Dave Phillips Findlay Ohio Tell Me Again How I Got Here
During the structure of my 64-scrap box I collected enough spare parts to build another car, one destined for a 32-bit Linux organisation. Terminal calendar week I finally got that automobile congenital and running with a sparkling new version of the Jacklab Audio Distribution (JAD). I've been using JAD in its blastoff releases, just the new box is running the beginning beta version.
Diverse improvements have been made in JAD since my earlier review, including the adoption of a two.half-dozen.19 kernel optimized for superb realtime operation. Since I've profiled the system in an earlier web log entry I decided to briefly review some of the more than unusual software included with the distribution or built with the help of its development packages. JAD contains more than seventy applications for audio and video limerick and production, most of which are at their near recent release versions, and then come join me in a look at some less typical audio & music software running on one of the all-time of the new breed of multimedia-optimized Linux distributions.
My latest 32-bit Linux music machine was assembled from these parts:
- AMD64 3800+ CPU and Zalman fan
- 1 GB dual-channel RAM
- nVidia 7300 graphics card (with proprietary driver)
- Maxtor 200 GB SATA hd
- SBLive Value sound card with external MIDI adadpter
Those parts at present occupy a squeamish Antec case I bought directly from the manufacturer'south B-stock for U.s. $25.00, a nifty bargain. This case is not equally tranquillity as the Antec Sonata 2 I bought for my 64Studio machine, but information technology's certainly no noisy box. The machine was assembled by the first-class technicians at New Adventure Electronics here in sweltering Findlay OH USA. Their piece of work was flawless, and the just further improvement I could wish for is a fanless video lath.
Mollusk Annotator
Some years ago I visited the audio/video development laboratory at Universidat Pompeu Fabra (UPF) in Barcelona. While there I met a talented and productive coiffure of programming wizards working on a multifariousness of interesting projects, including an impressive saxophone synthesizer and a unique vocalisation-to-MIDI converter. I never found time to write a total clarification of the activities at UPF, and alas, I don't have that kind of time at present. Withal, it suffices to say that the crew has moved forward with its various efforts, resulting in the award-winning Mollusk, a.one thousand.a. the C++ Library For Audio and Music.
Infinite forbids a full review of the Clam software suite, and I'm but now proceeding into its depths. But since JAD includes the unabridged set of Mollusk apps I decided to take a close look at one of them, the Clam Analyst.
The Annotator graphically represents the results from a diversity of information extraction/analysis routines. Other applications, such as Ceres and Sonic Visualizer do something similar, but the Annotator includes some truly unique features.
The program beginning analyzes an input file and then displays it according to the schema (i.eastward. the parameters) of the extraction procedure. In Figure 10 nosotros encounter the output from the ChordExtractor after analyzing an audio file of a piece by Hildegard of Bingen. Alas, the screenshot doesn't do justice to this example: When the file is played (after analysis) the Tonnetz and Keyspace displays react in realtime to show the harmonic content during playback. The effect is very cool, but it's likewise far more than pleasant eye-candy. The analysis algorithms are excellent, and I was able to determine certain chord identities that had eluded me in some songs, thank you to Annotator's displays.
Other interesting CLAM software includes the SMSTools (spectral modelling synthesis toolkit with GUI), the Voice2MIDI program, and the amazing Network Editor, an iconic patching system designed for creating your own audio processoring networks. The arrangement is rich in features, likewise rich to fully explore here, merely fortunately the designers have included in-depth documentation and numerous helpful examples to assist newcomers. For more colorful screenshots and information regarding the project see the Mollusk Home and the CLAM Wiki.
TAPESTREA
Developer Ge Wang assures united states that TAPESTREA is a new manner to pattern sound, a claim often heard past anyone with a few years in the field of audio processing and synthesis. However, after using the program for simply a little while I must agree with Ge, and I'll add that I've never seen anything quite like it.
TAPESTREA's name is an acrostic for "Techniques And Paradigms for Expressive Synthesis, Transformation, and Rendering of Ecology Audio". The keywords of synthesis, transformation, and rendering are common plenty, but "environmental audio" may need a little more than definition. I can't better upon this description given on the TAPESTREA abode folio :
TAPESTREA... is a unified framework for interactively analyzing, transforming and synthesizing complex sounds. Given one or more recordings it provides well-defined means to:
- Identify points of interest in the sound and extract them into reusable templates
- Transform sound components independently of the background and/or other events
- Continually resynthesize the background texture in a perceptually disarming manner
- Controllably identify effect templates over backgrounds, using a novel graphical user interface and/or scripts written in the ChucK audio programming linguistic communication
- Leverage similarity-based retrieval to locate other interesting sound components
TAPESTREA provides a new mode to completely transform a audio scene, dynamically generate soundscapes of unlimited length, and etch and design sound past combining elements from different recordings. Tailored for sound designers, audio researchers, composers, and anyone interested in experimenting with sound.
At kickoff glance TAPESTREA may seem to exist a kind of super mixer, merely its design includes analysis/resysnthesis routines and other tools not normally found in conventional mixing software. Figures 2 and 3 show off the displays for signal analysis and timeline construction, with the analysis results utilized equally elements placed forth the timeline. TAPESTREA is serious near that timeline too, supporting units ranging from milliseconds to weeks, making it an platonic tool for planning sound events for installations and other large-scale works.
TAPESTREA's GUI includes screens for similarity searches and control over gain and reverberation, simply over again I must limit myself to this brief introduction. Incidentally, TAPESTREA is not included with JAD, so I compiled it myself, adding the necessary build tools with the excellent smart package managing director. The program requires the ChucK language for audio synthesis and processing. ChucK is included with JAD, just the TAPESTREA source code bundle includes the current ChucK sources, just in case.
If TAPESTREA seems foreign at start, have no fearfulness, ample documentation is available from the TAPESTREA Web site, forth with case projection files, audio output examples, and a helpful video introduction to the program. Very cool software from the e'er-advancing CS department at Princeton.
Linux Music Makers
Ii pieces this week. First up, Bumingbai, a lovely song from a person or persons known only as cubicbottle. I believe the lyrics are in Mandarin Chinese, perchance a fluent reader can supply a translation ? The composer/performer notes further only that the song was recorded with Ardour and edited in ReZound.
Next selection, Grassy Knoll, another groove from funkmeister Ken Restivo. Ken really works synths and organ emulators such as AMS and the AZR3 plugin for the emerging LV2 specification, be sure to check out his other recordings listed on the LAM site.
Outro
Special thanks exit to my friends and advisors on the #jacklab IRC aqueduct on freenode, especially Appleonkel, metasymbol, edogawa, danboid, and kunitoki. They've been giving me the quick form in the mastery of openSuSE 10.2, bless 'em all for their efforts and patience.
Next upwardly, a look at the newest Csound and some of its latest interesting tools. Until then, stay justly intoned.
Source: https://www.linuxjournal.com/content/re-32-bits-clam-and-tapestrea
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