https://media.ccc.de/c/lac18 This feed contains all events from lac18 as mp4 see video outro Thu, 23 Jan 2025 18:45:41 -0000 https://static.media.ccc.de/media/events/lac/lac18/linuxaudio.png https://media.ccc.de/c/lac18 https://media.ccc.de/v/lac2018-102-mod_building_a_sustainable_linux_audio_based_business The MOD Project: an overview of the history, some comments and considerations about an Open Source Linux Audio centric hardware business attempt and some insights for the future. MOD was born in 2010, first debuted at LAC in 2013, crowdfunded a mass product in 2014, delivered it in 2016, consolidated in 2017 and got funded in 2018. These 8 years have been quite interesting and a lot has happened along. I would like to go over this history and present what were the main difficulties found along the way. I’d also put on the table some considerations about the Open Source Linux Audio centric aspect and its pros/cons. Finally, I’d like to share some insights and considerations for the future, both for our company as for the Linux Audio Community and the possible efforts towards attaining a sustainable business model with the community efforts. The MOD Project: an overview of the history, some comments and considerations about an Open Source Linux Audio centric hardware business attempt and some insights for the future. MOD was born in 2010, first debuted at LAC in 2013, crowdfunded a mass product in 2014, delivered it in 2016, consolidated in 2017 and got funded in 2018. These 8 years have been quite interesting and a lot has happened along. I would like to go over this history and present what were the main difficulties found along the way. I’d also put on the table some considerations about the Open Source Linux Audio centric aspect and its pros/cons. Finally, I’d like to share some insights and considerations for the future, both for our company as for the Linux Audio Community and the possible efforts towards attaining a sustainable business model with the community efforts. about this event: https://c3voc.de Sat, 09 Jun 2018 00:00:00 +0200 https://cdn.media.ccc.de/events/lac/lac18/h264-hd/lac18-102-eng-MOD_building_a_sustainable_Linux_Audio_based_business_hd.mp4?1531663297 3d83e6db-b841-500d-bbcb-9cb282c1c9f1 2018-06-09T00:00:00+02:00 Gianfranco Ceccolini No lac18, 102 The MOD Project: an overview of the history, some comments and considerations about an Open Source Linux Audio centric hardware business attempt and some insights for the future. MOD was born in 2010, first debuted at LAC in 2013, crowdfunded a mass product in 2014, delivered it in 2016, consolidated in 2017 and got funded in 2018. These 8 years have been quite interesting and a lot has happened along. I would like to go over this history and present what were the main difficulties found along the way. I’d also put on the table some considerations about the Open Source Linux Audio centric aspect and its pros/cons. Finally, I’d like to share some insights and considerations for the future, both for our company as for the Linux Audio Community and the possible efforts towards attaining a sustainable business model with the community efforts. The MOD Project: an overview of the history, some comments and considerations about an Open Source Linux Audio centric hardware business attempt and some insights for the future. MOD was born in 2010, first debuted at LAC in 2013, crowdfunded a mass product in 2014, delivered it in 2016, consolidated in 2017 and got funded in 2018. These 8 years have been quite interesting and a lot has happened along. I would like to go over this history and present what were the main difficulties found along the way. I’d also put on the table some considerations about the Open Source Linux Audio centric aspect and its pros/cons. Finally, I’d like to share some insights and considerations for the future, both for our company as for the Linux Audio Community and the possible efforts towards attaining a sustainable business model with the community efforts. about this event: https://c3voc.de 01:03:45 https://media.ccc.de/v/lac2018-22-mathr_performs_with_clive Claude Heiland-Allen (https://mathr.co.uk) is an artist from London interested in the complex emergent behaviour of simple systems, unusual geometries, and mathematical aesthetics. Clive is an audio live-coding skeleton, implemented in C. It supports a two-phase edit-commit coding cycle allowing long-lived signal processing graphs to be modified without interrupting the sound. Performance with Clive usually involves pre-preparation, from simple unit generators up to more complete compositions. The live-coding aspect involves editing a file in the performer’s favourite text editor, with the act of saving with Ctrl-S or other shortcut being timed to allow the new code to start executing in sync after the latency of compilation. Claude Heiland-Allen (https://mathr.co.uk) is an artist from London interested in the complex emergent behaviour of simple systems, unusual geometries, and mathematical aesthetics. Clive is an audio live-coding skeleton, implemented in C. It supports a two-phase edit-commit coding cycle allowing long-lived signal processing graphs to be modified without interrupting the sound. Performance with Clive usually involves pre-preparation, from simple unit generators up to more complete compositions. The live-coding aspect involves editing a file in the performer’s favourite text editor, with the act of saving with Ctrl-S or other shortcut being timed to allow the new code to start executing in sync after the latency of compilation. about this event: https://c3voc.de Sat, 09 Jun 2018 00:00:00 +0200 https://cdn.media.ccc.de/events/lac/lac18/h264-hd/lac18-22-eng-mathr_performs_with_Clive_hd.mp4?1531386930 d47b09a5-145d-5109-9780-73e2c68f78e0 