CEO of the homeless man's former employer did not know how to deal with the unfortunate side effects of his business, the massive amounts of industrial waste that his company produced, so he simply ordered it dumped into the local waterways of the city. The crime boss not only knew of the CEO, he had extorted money from him to keep his secrets. The hero knew of the crime bosses connection with politics and law enforcement. He did not know of the CEO's existence or his illegal dumping of hazardous waste into the waterways thanks to the hush money paid to the crime boss by the CEO.

The CEO was completely unaware that he would soon be brought down by the EPA for these violations. The crime boss knew of the EPA's case against the CEO because he informed the police himself in order to keep pressure off his own criminal business. The crime boss was mostly unaware of the hero's plans to bring him to justice. He had heard some rumblings from his underlings of someone snooping around so he had hidden a gun in a pop up compartment in his desk as a precaution. The crime boss did not know about the hero. The hero did not know about the gun.

The hero had rehearsed the speech he would triumphantly deliver to the crime boss upon his apprehension. He knew every word and the exact emphasis he would deliver on each syllable. It would be the culmination of all his life's purpose. He would finally be on the map as true hero of the people. He revelled in the anticipation of his moment in the sun. He craved the release of chemicals that this event would release into his brain.

The indisputable evidence that was the fruit of the hero's two years of near obsessive work was all ready in the police stations mailbox as well as the mailbox of a local investigative reporter who also was working on writing the story that would make his career. The story of a crime family that ran the city . The reporter just lacked the evidence, that was now sitting in his mailbox thanks to the hero, to pull everything together.

The hero made his way undetected through the building where the crime boss ran his enterprise. He knew every security measure in the building, except for the gun in the crime boss's desk. He burst through the door of the crime boss's office and, having trapped his quarry and entered so elegantly undetected, began his well rehearsed speech. "Your time as a cancer on the underbelly of this city...." his voice was stopped abruptly by a bullet that burst out of the back of the his skull. The hero's brain had been distracted by the anticipation of the chemicals it so desperately desired that it did not react at all to the crime boss triggering of the hidden compartments release mechanism with his foot, his surprising speed at grabbing and discharging the gun and the accuracy of the his shot. The organ that the hero had hoped would release the chemicals he so desperately desired into his brain where now spread across the back wall of the crime bosses office. The hero made his escape into the dark abyss of non-existence.

The crime boss called over an intercom to his secretary and asked for her to get the employees who dealt with this sort of thing to come up and do their job. The crime boss had an important meeting with the chief of police in two hours and felt it a minor inconvenience to have to explain the mess. He also asked her to order him a ham sandwich from the local pub that was two doors down from the office. The crime boss really loved those sandwiches.

by Daniel Worth (noreply@blogger.com) at March 16, 2015 05:13 PM

March 15, 2015

Libre Music Production - Articles, Tutorials and News

March 2015 Newsletter - Markus Schmidt interview, Pure Data tutorial and more!

Our newsletter for March is now sent to our subscribers. If you have not yet subscribed, you can do so from our start page.

You can also read the latest issue online. In it you will find:

  • 'LMP Asks' interview with Markus Schmidt
  • Pure Data tutorial (Part II)
  • New tool request form
  • New software release announcements

and more!

by admin at March 15, 2015 08:36 PM

March 12, 2015

Create Digital Music » open-source

Hands On MeeBlip anode, with Robert Lippok (raster noton) [Video]

anodeinthestudio

When we designed MeeBlip anode, we tried to do more with less: make every knob and switch meaningful and musical.

Composer/musician and artist Robert Lippok invited us into his studio as he tried out those controls. Robert is really thoughtful about his approach to sound and control in my experience working with him, and so it was nice to get his feedback on our instrument. (If you don’t know Robert’s music, he is a Berlin native, a long-time member of the label raster noton, and a former member of the band To Rococo Rot.)

One by one, he demonstrates how these sound controls work. (This is just the default Pulse Width mode; there are more colors to access in the hidden wavetable mode.)

Our direct flash sale is over, but you can get MeeBlip anode right away – and support your local dealers – via our dealer network. That includes a number of stores that have done fantastic things to build the synth community, from the USA to Germany and beyond. It’s still available at a low cost:
MeeBlip Dealers

For more on Robert:
Robert Lippok [raster-noton Artists]

The post Hands On MeeBlip anode, with Robert Lippok (raster noton) [Video] appeared first on Create Digital Music.

by Peter Kirn at March 12, 2015 10:22 PM

Libre Music Production - Articles, Tutorials and News

March 10, 2015

Libre Music Production - Articles, Tutorials and News

EQ10Q V2-Beta7 Released

A new beta of EQ10Q V2, a powerful and flexible parametric EQ, has been released. Beta7 has many new features and improvements, including an updated user interface and a FFT visualization tool.

Inside the beta download you will also find a noise gate (GT10Q), compressor (CS10Q) and a bass enhancement plugin called Bassup. There are detailed overviews of each of the included plugins on the projects website.

by Conor at March 10, 2015 06:41 PM

Fourth beta release of Vee One Suite 0.6.1

Rui Nuno Capela has announced a fourth beta of his Vee One Suite of plugins, which includes an old school polyphonic synthesizer (synthv1), a polyphonic sampler (samplv1) and a drum-kit sampler (drumkv1).

The changelog for this release is as follows -

by Conor at March 10, 2015 06:35 PM

March 09, 2015

rncbc.org

Vee One Suite 0.6.1 - A fourth beta release

Hi,

The Vee One Suite of this old-school software instruments, also self-indicted as the gang of three usual suspects thou being: synthv1, as one polyphonic synthesizer, samplv1, a polyphonic sampler and drumkv1, as one drum-kit sampler, now released into the world, yet still beta.

Not much of any audible changes I must say for this so called fourth beta release though it goes as follows:

  • Added application description as freedesktop.org's AppData.
  • Introducing LV2 port-groups (as proposed by Amadeus Folego aka. badosu, thanks).
  • Improved envelope widget nodes click-and-drag precision.
  • Introducing a brand new user preference on eye-candy: cf. Help/Configure.../Options/Custom style theme (applies to the JACK stand-alone client only though).
  • Envelope and filter now rendered with anti-aliased lines.
  • Fixed a Qt5 FTBFS re. QHeaderView::set[Section]ResizeMode().

There's no surprise as it's all made available in dual form, as usual:

  • a pure stand-alone JACK client with JACK-session, NSM (Non Session management) and both JACK MIDI and ALSA MIDI input support;
  • a LV2 instrument plug-in.

The Vee One Suite are free and open-source Linux Audio software, distributed under the terms of the GNU General Public License (GPL) version 2 or later.

Yet again, business as usual :/

synthv1 - an old-school polyphonic synthesizer

synthv1 0.6.1 (fourth official beta) has been released!

synthv1 is an old-school all-digital 4-oscillator subtractive polyphonic synthesizer with stereo fx.

LV2 URI: http://synthv1.sourceforge.net/lv2
website:
http://synthv1.sourceforge.net
downloads:
http://sourceforge.net/projects/synthv1/files

Flattr this

samplv1 - an old-school polyphonic sampler

samplv1 0.6.1 (fourth official beta) has been released!

samplv1 is an old-school polyphonic sampler synthesizer with stereo fx.

LV2 URI: http://samplv1.sourceforge.net/lv2
website:
http://samplv1.sourceforge.net
downloads:
http://sourceforge.net/projects/samplv1/files

Flattr this

drumkv1 - an old-school drum-kit sampler

drumkv1 0.6.1 (fourth official beta) has been released!

drumkv1 is an old-school drum-kit sampler synthesizer with stereo fx.

LV2 URI: http://drumkv1.sourceforge.net/lv2
website:
http://drumkv1.sourceforge.net
downloads:
http://sourceforge.net/projects/drumkv1/files

Flattr this

Enjoy && keep the fun ;)

by rncbc at March 09, 2015 06:30 PM

Hackaday » digital audio hacks

Logic Noise: Sawing Away with Analog Waveforms

Today we’ll take a journey into less noisy noise, and leave behind the comfortable digital world that we’ve been living in. The payoff? Smoother sounds, because today we start our trip into analog.

If you remember back to our first session when I was explaining how the basic oscillator loads and unloads a capacitor, triggering the output high or low when it crosses two different thresholds. At the time, we pointed out that there was a triangle waveform being generated, but that you’d have a hard time amplifying it without buffering. Today we buffer, and get that triangle wave out to our amplifiers.

triangle_square

But as long as we’re amplifying, we might as well overdrive the amps and head off to the land of distortion. We’ll do just that and build up a triangle-wave oscillator that can morph into a square wave, passing through a rounded-over kinda square wave along the way. The triangle sounds nice and mellow, and the square wave sounds bright and noisy. (You should be used to them by now…) And we get everything in between.

And while we’re at it, we might as well turn the triangle wave into a sawtooth for that nice buzzy-bass sound. Then we can turn the fat sawtooth into a much brighter sounding pulse wave, a near cousin of the square wave above.

What’s making all this work for us? Some dead-boring amplification with negative feedback, and the (mis-)use of a logic chip to get it. After the break I’ll introduce our Chip of the Day: the 4069UB.

If you somehow missed them, here are the first three installments of Logic Noise:

The 4069UB

4069ub_pinoutThe 4069UB is a hex (unbuffered) inverter. In fact, if you can remember the pinout of the 40106, this should look very familiar to you. The only difference is the lack of hysteresis (and the little squiggly symbols) in the inverters. But what a difference that makes! The lack of buffering and hysteresis in the inverter lets us use the individual amplifiers for analog purposes rather than digital / logic.

Remember that the “UB” part is mandatory for all of this to work. It stands for unbuffered, and that essentially means that there’s no special attempt made to convert the output into something digital inside the chip. (Some end in “UBE” or “UBF” or whatever. As long as there’s a “UB” somewhere, you’re set.) And it turns out that an unbuffered inverter is nothing more than a push-pull CMOS amplifier pair. Each “inverter” cell looks like this:

cd4069ub_inverters_schematic

Ignoring the input-protection diodes, you can see that it’s basically just two transistors: an N-channel FET connected between output and ground and a P-channel FET connected between output and the power rail. (That’s the Complementary MOS pair that gives CMOS chips their name.)

