[music-dsp] Signal Estimator
Hi, signal-estimator is a small command-line tool allowing to measure latency and loss ratio of the signal looped back (somehow) from ALSA output device to ALSA input device. I created it to measure the total latency of an Android phone with a Bluetooth headset. Link: https://github.com/gavv/signal-estimator/ -- Victor ___ dupswapdrop: music-dsp mailing list music-dsp@music.columbia.edu https://lists.columbia.edu/mailman/listinfo/music-dsp
[music-dsp] A step-by-step tutorial for live audio streaming with Roc
Hi! I've prepared a tutorial explaining how to set up Roc[1] to perform live streaming between Ubuntu and macOS desktops, Raspberry Pi boards, and Android devices. https://gavv.github.io/articles/roc-tutorial/ [1] https://roc-project.github.io/ -- Victor ___ dupswapdrop: music-dsp mailing list music-dsp@music.columbia.edu https://lists.columbia.edu/mailman/listinfo/music-dsp
[music-dsp] [ANN] Roc 0.1.0 released
Hello! I'm happy to announce Roc 0.1.0. Roc is a toolkit (C library, command-line tools, PulseAudio modules) for real-time audio streaming over the network. Announcement: https://gavv.github.io/articles/roc-0.1/ GitHub: https://github.com/roc-project/roc/ Documentation: https://roc-project.github.io/roc/docs/ -- Victor ___ dupswapdrop: music-dsp mailing list music-dsp@music.columbia.edu https://lists.columbia.edu/mailman/listinfo/music-dsp
[music-dsp] position at Maynooth University
A lectureship position in Computer Music/Music Technology at Maynooth University is open (18 month contract initially). The Music Department has a particular strength in the area, running undergraduate and postgraduate programs in music technology. In the past four years, it has hosted the Linux Audio Conference, DAFx and SMC, and is involved in research projects in the area. We are welcoming applications with a particular focus on music programming languages, sound synthesis and processing, and Csound. www.maynoothuniversity.ie/human-resources/vacancies/lecturerassistant-lecturer-department-music best regards Dr Victor Lazzarini Dean of Arts, Celtic Studies and Philosophy, Maynooth University, Maynooth, Co Kildare, Ireland Tel: 00 353 7086936 Fax: 00 353 1 7086952 ___ dupswapdrop: music-dsp mailing list music-dsp@music.columbia.edu https://lists.columbia.edu/mailman/listinfo/music-dsp
Re: [music-dsp] sinc interp, higher orders
Excellent, thanks. Dr Victor Lazzarini Dean of Arts, Celtic Studies and Philosophy, Maynooth University, Maynooth, Co Kildare, Ireland Tel: 00 353 7086936 Fax: 00 353 1 7086952 > On 11 Sep 2015, at 09:16, Stefan Stenzel <stefan.sten...@waldorfmusic.de> > wrote: > > No. > >> On 10 Sep 2015, at 21:15 , Victor Lazzarini <victor.lazzar...@nuim.ie> wrote: >> >> Is there much to gain in going above a 1024 window, when doing sinc >> interpolation (for table lookup applications)? >> >> (simple question; no intention of starting flame wars; not asking about any >> other method, either ;) ) >> >> Victor Lazzarini >> Dean of Arts, Celtic Studies, and Philosophy >> Maynooth University >> Ireland >> ___ >> dupswapdrop: music-dsp mailing list >> music-dsp@music.columbia.edu >> https://lists.columbia.edu/mailman/listinfo/music-dsp > > > ___ > dupswapdrop: music-dsp mailing list > music-dsp@music.columbia.edu > https://lists.columbia.edu/mailman/listinfo/music-dsp ___ dupswapdrop: music-dsp mailing list music-dsp@music.columbia.edu https://lists.columbia.edu/mailman/listinfo/music-dsp
[music-dsp] sinc interp, higher orders
Is there much to gain in going above a 1024 window, when doing sinc interpolation (for table lookup applications)? (simple question; no intention of starting flame wars; not asking about any other method, either ;) ) Victor Lazzarini Dean of Arts, Celtic Studies, and Philosophy Maynooth University Ireland ___ dupswapdrop: music-dsp mailing list music-dsp@music.columbia.edu https://lists.columbia.edu/mailman/listinfo/music-dsp
Re: [music-dsp] 20k
What does the partitioned convolution patent cover? Victor Lazzarini Dean of Arts, Celtic Studies, and Philosophy Maynooth University Ireland > On 31 Aug 2015, at 03:15, Tom Duffy <tdu...@tascam.com> wrote: > > History review: > > When convolution reverbs first became a computer real-time > solvable solution, the Altivec vector instructions of the PowerPC > G4 and G5 processors put Apple's Macs at a sizeable advantage > over x86 PCs because of their efficiency at performing FFT / > Convolution processing. > When Macs switched to x86, all the reverb plug-in companies > had to go back to the drawing board to create efficient convolution > processing algorithms in SSE, etc. > AMD and Intel introduced various flavors of vector processing > at different times, so there was no longer a clear winner in the > fastest / bestest reverb race. > > Don't forget that partitioned convolution is patented too, I think > we've covered that on this list in the past. > > --- > Tom > >> On 8/30/2015 4:43 PM, Scott Gravenhorst wrote: >> music-dsp@music.columbia.edu wrote: >> >On 2015-08-30, Scott Gravenhorst wrote: >> > >> >> This amounted to using a microphone to sample the effects of an >> >> impulse (starter's pistol or some such) on some audio environment like >> >> a church or concert hall, or even a rock face in a forest. The >> >> recording was then used as a kernel and convolved with an input signal >> >> (such as music). >> > >> >Typically you'd implement that stuff via Fourier methods. It's just so >> >much more efficient that way, and given what you told, I at least don't >> >see any reason to implement in the direct, brute force way. >> > >> >And you know, you can do kernels hundreds of millions of samples long >> >that way in real time, as opposed to perhaps thousands or tens of >> >thousands in the direct form. So if you can at *any* cost avoid the >> >direct calculation, you would. ;) >> >-- >> >Sampo Syreeni, aka decoy - de...