2018-06-09T00:00:00+02:00 Claude Heiland-Allen No lac18, 22 Claude Heiland-Allen (https://mathr.co.uk) is an artist from London interested in the complex emergent behaviour of simple systems, unusual geometries, and mathematical aesthetics. Clive is an audio live-coding skeleton, implemented in C. It supports a two-phase edit-commit coding cycle allowing long-lived signal processing graphs to be modified without interrupting the sound. Performance with Clive usually involves pre-preparation, from simple unit generators up to more complete compositions. The live-coding aspect involves editing a file in the performer’s favourite text editor, with the act of saving with Ctrl-S or other shortcut being timed to allow the new code to start executing in sync after the latency of compilation. Claude Heiland-Allen (https://mathr.co.uk) is an artist from London interested in the complex emergent behaviour of simple systems, unusual geometries, and mathematical aesthetics. Clive is an audio live-coding skeleton, implemented in C. It supports a two-phase edit-commit coding cycle allowing long-lived signal processing graphs to be modified without interrupting the sound. Performance with Clive usually involves pre-preparation, from simple unit generators up to more complete compositions. The live-coding aspect involves editing a file in the performer’s favourite text editor, with the act of saving with Ctrl-S or other shortcut being timed to allow the new code to start executing in sync after the latency of compilation. about this event: https://c3voc.de 00:30:36 https://media.ccc.de/v/lac2018-47-rotations_2 Six modular synthesizers and one digital instrument interact in an improvised performance. Their spatial movements are defined by rotations in opposite directions over time, realized on an eight channel speaker system - the Electronic Orchestra Charlottenburg (EOC) (https://www.ak.tu-berlin.de/menue/elektronisches_studio/elektronisches_orchester_charlottenburg/), a project of the Electronic Music Studio at TU Berlin (https://www.ak.tu-berlin.de/menue/elektronisches_studio/), explores means of organizing and spatializing the seemingly infinite diversity of electronic sounds in a larger ensemble. The performance will be spatialized using the SSR, Pd and Python, running on a Linux Server with Ubuntu Studio. The server is remote controlled by the sound director via OSC and various input devices. Inputs and outputs are managed with an RME MADI card and several AD/DA converters. Six modular synthesizers and one digital instrument interact in an improvised performance. Their spatial movements are defined by rotations in opposite directions over time, realized on an eight channel speaker system - the Electronic Orchestra Charlottenburg (EOC) (https://www.ak.tu-berlin.de/menue/elektronisches_studio/elektronisches_orchester_charlottenburg/), a project of the Electronic Music Studio at TU Berlin (https://www.ak.tu-berlin.de/menue/elektronisches_studio/), explores means of organizing and spatializing the seemingly infinite diversity of electronic sounds in a larger ensemble. The performance will be spatialized using the SSR, Pd and Python, running on a Linux Server with Ubuntu Studio. The server is remote controlled by the sound director via OSC and various input devices. Inputs and outputs are managed with an RME MADI card and several AD/DA converters. about this event: https://c3voc.de Sat, 09 Jun 2018 00:00:00 +0200 https://cdn.media.ccc.de/events/lac/lac18/h264-hd/lac18-47-eng-Rotations_2_hd.mp4?1531384885 c326e241-c5b9-5aa6-b395-c177cf0be4f1 2018-06-09T00:00:00+02:00 The Electronic Orchestra Charlottenburg No lac18, 47 Six modular synthesizers and one digital instrument interact in an improvised performance. Their spatial movements are defined by rotations in opposite directions over time, realized on an eight channel speaker system - the Electronic Orchestra Charlottenburg (EOC) (https://www.ak.tu-berlin.de/menue/elektronisches_studio/elektronisches_orchester_charlottenburg/), a project of the Electronic Music Studio at TU Berlin (https://www.ak.tu-berlin.de/menue/elektronisches_studio/), explores means of organizing and spatializing the seemingly infinite diversity of electronic sounds in a larger ensemble. The performance will be spatialized using the SSR, Pd and Python, running on a Linux Server with Ubuntu Studio. The server is remote controlled by the sound director via OSC and various input devices. Inputs and outputs are managed with an RME MADI card and several AD/DA converters. Six modular synthesizers and one digital instrument interact in an improvised performance. Their spatial movements are defined by rotations in opposite directions over time, realized on an eight channel speaker system - the Electronic Orchestra Charlottenburg (EOC) (https://www.ak.tu-berlin.de/menue/elektronisches_studio/elektronisches_orchester_charlottenburg/), a project of the Electronic Music Studio at TU Berlin (https://www.ak.tu-berlin.de/menue/elektronisches_studio/), explores means of organizing and spatializing the seemingly infinite diversity of electronic sounds in a larger ensemble. The performance will be spatialized using the SSR, Pd and Python, running on a Linux Server with Ubuntu Studio. The server is remote controlled by the sound director via OSC and various input devices. Inputs and outputs are managed with an RME MADI card and several AD/DA converters. about this event: https://c3voc.de 00:14:42 https://media.ccc.de/v/lac2018-23-tessellations Tessellations plays with the repetition of material generated by manipulating the interval structure of the chord and submitting it to short processes that I generate myself in Python and execute them inside PD with the py object. This piece is an experimentation on the way I link