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Sonaur, Ambient Android Toy, Built with Free Tools (Processing, libpd)

Tuesday, August 2nd, 2011

Sonaur is a US$ 1.99 ambient toy for Android mobile devices, with on-screen creatures you can manipulate to generate sound. It’s notable not only for being a fun toy – and on a platform that hasn’t had as many fun toys – but because the tools used to create it are also highly accessible and free.

I’ve taught Processing, a code environment popular among artists and designers to people who never before imagined they could be coders. Pd (Pure Data), here in the form of libpd, is a free graphical patching cousin of Max/MSP. You can check out libpd, which allows Pd to run on Android, at our Pd Everywhere group.

Developer Miles describes the app thusly:

I wanted to create an app that lay somewhere between an ecosystem and a musical instrument. The hope is that sonaur requires less attention both, and still provides a reasonable amount of intrigue.

Sonaur contains three distinct lifeforms. You can interact with them individually, or together; creating new sounds and visual patterns for your enjoyment.

I was also curious if he had advice for people exploring this area.

Miles tells us that he found making both the art and sound generative – rather than pre-drawn and pre-recorded – made a big difference. He also suggests reading Andy Farnell’s book Designing Sound (now on MIT Press) as a way of learning both Pd and sound design, saying it “helped me a lot to create the sound of the flying insects.” Another tip: using vectors and not hard-coded pixel values makes your work adaptable to different devices. And, “Matt Pearson’s book Generative Art talks a lot about this but I’ve found too that randomness is great in controlled amounts.” I couldn’t agree more.

It’s really great work, Miles. And by the way, readers should never be ashamed of plugging their work, individual or group, free or for-sale. We love hearing about it, even if we can’t cover it all.

Find this at:
http://app.net/sonaur

Via discussion on Noisepages.

Also on Creative Applications Network, run by our friend Filip, which covers all sorts of these kinds of creations.


AudioProFeeds-1

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Computer Music: Rhythm Programming, Processing and Mastering

Thursday, January 13th, 2011

Computer Music: Rhythm Programming, Processing and Mastering

The rhythm within your PC, from BITs to beats. This book gives the average computer user and the conventional musician the opportunity to digitalize their creative ideas.

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Computer Music: Rhythm Programming, Processing and Mastering

Thursday, December 30th, 2010

Computer Music: Rhythm Programming, Processing and Mastering

The rhythm within your PC, from BITs to beats. This book gives the average computer user and the conventional musician the opportunity to digitalize their creative ideas.

List Price: $ 32.99

Price:

Find More Fruity Loops Products

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Studio Six Digital Licenses iZotope Audio Processing for iPhone and iPad

Tuesday, November 9th, 2010

9th November 2010: iZotope has announced that it has licensed a suite of effects and noise reduction plug-ins to Studio Six Digital, developer of iPhone, iPad, and iPod touch audio apps and accessories. Based on iZotop…
AudioProFeeds-1

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Free Generative MIDI with Cellular Automata, Built in AIR

Thursday, July 29th, 2010

Cellular AutoMidi is a generative music making app, making use of a modified version of the ever-popular Cellular Automata algorithm – a simple evolutionary model on a grid that works nicely for sequencers. (See, among many others, Lazyfish’s legendary NEWSCHOOL for Reaktor, and Audio Damage’s Automaton.)

Cellular Automata is nothing new, but here, you get to see it as an AIR/Flash app, which means a modular CA-based creation you can drop anywhere. (More on the cross-platform details after the jump.) And hey, if we can have countless step sequencers, why not countless cellular automata step sequencers? The project is developed by Leeds, England-based Flash developer Lawrie Cape.

It also deserves special mention for some nice sounds made with NI’s Massive synth, using FL Studio as host; see the video.

Cellular AutoMidi – Generative Audio Flash AIR App from Lawrie Cape on Vimeo.

Lawrie writes:

Each cell can be alive or dead. Once in a generation, each cell looks at it’s surrounding cells, and dies if it is lonely or overcrowded. If a dead cell has an optimum amount of neighbors, it will come to life! Each generation, all the cells which have come to life will sound a note. The notes are assigned based on the cell’s y position, and are all in the pentatonic scale.

