Here you find the abstracts of workshops, talks, demos, presentations etc.
that are not part of the proceedings.
For the Internet Audience:
All time data is in UTC+2 = CEST (Central European Summer Time)
Thursday 27 April 2006 - Lecture Hall
Thursday 27 April 2006 - Workshops
Media Application Server (MAS)
An open discussion of MAS, X.Org's "Media Application Server". Topics will
include: MAS development history und status, description and explanation of
of MAS architecture, widespread interest in standardized media systems for
the (open) desktop, question of network support, relationship to X and
graphics, and the relationship of MAS to "competing" work.
Friday 28 April 2006 - Lecture Hall
Marching protest with granular synthesis: On the making of 'Genova VII 2001' ("Composer's Talk")
Agostino Di Scipio|
Using PD for Live Interactions in Sound. An Exploratory Approach ("Composer's Talk")
This presentation illustrates the principles and motivations behind
the composition of Modes of Interference, a work conceived as an audio
feedback system with trumpet and electronics. It focuses in particular
on the Pd signal-processing patch specifically designed for that,
basically implementing the nonlinear coupling between a microphone
input and two loudspeakers' output. The particular coupling methods
allow for control of feedback between the two ends of the audio loop.
The Pd patch has two main functionalities. (1) It is designed to
deliberately cause, and dynamically handle, high-gain audio feedback
situations, thus providing useful musical control over the so-called
Larsen effect (that way, a typical problem in live electroacoustics is
turned into an opportunity for musical exploration). (2) It is also
designed to dynamically transform any input sound material by means of
simple methods of granular re-sampling, indirectly affecting the
feedback loop itself. The results widely vary depending on several
acoustical circumstances, and reflecting the network of mutually
dependent variables in the overall audio system loop. The presentation
briefly illustrates how that musical potential is explored in Modes of
Friday 28 April 2006 - Workshops
Acoustical Impulse Response Measurement with ALIKI
The purpose of this workshop is to provide some hands-on
experience to the participants in using the ALIKI software
to measure the impulse response of an acoustical space.
Topics such as speaker and microphone selection and
placement will be discussed. The procedure used to obtain
an inverse filter for transducer response correction will
be demonstrated. Finally, the target is to produce a high
quality IR measurement of the Kubus, using various
microphone types and recording methods.
Jan Jacob Hofmann|
Part I: Liberation of the sound from its source and directional clues
This workshop will focus on the Ambisonic method. It is a method for
spatialisation of sound that is highly efficient. The equations for
this method are freely available and go together well with open source
sound programmes such as Csound. It is ideal for performance of
spatial music for a large audience but has several other
advantages. Part I of the workshop will give a brief overview about
the capacity of Ambisonics in respect to other surroundsound
techniques and a short introduction of how to work with it.
Part II: Enhancement of spatial perception - Distance and depth of sound
For the distance-perception of the sound and depth of a sonic
environment several distance clues have to be added to the sound. Part
II of the the workshop will give a short overview of the different
distance-clues and will show how to implement them in sound
processing. These distance clues can be well combined with the
Ambisonic method, so that a whole sonic environment with directional
and distance information can be archived.
Part III: Artistic implications of spatial sound
In spatial electronic music, the separation of the sound from its
source goes even one step further as it goes in electronic music
anyway. The sound can be totally liberated from the speaker. But is
this the only reason for spatialisation? What are the motives,
benefits and possibilities of an artistic concept comprising the
position of a sound as another parameter? Can music, choreography and
architecture merge? How has programming of applications for sound
synthesis and processing to take account on spatial concepts?
Duration: ca. 60 min
Yann Orlarey, Albert Gräf and Stefan Kersten|
Functional DSP Programming with Faust, SuperCollider and Q
Functional programming provides a new way to specify and implement
efficient DSP components for use in multimedia and computer music
applications. Using sound synthesis as a concrete example, in the
workshop we give a hands-on introduction to the functional DSP
programming language Faust ("Functional AUdio STreams") and demonstrate
its plugin interfaces for the SuperCollider synthesis engine and the
general-purpose functional programming language Q.
