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).
Mewshop has announced new intensive and fundamental workshops for developing iOS Mac Apps.
Exploring the fastest growing development trend in the industry, the new Mewshop Art of the App Workshops delve into the power of programming and development on the iOS platform.
The Art of the App Intensive and The Art of the App Fundamentals walk students through the basics of iOS development, from Objective-C, to the Xcode Integrated Development Environment (IDE), Cocoa Touch, the core framework for rapid App development, and the iPhone® Software Development Kit (SDK).
“At 400,000+ Apps and growing, the world of iOS App development has completely changed both the creative and commercial landscape as we know it,” says Josh Apter, founder, Manhattan Edit Workshop. “We are thrilled to be able to offer our students these two unique workshops in such an important and thriving niche. Attendees will walk away with the knowledge and skills needed to create their own amazing Apps, and profit from this immense development platform.”
iOS Development Workshops
The Art of the App One-Week Intensive will run from Monday, May 16 – Friday, May 20, 2011 from 9:00 am to 5:00 pm. Students can receive US $200 off the US $1,995 cost of the workshop by indicating on the comments section of the registration page that they will provide their own laptop workstation for the week.
The Art of the App Three-Day Fundamentals will run from Thursday, June 9 – Saturday, June 11, 2011 from 9:00 am to 5:00 pm. Students can receive US $100 off the US $1,495 cost of the workshop by indicating on the comments section of the registration page that they will provide their own Apple® laptop workstation (Students are required to download and install “Xcode 3.2.5 and iOS SDK 4.2″ before the start of class on June 9, 2011. Software is free and available by logging into the Apple Developer site at http://developer.apple.com/technologies/xcode).
Point Blank has announced a new online Cubase programme.
Commencing April 25th 2011, the 16 week programme is aimed at both MAC or PC users who want to work in current, hot musical styles.
Devised by Cubase expert and dance music supremo Danny J Lewis, the course features analysis of Hip Hop, Deep and Soulful House, Urban Pop, Electro, Minimal and Dubstep. It is a treasure trove of fascinating insights into techniques you will hear in massive records currently having success. Over 16 weeks students are taught Level 1 and 2 in-depth disciplines for Cubase: from getting started with MIDI, programming beats, chords and basslines, importing audio files and working with acapellas to recording and editing, track structure and arrangements and mixing. Each week students upload their assignments for DVR™- expert analysis and video feedback on their work.
In the final week students submit their final project. From a vocational aspect, Point Blank’s longterm partnership with Universal Music and Island Records, means that there is always the possibility of students’ final projects being presented to the labels for their consideration.
Cubase Level 1 and 2 Programme includes a minimum of 960 minutes of video, 16 x DVR™ (1-2-1 video feedback, 16 hours of live masterclasses, 1 year access to your course materials, over 320 pages of course notes, 24/7 access to forum plus exclusive audio resources to download. And as an optional but desirable extra: sign your track to Point Blank Music distributed by iTunes, beatport, Juno Download and Amazon.
Andyware has announced that Analog Box 2 is now available as open source software.
Analog Box is an open-source, circuit based, modular software synthesizer. You put sound objects on the screen, connect them together, listen and adjust. When you find something you like, you can record it to a wav file, or just save the circuit and play it again later.
ABox is somewhat like the vintage synth’s of the ’70′s in that there are separate modules with lots of patch cords, knobs, buttons and displays. But you also get the computational ability offered by modern CPU’s. Features like FFTs, Differentials and Digital Control open up realms of sound design never dreamt of before. With the advanced capabilities offered by VSTi, USB/HID, MIDI and Directshow you could conceivably play your favorite video soundtrack through a plugin adjusted by a glove controller.
Analog Box 2 is available under the GNU GPL v3 license.
Owing to the Arcophone Mk I being stuck somewhere on the Nullabor owing to damage to train tracks from the recent rains.
As we had a gig at Scitech we needed a new Arcophone, using the prototype batch of v1.2 coil drivers, Brett, Simon & Daniel spent the better part of the last week building the Arcophone Mk II. The case was designed and cut by Simon Kirkby and the electronics designed and assembled by Brett Downing and Daniel Harmsworth.
“Gem Drops” is a rich, varied compilation covering “experimental electronic hip-hop inspired” music, with artists such as Anenon, yuk., Juj, Devonwho, Shigeto, and Sumsun. The 21 tracks were selected by curator Aaron Meola. It’s the sixth release from the collective Dropping Gems, and 100% of revenue will go to the American Cancer Society.
Pay what you want for the download; a “very limited” run of handmade CDs with artwork will go to people who donate US $15 or more.
Turning data strings like DNA and what-not into audio can produce interesting results. YouTube user r2blend says, "If you import an EXE file into an audio program as audio data, you hear all kinds of cool stuff. The most awesome by far for me was MS Paint." Fisco130 then made a club remix of the MS Paint data audio. Wonder if any scans of great works of art contain secret music? Does malware translate to sad trombone sound, or Rick Astley?
If you haven't checked it out yet, head on over to the Programming Tips section of the Waveformless-Soundware site for 10 random programming tips on programming your own sounds for ReFX Vanguard.
The plan is to post programming tips for different softsynths as I release new soundsets. And yes, I am hard at work on the next release. No idea when it will be done. I'd rather get it right then get it out right now.
This EMS Putney came into my hands when I purchased it from Iowa City South East Junior High School in 1997. It is one of the unique artifacts of electronic music. The Putney & it’s close relative, the attache-case-housed Synthi, were workhorse synths at the BBC Radiophonic Workshop, and was a favorite of musicians like Brian Eno, Pink Floyd, and other Space Rock bands of the 70s.
It’s sonic character derives in large part from the cheapness of the design and construction. Moog Synthesizers were laboratory grade audio equipment; the Putney is cheap and difficult to use in a traditional musical context. And yet it was seductive. It’s limitations and imperfections enlarged musican’s ideas of what sounds could be musical.
Delia Derbyshire was one of the pioneers of electronic music during and after her tenure at the BBC Radiophonic Workshop. She was both a gifted composer and an audacious and precise engineer. Since seeing her in documentaries, and hearing her music I’m both awed by her and have a synth-geek’s crush on her. She was on my mind as I recorded these pieces, and I dedicate them to her memory.
The 5 parts of this piece were recorded in one evening, with no editing or overdubbing. The Putney was plugged into the Stereo Memory Man pedal, and the pedal was plugged into my computer.
The only post processing applied was normalization. These recordings are as close to the original, raw sound of the instrument as I could make them.