@iki.fi, http://decoy.iki.fi/front >> >+358-40-3255353, 025E D175 ABE5 027C 9494 EEB0 E090 8BA9 0509 85C2 >> >> I don't doubt that it is possible with FFT. I also don't doubt that the FFT >> method could easily be less compute heavy. I just did a bit of Google using >> "impulse response reverb" and found that (at least) Ableton Live supports it >> in which an IR of a "room" is used as a convolution kernel (according to the >> description I read). Is it possible that there is some other advantage to >> using convolution over FFT? Or is it possible that these sites say >> "convolution reverb" but internally, it is faked using FFT? I dunno. All I >> can say is that there are a serious number of hits on that search string and >> they seem to indicate that they use convolution. >> >> As I Said, I'm a noob, so I can't/won't argue the advantages of one over the >> other. Maybe you can enlighten? >> >> >> -- ScottG >> >> -- Scott Gravenhorst >> -- http://scott.joviansynth.com/ >> -- When the going gets tough, the tough use the command line. >> -- Matt 21:22 >> ___ >> dupswapdrop: music-dsp mailing list >> music-dsp@music.columbia.edu >> https://lists.columbia.edu/mailman/listinfo/music-dsp > > ___ > dupswapdrop: music-dsp mailing list > music-dsp@music.columbia.edu > https://lists.columbia.edu/mailman/listinfo/music-dsp ___ dupswapdrop: music-dsp mailing list music-dsp@music.columbia.edu https://lists.columbia.edu/mailman/listinfo/music-dsp
[music-dsp] the original reference for Nyquist-Shannon theorem
Does anyone know what is the original published source for the Nyquist-Shannon theorem? Dr Victor Lazzarini Dean of Arts, Celtic Studies and Philosophy, Maynooth University, Maynooth, Co Kildare, Ireland Tel: 00 353 7086936 Fax: 00 353 1 7086952 -- dupswapdrop -- the music-dsp mailing list and website: subscription info, FAQ, source code archive, list archive, book reviews, dsp links http://music.columbia.edu/cmc/music-dsp http://music.columbia.edu/mailman/listinfo/music-dsp
Re: [music-dsp] the original reference for Nyquist-Shannon theorem
Fantastic, thanks Uli Steffan. Dr Victor Lazzarini Dean of Arts, Celtic Studies and Philosophy, Maynooth University, Maynooth, Co Kildare, Ireland Tel: 00 353 7086936 Fax: 00 353 1 7086952 On 19 Jun 2015, at 13:03, Uli Brueggemann uli.brueggem...@gmail.com wrote: http://web.stanford.edu/class/ee104/shannonpaper.pdf is a reprint from 1949 2015-06-19 14:00 GMT+02:00 STEFFAN DIEDRICHSEN sdiedrich...@me.com: According to the german Wikipedia, Shannon published it here: Proc. IRE. Vol. 37, No. 1, 1949 And Nyqvist published his theorem here: Harry Nyquist https://de.wikipedia.org/wiki/Harry_Nyquist: Certain Topics in Telegraph Transmission Theory. In: Transactions of the American Institute of Electrical Engineers. Vol. 47, 1928, ISSN 0096-3860 http://dispatch.opac.dnb.de/DB=1.1/CMD?ACT=SRCHAIKT=8TRM=0096-3860 1928!! Steffan On 19.06.2015|KW25, at 13:53, Victor Lazzarini victor.lazzar...@nuim.ie wrote: Does anyone know what is the original published source for the Nyquist-Shannon theorem? Dr Victor Lazzarini Dean of Arts, Celtic Studies and Philosophy, Maynooth University, Maynooth, Co Kildare, Ireland Tel: 00 353 7086936 Fax: 00 353 1 7086952 -- dupswapdrop -- the music-dsp mailing list and website: subscription info, FAQ, source code archive, list archive, book reviews, dsp links http://music.columbia.edu/cmc/music-dsp http://music.columbia.edu/mailman/listinfo/music-dsp -- dupswapdrop -- the music-dsp mailing list and website: subscription info, FAQ, source code archive, list archive, book reviews, dsp links http://music.columbia.edu/cmc/music-dsp http://music.columbia.edu/mailman/listinfo/music-dsp -- dupswapdrop -- the music-dsp mailing list and website: subscription info, FAQ, source code archive, list archive, book reviews, dsp links http://music.columbia.edu/cmc/music-dsp http://music.columbia.edu/mailman/listinfo/music-dsp -- dupswapdrop -- the music-dsp mailing list and website: subscription info, FAQ, source code archive, list archive, book reviews, dsp links http://music.columbia.edu/cmc/music-dsp http://music.columbia.edu/mailman/listinfo/music-dsp
Re: [music-dsp] Dither video and articles
Yes, but note that in the case Michael is reporting, all filters have double-precision coeffs and data storage. It is only when passing samples between unit generators that the difference lies (either single or double precision is used). Still, I believe that there can be audible differences. Victor Lazzarini Dean of Arts, Celtic Studies, and Philosophy Maynooth University Ireland On 6 Feb 2015, at 18:43, Ethan Duni ethan.d...@gmail.com wrote: Thanks for the reference Vicki What they are hearing is not noise or peaks sitting at the 24th bit but rather the distortion that goes with truncation at 24b, and it is said to have a characteristic coloration effect on sound. I'm aware of an effort to show this with AB/X tests, hopefully it will be published. I'm skeptical, but definitely hope that such a test gets undertaken and published. Would be interesting to have some real data either way. The problem with failing to dither at 24b is that many such truncation steps would be done routinely in mastering, and thus the truncation distortion products continue to build up. Hopefully everyone agrees that the questions of what is appropriate for intermediate processing and what is appropriate for final distribution are quite different, and that substantially higher resolutions (and probably including dither) are indicated for intermediate processing. As Michael Goggins says: In my own work, I have verified with a double-blind ABX comparator at a high degree of statistical significance that I can hear the differences in certain selected portions