If you’re not brushed up on your MOSFETs, the N-channel conducts when the input gate is pulled to a high voltage, and the P-channel conducts when the input gate is pulled low. This means that when the input voltage is low, the bottom FET doesn’t conduct and the top FET does, pulling the output voltage high. And vice-versa for a high input voltage. This makes a rudimentary logic inverter. Hooray!

But what happens in-between? At mid-supply voltages, both of the transistors will be turned on to varying degrees. This makes an output voltage that’s continuous, analog, and the “opposite” of the input. In order to give the chip a decent logic output, it needs to have a high gain through this middle zone so that voltages that are just a bit higher than the midpoint result in outputs that are clearly a logic zero.

cd4069ub_transfer_function

The beauty of this chip for our purposes is the soft clipping effect that you get from the S-shaped gain curve above. That is, the gain rolls off (the line is less steep) near VCC and GND. This makes for a pleasing overdrive sound as we crank the amplifier up, and lets us control the amount of fuzz on the output by controlling the input volume and gain.

Buffers and Feedback

As we said above, the naked 4096UB chip has a very high gain right around the midpoint voltage, which is what makes it useful as a logic chip. To make it useful for amplifiying analog audio, we’ll use (negative) feedback to calm this gain down a little bit. By controlling the ratio of input signal to feedback, we can vary the output from nearly completely silent to distorted out to the limits of the voltage supply.

For starters, let’s aim to get a voltage gain of -1. That is, the output signal is just as big as the input signal but opposite in sign around the mid-point. This is an “inverting unity gain buffer” if you’re an electrical engineer. And buffers will allow us to listen in to signals that our amplifier’s input circuitry would otherwise swamp out.

Remember when we said that there was a triangle wave on the input terminals of the 40106 inverter? Did you try to plug them up to your amplifier? If so, it probably didn’t work although you can see it clear as day on the oscilloscope. Even when I can get it to work, there’s still a pitch shift that depends on the volume knob settings on my amplifier. Strange stuff! Clearly, the amplifier’s input circuitry is coupling with the oscillator. Putting a buffer circuit in-between will let the oscillator oscillate and the amplifier amplify without interacting with each other. That’s what buffers do. Let’s build.

buffer_schematic

The unity-gain buffer circuit is as simple as connecting the input through a resistor and then connecting another resistor with that same value in feedback between the output and the input. For intuition on how this works, let’s dig briefly into negative feedback amplifiers.

The intuition for this circuit (and all negative feedback topologies) involves first realizing that where the input signal and negative feedback meet, there can’t be any net signal voltage above or below the chip’s neutral voltage. If there were positive net signal, the inverter output would go negative until the feedback brought the junction of the two back down to neutral. If the input is negative with respect to neutral, the output will go positive and pull it back up. When the feedback path is working as intended, it’ll hold the input at the neutral voltage level.

A quick word about this neutral voltage. If you’re familiar with op amps, the neutral voltage is whatever’s present on the positive terminal. In our case, the chip switches from high to low around the mid-rail voltage, half of VCC, so that’s our neutral point. You can demonstrate this by unplugging the input and measuring what voltage level the output (and input) settle at with no signal present. It’ll be around VCC/2.

triangle_bufferedSo the first basic premise is that the feedback exactly cancels out the net signal where they meet up at the input of the inverter. This cancellation means that whatever signal current comes in through the input resistor has to get pulled on out through the feedback resistor. If you think of voltage as the force required to push a given current through a resistor, the output only has to work as hard as the input when the two resistors are equal. That is, when the input voltage is 0.1 volts above neutral, the output will be 0.1 volts below neutral because both are “fighting” the same resistance.

And there you have it: an “amplifier” with a gain of negative one. It doesn’t make the signal louder, but now you can plug the output of the buffer stage directly into your audio output and give it a listen without interference. And just for fun, this picture shows the input and output on the scope. Working as intended.

Amplifiers and Overdrive

Great. Now we’ve got a nice clean triangle wave oscillator. You’d think we were done here, but we still have five inverter gates sitting unused on the 4069UB. What could we do with five more amplifiers? Five more amplifiers that have a nice smooth rolloff much like old-school tube preamps do? Crank it up to 11 and see how it sounds!

To go from buffer circuit to amplifier circuit, we can either let the input signal flow in more easily (reduce the input resistance) or force the output to work harder (increase the feedback resistance). Either way, the goal is to increase the ratio of feedback resistor to input resistor, and thus the voltage gain.

So let’s build up another buffer circuit, but instead of a 100k Ohm resistor on the input, let’s use a 100k potentiometer so that we can let more signal in. Now it’s an amplifier, with the gain controlled by the ratio of the feedback resistor (at 100k Ohms) divided by whatever resistance we dial in on the input potentiometer. (You could use a larger pot than feedback resistor, and you’d be able to make the circuit quieter as well. But that’s boring.)

As you drop the input resistance down to zero, you’d naively expect the amplification gain to head off to infinity. Instead, we see that the gain reduces gradually as the output voltage approaches the GND or VCC power rails. What happens is that real-world effects like the chip’s amplification rolloff take over. Is this a bad thing? Not if you want a nice soft-clipping amplifier overdrive sound added to our triangle wave. Woot.

buffer_overdrive_schematic

Now as long as we have a bunch of free inverters sitting around, let’s take the output from the overdrive sound and re-amplify it again. The IC’s built-in soft clipping will limit the volume gain, but we’ll get something that’s ever more like a square wave as we keep passing the signal through further amplification stages. Note that the fuzz stage runs at full gain — without negative feedback. We’re going for fuzz distortion here. For my liking, a single extra amp stage suffices to get a nice fuzz tone, but you could chain up as many stages with and without feedback as you want. Heck, half of the chip is still sitting there unused, go nuts.

buffer_fuzz_schematic

Here are some example waveforms from the first-stage amplifier and the second. At the low-gain end of things, you can see that the first-stage triangle wave, in yellow, is not very distorted yet. But as we turn up the gain, the points get rounded over on top and it approaches a round square wave. (“Round square”?) The second-stage output, in green, starts off pretty much squared-out and gets more so. Between the two outputs, you have mild overdrive and full fuzz. Can’t complain about that.

The scope traces below show the overdrive output in yellow and the fuzz output in green with the volume knob turned increasingly up. You can see that the as you increase the gain, the fuzz channel takes off essentially where the overdrive channel leaves off.

triangle_montage

And don’t hesitate to feed other audio sources into this chip. A version of this circuit dates back to the late 1970’s, known as [Craig Anderton’s] “Tube Sound Fuzz” from his book Electronic Projects for Musicians. My wasted youth doesn’t look so wasted anymore, huh?

Sawtooth Waves

OK, so we’ve got a nice variable overdrive version of the triangle wave oscillator. What else can we do with our newfound analog powers? Here, the most bang for our breadboard buck is to add a diode into the feedback path of the oscillator, turning the triangle wave into a sawtooth.

buffer_sawtooth_schematic

How does that work? Well, instead of charging and discharging the timing capacitor through the feedback resistor as we’ve been doing, we charge it much faster through the diode. This makes the input voltage jump up, setting the output low almost instantly. The diode only conducts in the charging direction, so the capacitor has to discharge slowly through the feedback resistor. This goes on until it hits the threshold value where the output goes high again and charges up the capacitor very quickly through the diode again. In short, we’ll end up with a voltage waveform on the input here in yellow, and on the output here in green:

saw_pulse_scope

Now all that’s left to do is pass this sawtooth through the buffer amplifier above. That’s that raspy, bowed-string sound that a sawtooth wave makes. Played down low, you get the classic acid-house bassline. Go nuts. But wait, there’s more. We have a sawtooth plus overdrive, plus full-on fuzz.

Below is the scope trace from medium and full gain for the overdrive output in yellow and the fuzz output in green. With the sawtooth wave, the fuzz ends up converting the sawtooth into a kind of pulse wave. It’s not symmetrically square both because our sawtooth isn’t perfectly straight and because there’s some DC offset voltage propagating through the three stages that we haven’t been careful with. If you want to remove that, you can insert something like 0.1uF blocking capacitors between the stages, but I feel you lose some of the gritty character of this thing by doing so.

sawtooth_montage

Next Installment: Filters and Drums

Now that we have some classic analog synth waveforms under our belts, it’s time to add some filter effects and drums. To do so, we’ll continue down the analog path that we started this time, so if you don’t already have a couple of 4069UBs at hand, you have another week to scrounge some up.


Filed under: digital audio hacks, Featured

by Elliot Williams at March 09, 2015 05:01 PM

March 08, 2015

LinuxMuso

BEAM Technology Photopopper

picked this popper up again. It needed some solder iron care and sun, lots of sun.
a prequel to the ordered Arduino and soon to be announced project.


by pete0verse at March 08, 2015 11:14 PM

Install Bind9 In A Chroot Jail

after completing these simple steps you should have a DNS Cache server running. enjoy

#
	apt-get install bind9 bind9-doc dnsutils

It will probably autostart after install, so stop it before proceeding:

#
	/etc/init.d/bind9 stop
  1. Create your chroot. This requires a minimal file tree:
    #
    	mkdir -p /var/chroot/bind9/{etc,dev,var/cache/bind,var/run/bind/run}
  2. And some devices:
  3. # mknod /var/chroot/bind9/dev/null c 1 3
    #
    	mknod /var/chroot/bind9/dev/random c 1 8
    #
    	chmod 666 /var/chroot/bind9/dev/{null,random}
  4. Move your default configuration files:
    #
    	mv /etc/bind /var/chroot/bind9/etc
    #
    	ln -s /var/chroot/bind9/etc/bind /etc/bind
  5. Tell rsyslog to listen for log events in the chroot:
    #
    	vi /etc/rsyslog.d/bind-chroot.conf

    and add the line:

    $AddUnixListenSocket
    	/var/chroot/bind9/dev/log
  6. Tell bind9 init to use the chroot:
    #
    	vi /etc/default/bind9

    and add:

    OPTIONS="-u
    	bind -t /var/chroot/bind9"
  7. Restart syslogd and make sure it creates /dev/log in the chroot.
    #
    	/etc/init.d/rsyslog restart
    Restarting
    	system log daemon: syslogd.
    