time, material and narrative. The “tessellated” object not only morphs the musical material but also the space where it occurs and the performer responsible for it – player or computer –. Furthermore, the piece has 2 solos, one in which the performer improvises based on visual cues and musical anchor points, and the other which was generated algorithmically and is “written” on the score, this incorporates the idea of the act of composition as the tessellated object itself. Tessellations plays with the repetition of material generated by manipulating the interval structure of the chord and submitting it to short processes that I generate myself in Python and execute them inside PD with the py object. This piece is an experimentation on the way I link time, material and narrative. The “tessellated” object not only morphs the musical material but also the space where it occurs and the performer responsible for it – player or computer –. Furthermore, the piece has 2 solos, one in which the performer improvises based on visual cues and musical anchor points, and the other which was generated algorithmically and is “written” on the score, this incorporates the idea of the act of composition as the tessellated object itself. about this event: https://c3voc.de Sat, 09 Jun 2018 00:00:00 +0200 https://cdn.media.ccc.de/events/lac/lac18/h264-hd/lac18-23-eng-Tessellations_hd.mp4?1531384622 c48d7b3d-10dc-55fe-a37f-1bc8029988b7 2018-06-09T00:00:00+02:00 José Rafael Subía Valdez No lac18, 23 Tessellations plays with the repetition of material generated by manipulating the interval structure of the chord and submitting it to short processes that I generate myself in Python and execute them inside PD with the py object. This piece is an experimentation on the way I link time, material and narrative. The “tessellated” object not only morphs the musical material but also the space where it occurs and the performer responsible for it – player or computer –. Furthermore, the piece has 2 solos, one in which the performer improvises based on visual cues and musical anchor points, and the other which was generated algorithmically and is “written” on the score, this incorporates the idea of the act of composition as the tessellated object itself. Tessellations plays with the repetition of material generated by manipulating the interval structure of the chord and submitting it to short processes that I generate myself in Python and execute them inside PD with the py object. This piece is an experimentation on the way I link time, material and narrative. The “tessellated” object not only morphs the musical material but also the space where it occurs and the performer responsible for it – player or computer –. Furthermore, the piece has 2 solos, one in which the performer improvises based on visual cues and musical anchor points, and the other which was generated algorithmically and is “written” on the score, this incorporates the idea of the act of composition as the tessellated object itself. about this event: https://c3voc.de 00:11:48 https://media.ccc.de/v/lac2018-21-cosmo COSMO Collective is an open musical collaboration for musicians using DIY electronics and custom software written in Csound. There is no definite musical style, though it could perhaps be characterized as electro-acoustic improvisation. The focus is on the exploration of sound and timbre, rather than traditional harmonics and rhythm, and exploiting the powers of Csound in this pursuit. COSMO Collective is an open musical collaboration for musicians using DIY electronics and custom software written in Csound. There is no definite musical style, though it could perhaps be characterized as electro-acoustic improvisation. The focus is on the exploration of sound and timbre, rather than traditional harmonics and rhythm, and exploiting the powers of Csound in this pursuit. about this event: https://c3voc.de Sat, 09 Jun 2018 00:00:00 +0200 https://cdn.media.ccc.de/events/lac/lac18/h264-hd/lac18-21-eng-COSMO_hd.mp4?1531384588 750ed88f-1237-56a0-8023-d1dda9c6c5c0 2018-06-09T00:00:00+02:00 Alex Hofmann No lac18, 21 COSMO Collective is an open musical collaboration for musicians using DIY electronics and custom software written in Csound. There is no definite musical style, though it could perhaps be characterized as electro-acoustic improvisation. The focus is on the exploration of sound and timbre, rather than traditional harmonics and rhythm, and exploiting the powers of Csound in this pursuit. COSMO Collective is an open musical collaboration for musicians using DIY electronics and custom software written in Csound. There is no definite musical style, though it could perhaps be characterized as electro-acoustic improvisation. The focus is on the exploration of sound and timbre, rather than traditional harmonics and rhythm, and exploiting the powers of Csound in this pursuit. about this event: https://c3voc.de 00:12:00 https://media.ccc.de/v/lac2018-49-pick_it_up Composition for prepared electric guitar and live electronics (SuperCollider), with multichannel spatialization. Composition for prepared electric guitar and live electronics (SuperCollider), with multichannel spatialization. about this event: https://c3voc.de Sat, 09 Jun 2018 00:00:00 +0200 https://cdn.media.ccc.de/events/lac/lac18/h264-hd/lac18-49-eng-Pick_It_Up_hd.mp4?1531384555 63ae2c3e-c123-52e7-9047-36bd1d016532 2018-06-09T00:00:00+02:00 Krzysztof Gawlas No lac18, 49 Composition for prepared electric guitar and live electronics (SuperCollider), with multichannel spatialization. Composition for prepared electric guitar and live electronics (SuperCollider), with multichannel spatialization. about this event: https://c3voc.de 00:16:36 https://media.ccc.de/v/lac2018-4-yoshimi_live This is a workshop for the