of the same Csound piece rendered with 32 bit floating point samples versus 64 bit floating point samples. These are sample words used in internal calculations, not for output soundfiles. What I heard was differences in the sound of the same filter algorithm. These differences were not at all hard to hear, but they occurred in only one or two places in the piece. Indeed, it is not particularly difficult to cook up filter designs/algorithms that will break any given finite internal resolution. At some point those filter designs become pathological, but there are plenty of reasonable cases where 32 bit float internal precision is insufficient. Note that a 32-bit float only has 24 bits of mantissa, which is 8 bits less than is typically used in embedded fixed-point implementations (for sensitive components like filter guts, I mean). So even very standard stuff that has been around for decades in the fixed-point world will break if implemented naively in 32 bit float. E -- dupswapdrop -- the music-dsp mailing list and website: subscription info, FAQ, source code archive, list archive, book reviews, dsp links http://music.columbia.edu/cmc/music-dsp http://music.columbia.edu/mailman/listinfo/music-dsp -- dupswapdrop -- the music-dsp mailing list and website: subscription info, FAQ, source code archive, list archive, book reviews, dsp links http://music.columbia.edu/cmc/music-dsp http://music.columbia.edu/mailman/listinfo/music-dsp
[music-dsp] Research Position at Maynooth University
We are looking to fill a position in our team working with the BeatHealth Project (www.euromov.eu/beathealth/homepage), in the area of DSP for realtime signal analysis and processing algorithms, and mobile applications humanresources.nuim.ie/documents/Jobspec.BioEng.PDRF.FINAL_000.pdf It should be of interest to people working in the area of music dsp Regards Dr Victor Lazzarini Dean of Arts, Celtic Studies and Philosophy, Maynooth University, Maynooth, Co Kildare, Ireland Tel: 00 353 7086936 Fax: 00 353 1 7086952 -- dupswapdrop -- the music-dsp mailing list and website: subscription info, FAQ, source code archive, list archive, book reviews, dsp links http://music.columbia.edu/cmc/music-dsp http://music.columbia.edu/mailman/listinfo/music-dsp
[music-dsp] magic formulae
Does anyone have any references for magic formulae for synthesis (I am not sure that this is the usual term)? What I mean is the type of bit manipulation that generates rhythmic/pitch patterns etc., built (as far as I can see) a little bit on an ad hoc basis, like kt*((kt12|kt8)63kt4)” etc. If anyone has a suggestion of papers etc on the subject, I’d be grateful. Thanks! Dr Victor Lazzarini Dean of Arts, Celtic Studies and Philosophy, Maynooth University, Maynooth, Co Kildare, Ireland Tel: 00 353 7086936 Fax: 00 353 1 7086952 -- dupswapdrop -- the music-dsp mailing list and website: subscription info, FAQ, source code archive, list archive, book reviews, dsp links http://music.columbia.edu/cmc/music-dsp http://music.columbia.edu/mailman/listinfo/music-dsp
Re: [music-dsp] magic formulae
Anything really, but technical articles would be welcome. I thought someone would have written something on this for ICMC, SMC, etc. Dr Victor Lazzarini Dean of Arts, Celtic Studies and Philosophy, Maynooth University, Maynooth, Co Kildare, Ireland Tel: 00 353 7086936 Fax: 00 353 1 7086952 On 27 Nov 2014, at 23:24, Ross Bencina rossb-li...@audiomulch.com wrote: On 28/11/2014 12:54 AM, Victor Lazzarini wrote: Thanks everyone for the links. Apart from an article in arXiv written by viznut, I had no further luck finding papers on the subject (the article was from 2011, so I thought that by now there would have been something somewhere, beyond the code examples and overviews etc.). What exactly are you looking for Victor? Perhaps this stuff had its peak in the 80s in video games (maybe there is an article in one of the Audio Anecdotes books, if I remember correctly). There was a discussion on ACMA-L a while back discussing that it was being done in the 70s too. (with discrete digital circuits: counters, gates etc.) Ross. -- dupswapdrop -- the music-dsp mailing list and website: subscription info, FAQ, source code archive, list archive, book reviews, dsp links http://music.columbia.edu/cmc/music-dsp http://music.columbia.edu/mailman/listinfo/music-dsp -- dupswapdrop -- the music-dsp mailing list and website: subscription info, FAQ, source code archive, list archive, book reviews, dsp links http://music.columbia.edu/cmc/music-dsp http://music.columbia.edu/mailman/listinfo/music-dsp
[music-dsp] SMC15 - Call for Papers
Apologies for cross-posting === Call for Papers – Sound and Music Computing 2015 www.maynoothuniversity.ie/smc15 SMC 2015 will be taking place in Maynooth, Ireland, July 26 – Aug 3, 2015. We are now inviting papers for oral and poster/demo presentations. We are accepting submissions examining all the core topics of the Sound and Music Computing field, and in particular matching this year’s topic of High Performance Sound and Music Computing. Topics • Auditory displays and data sonification • Computational musicology and Mathematical Music Theory • Computer environments for sound/music processing • Content processing of music audio signals • Digital audio effects • High Performance Computing for Audio • Interactive performance systems • Interfaces for sound and music • Models for sound analysis and synthesis • Multimodality in sound and music computing • Music and robotics • Music information retrieval • Music performance analysis and rendering • Perception and cognition of sound and music • Social interaction in sound and music computing • Sonic interaction design • Sound and music for VR and games • Sound/music and the neurosciences • Sound/music signal processing algorithms • Spatial audio Important