    

     

    
    
    #
    	ls -al /var/chroot/bind9/dev/log
    srw-rw-rw-
    	1 root root 0 2008-10-09 14:48 /var/chroot/bind9/dev/log
  8. Start bind9 and make sure it works
    #
    	/etc/init.d/bind9 start
    Starting
    	domain name service...: bind.
    #
    	ps ax | grep [n]amed
    
    	5397
    	?        Ssl    0:00 /usr/sbin/named -u bind -t /var/chroot/bind9
    #
    	host localhost. 127.0.0.1
    localhost
    	                  A        127.0.0.1

Now, you’re done the chroot portion. Copy over your old named.conf.local and


by pete0verse at March 08, 2015 10:54 PM

March 06, 2015

Create Digital Music » open-source

Watch a Dreamy, Groovy Reverie Played Live on Desktop Synths

Jeremy Blake (aka Jeremy Leaird-Koch) is the kind of omni-dimensional talent who that seems tailored for the age of Web media. Yes, he’s an electronic musician, but … have a listen to his SoundCloud, and you’ll find the common thread is craft more than genre. And yes, he’s also a video editor, who’s also making imaginative and dazzling visuals.

Let’s instead just wander into his studio, virtually speaking, and let him play for us on a nice, assembled gathering of custom hardware.

And drifting off on this chillout groove is a nice way to take a pause in your day…

Ableton – Clock and recording | [Sonic Potions] LXR drum machine (clock from Ableton – clock to Zaquencer) | Behringer BCR200 – running Zaquencer | 2x MeeBlip [SE] and Access Virus A (Zaquencer) | [Teenage Engineering] OP-1 (clock from Ableton tape loops and live playing)

It’s all a nice rig, desktop units pouring over with personality. We’ve talked before about how nice the Zaquencer sequencer on the BCR is. The OP-1 pads sound gorgeous. And it’s really nice seeing the LXR drum machine as a centerpiece (instead of something more obvious like an Elektron, perhaps). It’s a remaining open hardware kit design even as others have disappeared, and while it’s not the easiest build, it’s a really cool bit of kit.

One of the bits of hardware is, of course, co-created by CDM. MeeBlip designer/engineer James and I been revisiting our own MeeBlip SE lately; he’s got not one, but two of them here. And there are things we like about it, even if we prefer the sound, controls, and filter on the newer model. I love the way it sounds here, though, which could certainly be applied to the Child of MeeBlip, MeeBlip anode.

More from Jeremy’s music feed:

And I love this “Vanitas” release:

Vanitas by Jeremy Blake

On the visual side, here’s his showreel – see, this kind of Renaissance-do-everything approach is what I love about the California scene at its best (Jeremy is Oakland-based):

[S+V] – sound+vision 2014 Showreel from Jeremy Leaird-Koch on Vimeo.

More:

https://soundvision.bandcamp.com

The post Watch a Dreamy, Groovy Reverie Played Live on Desktop Synths appeared first on Create Digital Music.

by Peter Kirn at March 06, 2015 01:13 PM

March 04, 2015

rncbc.org

QXGEdit 0.2.0 is out!

Every couple of years I decide to do some spring cleaning, a bit early this time, perhaps...

And then again I stepped into this kind of pure nineties junkyard synth that's still powering on here and then with great joy. And that's happening on every PCI sound-card slot that can be found around here. All about that Yamaha DB50XG (nb. fact is Yamaha doesn't list it on the product archives anymore, so this might be all just archaeology by now...)

Nevertheless, here it goes again:

QXGEdit 0.2.0 is out!

QXGEdit is a live XG instrument editor, specialized on editing MIDI System Exclusive files (.syx) for the Yamaha DB50XG and thus probably a baseline for many other XG devices.

Flattr this

Website:

http://qxgedit.sourceforge.net


Project page:

http://sourceforge.net/projects/qxgedit

Downloads:


Change-log:

  • In a glance, all GUI toolbox pages converted into tabs.
  • Introducing a brand new user preference on eye-candy: cf. View/Options.../Display/Widget style theme.
  • Most graphics now rendered with anti-aliased lines.
  • A man page has beed added.
  • Allow the build system to include an user specified LDFLAGS.
  • Fix port origin on MIDI RPN/NRPN 14-bit controllers input.

Weblog (upstream support):

http://www.rncbc.org


License:

QXGEdit is free, open-source software, distributed under the terms of the GNU General Public License (GPL) version 2 or later.

Documentation:

Yamaha DB50XG Owner's Manual

by rncbc at March 04, 2015 06:30 PM

PipeManMusic

It's got a big mouth, just like me.

I am at least self aware enough to understand that a water bottle is a pretty strange thing to write a blog post about, but I'm nothing if not a man with strong feelings, sometimes about inane things like water bottles.

For years I was in love with Nalgene brand wide mouth, and even narrow mouth water bottles but then the BPA débâcle happened and I gave them up. I switched, much to my dismay, to stainless steel but I missed my Nalgene bottles more than is healthy for an adult male.

When they came out with the BPA free versions I switched back and I have to say, it's one of my favourite accessories. For those of you that know me, you also know that I'm very rarely without my Nalgene in tow.

So why do I love my Nalgene so much?

 First, they are cheap and available pretty much anywhere for under $10 and it comes in many different colors. I very rarely lose my water bottle, but when I do I can replace it with a visit to just about any store anywhere.

It's virtually indestructible. I've dropped them thousands of times and they hold up to my years of abuse.

The wide mouth means I can load it up with ice easily and I like a lot of ice in my water.

Accessories, there are a surprising amount of accessories available for them, my two favourites are the GSI Outdoors H2OH! Percolator and the Outdoor Research Bottle Parka.

It's made of Lexan and that means it can handle temperatures up to the boiling point of water. I first heard about this on the hammockforums.net website where people where talking about using them as hot water bottles on chilly nights to squeeze a few more degrees of comfort out of their sleeping systems, since then I've used them quite regularly as a hot water bottle to help sooth my chronic shoulder pain. I even sewed my own cover filled with rice to insulate myself from the high temps and make the heat last longer. It's really amazing at putting the right amount of heat right where I need it. I also have a crazy story, that I won't share right, now about saving a couple friends life on the side of a mountain by making hot water bottles in cold temps.

I really do view my Nalgene bottle as one of the few things I really can't do without.

by Daniel Worth (noreply@blogger.com) at March 04, 2015 06:05 PM

Hackaday » digital audio hacks

Hard Drive… Speakers?

Speakers really aren’t that complex to make. In fact, if you’re clever about it, you can make a speaker out of just about anything. [Afroman] is kicking it old school with a hack he first did back in 2001, but now, in video form: Make your own HDD Speaker!

All you need is an old hard drive you don’t care about anymore, a bit of flexible wire, and an externally powered amplifier (no your cellphone will not work!). If you don’t have an amp, [Afroman] even has a tutorial so you can build your own Class D Amplifier on a breadboard!

First off you’ll need to crack open the HDD enclosure. You might need a torx or hex key to get past the manufacturer’s “safety screws” though. Once it’s open you’ll need to locate the hard drive head — this is the small metal arm that looks kind of like a record player tone arm. It’s actually controlled by a coil, you know, just like a speaker…

Get out your multimeter and start probing! The ribbon cable coming from the hard drive head will have two wires that have a resistance anywhere from 4 to 40 ohms — this is actually the coil that controls the head, hence the resistance. Solder your wires in there and give it an amplified audio signal, and that’s it!

For a slightly more functional speaker, why not make one out of glass? Or maybe fabric?


Filed under: digital audio hacks

by James Hobson at March 04, 2015 03:00 AM

March 03, 2015

Libre Music Production - Articles, Tutorials and News

LMP Asks #6: An interview with Markus Schmidt

This month we talked to Markus Schmidt. Markus has been a member of the Calf team since 2009. As well as being the brains behind many of the Calf plugins, Markus is also responsible for the design of every visual aspect of Calf.

Hi Markus, thank you for taking the time to do this interview. Where do you live, and what do you do for a living?

by Conor at March 03, 2015 08:17 AM

March 02, 2015

PipeManMusic

500yearfarm.com and New Blog

Just realizing that there are some of you that follow this blog that don't necessarily follow me in other places. So I thought I'd post a quick update to say, any farm related stuff has been moved off this blog and onto blog.500yearfarm.com and if you want to check out the new 500yearfarm.com website I'd love to hear some feedback on it.

by Daniel Worth (noreply@blogger.com) at March 02, 2015 06:13 PM

Hackaday » digital audio hacks

An Upgrade To A Raspberry Pi Media Server

For the last few years, [Luke] has been running a music server with a Raspberry Pi. With the new Raspberry Pi 2 and its quad core processor, he thought it was time for an upgrade.

The build consists of a Raspi 2, a HiFiBerry Dac to address the complaints of terrible audio on the Pi, an aluminum enclosure, and some electronics for IO and a real software shutdown for the Pi. The Arduino also handles an IR remote and a rotary encoder on the front of the enclosure.

The software is the Logitech Media Server along with Squeezeslave. The front end is custom, though, with functions for shutdown and receiving IR remote codes. Everything is served up by Flask, with a 32GB microSD card stuffed into the Pi to store MP3s. All in all, a great build.


Filed under: digital audio hacks, Raspberry Pi

by Brian Benchoff at March 02, 2015 03:00 AM

February 28, 2015

Libre Music Production - Articles, Tutorials and News

Date set for MuseScore 2.0 release candidate

Fans of MuseScore will be happy to know that version 2.0 is getting closer. A date for the release candidate has now been set for March.