There’s a few controls at the bottom which change how things work too.

Start/Stop – Starts/Stops the automation.
Load – Loads a pattern from the text box.
Export – Exports the current pattern to the clipboard. You can send it to friends, or save it for later, then load in with the load button.
Clear down – Stop and clear the current pattern.
Law Mode – An error when coding the cell rules gave this other odd mode.
Skip Audio – Just show the cell animations.
Sing Dead – Instead of singing the recently revived notes, sing for the recently deceased.
Note duration – Alter the system speed.
Also, along the top there are banks of preset systems. Click play to start a saved pattern, and click assign to assign the pattern currently displayed to that button. You can also trigger each pattern with the keyboard keys 1-8.

When you press Export, your pattern is automatically copied to the clipboard, so you can save it, or share it with people. Here’s a pattern I made – you can load it by pasting it into the load box, and pressing Load!

I’ve written a post about it on my blog here – http://www.lawriecape.co.uk/theblog/index.php/archives/735

And you can download the app there too.

What about MIDI function on different operating systems (Mac, Windows, Linux)?

Flash Midi Server is Processing based, but I’ve packaged it as Win and Mac apps in the Google Code download at – http://code.google.com/p/flash-midi-server/downloads/list
In the next couple of days, I’ll put together and test a Linux version, and hopefully release the Processing source code too – although as my first Processing project, I’m sure the code is pretty ropey.

So, give it a try, and maybe someone with some Processing MIDI skills can recommend some tweaks to MIDI operation. I think this will be particularly welcome on Linux, where the toolset is a bit leaner.

If you use it, let us know what you think or what you create!

See the original post here:
Free Generative MIDI with Cellular Automata, Built in AIR

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Echo Audio AudioFire Pre8

Wednesday, June 30th, 2010

The market for audio interfaces is incredibly competitive, as several companies now have fully-featured units which manage to pack seriously impressive feature sets into boxes with prices that won’t frighten your bank manager.

Due to the high visibility of its rivals, Echo Digital Audio isn’t perhaps the first name which springs to mind for those considering an interface purchase, yet this Californian firm has a proud pedigree, and its latest model, the AudioFire Pre8, combines the company’s established interface know-how with a set of its mic preamps.

In detail

The package includes the now familiar combination of the hardware interface itself and a dedicated piece of software to help configure its assorted ins and outs, which we’ll get to shortly. The hardware is a robust, 1U rackmountable affair with two switchable mic/line/instrument inputs on the far-left of the front panel.

Next to these are their extended controls, with gain dials and additional buttons to control or select phantom power, phase inversion, low impedance, DI, pad and bass roll-off below 80Hz. To the right of these you’ll find gain knobs for inputs three to eight with a global phantom power switch for these to their right.

Two headphone outputs feature on the far right-hand side alongside the main output, while the back panel completes the physical I/O, with mic/ line inputs for channels three to eight, eight 1/4-jack outs, channel inserts for inputs one and two, plus In and Out ports for MIDI, S/PDIF, ADAT and Word Clock. Twin FireWire 400 ports and the power inlet complete the feature set.

The AudioFire Pre8 can record audio at specs up to 96kHz at 24-bit (selected via software) and through the FireWire connection, recording latency is impressively low.

In use

We plugged the AudioFire directly into our Mac to discover that installation was driver free – Logic found the interface immediately and was only too happy to do business. However, the bundled CD does contain the AudioFire Console which helps configure settings and provide visual feedback during use, and this application can simply be dragged across to your hard drive to run alongside your DAW whenever you like. Separate tabs are provided for analogue and digital connections, so setting up the interface the way you want is child’s play.

In terms of sound quality, particular note must go to the celebrated mic pres which certainly live up to their reputation. They’re clear and rich and, as there’s so much I/O, we’d happily use this interface as a hub and trust the inputs to accurately transfer the sound of our hardware synths to our computer without need for further processing. Fire fighter

Summary

Those who have been following Echo’s product line closely will be aware that the company already has a line of AudioFire interfaces, but the addition of the ‘Pre’ in the title here reveals all, as the first in what may well become a line of much more flexible, hands-on interfaces.