dates 15/03/2015 – submission deadline 1/05/2015 – author notification 15/06/2015 – camera-ready submission deadline Author information: - Papers should be submitted according to the templates provided (www.maynoothuniversity.ie/smc15/authors.html), and should be between 4 and 8 pages long. - All submissions will be fully peer-reviewed - Papers can be submitted as oral or poster/demo, but the final decision on the category will be made by the Programme Committee. - Submissions are accepted through the Easy Chair SMC 2015 site: easychair.org/conferences/?conf=smc2015 Dr Victor Lazzarini Dean of Arts, Celtic Studies and Philosophy, Maynooth University, Maynooth, Co Kildare, Ireland Tel: 00 353 7086936 Fax: 00 353 1 7086952 -- dupswapdrop -- the music-dsp mailing list and website: subscription info, FAQ, source code archive, list archive, book reviews, dsp links http://music.columbia.edu/cmc/music-dsp http://music.columbia.edu/mailman/listinfo/music-dsp
Re: [music-dsp] Trapezoidal integrated optimised SVF v2
+1 On 7 Nov 2013, at 17:16, Phil Burk philb...@mobileer.com wrote: Dear Theo, I found Andrew's postings to be very interesting and helpful. Respectful disagreement is welcome. Insults are not. Please stop. Thank you, Phil Burk On 11/7/13 8:22 AM, Theo Verelst wrote: most of what you're oresenting is boring old crap, that isn't worth working on unless you'd actually understand some of the theory and relevant tunings involved. Clearly you don't. -- dupswapdrop -- the music-dsp mailing list and website: subscription info, FAQ, source code archive, list archive, book reviews, dsp links http://music.columbia.edu/cmc/music-dsp http://music.columbia.edu/mailman/listinfo/music-dsp -- dupswapdrop -- the music-dsp mailing list and website: subscription info, FAQ, source code archive, list archive, book reviews, dsp links http://music.columbia.edu/cmc/music-dsp http://music.columbia.edu/mailman/listinfo/music-dsp -- dupswapdrop -- the music-dsp mailing list and website: subscription info, FAQ, source code archive, list archive, book reviews, dsp links http://music.columbia.edu/cmc/music-dsp http://music.columbia.edu/mailman/listinfo/music-dsp
Re: [music-dsp] note onset detection
I've been trying to send a reply to this, but none has appeared, I guess because of html blocking... Anyway, here's the message, I hope it gets there now We've done some work on this a couple of years ago: Real-time detection of musical onsets with linear prediction and sinusoidal modeling, EURASIP Journal on Advances in Signal Processing 2011,2011:68 doi:10.1186/1687-6180-2011-68 HTH Victor On 5 Aug 2013, at 18:50, robert bristow-johnson wrote: would anyone be interested in pointing me in a good direction regarding note onset detection? i have the MIRtoolbox from Oliver Lartillot which looks quite current. still digging into it to see what the kernel is. various papers mention a novelty function which makes use of a similarity matrix. i see references to a paper by Foote, Cooper, Nam: Audio Retrieval by Rhythmic Similarity. i got that paper but it didn't define the similarity metric. and it looks expensive to be calculating the similarity of each little snippet of audio against *every* other snippet. especially when all i want is only a better method for note onsets than simply applying thresholds to various envelopes derived from the audio (like amplitude vs. time and the derivative of pitch vs. time). who's working in this? and if you're one of them and free to discuss basic ideas, i'd love to hear it. thanx. -- r b-j r...@audioimagination.com Imagination is more important than knowledge. -- dupswapdrop -- the music-dsp mailing list and website: subscription info, FAQ, source code archive, list archive, book reviews, dsp links http://music.columbia.edu/cmc/music-dsp http://music.columbia.edu/mailman/listinfo/music-dsp Dr Victor Lazzarini Senior Lecturer Dept. of Music NUI Maynooth Ireland tel.: +353 1 708 3545 Victor dot Lazzarini AT nuim dot ie -- dupswapdrop -- the music-dsp mailing list and website: subscription info, FAQ, source code archive, list archive, book reviews, dsp links http://music.columbia.edu/cmc/music-dsp http://music.columbia.edu/mailman/listinfo/music-dsp
Re: [music-dsp] DAFx 2012 - Software Development for Audio and Music Researchers Tutorial
No, sorry, I did not mean to open a can of worms. I don't disagree with Mark. In fact, that's how I have been operating ever since I got into this career. I may have missed the eclipse of those values. Most people I associate with work on that basis. Do you mean to say that there is a big pursuit of closed inventions, patents and all? I wonder if this has always been the case in some quarters. Victor On 20 Oct 2012, at 18:29, Andy Farnell wrote: On Sat, Oct 20, 2012 at 04:17:29PM +0100, Victor Lazzarini wrote: What do you mean? In Mark's slides. The case for proper publication, documentation, open access and intellectual honesty. The values that most of us old beards consider to be the foundation of _real_ science. Or are you asking about the eclipse of such values currently blighting acedemia? If so that's a big ole can-o-worms, and too OT for me to want to open here. :) best Andy -- dupswapdrop -- the music-dsp mailing list and website: subscription info, FAQ, source code archive, list archive, book reviews, dsp links http://music.columbia.edu/cmc/music-dsp http://music.columbia.edu/mailman/listinfo/music-dsp Dr Victor Lazzarini Senior Lecturer Dept. of Music NUI Maynooth Ireland tel.: +353 1 708 3545 Victor dot Lazzarini AT nuim dot ie -- dupswapdrop -- the music-dsp mailing list and website: subscription info, FAQ, source code archive, list archive, book reviews, dsp links http://music.columbia.edu/cmc/music-dsp http://music.columbia.edu/mailman/listinfo/music-dsp
[music-dsp] whatever happened to NN?
