LAC2006
4th International Linux Audio Conference
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 | |
| 11:00 |
Victor Lazzarini Keynote Slides Abstract |
| Thursday 27 April 2006 - Workshops | |
| 14:00 |
Leon Shiman 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. http://www.MediaApplicationServer.net |
| Friday 28 April 2006 - Lecture Hall | |
| 12:00 |
Georg Bönn Marching protest with granular synthesis: On the making of 'Genova VII 2001' ("Composer's Talk") |
| 13:00 | Lunch break |
| 14:00 |
Agostino Di Scipio Using PD for Live Interactions in Sound. An Exploratory Approach ("Composer's Talk") Slide0 Slide1 Slide2 Slide3 Slide4 Paper 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 Interference. |
| Friday 28 April 2006 - Workshops | |
| 15:00 |
Fons Adriaensen 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. |
| 18:00 |
Jan Jacob Hofmann Ambisonics Slides 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 |
| 15:00 |
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 from sourceforge.net:
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| 15:00 | Torben Hohn netjack 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 processing Cluster. REQUIRED:
http://netjack.sf.net |
| --:-- |
Unfortunately cancelled: JP Mercury 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. |
| 15:00 |
Reinhard Katzmann and Georg Rudolph NoteEdit - Current state and future development
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| Saturday 29 April 2006, Track II | |
| 11:00 |
Andreas Krach and Martin Rumori asciimatrix (Demo) 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. asciimatrix.rumori.de |
| 16:00 |
Unfortunately cancelled: 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 computer screen. |
| 12:00 |
Stefan Westerfeld and Tim Janik BEAST (Demo) 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 proceedings |
| 13:00 | Lunch break |
| 14:00 |
Michael Iber 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 | |
| 11:00 |
Michael Bohle 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. |
| 16:00 |
Fons Adriaensen 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. |
| 17:00 |
Fons Adriaensen 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 sound system. |
| Sunday 30 April 2006 - Lecture Hall | |
| 11:00 |
Ivica Ico Bukvic Linuxaudio.org -- Who, What & Why? Slides 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. |
| 15:00 | Presentation of Workshop results |
The programme is subject to change.