Full details about the release schedule can be found at the MuseScore forum.

You'll also find a useful rundown of the features in the up and coming 2.0 release on this blog post.
 

by Conor at February 28, 2015 07:08 PM

Hackaday » digital audio hacks

DSP 01: Real, Legit Audiophile Goodness

About six months ago, we saw [tshen2]’s work on the DSP 01, a 2-input, 6-output DSP and crossover for extreme audiophiles, and we’re not talking about oxygen free rooms here. The DSP 01 turns a USB audio output into six outputs that will give you perfectly flat eq across bass, mids, and highs, integrates with a 6x100W amplifier, and compensates for room noise. There was a huge update to the project recently and [tshen] is more than happy to share the details

Getting to this phase of the project hasn’t been without its problems. To get the DSP communicating to a computer through a USB port, [tshen2] found a potential solution in the CP2114 USB to I2S Bridge. This device should function as a USB audio sink, translating digital audio into something the DSP understands. This chip did not work in [tshen]’s design. The CP2114 simply does I2S wrong; the I2S spec says the clock must be continuous. This chip implements I2S with a SPI, firmware, and a few other things, making it incompatible with to-spec I2S.

While there was some problems with getting audio in to the device, the core of the device has remained unchanged. [tshen2] is still using the Analog Devices DSP, with the interesting SigmaStudio being used to compensate for the frequency response of the room. This real, legit, science-based audiophile territory here, and an impressive development for a field that – sometimes understandably – doesn’t get the respect it deserves.


Filed under: digital audio hacks

by Brian Benchoff at February 28, 2015 06:00 AM

February 26, 2015

PipeManMusic

Jury Duty

Here is an account of my recent trip to the county court house to fulfill my civic duty right up until I was selected and served on a jury. Enjoy!

First observation, great place to people watch. 

Only one of the the security lines running, very long line, I doubt other two x-ray machines are even plugged in, they are just there to torment me with the possibility. While in line I discover wood chips in my hoody pocket, hope I don't have to explain that in a pat down.

Only place on earth there are people grumpier than me. Lady on phone behind me would rather clean a dirty toilet than be here or so she says loudly to the person on the other end of the conversation. I'd rather not do either or here about it from her.
They miss pronounced my last name over intercom. It's a common English word, go judicial/educational system. 

We are all Given a name tag that just says "Juror", everyone obediently wearing them like sheep, I judge them. I'm just wearing mine to be ironic so it looks cool on me. I still don't really know what ironic means. That song really fucked me up. 

The sign on fancy automatic coffee maker, just above dispensing nozzle says, not a drain. Must be an interesting story there. Size options on machine are as follows, coffee bean, cup, coffee bean, I chose cup, but secretly wished I tried coffee bean. Later, tried coffee bean option, said "invalid option" on LCD screen, at least the machine is aware of the paradox even if it's incapable of changing it. Chairs designed to not let a cup sit flat, no where to set cup, another well thought out form of torture.

Selected in the first round to move on, I finally found what I'm lucky at. Yay.

Questionnaire asked my favorite t.v. show, author and type of music. I think the people who wrote the form got tired of where people work. They are people watchers too. I think I miss spelled Vonnegut, attempt to seem smart backfired on me again, go educational system.
More newspapers than tablets, more hardback books than tablets. Like they are all from a different universe. Old people still not using smart phones when bored, I don't know how to solve this problem but I imagine it involves hard candy in some way. 

Saw guy that looks like Kurt Vonnegut, not the best celebrity to look like. I didn't tell him he looked like him, I'm sure he gets told that a lot. 

They let us have a fifteen minute break, only options are smoking and eating junk food at a bad cafeteria, go society. I chose writing this on my tablet and looking smug. 

Got called to a court room in first round, go universe that is constantly against me.
Took stairs to fourth floor court room instead of elevator to feel superior to everyone else, instead I'm just breathing heavily like a creeper. More cardio could be in order. 

Everyone is sitting on one side of benches, when I ask "Is the other side is off limits?" everyone smiles politely and shrugs, they are sheep, I sit on the other side and everyone after me follows my lead, I'm a trailblazer. 

Felony vehicular eluding, sounds fun.

Just found out, Jehovah's witness don't serve on jury's, a tiny upside to religion. 

I can't seem to win at anything in life ever, except getting selected to be a juror. I don't know what message the universe is trying to send me but I suspect it's just drunk dialing

by Daniel Worth (noreply@blogger.com) at February 26, 2015 01:09 PM

Libre Music Production - Articles, Tutorials and News

ZynAddSubFX 2.5.0 is now available

The 2.5.0 Release of ZynAddSubFX is now available.

This release is mainly focused on fixing some of the core architectural flaws that have historically existed. As a result this release should behave much better under jack and interfacing with the realtime side of things is much easier now.

For full details, check out fundamental's post over at linuxmusicians.

by Conor at February 26, 2015 09:47 AM

Guitarix: First Steps Towards New Design

Due to a recent call from the Guitarix devs for a graphic designer, Markus Schmidt from Calf Studio Gear has got in touch with them and taken on the task. For those who don't know who Markus is, he has not only created a lot of the Calf plugins but is also the guy responsible for their graphical interfaces.

by Conor at February 26, 2015 08:15 AM

February 25, 2015

Linux Audio Users & Musicians Video Blog

ams-lv2 modular synth plugin

Aurélien Leblond has been working hard to port Alsa Modular Synth to an LV2 plugin. The results speak for themselves.

He has also released the Deteriorate plugin which you can see a demo of here too.

by DJ Kotau at February 25, 2015 07:34 AM

February 24, 2015

Hackaday » digital audio hacks

We Assume Control: SPI and a Digital Potentiometer

In the last video I demonstrated a Universal Active Filter that I could adjust with a dual-gang potentiometer, here I replace the potentiometer with a processor controlled solid-state potentiometer. For those that are too young to remember, we used to say “solid-state” to differentiate between that and something that used vacuum tubes… mostly we meant you could drop it without it breakage.

Using SPI to set Cutoff of Low Pass Filter

Using SPI to set Cutoff of Low Pass Filter

" data-medium-file="https://hackadaycom.files.wordpress.com/2015/02/lp2.jpg?w=400" data-large-file="https://hackadaycom.files.wordpress.com/2015/02/lp2.jpg?w=800" />
UAF42 Filter with Dual Ganged Pots

UAF42 Filter with Dual Ganged Pots

" data-medium-file="https://hackadaycom.files.wordpress.com/2015/02/uaf42-2.jpg?w=400" data-large-file="https://hackadaycom.files.wordpress.com/2015/02/uaf42-2.jpg?w=800" />

The most common way to control the everyday peripheral chips available is through use of one of the common Serial Protocols such as I2C and SPI.  In the before-time back when we had only 8 bits and were lucky if 7 of them worked, we used to have to memory map a peripheral or Input/Output (I/O) controller which means we had to take many control and data lines from the microprocessor such as Data, Address, Read/Write, system clocks and several other signals just to write to a couple of control registers buried in a chip.

Nowadays there is a proliferation of microcontrollers that tend to have built-in serial interface capability it is pretty straightforward to control a full range of peripheral functions; digital and analog alike.  Rather than map each peripheral using said data and address lines,which is a very parallel approach,  the controller communicates with peripherals serially using but a handful of signal lines such as serial data and clock. A major task of old system design, mapping of I/O and peripherals, is no longer needed.

Using Digital to Control Analog

Two serial interfaces have risen to the top of the heap as far as prevalence: I2C and SPI.  I2C is a more sophisticated protocol that arbitrates who should do the talking and is basically bidirectional meaning that the data input pin can double as a data output. I2C also implies peripheral IC’s that have pre-assigned addresses and since the receivers are addressable, all can be connected together on the same I2C bus.  I2C is all the better if you don’t have to debug it which I have had to do in the earlier days of the protocols existence, (but that was a while back).

SPI and I2C Protocol ComparisonSPI and I2C Protocol Comparison

I consider SPI, short for Serial Peripheral Interface, to be more of an attitude than a strict protocol as I have seen various specifications for how clocks and selects work so it is usually worth checking the details if designing for production. At the heart of SPI is a separate Chip Select for each device and a dedicated data input and output.  On the plus side the data lines don’t have to worry about being bidirectional or having to deal with contention, and so they are designed as true active high and active low driven lines whereas I2C has a passive pull-up which may limit maximum speeds or loads.

In this instance I chose the digital potentiometer that I wanted and let that determine the Serial Protocol. In the video you will see the various controllers and processors that I looked at and settled on the Hackaday Pro Trinket for the simple reason it has a Hackaday skull on it.

Hackaday Pro TrinketHackaday Pro Trinket

A quick download of the IDE and I was able to speak to the module via the bootloader.  Perusing the built-in examples gives us not only an SPI based project written in ”C” but also one of the two SPI examples is for a digital potentiometer.  I have elected to use the MCP4161 Digital Potentiometer and even though it is a different part than the SPI example, the changes needed to the code are minor.  Looking at the datasheet we find that writing a value of zero first and then a second value which indicates the resistance value of the potentiometer as a $00-$FF hexadecimal range of 256 steps.  The example code sits in a loop incrementing both bytes so I changed the first byte to $00 and left the incrementing code alone as being useful for our demonstration here and recompiled.

SPI Protocol Writing to Digital PotentiometerSPI Protocol Writing to Digital Potentiometer

My original plan was to demonstrate the digital pot and the filter it controlled on one PCB but ran into problems with the compatibility of too many power supplies, the grounds and even the voltage drop of the long USB cable I used to drive the demo from across the room.  Using a small solderless breadboard it was straightforward to hook up the digital pots to the SPI bus and then swap them in place of the dual ganged pot.

 

Active Filer, Digital Potentiometer and Hackaday Pro TrinketActive Filer, Digital Potentiometer and Hackaday Pro Trinket

If you didn’t see the previous video, I use a sweep frequency generator to demonstrate the effects of our adjustable filter.  The function generator starts by outputting a low frequency and then quickly sweeping up to a higher frequency.