We don't seem to hear much about Netochka Nezvanova these days. Whatever happened to NN? Dr Victor Lazzarini Senior Lecturer Dept. of Music NUI Maynooth Ireland tel.: +353 1 708 3545 Victor dot Lazzarini AT nuim dot ie -- dupswapdrop -- the music-dsp mailing list and website: subscription info, FAQ, source code archive, list archive, book reviews, dsp links http://music.columbia.edu/cmc/music-dsp http://music.columbia.edu/mailman/listinfo/music-dsp
Re: [music-dsp] Intro: Khitchdee
On 10 Jul 2012, at 08:38, ro...@khitchdee.com wrote: Fellow list members, Khitchdee is a new company building systems for electronically processing Indian music. We have a public blog that might be of some interest to algorithm aficionados at http://chaelaa.wordpress.com. Rohit Agarwal -- dupswapdrop -- the music-dsp mailing list and website: subscription info, FAQ, source code archive, list archive, book reviews, dsp links http://music.columbia.edu/cmc/music-dsp http://music.columbia.edu/mailman/listinfo/music-dsp Dr Victor Lazzarini Senior Lecturer Dept. of Music NUI Maynooth Ireland tel.: +353 1 708 3545 Victor dot Lazzarini AT nuim dot ie -- dupswapdrop -- the music-dsp mailing list and website: subscription info, FAQ, source code archive, list archive, book reviews, dsp links http://music.columbia.edu/cmc/music-dsp http://music.columbia.edu/mailman/listinfo/music-dsp
[music-dsp] job opportunity in Maynooth
Technical Officer in Department Of Music (Permanent Contract Post) The thriving Department of Music (http://www.music.nuim.ie), located on the South Campus, is responsible for the teaching of music at graduate and undergraduate levels. It also contributes significantly to the general musical life of the institution and local area. The teaching staff consists of one professor, one senior lecturer, seven permanent full-time lecturers, two full-time contract lecturers, a Director of Choral Groups, and several part-time lecturers, tutors and demonstrators. Undergraduate programmes in music and music technology aim to give a general grounding in the subject while offering students the opportunity to develop special interests and to fulfil individual potential. Postgraduate programmes include PhD and MLitt research degrees and MA taught courses in Musicology; Performance and Musicology; Composition; and Creative Music Technologies. The Department is now seeking to appoint a full-time Technical Officer who reports directly to the Head of Department and works under the day-to-day management of the Department Administrator. Duties of the Post-holder will include: Providing technical support to the teaching and multi-disciplinary research programmes in the Department (including out-of-hours as requested); Monitoring, maintaining and repairing equipment / materials in studios, computer laboratories, and all Department facilities ensuring that these are kept clean, tidy and in good working order; Managing and monitoring the website; Technical and uploading duties in respect of examinations; Providing support for computer and network systems (including installation of software and acting as a liaison with the Computer Centre). For a full list of responsibilities and duties please see the attached Information Booklet. Employing Department/Authority • National University of Ireland • Maynooth Location Maynooth Employing Department/Authority Website • http://www.nuim.ie/ Additional Information For Application Procedure please read the attached Information Booklet carefully. The completed application documents must be forwarded by email to reach the Public Appointments Service at the email address provided within the Information Booklet no later than midnight (GMT) on Friday 27th July 2012. No late applications will be accepted. It is VITAL that you ONLY USE THE WORD ‘TECH’ in the subject line of your application email. This will ensure that your application reaches the correct mailbox and is processed promptly. National University of Ireland, Maynooth is an equal opportunities employer. The position is subject to the Statutes of the University. Required Qualifications Essential; • A completed undergraduate degree in Music Technology or Music (including Music Technology) with a minimum 2:1 result in the overall qualification; or a completed undergraduate degree with a minimum 2:1 result in the overall qualification and a completed MA in Music Technology (or related); • Good communication and interpersonal skills including an ability to liaise effectively with staff and students; • Capacity to take initiative and to be equally adept at dealing with periods of pressure and using less busy times to identify and undertake self-directed work; • The ability to work with confidential material in a discreet manner; • Excellent IT skills: - Word, Excel, email, web maintenance, an ability to work with spreadsheets and an ability to learn to use new information systems effectively; • The ability to monitor, maintain and repair equipment across teaching and multi-disciplinary research programmes in the Department; • The ability to manage computer and network systems (including installation of software); • Experience and skill in providing support in recording and sound reinforcement of live concerts and work in the maintenance of the recording archive (concerts/ assessments); • An ability to demonstrate the use of the Studio’s teaching and research equipment to staff, undergraduate and postgraduate students. Desirable; • A completed Master’s degree in a Music Technology-related discipline (e.g. Music Technology, Music, Electronic Engineering, Computer Science, etc.) with a minimum 2:1 in the overall qualification; • Post-qualification experience of working in a recording studio; • Experience of sound equipment repair (soldering etc.); • Previous experience of working in a university environment. Information booklet Technical Officer Dept Music Info Booklet.doc Advertising Date 10/07/2012 Closing Date for Applications 27/07/2012 Reference ID 1288907 Dr Victor Lazzarini Senior Lecturer Dept. of Music NUI Maynooth Ireland tel.: +353 1 708 3545 Victor dot Lazzarini AT nuim dot ie -- dupswapdrop -- the music-dsp mailing list and website: subscription info, FAQ, source code archive, list archive, book reviews, dsp links http://music.columbia.edu/cmc
Re: [music-dsp] okay, so i got my STM32F4-Discovery board in the mail today.