Yoshimi soft-synth, and is intended to give an overview of ideas for using the synth at live venues. This is a workshop for the Yoshimi soft-synth, and is intended to give an overview of ideas for using the synth at live venues. about this event: https://c3voc.de Sat, 09 Jun 2018 00:00:00 +0200 https://cdn.media.ccc.de/events/lac/lac18/h264-hd/lac18-4-eng-Yoshimi_Live_hd.mp4?1531345361 71ef66ba-882a-54e4-acb0-90c07a0c8c63 2018-06-09T00:00:00+02:00 Will Godfrey No lac18, 4 This is a workshop for the Yoshimi soft-synth, and is intended to give an overview of ideas for using the synth at live venues. This is a workshop for the Yoshimi soft-synth, and is intended to give an overview of ideas for using the synth at live venues. about this event: https://c3voc.de 01:42:53 https://media.ccc.de/v/lac2018-19-one_hour_challenge A challenge to produce a music track within 60 minutes. Participants get a short MIDI file as a starting point, and woA challenge to produce a music track within 60 minutes. Participants get a short MIDI file as a starting point, and work on their track using the tools and techniques of their choice. An excellent way to test your skills as a producer. As the participants can use the program of their choice, the one hour challenge shows the diversity of music composition in the community. The participants need to bring their own hardware and headphones.rk on their track using the tools and techniques of their choice. An excellent way to test your skills as a producer. As the participants can use the program of their choice, the one hour challenge shows the diversity of music composition in the community. The participants need to bring their own hardware and headphones. A challenge to produce a music track within 60 minutes. Participants get a short MIDI file as a starting point, and woA challenge to produce a music track within 60 minutes. Participants get a short MIDI file as a starting point, and work on their track using the tools and techniques of their choice. An excellent way to test your skills as a producer. As the participants can use the program of their choice, the one hour challenge shows the diversity of music composition in the community. The participants need to bring their own hardware and headphones.rk on their track using the tools and techniques of their choice. An excellent way to test your skills as a producer. As the participants can use the program of their choice, the one hour challenge shows the diversity of music composition in the community. The participants need to bring their own hardware and headphones. about this event: https://c3voc.de Sat, 09 Jun 2018 00:00:00 +0200 https://cdn.media.ccc.de/events/lac/lac18/h264-hd/lac18-19-eng-One_Hour_Challenge_hd.mp4?1531343895 f986be37-20dc-5eb6-b874-2ff6bdd0a687 2018-06-09T00:00:00+02:00 Uroš Maravić, David Vagt No lac18, 19 A challenge to produce a music track within 60 minutes. Participants get a short MIDI file as a starting point, and woA challenge to produce a music track within 60 minutes. Participants get a short MIDI file as a starting point, and work on their track using the tools and techniques of their choice. An excellent way to test your skills as a producer. As the participants can use the program of their choice, the one hour challenge shows the diversity of music composition in the community. The participants need to bring their own hardware and headphones.rk on their track using the tools and techniques of their choice. An excellent way to test your skills as a producer. As the participants can use the program of their choice, the one hour challenge shows the diversity of music composition in the community. The participants need to bring their own hardware and headphones. A challenge to produce a music track within 60 minutes. Participants get a short MIDI file as a starting point, and woA challenge to produce a music track within 60 minutes. Participants get a short MIDI file as a starting point, and work on their track using the tools and techniques of their choice. An excellent way to test your skills as a producer. As the participants can use the program of their choice, the one hour challenge shows the diversity of music composition in the community. The participants need to bring their own hardware and headphones.rk on their track using the tools and techniques of their choice. An excellent way to test your skills as a producer. As the participants can use the program of their choice, the one hour challenge shows the diversity of music composition in the community. The participants need to bring their own hardware and headphones. about this event: https://c3voc.de 00:17:21 https://media.ccc.de/v/lac2018-48-spycher tape 8 ch tape 8 ch about this event: https://c3voc.de Fri, 08 Jun 2018 00:00:00 +0200 https://cdn.media.ccc.de/events/lac/lac18/h264-hd/lac18-48-eng-Spycher_hd.mp4?1531338671 00fd8c56-524c-5bcc-9aa4-75fe2b54f35e 2018-06-08T00:00:00+02:00 Michele Del Prete No lac18, 48 tape 8 ch tape 8 ch about this event: https://c3voc.de 00:09:19 https://media.ccc.de/v/lac2018-1-atlas_of_uncertainty Atlas of Uncertainty is an experimental music video based on the representation of 4 Classical elements, that typically refer to the concepts in Ancient Greece of water, fire, earth and aether, which were proposed to explain the nature and complexity of all matter in terms of simpler substances. The music that accompanies this computer generated video is a sonic continuum ranging from unaltered natural sounds to entirely new sounds - or, more poetically -- from the real world to the realm of the imagination. of the imagination. Heterogeneous inharmonic sound materials are explored through various techniques (granular, subtractive). The sounds and the images are here combined in well- identifiable gestures. The