This has the effect that a properly triggered oscilloscope displays low frequencies on the left side of the display and high frequencies to the right.  The frequency response of the filter as it moves between the low and high frequencies is seen as moving between the left and right sides of the display where the x direction indicates frequency.

Low Pass Filter Sweep - Left to Right

Low Pass Filter Sweep – Left to Right

" data-medium-file="https://hackadaycom.files.wordpress.com/2015/02/lp1.jpg?w=400" data-large-file="https://hackadaycom.files.wordpress.com/2015/02/lp1.jpg?w=800" />
Using SPI to set Cutoff of Low Pass Filter

Using SPI to set Cutoff of Low Pass Filter

" data-medium-file="https://hackadaycom.files.wordpress.com/2015/02/lp2.jpg?w=400" data-large-file="https://hackadaycom.files.wordpress.com/2015/02/lp2.jpg?w=800" />
lp3

Like our last demonstration the filters are seen moving up and down the range only now it is under the control of a simple C program and not a manual adjustment.  Picture if you will, then an analog synthesizer that instead of a carefully calibrated control voltage to manage oscillators, filters and other effects, all while tracking each other closely without worrying about linearity or temperature affecting the accuracy of the control.

An Analog View

Finally, to visually demonstrate that digitally controlled potentiometer really does emulate a variable resistor I hooked up my old Simpson 260 Volt Ohm Meter (VOM) that I have had since I was 16.  Let’s just say that means I have had it for almost 40 years. Setting the VOM to resistance and remembering that Zero ohms is a deflection to the right the effects of the incrementing potentiometer are readily seen.

Simpson 260 showing an SPI controlled Digital PotentiometerSimpson 260 showing an SPI controlled Digital Potentiometer

This was just a simple example of having a processor control our analog project.  These days I automatically assume that there will be a serial control bus or two in any sizable project.


Filed under: ATtiny Hacks, digital audio hacks, Featured, slider

by Bil Herd at February 24, 2015 03:00 PM

February 23, 2015

Hackaday » digital audio hacks

Making a Homemade Stephen Hawking

It isn’t easy communicating when you have any form of speech impairment. In such cases, a Speech-generating device (SGD) becomes essential to help you talk to the world. When coupled with other ailments that limit body movement, the problem becomes worse. How do you type on a keyboard when you can’t move your hands, and how do you talk when your voice box doesn’t work. Well known Scientist Stephen Hawking has been battling this since 1985. Back then, it took a lot of hardware to build a text entry interface and a text to speech device allowing him to communicate.

But [Marquis de Geek] did a quick hack using just a few parts to make a Voice Box that sounds like Stephen Hawking. Using an arcade push button to act as a single button keyboard, an Arduino, a 74HC595 shift register, a 2-line LCD, and the SP0256 hooked to an audio amplifier / speaker, he built the stand-alone speech synthesizer which sounds just like the voice box that  Stephen Hawking uses. Although Dr. Hawking’s speech hardware is quite complex, [Marquis de Geek]’s hack shows that it’s possible to have similar results using off the shelf parts for a low cost solution.

There aren’t a lot of those SP0256-AL2 chips around. We found just a couple of retailers with small stock levels, so if you want to make one of these voice boxes, better grab those chips while they last. The character entry is not quick, requiring several button presses to get to the character you want to select. But it makes things easier for someone who cannot move their hands or use all fingers. A lot of kids grew up using Speak and Spell, but the hardware inside that box wasn’t the easiest to hack into. For a demo of [Marquis de Geek]’s homemade Hawking voice box, check the video below.


Filed under: digital audio hacks

by Anool Mahidharia at February 23, 2015 06:00 PM

Create Digital Music » open-source

Add a Physical Knob to Your Max Patch with Arduino: Video Tutorials

Patching on a computer involves plugging something into something else virtually. In this video tutorial, you can extend that by adding a physical knob to control your custom creations, for Max/MSP (and Max for Live).

It’s just a quick tip, but I know this gets asked a lot. (Greetings, students – happy spring semester to you!) And there’s something really fun about seeing a knob in the real world controlling something. Bonus points for using a toilet paper roll as a custom “housing.”

It’s also nice seeing this accomplished in the all-new Max 7.

And this is just the start, part of a project extending beyond Max/MSP to free tools like Pure Data, JavaScript, and Python. The basic idea is a set of techniques for real-world control, backed by free code/patch examples and video tutorials. The creator explains:

Arduivis is a bi-directional communication paradigm for programming languages & microcontrollers. The purpose of this project is to explore and expand the interconnectivity possibilities of music, art and science. The general idea revolves around using an Arduino, or a microcontroller with serial capability, as a communication hub. This hub can be programmed to handle with several types of interactions from a selected programming language. Currently, this project is compatible with MaxMSP, Pure Data, Python and NodeJS.

More videos include this Max-to-light example: “Controlling an LED in Max with an Arduino in under 40 seconds”

And for users of other environments…

Here’s NodeJS:

http://cskonopka.github.io/arduivis/nodejs

And Python:

http://cskonopka.github.io/arduivis/python

And, including free patch downloads, Pure Data (no Pd video yet):

http://cskonopka.github.io/arduivis/puredata

The post Add a Physical Knob to Your Max Patch with Arduino: Video Tutorials appeared first on Create Digital Music.

by Peter Kirn at February 23, 2015 03:48 PM

February 22, 2015

Libre Music Production - Articles, Tutorials and News

DrumGizmo v0.9.8 released

Drumgizmo v0.9.8 has just been released. Beside the usual minor bug fixes, there has also been a lot of work done on the command line version of Drumgizmo.

by Conor at February 22, 2015 03:50 PM

February 21, 2015

Libre Music Production - Articles, Tutorials and News

New release of ams-lv2 plugins

Aurélien Leblond has just announced version 1.1.0 of ams-lv2, which are LV2 plugin ports of the internal modules found in Alsa Modular Synth.

The two main "features" of this version are:

by Conor at February 21, 2015 05:39 PM

February 20, 2015

Libre Music Production - Articles, Tutorials and News

AV Linux forums have moved!

Update your bookmarks! In case you haven't noticed, the AV Linux forums have recently been moved. You can now find the forums at - http://geekconnection.org/remastersys/forums/index.php

by Conor at February 20, 2015 12:22 PM

February 19, 2015

Libre Music Production - Articles, Tutorials and News

New Calf Studio Gear demos

Markus Schmidt has posted a new video demonstrating the many plugins of the Calf Studio Gear suite. The Calf developers are currently working towards a new stable release. The version of Calf used in the screencast is 0.0.60pre2+. Check it out!

by Conor at February 19, 2015 07:48 PM

Guitarix design - Work in progress

The Guitarix devs have done a redesign of their rack units. If you have any feedback, let them know.

Also, they are still looking for anyone interested in helping them do a complete redesign of Guitarix, so if you are handy with graphics do get in touch with the Guitarix guys.

by Conor at February 19, 2015 09:42 AM

Hackaday » digital audio hacks

A Class D Amp Made From Scrap

[Boolean90] needed an amplifier for a subwoofer, and had a lot of parts sitting around in a scrap bin. His project, a Class D sub amp made out of scrap, is a great example of what you can build with the right know-how and a very large pile of junk.

With digital logic and PWM chips, a Class D amp is one of the simpler ways to get a lot of amplification easily in an efficient package. It’s really not that complicated; an audio signal is turned into a PWM’d square wave, this is sent out to a Mosfet bridge, and finally out to the speaker.

Most Class D amps have a switching frequency of hundreds of kilohertz to the Megahertz range, but since this is an amplifier for a subwoofer that has a cutoff frequency of about 1kHz, the switching frequency doesn’t need to be quite as fast. [Boolean] is using a 50kHz carrier frequency; it’s more than high enough to recreate low frequencies.

With the completed project, [Boolean] has an extremely loud amplifier that has around 75-150W of output power. The subwoofer is only rated for 200W, but with the volume [Boolean] is getting, this isn’t an amp he’ll be rebuilding anytime soon.


Filed under: digital audio hacks

by Brian Benchoff at February 19, 2015 12:00 AM

February 18, 2015

Hackaday » digital audio hacks

A Real-Time Networked VU Running on the ESP8266

Even though the ESP8266 WiFi chipsets are really cheap (and can be somewhat challenging to work with), they still pack a lot of processing power. For instance, [Mr.jb.swe] took one of these modules and made a stand-alone live VU meter with WS2812B LED strip. The VU runs entirely on the ESP chip, without any additional microcontroller. It’s an example we think a lot of projects could follow to do away with unused horsepower (extra microcontrollers) sometimes used to avoid programming directly on the ESP. The stuff you can do with these modules is wild… did you see this WiFi signal strength mapping project?

The ESP chipset acts as a UDP client which receives packets from a WinAmp plugin that [Mr.jb.swe] wrote. The plugin continuously calculates the dB of whatever track is playing and streams it over WiFi to his ESP8266. He also mentions that the ADC of the ESP chipset could be used to sample audio as well, although that pretty much eliminates the need for WiFi.

The whole setup is very responsive even though the processor is parsing UDP messages, driving the WS2812 strip, and driving a small OLED display for debug—and it doesn’t even use a separate microcontroller. [Mr.jb.swe] also posted snippets of his code to get you started on your own project. Check out the videos after the break to see it in action.


Filed under: digital audio hacks, wireless hacks

by Ethan Zonca at February 18, 2015 06:01 AM

Recent changes to blog

Working on the design

Some people claim about that they didn't like the design of the guitarix rack/units.
I've tried to find designers who like to create new interfaces for us, but, up to now, I'm failed. So, even if I'm not a designer, I try to improve the view of the GUI a bit. Here is with what I'm coming up so far, a single rack-unit, done in cairo.
rack-unit

Here is how it looks in the rack:
guitarix-rack

Comments are welcome,

by brummer at February 18, 2015 04:59 AM

February 16, 2015

rncbc.org

rtirq update - 2015 edition

just in time for the mardi gras, rtirq has been updated ;)

http://www.rncbc.org/archive/#rtirq

original packages are available:

rtirq-20150216.tar.gz
rtirq-20150216-35.src.rpm
rtirq-20150216-35.noarch.rpm

DISCLAIMER: rtirq only makes sense on PREEMPT_RT or threadirqs enabled kernels (>= 2.6.39).

cheers && enjoy

by rncbc at February 16, 2015 06:30 PM

Create Digital Music » open-source

A Toe-Tapping, Dancing 3D-Printed Robot Plays Music

Making Music With Poppy from Pierre Rouanet on Vimeo.