Could I use the same arm gcc I have it here installed for Android cross-compilation, by any chance? Victor On 13 Apr 2012, at 06:01, Eric Brombaugh wrote: There are builds of ARM GCC that work on the Mac. It's entirely possible to edit/compile on a Mac, but downloading to flash and realtime debug are still iffy. Eric Dr Victor Lazzarini Senior Lecturer Dept. of Music NUI Maynooth Ireland tel.: +353 1 708 3545 Victor dot Lazzarini AT nuim dot ie -- dupswapdrop -- the music-dsp mailing list and website: subscription info, FAQ, source code archive, list archive, book reviews, dsp links http://music.columbia.edu/cmc/music-dsp http://music.columbia.edu/mailman/listinfo/music-dsp
Re: [music-dsp] a little about myself
Also, as in traditional music disciplines, intuitive (and partial) understanding of principles can also be enough to make music, and I expect this to be the same here. This is, again, generally independent of whether we find this music good or bad. Victor On 29 Feb 2012, at 08:46, Victor wrote: In my opinion, the process here is as important as in traditional music disciplines. So I think having a good knowledge of craft is essential for a composer. In the traditinal world, this meant mastering counterpoint and harmony, tonal and post-tonal, as well as being able to think new ways of structuring the material, etc. Here, I think we have an emerging set of crafts, maybe not yet completely defined, but things like synthesis and programming might well be part of it. In the end, no one might be able to determine whether your music is worth anything, but having a good craft at least it will guarantee a certain level of structural quality (if you believe there is such a thing). In some quarters, it will be said to be professionally done. These are the things that can be taught and learned. However, as in traditional music, there is also something beyond the craft, which is hard to define. Victor On 29 Feb 2012, at 00:41, Richard Dobson richarddob...@blueyonder.co.uk wrote: On 28/02/2012 16:03, Bill Schottstaedt wrote: I don't think this conversation is useful. The only question I'd ask is did this person make good music?, and I don't care at all about his degrees or grants. One of the best mathematicians I've known does not even have a high-school diploma. If I find such a person, then it's interesting to ask how she did it. But there are very few, and no generalizations seem to come to mind. I agree, but I think such conversations can be useful. Computer Music does possibly suffer more than most from what I might mischievously call the expertise problem - how does the typical listener recognise all the skills that have been brought to bear in a piece? They presumably have to do that at least to some extent, to decide if the piece is good. The temptation I see is to focus more on the process than the product - understandable enough for a composer, but not necessarily practical for the listener. Ross, for example, stipulated that a computer musician not only needs to be a programmer, but also have undergraduate level EE expertise. The process is clearly paramount. I do wonder how that would be unambiguously apparent listening to a piece. On the CEC mailing list, the proposal was made (Kevin Austin IIRC) that in what was called High Acousmatic Art (HAA) the piece will always involve the process of transformation. That may well be widely true, but as a matter of principle I would be disappointed if that was the only possible criterion of goodness of a piece for it to qualify as HAA (assuming of course HAA can itself be adequately defined). I am really interested in what other paradigms of the compositional process could also qualify for a HAA piece. Richard Dobson -- dupswapdrop -- the music-dsp mailing list and website: subscription info, FAQ, source code archive, list archive, book reviews, dsp links http://music.columbia.edu/cmc/music-dsp http://music.columbia.edu/mailman/listinfo/music-dsp -- dupswapdrop -- the music-dsp mailing list and website: subscription info, FAQ, source code archive, list archive, book reviews, dsp links http://music.columbia.edu/cmc/music-dsp http://music.columbia.edu/mailman/listinfo/music-dsp Dr Victor Lazzarini Senior Lecturer Dept. of Music NUI Maynooth Ireland tel.: +353 1 708 3545 Victor dot Lazzarini AT nuim dot ie -- dupswapdrop -- the music-dsp mailing list and website: subscription info, FAQ, source code archive, list archive, book reviews, dsp links http://music.columbia.edu/cmc/music-dsp http://music.columbia.edu/mailman/listinfo/music-dsp
Re: [music-dsp] a little about myself
and with the same k and a variables we can still think about each sample of the signal, if we need to. On 27 Feb 2012, at 22:42, Richard Dobson richarddob...@blueyonder.co.uk wrote: On 27/02/2012 22:05, Michael Gogins wrote: .. The actual blocks of audio samples will probably still be there... but it would be nice if one didn't have to think about them. Come to think of it, what with a-rate and k-rate variables in Csound orchestra language, WE don't have to think about them -- much. Quite. We don't have to think about them at all, except for the times when we do! Richard Dobson -- dupswapdrop -- the music-dsp mailing list and website: subscription info, FAQ, source code archive, list archive, book reviews, dsp links http://music.columbia.edu/cmc/music-dsp http://music.columbia.edu/mailman/listinfo/music-dsp -- dupswapdrop -- the music-dsp mailing list and website: subscription info, FAQ, source code archive, list archive, book reviews, dsp links http://music.columbia.edu/cmc/music-dsp http://music.columbia.edu/mailman/listinfo/music-dsp
Re: [music-dsp] anyone care to take a look at the Additive synthesis article at Wikipedia?
Wouldn't it be nice if all of the knowledge embodied in this list could find its way into Wikipedia, fixing the howlers and myths that exist in some of the audio, synthesis, effects, computer music, etc pages? I know that some of us have at time contributed, but it would be a nice community project to do it on a consistent basis. Victor On 9 Jan 2012, at 08:16, Nigel Redmon wrote: Hi Robert, Care to narrow down the target (I suppose there are multiple, but maybe start with the one or two of most immediate concern)? I looked at it a bit, and it's a lot to juggle, looking at diffs and the back and forth. Maybe it's just getting late, and I played a lot of basketball earlier, but the final thing that told me it's bed time was, in skimming the article, Its [RMI] waveforms were calculated beforehand on non-realtime, and individual harmonics and harmonic envelopes couldn't be changed in realtime, by means of additive synthesis. Ouch. Anyway, it's clear that you're not clusternote... ;-) Thanks, Nigel PS—Ouch, I need to stop peeking—painful grammatical problems throughout: 'Additive synthesis using only harmonics is referred as Harmonic additive synthesis rarely', 'The Hammond organ, invented in 1934,[9], generate nearly sinusoidal waveforms[10] by set of tonewheels, and these are mixed using nine drawbars as harmonics', 'Hammond organ was invented as a substitute for the much bulkier and expensive pipe organ', 'After several decades of researches and developments, original additive synthesis technique was either', 'Fourie transform'...my brain hurts... On Jan 8, 2012, at 10:16 PM, robert bristow-johnson wrote: there's a guy there with handle Clusternote (who might be lurking here for all's i know) who is slugging it out with an IP (can't imagine who that is) about the math that goes into additive synthesis. if you ever bother to edit the en WP, it might be a good time to examine the article and earlier versions and make your opinion known. L8r, -- r b-j r...