Remarks for the attendants:
The software and example programs we
demonstrate will be available on CD so that you can install them on your
Linux laptop and try the examples for yourself. If you want to prepare
your laptops before the workshop, the basic software is all available
Duration: ca 120 min
Netjack is a Mechanism for transporting realtime Audio over an IP
Network. It is fully integrated with Jack.
In this workshop we will setup all Machines to route their Audio
Output to one Soundcard, which will be connected to the Speakers.
On the Mastermachine an instance of Ardour will be used to Mixdown
the whole Audio Signals and function as a Transport
Master. yes... Netjack also handles the Transport synchronisation of
the Sequencers on the Slave Machines.
The Soundcards of the slave machines, can also be used, so bring
microphones, guitars etc.
So the aim is to build a multi-channel multi-cpu recording and
After completing the setup, we will try to get something nice for Plug
& Chill ready.
- Bring your Laptop. (the earlier mentioned Endianess Issues are
fixed) Every linux machine will work.
- You should have the source of the jackd installed on your system
handy. Also the header files or -dev packages for libsamplerate,
libasound and jack are required to build netjack.
(preferably come with an already built netjack, contact me by mail,
if you have problems)
- You should have your favourite Software Noise Generator installed, which
should be sequenced by a Jack-Transport aware Application. Being
able to generate sound for your line-in is also sufficient.
- Note that the latency of the unsynced alsa_in client for usb
soundcards is not optimal. Consider using your internal soundcard.
Cauldron of Music
In this workshop, we will create a safe space for spontaneous musical
expression. With an emphasis on the human voice as a soulful, expressive
instrument, we will go on a journey into sound together. Along the way, we
will make focussed and appropriate use of digital audio tools, moving between
a simple acoustic space and one which also includes electronic elements. Using
Freewheeling, we will remain rooted in our immediate experience, while
recording, reflecting, and layering loops of vocal sound. Sharing the mic, we
will hear ourselves singing in the mix. In this Cauldron of Music, we balance
the spiritual and technical dimensions of music making.
Participants do not need to bring any equipment to the workshop. There will be
a time after for technical discussion.
Reinhard Katzmann and Georg Rudolph|
NoteEdit - Current state and future development
Duration: ca. 60 min
- (Direct) Printing with NoteEdit
- Postscript / PDF
- Lilypond 2.8.x
- Script (custom) , like conv-lily etc.
- Improved UI
- direct special bar insertion
- new keyboard+mouse shortcuts (like zoom in,
fast pan, vertical scroll)
- Export User Interface
- Improved Cioy & Paste actions
- Edit mode: red border
- Midi output with NoteEdit
- Basis, timidity
- qsynth/fluidsynth (resources)
- aelous, soundsampler specimen
- Future of NoteEdit
- Canorus + Wiki "Open Development"
- Prototype presentation (hopefully :)
- Scripting + (Rt)Midi
- Platform independency with Qt4
- Developer Documentation
- or alternative: Questions from the audience
Saturday 29 April 2006, Track II
Andreas Krach and Martin Rumori|
a program that turns your Sharp Zaurus 5500 Linux-handheld into a
universal wireless OSC-remote-control with ascii-based GUI features
Basically, the asciimatrix turns the Zaurus into a kind of old-scool
ascii terminal, that connects to the mainframe via OpenSondControl:
Any input to the Zaurus, like key events or touchscreen actions are
transmitted via OSC to the server. The server responds by printing
arbitrary blocks of ascii-characters to the screen of the Zaurus,
also via OSC. In order to make printing to the screen convenient and
flexible, the asciimatrix understands a comprehensive set of named
arguments to the basic print message. Since the asciimatrix supports
24bit color for text and background, it is easy to compose a huge
variety of multicolored GUI-objects in the style of classic
ascii-art. The asciimatrix runs as a normal program on the original
Zaurus Qtopia OS and is open source.