It can “learn” to tap its toe and bob its head. And then it can make sounds as you move its arms. It’s a robotic interface for music – a bit like playing with a very smart toy doll.

To show off its interactive/interfacing abilities, the team behind Poppy used music.

Poppy is a robot that can be produced with a 3D printer. All the hardware and software are fully open source. The idea – fused with cash from the EU’s European Research Council for funding science and creativity – is to help teach, as well as to empower engineers, scientists, and researchers. Apart from getting kids excited by being really cool, robotics are an excellent way to explore ideas in physical space, honing skills around logic as well as programming.

poppy_components

The combination of robotics and teaching has a long, proud history; look no further than the Logo programming language and the educational Turtle robot. See the founding pioneers of creative computing who led that effort, like roboticist and neuroscientist William Grey Walter, Wally Feurzeig, AI pioneer Seymour Papert, and notably Cynthia Solomon. Solomon helped create Logo, but also took that R&D to Apple and Atari, which brought it to the masses – I was a child of that effort, experiencing Logo for the first time on the Apple //e and going on to teach creative coding myself.

The juncture of science and computer science with music, though is an important one. It can make those concepts expressive and immediate.

This video could just be the beginning: the research team, led by France’s Dr. Clément Moulin-Frier, produced it after just a few hours in a code spring, plus the video. So, you could well build on this idea and do something better, given more time. In the meantime, I think it’s already more than reasonably fun.

You’ll find more details on the Poppy forum:
Poppy in a musical setup, please share your ideas

The same team created a Kinect-tracked robotic dance, which is oddly mesmerizing:

More on that effort, by dancer Marie-Aline and researcher/developer Jean-Marc Weber:
Artist residency: Êtres et Numérique

The European Commission has a release on the project in general (here printed in the English-language Prague Post):

Meet Poppy, the printable robot

An overview video covers how the whole rig works:

Poppy humanoid beta Overview from Poppy Project on Vimeo.

Here’s what assembly looks like:

Time lapse of Poppy humanoid's assembly from Poppy Project on Vimeo.

And printing goes something like this, as a hand is produced on a Makerbot Replicator. (Fun trivia: years ago, before founding Makerbot, now-celebrity Bre Pettis was one of the first presenters at CDM’s MusicMakers/Handmade Music event, showing off a cassette tape Mellotron built with Etsy’s Eric Beug. I think it even sort of worked. So, here, things come sort of full circle.)

Poppy's hand being 3Dprinted on a replicator 2 from Poppy Project on Vimeo.

You’re going to need access to a 3D printer, of course, to try this out, but if someone ventures into experimenting with Poppy, we’d love to hear about it.

The post A Toe-Tapping, Dancing 3D-Printed Robot Plays Music appeared first on Create Digital Music.

by Peter Kirn at February 16, 2015 03:38 PM

February 15, 2015

Libre Music Production - Articles, Tutorials and News

Newsletter for February out now - Damien Zammit interview, Pure Data tutorial and more!

Our newsletter for February is now sent to our subscribers. If you have not yet subscribed, you can do that from our start page.

You can also read the latest issue online. In it you will find:

  • 'LMP Asks' interview with Damien Zammit
  • Pure Data tutorial
  • Content wish list progress
  • New software release announcements

and more!

by admin at February 15, 2015 06:24 PM

February 14, 2015

LinuxMuso

February 13, 2015

Create Digital Music » open-source

Put a Radio in Your Modular: Music Thing Radio Music

radiothing

Once upon a time, musicians made music from the sound content pouring invisibly, inaudibly from the air. The likes of John Cage and Kalrheinz Stockhausen turned the radio into stochastic source and instrument, a means of making music in the now.

And now, you can, too, in the latest Eurorack module.

Whether you want a modular or not, this is one module you definitely don’t need. You don’t need to act out Cage-ian fantasies and turn your local hit FM station greatest tracks of the 80s and 90s into an experimental noise performance. Nor do you really need to understand the workings of Eurorack by building your own DIY module. But you can.

And the man who made the DIY project is none other than Tom Whitwell, the one-time music tech blogger who used to trade shots with CDM at Music thing, but has now found a much more enjoyable path making new Eurorack modules (among other worthwhile activities).

Music Thing Modular Radio Music Prototype from Tom Whitwell on Vimeo.

The beginnings of this project can be found in a guest piece Tom wrote for CDM in the heady days of 2012. There, he was already on to the notion of building a radio sequencer – and, in the process, teaching you how to make your own modules.

Now, the piece is fully fleshed out and documented. There are copious instructions, so that this might even be your first electronics piece. You can delve into the history of the music that inspired it, then grab a soldering iron and start making your own history.

It’s open source hardware, with extensive documentation and all the circuits and faceplate up on GitHub:

https://github.com/TomWhitwell/RadioMusic

More background on the music history behind this:
Compositions based on radio broadcasts

And the sounds you can make actually do get really interesting, as you start to modulate the radio sequencer’s output via voltage:

Manic Burroughs Cut-Up is Manic from thonk on Vimeo.

There’s no actual radio here. It’s a sequenced sampler, technically. The advantage, though, is future-proofing – much needed as terrestrial (analog) radio goes the way of the dodo, to be replaced by digital radio and its ilk. But the concept holds. And this is a nice project if you’re interested in dabbling in DIY for Eurorack.

Find it at Music thing Modular:
Music thing Modular

If you do want a radio in your rack, here are a couple of suggestions (via our friend Guy Taylor):

ADDAC System VC FM Radio
Evaton RF Nomad

And they’re also worthy additions, I think. (That ADDAC is handsome.)

ADDAC102_big_

Previously (including notes if you want an actual radio):
Music Thing: A Radio Sequencer, How to Get Into DIY Synth Modules, How to Have Fun

radiothing2

The post Put a Radio in Your Modular: Music Thing Radio Music appeared first on Create Digital Music.

by Peter Kirn at February 13, 2015 04:52 PM

Libre Music Production - Articles, Tutorials and News

Demystifying JACK – A Beginners Guide to Getting Started with JACK

JACK is the de-facto standard audio server for working with professional audio on Linux. JACK, the name of which is a recursive acronym for ‘JACK Audio Connection Kit’, is a very powerful piece of software. Some new users find it confusing at first. While its settings and functionality are extensive, you only need to know the basics to get started and take advantage of its underlying power.

by Conor at February 13, 2015 10:20 AM

February 12, 2015

Libre Music Production - Articles, Tutorials and News

LMP content wish list progress

Due to progress made on tutorials, we've recently been able to tick off a few tasks from the content wish list. We would like to now ask the LMP community for more suggestions of what content you would like to see on the website. If you have any suggestions, feel free to add them in the comments section of the content wish list.

by Conor at February 12, 2015 10:06 PM

Rakarrack LV2 plugin ports - Work in Progress

Spencer Jackson has taken on the task of porting some of the effects modules from Rakarrack to LV2 plugins. So far Spencer has completed the following modules -

by Conor at February 12, 2015 09:56 PM

Linux Audio Announcements - laa@linuxaudio.org

[LAA] CfP ICAD 2015 - Deadline EXTENDED to Sunday March 1, 2015

From: Visda Goudarzi <visda@...>
Subject: [LAA] CfP ICAD 2015 - Deadline EXTENDED to Sunday March 1, 2015
Date: Feb 12, 1:09 pm 2015

Deadline for Submission of Papers, Posters, Music, and Installations EXTENDED to Sunday March 1st,
2015.

Please note that the deadline for Extended Abstracts will not be extended.

http://icad15.iem.at



The 21st International Conference on Auditory Display

July 6 - 7 Workshops and Student Think Tank

July 8 - 10 Conference

University of Music and Performing Arts and Technical University of Graz, Austria.

::::::::::::::::: KEY DATES :::::::::::::::::

01 March 2015 Submission of Papers, Posters, Music, and Installations

15 March 2015 Submission of Workshops

15 April 2015 Submission of Extended Abstracts

15 April 2015 Notification of acceptance for Workshops

01 May 2015 Notification of acceptance for Papers, Posters, Music, and Installations

15 May 2015 Notification of acceptance for Extended Abstracts

01 June 2015 Camera-Ready deadline

::::::::::::::::: AREAS OF INTEREST :::::::::::::::::

Relevant areas for ICAD include but are not limited to:

Auditory Display:

- Aesthetics, Culture, & Philosophy

- Design, Theory & Methods

- Technology: Tools & Applications

- Perceptual and Cognitive Aspects

- Usability & Evaluation

- Accessibility

Special Focus of ICAD15:

- Sonification:

- Exploration of Data through Sound

- Sonification as Art

- Sonic Interaction Design

- Interaction design

- Input technologies

- Auditory Information Design

- Spatial Audio

- Binaural virtual acoustics

- Loudspeaker-based sound field synthesis



Accepted papers will be included in the published proceedings and made publicly available in the
Georgia Tech SMARTech system (http:// smartech.gatech.edu/). The types of submissions solicited for
ICAD15 include:

::::::::::::::::: PAPERS AND POSTERS:::::::::::::::::

Paper and poster submissions will be 4-8 pages in length, including all figures and references. Typical
paper contributions are between 6 - 8 pages, and typical poster contributions are 4 - 5 pages long. Full
papers should describe work that offers a substantial contribution to the field of auditory display.
Authors of accepted papers will be invited to give an oral presentation of their work, and at least one
author must present the work at the conference for the paper to appear in the proceedings. Poster
submissions should describe both finished work and work in late stages of progress. Work that is
complete enough that meaningful conclusions can be drawn at the time of submission are encouraged.
Authors of accepted submissions will be invited to participate in a poster and/or demonstration session,
and at least one author must present the work at the conference for the paper to appear in the
published proceedings. When weighing the decision to submit to poster and demonstration sessions, we
encourage authors [message continues]

read more

February 12, 2015 02:00 PM

[LAA] [LAD] [LAU] Guitarix 0.32.3 release

From: Hermann Meyer <brummer-@...>
Subject: [LAA] [LAD] [LAU] Guitarix 0.32.3 release
Date: Feb 12, 1:08 pm 2015

Release 0.32.3 is out,

Guitarix is a tube amplifier simulation for
jack (Linux), with an additional mono and a stereo effect rack.
Guitarix includes a large list of plugins[*] and support LADSPA / LV2
plugs as well.