@audioimagination.com Imagination is more important than knowledge. -- dupswapdrop -- the music-dsp mailing list and website: subscription info, FAQ, source code archive, list archive, book reviews, dsp links http://music.columbia.edu/cmc/music-dsp http://music.columbia.edu/mailman/listinfo/music-dsp -- dupswapdrop -- the music-dsp mailing list and website: subscription info, FAQ, source code archive, list archive, book reviews, dsp links http://music.columbia.edu/cmc/music-dsp http://music.columbia.edu/mailman/listinfo/music-dsp Dr Victor Lazzarini Senior Lecturer Dept. of Music NUI Maynooth Ireland tel.: +353 1 708 3545 Victor dot Lazzarini AT nuim dot ie -- dupswapdrop -- the music-dsp mailing list and website: subscription info, FAQ, source code archive, list archive, book reviews, dsp links http://music.columbia.edu/cmc/music-dsp http://music.columbia.edu/mailman/listinfo/music-dsp
Re: [music-dsp] PhD thesis on musical instrument sound morphing (Marcelo Caetano)
I'm sorry but I think these comments miss the point of the work by miles. For what it is worth, I liked the concepts and examples in this thesis. Great piece of work. Victor On 14 Dec 2011, at 17:31, Theo Verelst wrote: Well, I browsed over the thesis and listened to the examples provided and have to remind people that very funny and musically usable imitations of instruments and sound effects at least go back to the 60s where the moog synthesizer was able to do that, except not using samples and fft based morphing. I suggest strongly that the theories being used are so loose and ill defined that no self respecting EE could live with them except for toyish applications and of course everyone is free to conjecture what they want. Do think about the connections of ANY fft based processing scheme with sampling theory and for instance (sub sample) shift invariance theorems when considering digital equivalents of analog invariant linear filters. The examples when compared to simply mixing two sounds or more well founded harmonic tricks, as for instance created in the ancient Prophet VS synthesizer, don't sound very convincing, but then again given the enormous size of the Vienna libraries, picking three basic renaissance instruments is indeed a very limited examples space. Theo Verelst -- dupswapdrop -- the music-dsp mailing list and website: subscription info, FAQ, source code archive, list archive, book reviews, dsp links http://music.columbia.edu/cmc/music-dsp http://music.columbia.edu/mailman/listinfo/music-dsp Dr Victor Lazzarini Senior Lecturer Dept. of Music NUI Maynooth Ireland tel.: +353 1 708 3545 Victor dot Lazzarini AT nuim dot ie -- dupswapdrop -- the music-dsp mailing list and website: subscription info, FAQ, source code archive, list archive, book reviews, dsp links http://music.columbia.edu/cmc/music-dsp http://music.columbia.edu/mailman/listinfo/music-dsp
Re: [music-dsp] looking for a flexible synthesis system technically and legally appropriate for iOS development
and the csound~ and csoundapi~ objects for MaxMSP and PD are modules that are dynamically-linked to Csound, but their particulart licence can be anything (it's LGPL as it happens, csoundapi~). Victor On 8 Feb 2011, at 15:18, Brad Garton wrote: This is how I did the sc3~ object for max/msp. RTcmix is set up to compile as a static or dynamic library, so it's a bit more tightly- coupled. brad http://music.columbia.edu/~brad On Feb 8, 2011, at 3:43 AM, Dan Stowell wrote: Morgan - I don't know RTCmix but the situation you describe is similar to that with SuperCollider: if you run SC's audio engine as a background process and call into the engine usually using OSC, your calling application is separate and doesn't need to be GPL'd. I don't know how convenient this architecture (audio engine as separate process) is on iOS, but it's certainly working on Android, in fact the Java-ish frontend on Android makes it a kinda convenient approach. Dan On 08/02/2011 05:08, Morgan Packard wrote: Brad, It seems there are a number of ways to interpret whether an application which links to a GPL library must be open-sourced as well (based on wikipedia's expert legal advice). But it's great news to me that your interpretation is that RT CMix can be used in closed source applications. Should I consider myself to have the blessing of the controllers of RT Cmix make a billion dollars on the app store after which I will continually express my gratitude in various material and non-material ways? -Morgan On Mon, Feb 7, 2011 at 9:53 PM, Brad Gartongar...@columbia.edu wrote: Hmmm, my understanding of the GPL we adopted was that it only applied to the source of RTcmix, _not_ to the 'enclosing' app. The way we set up the iRTcmix apps, we have a 'manager' class (source provided) that calls into the RTcmix engine. Any mods you would make to the RTcmix source *proper* would need to be published, but the app you develop that uses it would not. I honestly thought I had put up the source for iLooch (it's in the next iRTcmix release), but it looks like the link on the web page is only to the iRTcmix source. Which is what would attach to your app, I *think*. brad On Feb 7, 2011, at 11:41 PM, Morgan Packard wrote: Thanks Brad, Just bought ilooch. Lovely stuff. Unless I'm mistaken though, I'm required to make my source code publicly available if I embed RT CMix because it's licensed under the GPL. I swear, I'm not an _entirely_ evil person, but for a few reasons, I don't think it's going to be possible to open-source my app. However, the fact that I'm running in to this GPL license again and again does make me think that maybe I should reconsider this and see if maybe I can talk myself (and my programming partner) in to it. Though, now that I look, I don't see the iLooch source code posted anywhere. Can you confirm that RT Cmix is an option only if I make the source code to my app publicly available? thanks, -Morgan On Mon, Feb 7, 2011 at 9:25 PM, Brad Gartongar...@columbia.edu wrote: No, it's usable. I have an app already in the App store: http://music.columbia.edu/~brad/ilooch/ We have a new release up in the next few days. brad On Feb 7, 2011, at 8:25 PM, douglas repetto wrote: Brad Garton has RTcmix running on the iPhone: http://music.columbia.edu/~brad/iRTcmix/ Dunno what the license is though... On 2/7/11 8:09 PM, Morgan Packard wrote: (First post to this list. Sent this a few days ago and it doesn't seem to have gone through, so trying again.) Hi There, I've been writing low-level code for my iOS app, Thicket, pretty much myself, with the exception of a sine oscillator and an envelope borrowed from STK. I'd like to be able to work on this platform in a much faster way than I have been, simply plugging unit generators in to one another, not having to stop and think about how to, for example, go from a mono oscillator signal to a stereo reverb signal. I'd like to be able to work more like I work in SuperCollider, writing higher-level code to create a signal path, trusting that the connections will be efficiently managed for me. In other words, I'd like to spend a little less time being a fairly incompetent engineer, and more time being a halfway-decent artist. I'm finding that my list of options is surprisingly small SuperCollider -- GPL licence, would require that I open- source my app ChucK -- GPL license, would require that I open-source my app CSound -- the FAQ indicates that I need to make arrangements with MIT to put it to commercial use. Worth looking in to, perhaps. JSyn -- java, not gonna work on iOS MusicKit -- looks very interesting, but doesn't seem to be a very active project, and I don't think anyone has gotten it running on iOS yet Pure Data -- seems like my best option. more permissive license, but I'm wary of the visual programming paradigm, and have