video received two HONORABLE MENTIONS in India and USA; and a prize as best short in Canada and has also been finalist in some competitions (ROMART BIENNALE 2017, Rome, Italy; MATERA INTERMEDIA 2017, Matera, ITALY); Atlas of Uncertainty is an experimental music video based on the representation of 4 Classical elements, that typically refer to the concepts in Ancient Greece of water, fire, earth and aether, which were proposed to explain the nature and complexity of all matter in terms of simpler substances. The music that accompanies this computer generated video is a sonic continuum ranging from unaltered natural sounds to entirely new sounds - or, more poetically -- from the real world to the realm of the imagination. of the imagination. Heterogeneous inharmonic sound materials are explored through various techniques (granular, subtractive). The sounds and the images are here combined in well- identifiable gestures. The video received two HONORABLE MENTIONS in India and USA; and a prize as best short in Canada and has also been finalist in some competitions (ROMART BIENNALE 2017, Rome, Italy; MATERA INTERMEDIA 2017, Matera, ITALY); about this event: https://c3voc.de Fri, 08 Jun 2018 00:00:00 +0200 https://cdn.media.ccc.de/events/lac/lac18/h264-hd/lac18-1-eng-Atlas_Of_Uncertainty_hd.mp4?1531338589 6f134a86-0d7a-51dd-aaf7-7fbcf7e903a3 2018-06-08T00:00:00+02:00 Massimo Vito Avantaggiato No lac18, 1 Atlas of Uncertainty is an experimental music video based on the representation of 4 Classical elements, that typically refer to the concepts in Ancient Greece of water, fire, earth and aether, which were proposed to explain the nature and complexity of all matter in terms of simpler substances. The music that accompanies this computer generated video is a sonic continuum ranging from unaltered natural sounds to entirely new sounds - or, more poetically -- from the real world to the realm of the imagination. of the imagination. Heterogeneous inharmonic sound materials are explored through various techniques (granular, subtractive). The sounds and the images are here combined in well- identifiable gestures. The video received two HONORABLE MENTIONS in India and USA; and a prize as best short in Canada and has also been finalist in some competitions (ROMART BIENNALE 2017, Rome, Italy; MATERA INTERMEDIA 2017, Matera, ITALY); Atlas of Uncertainty is an experimental music video based on the representation of 4 Classical elements, that typically refer to the concepts in Ancient Greece of water, fire, earth and aether, which were proposed to explain the nature and complexity of all matter in terms of simpler substances. The music that accompanies this computer generated video is a sonic continuum ranging from unaltered natural sounds to entirely new sounds - or, more poetically -- from the real world to the realm of the imagination. of the imagination. Heterogeneous inharmonic sound materials are explored through various techniques (granular, subtractive). The sounds and the images are here combined in well- identifiable gestures. The video received two HONORABLE MENTIONS in India and USA; and a prize as best short in Canada and has also been finalist in some competitions (ROMART BIENNALE 2017, Rome, Italy; MATERA INTERMEDIA 2017, Matera, ITALY); about this event: https://c3voc.de 00:08:01 https://media.ccc.de/v/lac2018-45-bus_no_1 about this event: https://c3voc.de Fri, 08 Jun 2018 00:00:00 +0200 https://cdn.media.ccc.de/events/lac/lac18/h264-hd/lac18-45-eng-Bus_No_1_hd.mp4?1531338549 c933fba2-47fe-5c6c-9269-31d7fc02a750 2018-06-08T00:00:00+02:00 Helene Hedsund No lac18, 45 about this event: https://c3voc.de 00:09:46 https://media.ccc.de/v/lac2018-51-iammix Electroacoustic 8-channel fixed media composition Electroacoustic 8-channel fixed media composition about this event: https://c3voc.de Fri, 08 Jun 2018 00:00:00 +0200 https://cdn.media.ccc.de/events/lac/lac18/h264-hd/lac18-51-eng-Iammix_hd.mp4?1531338462 5b3a9f31-41e6-5581-9a4e-30e33af8bc2f 2018-06-08T00:00:00+02:00 Magnus Johansson No lac18, 51 Electroacoustic 8-channel fixed media composition Electroacoustic 8-channel fixed media composition about this event: https://c3voc.de 00:10:49 https://media.ccc.de/v/lac2018-29-memorie This composition is made up of sounds that represent various moments of my childhood. In particular, I used sounds that still make me feel special emotions such as: the rain, the planes, the clamour of people, musical bands, the tick of old clocks, the glitches, etc. By listening to this piece I go back to that period of my life which I am particularly attached to and which unfortunately will not return any more. This composition has been realized with Linux KXstudio. This composition is made up of sounds that represent various moments of my childhood. In particular, I used sounds that still make me feel special emotions such as: the rain, the planes, the clamour of people, musical bands, the tick of old clocks, the glitches, etc. By listening to this piece I go back to that period of my life which I am particularly attached to and which unfortunately will not return any more. This composition has been realized with Linux KXstudio. about this event: https://c3voc.de Fri, 08 Jun 2018 00:00:00 +0200 https://cdn.media.ccc.de/events/lac/lac18/h264-hd/lac18-29-eng-Memorie_hd.mp4?1531338415 6c4ed469-afa0-5966-8865-a20a53550bbb 2018-06-08T00:00:00+02:00 Massimo Fragalà No lac18, 29 This composition is made up of sounds that represent various moments of my childhood. In particular, I used sounds that still make me feel special emotions such as: the rain, the planes, the clamour of people, musical bands, the tick of old clocks, the glitches, etc. By listening to this piece I go back to that period of my life which I am particularly attached to and