The guitarix engine is designed for LIVE usage, and feature ultra fast,
glitch and click free, preset switching and is full Midi (learn)
and remote (Web-interface/ GUI) controllable (bluez / avahi)

Changelog:

* fix some rc-style bugs for KDE Qtcurve engine
* add 2 new rc-styles (flat and green)
* replace old outdated factory presets
* add some new plugin presets
* add jack midi out port to report state (CC messages) and control
multiple instances with one interface
* set engine.mute to default midi controller 120 (All Sounds Off)
* add new command-line options -L start with Live Play GUI
and -M start with engine muted
* fix some issues with remote control GUI and external plugs

Guitarix is free, open-source software, distributed under the terms of
the GNU General Public License (GPL) version 2 or later.

Please refer to our project page for more information:
http://guitarix.sourceforge.net/

Download Site:
http://sourceforge.net/projects/guitarix/

regards
hermann
_______________________________________________
_______________________________________________
Linux-audio-announce mailing list
Linux-audio-announce@lists.linuxaudio.org
http://lists.linuxaudio.org/listinfo/linux-audio-announce

read more

February 12, 2015 02:00 PM

[LAA] OpenMusic 6.9 - new build for Ubuntu (.deb) and Fedora (.rpm)

From: <anders.vinjar@...>
Subject: [LAA] OpenMusic 6.9 - new build for Ubuntu (.deb) and Fedora (.rpm)
Date: Feb 12, 1:08 pm 2015

New builds available at: https://forge.ircam.fr/p/OM/downloads/

OpenMusic homepage: http://repmus.ircam.fr/openmusic/home

Main news:

- new package scripts for RPM and DEB, to take care of necessary
(32-bit) dependencies for OM. (OM is still 32-bit only from lack of
access to 64-bit lw-compiler.)

- the music-fonts OM uses (omfonts) get installed as part of the main
package, ie. the extra package is no longer needed

- a non-standard dependency: libsdif.so ("SDIF: Sound Description
Interchange Format" - http://sdif.sourceforge.net/) - is provided as
RPM- and DEB-packages at the download site

Other news:

- PortMidi handles midi i/o, using the same code on all 3 supported
platforms (Linux, OSX, Windows)

- fluidsynth is no longer part of the OM-application, instead users are
expected to connect to their preferred MIDI-synth to play back MIDI
from OM

- various new features and bug-fixes

Packages are checked on Fedora 20+21, and Ubuntu 14.04.1.

Thanks for all bug-reports.

-anders
_______________________________________________
Linux-audio-announce mailing list
Linux-audio-announce@lists.linuxaudio.org
http://lists.linuxaudio.org/listinfo/linux-audio-announce

read more

February 12, 2015 02:00 PM

Hackaday » digital audio hacks

Clocked 8-Bit Random Pattern Generator For a CMOS Synth

A random noise generator is pretty handy when working with music, and building one using a micro-controller can be pretty trivial. So it’s nice when someone comes along and builds it from a few analog and digital parts. [acidbourbon] built his Clocked 8-BIT Random Pattern Generator for  CMOS Synth  inspired and motivated by the recent article Logic Noise: Sweet, Sweet Oscillator Sounds by [Elliot Williams]. It’s 8-bit output can be used as a random sequencer for DIY CMOS synths.
This pattern generator is suited to to be used in combination with a 4051 8-channel analog multiplexer. But it sounds quite interesting on it’s own (best enjoyed in stereo, check out the video after the break). After building some CMOS synth circuits, [acidbourbon] moved on to make some sequencers and multiplexers which then let him to devise this random pattern generator which could be gated using a clock signal.

The basic principle is straight forward – generate noise, amplify it, apply a clock to get the gated noise output. His design choices for the various sections are well explained, based on constraints that he had to work with. Everything needs to work at 5V, but his noise generator circuit requires 12V to work. He choose to use a charge pump to generate -5V, resulting in a 10V supply, which was barely enough, but worked. A boost regulator might probably have served better to generate 12V, but maybe he already had the ICL7660 charge pump IC lying around in his parts bin. The rest of the circuit uses standard CMOS/TTL devices, and [acidbourbon] provides all of the design files for what looks like a neat, single sided PCB that can easily be made using the toner-transfer method.

Video below.


Filed under: digital audio hacks, musical hacks

by Anool Mahidharia at February 12, 2015 02:00 AM

February 11, 2015

Libre Music Production - Articles, Tutorials and News

ArtyFX demo and Fabla 2.0 update from OpenAV

OpenAV have created a video showcasing some of their ArtyFX plugins working on a MOD Quadra. They have been demonstrating the MOD Quadra at open-mic nights and we can expect more video demos soon.

by Conor at February 11, 2015 11:03 AM

February 10, 2015

OpenAV

MOD meets the Open Mic night

MOD meets the Open Mic night

Here at OpenAV we have a MOD Quadra : and we’re taking it to a local open-mic night every week. We’ve seen smiles on musicians faces when they first see the power of MOD, we’ve had compliments on the sound quality, and this week we’ll do it all again! Stay tuned – more MOD demos with OpenAV software coming up! Fabla2… Read more →

by harry at February 10, 2015 11:03 PM

February 06, 2015

Libre Music Production - Articles, Tutorials and News

LMP Asks #5: An interview with Damien Zammit

This month we talked to Damien Zammit. As well as being the developer of zam-plugins, he has also contributed to the coreboot project, Calf studio plugins and Linux drivers for various audio interfaces. He maintains his own website over at ZamAudio.com.

by Conor at February 06, 2015 08:52 AM

February 05, 2015

Libre Music Production - Articles, Tutorials and News

Yoshimi 1.3.2 released

Yoshimi 1.3.2 is now available. The main feature of this release is the consolidation and completion of changes to root directories, banks and instruments along with MIDI control of these.

This release also includes:

  • LV2 updates
  • GUI sync and error check improvements
  • Instrument name ambiguities resolved
  • Obligatory bug fixes

For full details, see the annoucement on the Linux Audio users mailing list.

by Conor at February 05, 2015 09:00 PM

February 04, 2015

Hackaday » digital audio hacks

Logic Noise: Sweet, Sweet Oscillator Sounds

Welcome to part one of a series taking you down the rabbit hole of DIY electronic synthesizers based on (largely) CMOS logic chips. Instead of synths being commodity gear made by large corporate enterprises, we’ll be building with the cheapest available parts, using and misusing digital logic. In short, don’t expect pre-packaged smooth tones, because we’ll be making creative noise machines.

If you’re the chiptunes type, you’ll probably find something you like here. If you’re the circuit bender or electro-noise-punk type, this is gonna be right up your alley. If you just like to see CMOS chips wriggle and squirm in unintended ways, feel free to look over my shoulder. If you’re the type who insists that a screwdriver can’t be used to pry open a paint can, then maybe you’d better move along. There’s a thin line between the glitch as bug and the glitch as interesting discovery, and we’ll be dancing all over it.

To give you a taste of what we’re up to this session, here is a quick demo.  Have a look and then we’ll get down to it.

It All Starts With Squares

single-oscillator-breadboardWe’ll start off with one oscillator (yawn!) and then turn it into something much more interesting really quickly. Making this circuit playable takes a little more experimentation, but that’s the whole point. And along the way, we’ll be laying the groundwork for much more complicated circuits later on. We’re starting at the beginning, but the curve is steep.

Our simple oscillator circuit is based around a logic inverter. An inverter is a chip that outputs the opposite logical voltage level from what’s put in: if the input sees the high voltage level, it sets the output low (and vice-versa).

To see how to make a quick and dirty oscillator out of an inverter, think about what would happen if you connected an inverter’s output back into its input. If the input starts off low, the output goes high. But since they’re connected, the input is now pulled high which in turn sets the output to low, and we’re back where we started. This high-low-high-low feedback circuit gives us a basic oscillator, only there’s a couple more nuances we’ll need to look into.

40106_pinoutThe chip we’ll be using for our oscillator is the CD40106BE; also called the HEF40106, depending on who makes it (datasheet, PDF) which is a hex inverter with hysteresis. It’s a great chip for our purposes because it’ll work on a wide voltage range so that we don’t have to stress about powering it. 5V is a good minimum, but 9V batteries are no problem and 12V is just peachy. Hex just means that there are six inverters in the same chip. You can see how they’re laid out below. Pin 1 is the input of the first inverter. Pin 2 is its output, and so on.

Hysteresis is just Greek for: state dependence. In our particular case, it means that the threshold value that the chip uses to determine whether the input is high or low depends on whether it’s currently high or low. The 40106 chip has two threshold values: a lower value that’s active when the input is already high and a higher value that’s used when the input is low. For the traditional use, this provides a degree of noise immunity; if the input is currently high, but fluctuating around a bit, it has to drop lower than the lower threshold to change state.

hysteresis

 

Here, we rely on hysteresis to make our oscillator run. If you substituted an inverter without hysteresis, its output would sit at the (single) voltage threshold. Why? When the output voltage gets a tiny bit above the threshold, it pulls the input up with it, and it switches the output low. When the output goes a tiny bit below the threshold, it switches back the other way. Instead of an oscillator, you end up with the chip thrashing back and forth internally just to hold a constant middle voltage level on the output.

