CsoundForLive is a suite of audio plugins that combines the real time performance capabilities of Ableton Live, the stable and customizable interface design of Max/MSP (through Max For Live), and the synthesis power of Csound.
CsoundForLive is a collection of over 120 real time audio-plugins that brings the complexity and sound quality of Csound to the fingertips of ANY Ableton Live user – without ANY prior Csound knowledge.
Capitalizing on the design power of Max For Live, what once took pages of text in Csound can now be accomplished in a few clicks of your mouse.
Grame – Centre National de Creation Musicale – has released version 0.9.43 of Faust (Functional Audio Stream), a functional programming language specifically designed for real-time signal processing and synthesis.
This version provides a major reorganization of the architecture system for better modularity and Open Sound Control (OSC) support. The code generation has been improved and the compiler offers new output possibilities for example the complete graph of the internal signal expressions as a .dot (graphviz) file.
The libraries and the examples have been extended: Julius Smith’s libraries provides several new filters and effects (including various reverbs) and Romain Michon has ported the Synthesis Tool Kit (STK) to FAUST.
Faust is available to download under the GNU General Public License (GPL).
Partikkel Audio has released the Hadron Particle Synthesizer, a free granular synthesis tool.
Partikkel Audio Hadron Particle Synthesizer
It can be used as a synthesizer or an audio effect. It can also seamlessly morph between different sound processing methods, so you can take the plugin gradually from being a synthesizer to an audio effect for live input. This self-modifying morph behavior might give you an idea of exactly how different this plugin is.
Its synthesis and processing engine is extremely versatile. In fact Hadron is such a complete implementation of granular synthesis we’ve renamed the technique to particle synthesis. Once you come to terms with the operating concepts of Hadron, vast new territories of sound transformation opens up.
Hadron is available as a free download (open source) for Windows and Mac, currently in Max For Live format, and as a Csound orchestra. A VST version can be expected during 2011.
Partikkel Audio has also released Time Dilation Effects, an expansion pack for Hadron consisting of reverbs, time freezing effects, pitched delays and more.
This expansion pack contains a number of hadron state and preset files. The focus of this pack is on using Hadron as an effects processor for live audio input, expanding the number of effects available.
The states in the expansion may easily be combined with previously installed Hadron states. Even though the states have been specifically designed for use as audio effects, the user is encouraged to experiment combining them with states designed for other purposes (e.g. synth states), as this kind of combinatorial abuse may reveal unexpected and unheard sounds.
The Time Dilation Effects expansion pack is available to purchase for 29 EUR.
Cecilia is an audio signal processing environment using Csound as its audio engine.
The legendary front-end and sound production platform for the Csound language is back in a fresh set of duds. Cecilia was first launched in 1996 to take advantage of the then emerging real-time audio capabilities of Csound. It has seen a number of iterations since then, because, well, nothing quite does what it does as well as it does. Cecilia is a complete sound production environment for the adventurous audio designer. It proposes dozens of complex and troubling sound-processing modules that invite the composer to revisit the notion of what constitutes spirited sonic matter.
Beyond these highly desirable qualities, Cecilia is also known to cause mild skin rashes and turn small dogs into pickles.
Cecilia is free. Thus you can’t complain if it hurts your feelings. But, with due diligence, Cecilia will bring smiles and good cheer to the most jaded musical mind.
One of the unique features of the Nerdle kit is the use of touch-sensitive capacitive-sense buttons, made from copper foil pads inside the case. While meeting with the camp directors to prepare these activities, we decided to try linking the raw information from the capacitive sensors to the on-board piezo speaker.
We added two lines of code, uploaded, and jaws dropped. It sounded like the computers of the future were supposed to sound.
In this guest column, we turn to veteran synthesist and music tech expert Jim Aikin. When Jim wants to do digital synthesis, one of the tools to which he turns is a veritable favorite with a direct-line legacy to the beginnings of computer sound. That doesn’t mean Csound hasn’t kept with the times, though, or that it has to be unfriendly. If you’ve been looking for a way to dive into sound and code, this could be an ideal path.
The Chipophone is a homemade 8-bit synthesizer, especially suited for live chiptune playing. It has been built inside an old electronic organ.
All the original tone-generating parts have been disconnected, and the keys, pedals, knobs and switches rerouted to a microcontroller which transforms them into MIDI signals. Those are then parsed by a second microcontroller, which acts as a synthesizer.
The Morphwiz app from Jordan Rudess takes the concept of the Hakan Continuum – which Jordan was also involved with, and applies it to the touchscreen of the iPhone/iPad to create a totally new instrument, while adding some trippy visuals, effects and a healthy synth engine. Dream Theatre are currently on tour with Iron Maiden in the US, we caught up with Jordan the morning after the night before at his hotel while on the road. He gives us an insight into the features and thinking behind the app.
Musikame has a beta of the souncloud dj player, the easiest way to dj your soundcloud tracks, allowing you to mix tracks from SoundCloud.
The soundcloud dj player includes various controls like pitch control, dj fx, looping, etc.
At this stage all the mixing is done automatically by the app itself: the user just picks the tracks and the length of the crossfade between them. While it's not actually possible to beat-match tracks as yet, the software does have pitch control with adjustable range, FX, looping and reverse capabilities, hinting at more advanced functionality in the future.
Create Digital Music has some exclusive photos of Griid, the controller for iPad that offers four fluid ways to navigate clips in your Ableton Live set.