which unfortunately will not return any more. This composition has been realized with Linux KXstudio. This composition is made up of sounds that represent various moments of my childhood. In particular, I used sounds that still make me feel special emotions such as: the rain, the planes, the clamour of people, musical bands, the tick of old clocks, the glitches, etc. By listening to this piece I go back to that period of my life which I am particularly attached to and which unfortunately will not return any more. This composition has been realized with Linux KXstudio. about this event: https://c3voc.de 00:08:16 https://media.ccc.de/v/lac2018-8-louigi_verona A minimal house DJ set with Mixxx. Already performed at Sonoj to positive reviews, so I am confident this could be a nice addition to music nights. Unfortunately, I don’t have any recordings of my performances, however I am using only my original music for sets and here are the links to some of the tunes I will definitely include into the playlist: * https://soundcloud.com/louigiverona/serenity-berlin-songbook-vol2 * https://soundcloud.com/louigiverona/boat-at-the-mouth-of-a-river-berlin-songbook-vol2 * https://soundcloud.com/louigiverona/i-am-at-the-club-berlin-songbook-vol2 * https://soundcloud.com/louigiverona/berlin-berlin-songbook-vol2 * https://soundcloud.com/louigiverona/stranger-berlin-songbook-vol2 * https://soundcloud.com/louigiverona/berlin-songbook-vol-2-lair A minimal house DJ set with Mixxx. Already performed at Sonoj to positive reviews, so I am confident this could be a nice addition to music nights. Unfortunately, I don’t have any recordings of my performances, however I am using only my original music for sets and here are the links to some of the tunes I will definitely include into the playlist: * https://soundcloud.com/louigiverona/serenity-berlin-songbook-vol2 * https://soundcloud.com/louigiverona/boat-at-the-mouth-of-a-river-berlin-songbook-vol2 * https://soundcloud.com/louigiverona/i-am-at-the-club-berlin-songbook-vol2 * https://soundcloud.com/louigiverona/berlin-berlin-songbook-vol2 * https://soundcloud.com/louigiverona/stranger-berlin-songbook-vol2 * https://soundcloud.com/louigiverona/berlin-songbook-vol-2-lair about this event: https://c3voc.de Thu, 07 Jun 2018 00:00:00 +0200 https://cdn.media.ccc.de/events/lac/lac18/h264-hd/lac18-8-eng-Louigi_Verona_hd.mp4?1531338383 ff2d0541-82f5-53ea-8b54-9cacd17039f3 2018-06-07T00:00:00+02:00 Louigi Verona No lac18, 8 A minimal house DJ set with Mixxx. Already performed at Sonoj to positive reviews, so I am confident this could be a nice addition to music nights. Unfortunately, I don’t have any recordings of my performances, however I am using only my original music for sets and here are the links to some of the tunes I will definitely include into the playlist: * https://soundcloud.com/louigiverona/serenity-berlin-songbook-vol2 * https://soundcloud.com/louigiverona/boat-at-the-mouth-of-a-river-berlin-songbook-vol2 * https://soundcloud.com/louigiverona/i-am-at-the-club-berlin-songbook-vol2 * https://soundcloud.com/louigiverona/berlin-berlin-songbook-vol2 * https://soundcloud.com/louigiverona/stranger-berlin-songbook-vol2 * https://soundcloud.com/louigiverona/berlin-songbook-vol-2-lair A minimal house DJ set with Mixxx. Already performed at Sonoj to positive reviews, so I am confident this could be a nice addition to music nights. Unfortunately, I don’t have any recordings of my performances, however I am using only my original music for sets and here are the links to some of the tunes I will definitely include into the playlist: * https://soundcloud.com/louigiverona/serenity-berlin-songbook-vol2 * https://soundcloud.com/louigiverona/boat-at-the-mouth-of-a-river-berlin-songbook-vol2 * https://soundcloud.com/louigiverona/i-am-at-the-club-berlin-songbook-vol2 * https://soundcloud.com/louigiverona/berlin-berlin-songbook-vol2 * https://soundcloud.com/louigiverona/stranger-berlin-songbook-vol2 * https://soundcloud.com/louigiverona/berlin-songbook-vol-2-lair about this event: https://c3voc.de 01:30:44 https://media.ccc.de/v/lac2018-24-carla_plugin_host_feature_overview_and_workflows Carla is a fully-featured audio plugin host with support for many plugin formats, featuring automation of plugin parameters via MIDI CC, remote control over OSC, among others. This workshop plans to give a quick overview of Carla and go through some workflows together with the audience. Carla is a fully-featured audio plugin host with support for many plugin formats, featuring automation of plugin parameters via MIDI CC, remote control over OSC, among others. This workshop plans to give a quick overview of Carla and go through some workflows together with the audience. about this event: https://c3voc.de Sat, 09 Jun 2018 00:00:00 +0200 https://cdn.media.ccc.de/events/lac/lac18/h264-hd/lac18-24-eng-Carla_Plugin_Host_-_Feature_overview_and_workflows_hd.mp4?1528669902 02b0ad5d-58d9-59e0-a443-19d33ce729b7 2018-06-09T00:00:00+02:00 Filipe Coelho No lac18, 24 Carla is a fully-featured audio plugin host with support for many plugin formats, featuring automation of plugin parameters via MIDI CC, remote control over OSC, among others. This workshop plans to give a quick overview of Carla and go through some workflows together with the audience. Carla is a fully-featured audio plugin host with support for many plugin formats, featuring automation of plugin parameters via MIDI CC, remote control over OSC, among others. This workshop plans to give a quick overview of Carla and go through some workflows together with the audience. about this event: https://c3voc.de 01:39:07 https://media.ccc.de/v/lac2018-33-qjackctl_considered_harmful The proposed talk/workshop is yet again the follow-up on the tradition of