Re: [music-dsp] looking for a flexible synthesis system technically and legally appropriate for iOS development
Very well pointed out. That is why we need to look towards other platforms... and forget this one. On 8 Feb 2011, at 15:50, Stefan Kersten wrote: that covers the i don't want to open-source my app part but it doesn't help with the apple doesn't want GPL apps in their store part, because you would still have to distribute an scsynth binary with your application - under the terms of the GPL. the known precedents make it a risky undertaking trying to distribute _any_ GPL'd application through the app store, because apple might decide to take it out in any moment; not a sound foundation to build any business model on ... sk -- -- dupswapdrop -- the music-dsp mailing list and website: subscription info, FAQ, source code archive, list archive, book reviews, dsp links http://music.columbia.edu/cmc/music-dsp http://music.columbia.edu/mailman/listinfo/music-dsp
Re: [music-dsp] New patent application on uniformly partitioned convolution
I would have thought that the whole point of a patent is to make money. A scientific paper, IMHO, is the way to move the field forward. Victor On 28 Jan 2011, at 18:02, Dave Hoskins wrote: The whole point of a Patent is to help engineers move forward, so it's completely legitimate to take a previous invention and add to it, to make a new Patent. It's a shame they are not seen like this at all. -- dupswapdrop -- the music-dsp mailing list and website: subscription info, FAQ, source code archive, list archive, book reviews, dsp links http://music.columbia.edu/cmc/music-dsp http://music.columbia.edu/mailman/listinfo/music-dsp
Re: [music-dsp] New patent application on uniformly partitioned convolution
+1 On 28 Jan 2011, at 18:26, Andy Farnell wrote: As a scientist, teacher and human being I find I'm morally obliged to oppose such madness. Andy -- dupswapdrop -- the music-dsp mailing list and website: subscription info, FAQ, source code archive, list archive, book reviews, dsp links http://music.columbia.edu/cmc/music-dsp http://music.columbia.edu/mailman/listinfo/music-dsp
[music-dsp] [ANN] csound 5.13 release
Basically a bug fixing release but with a number of new opcodes etc ==John ffitch http://sourceforge.net/projects/csound Notes for 5.13 == New Opcodes: farey sequence opcodes median opcode filevalid opcode Real random number generators using /dev/random (Linux only) pvstanal opcode -- phase vocoder analysis by reading function tables mincer opcode -- Phase-locked vocoder processing temposcal opcode -- Phase-locked vocoder processing with onset detection/processing pvswarp opcode -- Warp the spectral envelope of a PVS signal pvslock opcode -- Frequency lock an input fsig New Gen and Macros: INF macro added to orchestras; z read as infinity in scores GEN for support of farey sequences Modified Opcodes and Gens: init changed to allow multiple inits in on statement maxalloc, cpuperc, instcount now accept named instruments If normalisation in pow opcodes is zero treat as 1 inch can take upto 20 inputs and outputs pvscale and pvsmix now have very good spectral envelope preservation modes (1 = filtered cepstrum, 2 = true envelope). oscil1 could be static if the duration was long; now there is a positive minimum increment. GEN49 now uses search paths pvsvoc enhanced with new spectral envelope preservation code. Bugs fixed: Count of lines fixed in orchestras, and \ inside strings Fast tab opcodes made safe from crashes % in formated printing could crash Double free in fgen fixed sndwarp quietened (gave too many messages) gen41 deals with positive probabilities adsynt reworked removing many bugs adsynt2 phase error fixed atonex/tonex did wrong operation Bug in max number of gens fixed mp3in could repeat sound at end of file Better checking in grain4 modulus was wrong in new parser Better checking in adsyn changed opcode initialised to zero Serious bug in tabmorphia fixed GEN49 has serious bug removed, so no longer incorrect silences. Partikkel opcode: fixed bug in sub-sample grain placement when using grain rate FM nchnls_i working correctly System Changes: In the new parser only there are operator @ and @@ to round up the next integer to a power of 2 or powerof2+1 Score sorting made much faster lineto improved Named gens allowed Various printing include instrument name if available Command option to omit loading a library Number of out channels no longer constrained to be number of in Many fixes to new parser More use of Warnings than Messages (allows for them to be switched off) API: csoundSetMessageCallback reset if callback set to null Internal: usual collection of gratuitous minor changes, layout and comments -- dupswapdrop -- the music-dsp mailing list and website: subscription info, FAQ, source code archive, list archive, book reviews, dsp links http://music.columbia.edu/cmc/music-dsp http://music.columbia.edu/mailman/listinfo/music-dsp
Re: [music-dsp] A theory of optimal splicing of audio in the time domain.
OK, so explain a bit more. On 21 Jan 2011, at 22:55, Sampo Syreeni wrote: My best bet? Go into the cepstral domain to find the most likely loop duration -- dupswapdrop -- the music-dsp mailing list and website: subscription info, FAQ, source code archive, list archive, book reviews, dsp links http://music.columbia.edu/cmc/music-dsp http://music.columbia.edu/mailman/listinfo/music-dsp
Re: [music-dsp] [OT] vinyl? No, thanks...
I know, but what if you suddenly get needle jumping about in the middle of it? My impulse is to get the record deck and throw it out of the window. Victor On 20 Nov 2010, at 19:46, robert bristow-johnson wrote: i don't particularly feel like murdering anyone when i'm listening to my Wishbone Ash: New England album (particularly the song (It always seems you) Rescue me). classic, and i don't think you'll find it on CD (unless someone lifted it offa a vinyl LP and burned the CD). -- dupswapdrop -- the music-dsp mailing list and website: subscription info, FAQ, source code archive, list archive, book reviews, dsp links http://music.columbia.edu/cmc/music-dsp http://music.columbia.edu/mailman/listinfo/music-dsp