If you add hysteresis into the mix, you get an oscillator. Instead of wiggling imperceptibly around one switching threshold, we have two thresholds. This means that the chip won’t switch its output low until the input rises at least up to the higher input level. Now, that happens pretty fast: when I build the circuit with straight feedback, I get a square wave that oscillates at 4.3 MHz, a few orders of magnitude too fast for human hearing. We need to slow the feedback down.

To lower the pitch down into the audio range, we run the feedback through a resistor to limit the current in the feedback path, and then charge up a capacitor with this current. The time it takes the capacitor to charge up from the lower threshold voltage to the upper depends on the current that it’s supplied. That means that the frequency is determined by the size of the resistor and the capacitor. A larger resistance limits the current, slowing the cycle down. A larger capacitor requires more charge in order to reach a given voltage, which also results in a slower cycle and thus lower pitch.

40106_just_osc

 

So look over the oscillator circuit for a second and we’ll recap. Imagine that the input voltage just crossed the lower threshold. Because the input voltage is low, the output is set high. The high output and low input causes current to flow through the resistor which slowly charges up the capacitor until the input voltage is higher than the high threshold, when the logic switches state and the output goes low. The low output then slowly discharges the capacitor until it drops below the low threshold and the cycle repeats. Tadaa! A square wave on the output bouncing between the two logic voltage levels.

But what about the input? Remember that the input sees the capacitor charging and discharging between the two threshold levels. Because the output voltage is constant and the voltage on the capacitor is increasing over time, the current that flows through the resistor drops a little during the cycle, so what we get is a “triangle” wave that’s made out of exponential curves rather than straight lines. (Good enough for gov’t work.) We’ll use this “triangle” waveform in a couple of weeks when we move on to linear-mode logic chip abuse, so just keep it in the back of your head for now. In the mean time, a scope trace is worth a thousand words.

cmos_40106_square_trace

Here in yellow is the inverter’s output; a nice 5V square wave at 321 Hz. The green trace is the input, which shows the slowed-down charging and discharging of the capacitor. You can also see just exactly where the inverter’s lower and upper threshold values are, marked off by the dashed lines. As soon as the voltage on the capacitor reaches the relevant threshold voltage, the output switches state. And that’s the essence of the “relaxation oscillator” — it’s a simple feedback oscillator that takes advantage of the inverter’s hysteresis and is slowed down by charging up a capacitor.

And here’s what it sounds like. I used a potentiometer for the resistor, and I’m twisting the knob during the demo.

Build It

trimpot-oscillator-testsEnough theory. It’s time for you to build yours.

To actually hear this thing, we’ll also need to connect it to an amplifier and speaker. I recommend the cheapest powered “computer” speakers you can find because they have built-in amplification with volume control and you won’t really care if you break them. I’ve even cut off the normal 1/4″ plug on the end of mine and soldered on alligator clips to make them easier to attach to breadboarded circuits.

If you’re going to connect DIY noisemakers up to something valuable, you’re going to want to reduce the output down to line levels: let’s say one volt peak-to-peak. If you’re running on a 9V battery, that means dividing down by a factor of nine-ish. You can do this with a simple voltage divider (see below).
Finally, there’s two details that you almost always have to think about with CMOS chips. First, they make spikey demands on the power supply as the internal transistors are switching. To smooth this out, I usually add a 0.1 uF or 1 uF capacitor just across the chip’s power pins. Second, the unused inputs should ideally be connected to ground (or VCC, your choice). That means grounding pins 3, 5, 9 11, and 13. And don’t forget to hook up power to pins 7 and 14.

A practical circuit would look something like this:

40106_osc_power

Fire up your speakers / amp and give it a listen until you can’t take it anymore. For me that took about five seconds. (For my wife, about three.) Let’s see how quickly we can add a little pitch control and dynamics to make things more musical.

Pitch

First let’s work on changing the pitch up. The frequency is determined by how quickly the capacitor is filled up through the resistor, so we’ve got to change one or the other. Changing the capacitance is hard, so we’ll work on the resistor. Any way that you can put a variable resistance in this circuit is fair game. A potentiometer, as above, is pretty obvious.

A light-dependent-resistor photocell is a great option. You can then use light to control the pitch by waving your hands around, which is kinda cool. But it gets much cooler when you invite the LEDs over — anything that you’ve got that can turn on and off an LED can change the pitch of your oscillator. If you’ve been racking your brain about how you’re going to hook your Arduino up to this circuit: PWM to get different brightnesses and “control” the pitch.

And then there’s DIY resistors. Some old VHS tapes have a nice resistance that increases linearly across their length, but you may have to try a few before you find the right brand. (A really thick layer of graphite laid down by a dark pencil works just about as well.) Test the matte side of a bunch of tapes with an ohmmeter first before you go ripping them out of the cassettes. My copy of “12 Monkeys” has 37 KOhms per inch, which is pretty much ideal using a slightly smaller capacitor. I’ve taped the VHS tape down to a piece of cardboard and connected it to the circuit with alligator clips. I play it by tapping on the tape with another clip. Good vibrations!

Originalstylophone” by Dhscommtech CC BY-SA 3.0

If you want multiple discrete notes, like a piano, you can connect a variety of resistors with one end connected in common to the capacitor. On the other end, connecting back to the output, you attach a wire that you use to select which resistor is in the circuit. See the stylophone for inspiration.

If your DIY resistor doesn’t have the same range as mine, or you just want to play different pitches, you can use whatever size capacitor you need to get the range you want, naturally. The chips don’t like to put out more than a couple of milliamps, so try to keep the minimum resistance above 2 KOhms if you want the chip to run in spec.

With the 0.1 uF capacitor that I’ve chosen 10K Ohms is a good lower limit for the resistance, otherwise the pitches get annoyingly high. Because of this, you might want to toss a 10K resistor in series with whatever variable resistance scheme you’re using. Otherwise, you’ll end up annoying the dog or disrupting bats’ flight paths.

Dynamics

If you’d just like to turn this thing on and off, we’ve got a few options. Easiest is to wire the VCC power supply through a pushbutton. Press the button, the chip gets juice and makes noise. Release, no power and silence. A quick way to improve on this circuit is to add a fairly large (10uF to 100uF) capacitor just after the switch. When you release the button, the capacitor will provide enough charge to run the circuit for a little while, smoothing out the release of the note.

Otherwise you can lean on the LDRs again, and make yourself a light-dependent volume control by adding an LDR to the voltage divider that I suggested above to get the signal down to line levels. Ping this LDR with an LED, and again you’ve got electronic control over the volume. We’ll do volume control more seriously in a few weeks, but for now you can cobble something together with an LDR if you really need one now.

If you’re building along, now is a good time to test some of this out on the breadboard, and maybe try to play a simple melody or whatever. At least try the button in the power supply trick, and try experimenting with different power-fade-out capacitor sizes. Once your familiar with one oscillator, we’ll throw in another.

Timbral Modulation

Now it starts to get interesting. (Oh, this is just the beginning!) We’ve got five inverter gates still unused, any of which could be used to add richness / modify the simple square wave we’re putting out so far. So let’s make an oscillator sync effect. If we build up another oscillator and use it to turn on and off our first oscillator and set things up just right, we’ll get the sometimes nasal, sometimes biting timbres of digital hard sync.

 

40106_sync_osc

Build up a second oscillator just like the first, and connect the second’s output to the input of the first oscillator through a diode and an approximately 1 KOhm resistor. (The resistor limits the output current to keep the chip in spec.) When the second oscillator is high, it will conduct through the diode and keep the input on oscillator one always high, effectively turning it off. But when the second oscillator goes low, it will release oscillator one to do its normal thing.

The frequency of the first (fast) oscillator acts as a timbre modulator, and the second oscillator controls the overall perceived pitch. Let’s take it to the scope.

cmos_40106_gated_traces

The green trace on top is the second oscillator, set to the frequency that determines the pitch. It’s a boring square wave. But the yellow trace on the bottom is the synced, higher frequency trace that we use as output. You can see that when the green oscillator goes high, it conducts through the diode and forces the input of the yellow oscillator high, and correspondingly its output low. When the green oscillator output goes low, the yellow oscillator is free to do its thing again; the diode only conducts one way. So we see the yellow oscillator start back up at its higher frequency until it gets cut off in mid-cycle by the green oscillator going high again.

This circuit sounds a lot more interesting than the initial boring old square waves, and it’s even more expressive when you can change the frequency of the synced oscillator. A potentiometer is OK, but here’s a great place to use an LDR to give you control over the timbre by waving your hand around over the photocell. The one caveat is that when the frequency of the synced oscillator approaches that of the syncing oscillator, you don’t get any sound anymore. So to play around, it makes a lot of sense to put the LDR in series with a potentiometer so that you can play with the range of the effect.

For extra credit, drive the synced oscillator’s frequency by pointing an LED at the LDR. Now however you control the LED will control the high-frequency component of the timbre. How close you get the LED to the LDR changes the depth of the effect, from subtle to really nuts. The pitch is still controlled with the potentiometer you’ve got running oscillator two, but the timbre is controlled by the LED. Of course, nothing stops you from applying the same trick to the pitch oscillator either.

Conclusion, and Next Week: Sequencers

So by now you’ve got something built up on your desk that’s either making completely autonomous noise with blinking LEDs, or you’ve built an expressive manual electronic instrument. If you get anything good, record it and link to it in the comments section. (And let us know how you did it.)

Next week we’ll add a sequencer to the basic relaxation oscillator framework here, so stay tuned. And if you’d like to pre-order yourself some parts, we’ll need a 4040 counter chip and (my favorite CMOS logic chip in the world?) a 4051 8-way analog switch. You’ll also want an assortment of resistors, probably an LDR or two, and a bunch of diodes on hand. And if you haven’t got those cheap powered computer speakers sorted out yet, get on it.

See you then.


Filed under: digital audio hacks, Featured, slider

by Elliot Williams at February 04, 2015 03:01 PM