Peter Kirn writes:
The developers of Griid, the Ableton Live controller on iPad created in association with Richie Hawtin, have shared photos and screen captures early with CDM to give us a look at the upcoming app. Just over a decade after its original inception, Ableton Live itself remains a ground-breaking user interface design. Love it or hate it, it’s a benchmark in thinking about how music apps might look.
Griid is compelling in part because it re-imagines how that central Session View and clip launching might work, now in the context of a touch tablet. Personally, I like the results. As on the Lemur, bold, saturated colors and contrast on a black background are central, of course. It’s also nice to see extraneous visual information removed. And for anyone with epic-sized sets of clips in Live, you’ll like the massive overview.
Ants walking through IR gates manipulate the Auduino synth program. John spotted this at the RobotFest / Mid-Atlantic Mini Maker Faire. He writes:
I went to the RobotFest / Mid-Atlantic Mini Maker Faire yesterday. I saw this awesome project and thought you might like to put it on the blog. Basically it's an ant farm with optointerrupts. When the ants walk through the lightpath, they modify the audio output. The maker's name is Adam Franchino, and he was there with some of his classmates from the Maryland Institute College of Art (MICA) His website is adamfranchino.net.
“This is a Jouney into Sound” is a demo of the RHIFID speaker control system developed for the Physical Computing class. Using a combination of RFID technology, Processing and Arduino, the speakers work as location aware controllers, allowing the user to interact with music and the environment by moving the speakers around.
Jordantron is a new iPad synth app that will include sounds by Jordan Rudess of Dream Theater.
Omenie in the comments:
The core sound generation is the Ellatron engine, and the same 'Toblerone' rotating keyboards have been retained – for now …
Inside it there’s quite a few changes, particularly trading off CPU burden against responsiveness – it’s become clear, particularly on the iPad, that it’s worth burning more CPU to get ultra-low latency for responsive playing, in Jordan’s hands this thing is *fast* and pretty amazing.
We are still shaking out details but the plan is to have different iPad and iPhone versions, slightly more voices in the iPad version as it supports apps with a bigger memory footprint than iPhone.
And yes, all new sounds, and unlike Ellatron all the sounds are stereo (and really immersive and immense) and have been pulled out of Jordan’s live rig, so these are authentic DT voices. So it’s not very much like a Mellotron at all! I think this one will turn out to be a must-have app for the DT fans, but the sounds are so damn PHAT that general synth hounds may end up picking up one of these to add to their arsenal.
Several EQs now have a mid/side mode. This opens up a lot of possibilities, but can be difficult to use effectively. Instead of simply tweaking the sound or the range of the controls, mid/side mode completely changes how the EQ behaves and sets new rules for how it can be useful and effective.
It helps to stop thinking about mid/side EQ as an equaliser – but instead to think of it as a surgical frequency-focussed stereo width adjuster. It works best on complex stereo material, such as groups or the mix bus.
I've always been a big fan of K'nex, ever since I was a little kid. Then, when I discovered this website, I felt like I had hit the jackpot. This is a "robot" that I built out of knex, it's designed to play the piano. This version can play up to a 16 note sequence in a 12 note range. I call it "Zeeanobot" (Zach's Piano Robot), corny, I know, but I couldn't think of a better name. I spent a lot of time on this, and I'm very proud of it, so please be nice. Just to be clear, I have not tried it on a real piano, I built it to play my Yamaha DGX-230. You may need to modify the design slightly to get it to work on real pianos or other keyboards.
# Sound Grain, a graphical interface where users can draw and edit trajectories to control granular sound synthesis modules. Sound Grain is written with Python and uses Csound as its audio engine. Csound 5 must be installed on the system to allow Sound Grain to run.
Grame, Centre National de Creation Musicale, has announced the release of Faust (Functional Audio Stream) 0.9.10, a functional programming language specifically designed for real-time signal processing and synthesis.
This version introduces several new possibilities. It is the first official release to offer full parallelization of the C++ code to exploit multicore architectures, as well as automatic generation of mathematical documentation.
New in Faust v0.9.10
Several new options have been added to control how the C++ code is generated, in particular:
control of the floating point precision : single (default), double, quad
code re-organization in simple loops to facilitate automatic vectorization
automatic parallelization based on OpenMP
automatic parallelization based on a specific “Work-Stealing” algorithm
Using formal methods the Faust compiler can automatically produce a complete mathematical documentation of a Faust program.
Sequential composition operator (A:B) has been restricted to expressions so that outputs(A) = inputs(B). This restriction has several advantages. It improves error detection, makes the code easier to understand and provides nicer and simpler formal semantic ( A:B is B o A)
User interface labels can now contain metadata. For example the label “volume[unit:dB][tooltip:control the output volume of the reverb]” contains two metadata, a unit definition and a tooltip message than can be exploited by an architecture file to fine tune the user interface.
User interface labels can contain absolute and relative pathnames to better control the hierarchical structure of the user interface. For example the label “../volume” points to place the widget one group higher in the hierarchy.
Several new audio architectures have been included, in particular Action Script, CoreAudio, CSOUND, Chuck, Pure, SND-RT, for a total of about 20 different plateforms now supported: Action Script, Alsa, ChucK, CoreAudio, CSOUND, Jack, LADSPA, Matlab, MaxMSP, Octave, OSS, PortAudio, Pure, PureData, Q, Sndfile, Snd-RT, SuperCollider, SynthFile, VST, VSTi (mono)