Darwin M. Johnson
Banjos Hip-Hop & Linux: A Technical and Cultural Trifecta (Demo)
This is a demonstration of my techniques for leveraging the GNU / Linux
operatiing system for the purpose live performance, with a custom banjo midi
controller. My inspiration is solo banjo performance, married to traditional
hip-hop production. The system I am creating with these techniques could be
thought of as replacement for a commercial workstation. However this
workstation is optimised for driving a live heads up performance.So most
of my time is spent interacting with my audience rather than looking at a
Stefan Westerfeld and Tim Janik|
BEAST is a music composition application consisting of a sequencer and a
real-time capable modular synthesis engine. Great care has been taken to
make the GUI as user friendly as possible, for instance by providing
unlimited undo/redo support.
This demo gives an overview of BEASTs modular synthesis capabilities,
which can be used for building instruments and effects out of simpler
parts like oscillators, envelopes, filters or LADSPA plugins. We
demonstrate how, as an alternative to purely synthetic sounds, sample
files can be used as instruments.
We also show how songs are built using the mixer, track roll and piano
roll editor as well as features like scripting and automation which are
present throughout the program.
Beast paper of the lac2005
sounds like sounds we like
soundalike is a project by Christian von Borries and I, revealing not
only issues concerning copyright restrictions in an artistic
context, but also questioning the historical term of a musical work
itself. On the other hand, soundalike is a very practical example
regarding the creative use of open source software: while the front
end: the analysis of digital audio material with the ATS-software as
well as the back end: the building of the score through Lilypond are
existing open source programs, the interface between the two has been
completely developed for the project.
Saturday 29 April 2006, Workshops
openSUSE JAD Installation and music production
Introduction to the JackLab user community purpose of the project ,
kernel and software.
openSUSE JAD how does it work? A user friendly installation with
YaST. (Live installation)
In parallel with the installation we will do a little introduction to
music production on a second machine we will show what is already
possible and also things that are still problematic, for example the
limited ability to use VST plug-ins and the intricacy of maintaining a
music production environment.
We will implement a virtual music production with real instruments,
realtime effects and tone generators.
The software used will be MusE, Ardour, FST, Qsampler and Hydrogen a
long with a couple of LADSPA plug-ins. Contingently we will also
present the new commercial EnergyXT sequencing software for Linux.
Aeolus, two years later (Demo)
Two years after its first presentation at LAC2004, a new major
release of Aeolus is now available with many improvements.
During this demo visitors will have a chance to hear Aeolus
using a full periphonic sound system, recreating not only
the organ sound but also the acoustics of a large church.
The works played will be midi files created by the growing
community of Aeolus users.
Kubus IR (Demo)
This demo will offer a chance to listen to the results of the
Aliki workshop of friday. Using a real-time convolution engine,
the measured impulse response of the Kubus will be added to
existing 'dry' recordings to make them sound as if they were
recorded in the concert hall, using a full 3-D Ambisonics
Sunday 30 April 2006 - Lecture Hall
Ivica Ico Bukvic|
Linuxaudio.org -- Who, What & Why?
Linuxaudio.org is a non-profit consortium whose role is to support
Linux as a viable digital audio workstation. Linuxaudio.org therefore
aims to expose, proliferate, and disseminate artistic, as well as
software and hardware development endeavors associated with the
aforementioned platform. The two-year-old consortium boasts a growing
membership consisting of 30+ member organizations, companies, software
projects, and institutions. In its relatively brief existence,
Linuxaudio.org has spearheaded a creation of the first online CD
compilation of art generated using exclusively open source software in
conjunction with Linux, and has sponsored Linux audio booths at
several international conferences and expos. As the elected director
of the consortium I would like to use this opportunity to familiarize
the Linux audio community with the latest Linuxaudio.org developments,
including short and long-term roadmap, as well as pending
incorporation for the purpose of establishing an avenue for corporate,
non-profit, and individual funding. Through the use of the resulting
budget the consortium aims to expand its programs to better serve the
community, as well as offer financial support for the audio-related
efforts on the Linux platform.
For membership inquiries and other information, please visit
www.linuxaudio.org, or simply contact me directly.
||Presentation of Workshop results
The programme is subject to change.