The addition of eight high-quality mic pres is welcome, as is the array of digital I/O options featured as standard, and features like these propel the interface’s standing up a fair few rungs of the ladder.

As we mentioned at the start, when it comes to middle-market interfaces, it’s a certainly a hugely competitive market, but Echo’s AudioFire Pre8 more than stands its ground among the competition.



Read the rest here:
Echo Audio AudioFire Pre8

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Native Instruments Maschine 1.5

Monday, June 7th, 2010

When Maschine launched in 2009, it was something of a game changer for NI, and the software studio market in general. With a product that mimicked Akai’s MPC series with the almost endless versatility of a software engine and hardware controller, NI was able to tackle (and tackle successfully) several niches at once and Maschine was welcome with open arms by the pad-pushing public.

Maschine wasn’t without its faults, though; from launch, NI’s forums have been alive with feature suggestions. The 1.1 update in November 2009 added plenty – direct MIDI sequencing from the hardware to your studio gear, drag-and-drop audio rendering of your patterns and more – but the salivating public never rest and more feature requests have been met v1.5. And once again it’s free to all existing Maschine users.

In detail

Instead of listing every new feature (and there are a lot) we’ll take you straight to the juicy additions.

The first things you’ll notice in Maschine 1.5 are the new Sampler tab settings when you load a sound or kit. Instead of the familiar Pitch/Gate page, we’re met with a new Voice Settings page, where you can reduce the polyphony of your sample from 32 voices to one, or bring it below zero to introduce a Legato mode.

What’s most exciting about this new page though, is the new Engine section. Here, you can replay your sounds via emulations of classic samplers, namely the Akai MPC60 and E-MU SP-1200. These new playback options are fantastic for adding fizz and air to your beats, especially percussion, snares and claps. Have a listen to the examples at the end of the review.

The system really comes into its own as soon as you pitch your sounds up or down, adding satisfying grit.

Unfortunately it’s not possible to apply the emulation across a whole Group, only on individual sounds. NI’s reasoning behind this is solid, though. Firstly, the artifacts in these vintage samplers come from a re-pitching algorithm and how much a sound is re-pitched during playback, so it wouldn’t be true to apply it to a Group as a whole.

Secondly, NI says the engine is quite CPU intensive, so to include an option to ‘batch-process’ every sound in a Group with the same emulation would eat up your processing. Hopefully, NI can work out a way to apply these engines to every sound without too much CPU sufferance, as they do sound fantastically fizzy.

Speaking of MPCs, it’s now possible to import MPC banks directly into Maschine. Any long-term MPC users with unfinished (or finished) projects will be over the moon about this.

maschine

Tighter integration

Bridging Maschine and your host DAW has clearly been a priority for NI, and a few other new features seal the deal. Quick dragging of audio to your DAW was introduced in v1.1, and it’s now possible to do the same with MIDI. Your Maschine patterns can then be used either with other plug-ins or to send MIDI back to Maschine.

(2 pages; go to page: 2)



Read the original post:
Native Instruments Maschine 1.5

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LiquidSonics updates Reverberate to v1.417

Monday, May 24th, 2010

24th May 2010: LiquidSonics has updated Reverberate to v1.417. Changes: All: Processing indicators have been added to all tabs (they were previously only shown on the IR1/IR2 tabs) to show activity during preset c…

Continue reading here:
LiquidSonics updates Reverberate to v1.417

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11 – Processing 101 – Creating Text

Saturday, August 8th, 2009

Learn how to create text in a processing window.

http://www.youtube.com/v/gc_Gno34cGA&f=user_uploads&app=youtube_gdata

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11 – Processing 101 – Creating Text

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10 – Processing 101 – Functions

Tuesday, July 21st, 2009

This tutorial will show you how to create functions.

http://www.youtube.com/v/2s47q3UkzXo&f=user_uploads&app=youtube_gdata

Read more here:
10 – Processing 101 – Functions

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