LAC2013@IEM-Graz, LAC2014@ZKM-Karlsruhe, LAC2015@JGU-Mainz, LAC2016@c-base.org-Berlin and LAC2017@UJM-St.Etienne, as an informal manifest (but not exclusive) to the Qstuff* software collection. The future of QjackCtl [1] and the JACK-Audio-Connectionm-Kit, as the main Linux Audio infrastructure, shall be the main subject. Yours truly Qtractor [7], an audio/MIDI multi-track sequencer should be also of concern for discussion. All developers and users are kindly invited to discuss, complain and more importantly, exchange thoughts about the present, future and legacy of all the Qstuff*. References: [1] QjackCtl - A JACK Audio Connection Kit Qt GUI Interface https://qjackctl.sourceforge.io [2] Qsynth - A fluidsynth Qt GUI Interface https://qsynth.sourceforge.io [3] Qsampler - A LinuxSampler Qt GUI Interface https://qsampler.sourceforge.io [4] QXGEdit - A Qt XG Editor https://qxgedit.sourceforge.io [5] QmidiCtl - A MIDI Remote Controller via UDP/IP Multicast https://qmidictl.sourceforge.io [6] QmidiNet - A MIDI Network Gateway via UDP/IP Multicast https://qmidinet.sourceforge.io [7] Qtractor - An audio/MIDI multi-track sequencer https://qtractor.sourceforge.io [8] synthv1 - an old-school polyphonic synthesizer https://synthv1.sourceforge.io [9] samplv1 - an old-school polyphonic sampler https://samplv1.sourceforge.io [10] drumkv1 - an old-school drum-kit sampler https://drumkv1.sourceforge.io [11] padthv1 - an old-school polyphonic additive synthesizer https://padthv1.sourceforge.io The proposed talk/workshop is yet again the follow-up on the tradition of LAC2013@IEM-Graz, LAC2014@ZKM-Karlsruhe, LAC2015@JGU-Mainz, LAC2016@c-base.org-Berlin and LAC2017@UJM-St.Etienne, as an informal manifest (but not exclusive) to the Qstuff* software collection. The future of QjackCtl [1] and the JACK-Audio-Connectionm-Kit, as the main Linux Audio infrastructure, shall be the main subject. Yours truly Qtractor [7], an audio/MIDI multi-track sequencer should be also of concern for discussion. All developers and users are kindly invited to discuss, complain and more importantly, exchange thoughts about the present, future and legacy of all the Qstuff*. References: [1] QjackCtl - A JACK Audio Connection Kit Qt GUI Interface https://qjackctl.sourceforge.io [2] Qsynth - A fluidsynth Qt GUI Interface https://qsynth.sourceforge.io [3] Qsampler - A LinuxSampler Qt GUI Interface https://qsampler.sourceforge.io [4] QXGEdit - A Qt XG Editor https://qxgedit.sourceforge.io [5] QmidiCtl - A MIDI Remote Controller via UDP/IP Multicast https://qmidictl.sourceforge.io [6] QmidiNet - A MIDI Network Gateway via UDP/IP Multicast https://qmidinet.sourceforge.io [7] Qtractor - An audio/MIDI multi-track sequencer https://qtractor.sourceforge.io [8] synthv1 - an old-school polyphonic synthesizer https://synthv1.sourceforge.io [9] samplv1 - an old-school polyphonic sampler https://samplv1.sourceforge.io [10] drumkv1 - an old-school drum-kit sampler https://drumkv1.sourceforge.io [11] padthv1 - an old-school polyphonic additive synthesizer https://padthv1.sourceforge.io about this event: https://c3voc.de Sun, 10 Jun 2018 00:00:00 +0200 https://cdn.media.ccc.de/events/lac/lac18/h264-hd/lac18-33-eng-QjackCtl_Considered_Harmful_hd.mp4?1528654349 d360b86d-4efa-5caa-a6a3-87fde4b48cdf 2018-06-10T00:00:00+02:00 Rui Nuno Capela No lac18, 33 The proposed talk/workshop is yet again the follow-up on the tradition of LAC2013@IEM-Graz, LAC2014@ZKM-Karlsruhe, LAC2015@JGU-Mainz, LAC2016@c-base.org-Berlin and LAC2017@UJM-St.Etienne, as an informal manifest (but not exclusive) to the Qstuff* software collection. The future of QjackCtl [1] and the JACK-Audio-Connectionm-Kit, as the main Linux Audio infrastructure, shall be the main subject. Yours truly Qtractor [7], an audio/MIDI multi-track sequencer should be also of concern for discussion. All developers and users are kindly invited to discuss, complain and more importantly, exchange thoughts about the present, future and legacy of all the Qstuff*. References: [1] QjackCtl - A JACK Audio Connection Kit Qt GUI Interface https://qjackctl.sourceforge.io [2] Qsynth - A fluidsynth Qt GUI Interface https://qsynth.sourceforge.io [3] Qsampler - A LinuxSampler Qt GUI Interface https://qsampler.sourceforge.io [4] QXGEdit - A Qt XG Editor https://qxgedit.sourceforge.io [5] QmidiCtl - A MIDI Remote Controller via UDP/IP Multicast https://qmidictl.sourceforge.io [6] QmidiNet - A MIDI Network Gateway via UDP/IP Multicast https://qmidinet.sourceforge.io [7] Qtractor - An audio/MIDI multi-track sequencer https://qtractor.sourceforge.io [8] synthv1 - an old-school polyphonic synthesizer https://synthv1.sourceforge.io [9] samplv1 - an old-school polyphonic sampler https://samplv1.sourceforge.io [10] drumkv1 - an old-school drum-kit sampler https://drumkv1.sourceforge.io [11] padthv1 - an old-school polyphonic additive synthesizer https://padthv1.sourceforge.io The proposed talk/workshop is yet again the follow-up on the tradition of LAC2013@IEM-Graz, LAC2014@ZKM-Karlsruhe, LAC2015@JGU-Mainz, LAC2016@c-base.org-Berlin and LAC2017@UJM-St.Etienne, as an informal manifest (but not exclusive) to the Qstuff* software collection. The future of QjackCtl [1] and the JACK-Audio-Connectionm-Kit, as the main Linux Audio infrastructure, shall be the main subject. Yours truly Qtractor [7], an audio/MIDI multi-track sequencer should be also of concern for discussion. All developers and users are kindly invited to discuss, complain and more importantly, exchange thoughts about the present, future and legacy of all the Qstuff*. References: [1] QjackCtl - A JACK Audio Connection Kit Qt GUI Interface https://qjackctl.sourceforge.io [2] Qsynth - A fluidsynth Qt GUI Interface https://qsynth.sourceforge.io [3] Qsampler - A LinuxSampler Qt GUI Interface https://qsampler.sourceforge.io [4] QXGEdit - A Qt XG Editor https://qxgedit.sourceforge.io [5] QmidiCtl - A MIDI Remote Controller via UDP/IP Multicast https://qmidictl.sourceforge.io [6] QmidiNet - A MIDI Network Gateway via UDP/IP Multicast https://qmidinet.sourceforge.io [7] Qtractor - An audio/MIDI multi-track sequencer https://qtractor.sourceforge.io [8] synthv1 - an old-school polyphonic synthesizer https://synthv1.sourceforge.io [9] samplv1 - an old-school polyphonic sampler https://samplv1.sourceforge.io [10] drumkv1 - an old-school drum-kit sampler https://drumkv1.sourceforge.io [11] padthv1 - an old-school polyphonic additive synthesizer https://padthv1.sourceforge.io about this event: https://c3voc.de 01:36:10 https://media.ccc.de/v/lac2018-46-jacktools_realtime_audio_processors_as_python_classes This paper introduces a set of real-time audio processing blocks that can be used as components in Python scripts. Each of them is both a Jack client and a Python class. The full power of Python can be used to control these modules, to combine them into systems of arbitrary complexity, and to interface them to anything that can be controlled from Python. The rationale behind this approach, some of the the implementations details, and possible applications are discussed. This paper introduces a set of real-time audio processing blocks that can be used as components in Python scripts. Each of them is both a Jack client and a Python class. The full power of Python can be used to control these modules, to combine them into systems of arbitrary complexity, and to interface them to anything that can be controlled from Python. The rationale behind this approach, some of the the implementations details, and possible applications are discussed. about this event: https://c3voc.de Sun, 10 Jun 2018 00:00:00 +0200 https://cdn.media.ccc.de/events/lac/lac18/h264-hd/lac18-46-eng-Jacktools_-_Realtime_Audio_Processors_as_Python_Classes_hd.mp4?1528653085 0cebf60f-0411-5ac1-a647-945f42c793fe 2018-06-10T00:00:00+02:00 Fons Adriaensen No lac18, 46 This paper introduces a set of real-time audio processing blocks that can be used as components in Python scripts. Each of them is both a Jack client and a Python class. The full power of Python can be used to control these modules, to combine them into systems of arbitrary complexity, and to interface them to anything that can be controlled from Python. The rationale behind this approach, some of the the implementations details, and possible applications are discussed. This paper introduces a set of real-time audio processing blocks that can be used as components in Python scripts. Each of them is both a Jack client and a Python class. The full power of Python can be used to control these modules, to combine them into systems of arbitrary complexity, and to interface them to anything that can be controlled from Python. The rationale behind this approach, some of the the implementations details, and possible applications are discussed. about this event: https://c3voc.de 01:01:55 https://media.ccc.de/v/lac2018-104-closing_speech A short closing speech by the team. A short closing speech by the team. about this event: https://c3voc.de Sun, 10 Jun 2018 00:00:00 +0200 https://cdn.media.ccc.de/events/lac/lac18/h264-hd/lac18-104-eng-Closing_speech_hd.mp4?1528651301 7c027b66-2214-5224-8011-6ad71507cd29 2018-06-10T00:00:00+02:00 LAC team No lac18, 104 A short closing speech by the team. A short closing speech by the team. about this event: https://c3voc.de 00:10:25 https://media.ccc.de/v/lac2018-36-lmms_1_2_changes_and_improvements A workshop focused on showcasing the new features and improvements of LMMS version 1.2 as well as an open discussion on the future of the software itself. The workshop is suitable for musicians and developers alike. A workshop focused on showcasing the new features and improvements of LMMS version 1.2 as well as an open discussion on the future of the software itself. The workshop is suitable for musicians and developers alike. about this event: https://c3voc.de Sun, 10 Jun 2018 00:00:00 +0200 https://cdn.media.ccc.de/events/lac/lac18/h264-hd/lac18-36-eng-LMMS_12_Changes_and_Improvements_hd.mp4?1528651279 70d43993-3f4d-5b18-8303-703bdfe41e85 2018-06-10T00:00:00+02:00 Uroš Maravić, Tres Finocchiaro No lac18, 36 A workshop focused on showcasing the new features and improvements of LMMS version 1.2 as well as an open discussion on the future of the software itself. The workshop is suitable for musicians and developers alike. A workshop focused on showcasing the new features and improvements of LMMS version 1.2 as well as an open discussion on the future of the software itself. The workshop is suitable for musicians and developers alike. about this event: https://c3voc.de 00:38:30 https://media.ccc.de/v/lac2018-34-pro_audio_on_arch_linux_revisited This workshop will be a recap and show-case on pro-audio packaging and end-user appliances on Arch Linux. The emphasis will be on direct best practices and use-cases, beginning with a short introduction to important changes applied to the [community] repository over the past months. The workshop is meant as an entry point for long standing, new or only interested (and maybe soon to be) Arch Linux users to the use of pro-audio software. This workshop will be a recap and show-case on pro-audio packaging and end-user appliances on Arch Linux. The emphasis will be on direct best practices and use-cases, beginning with a short introduction to important changes applied to the [community] repository over the past months. The workshop is meant as an entry point for long standing, new or only interested (and maybe soon to be) Arch Linux users to the use of pro-audio software. about this event: https://c3voc.de Sun, 10 Jun 2018 00:00:00 +0200 https://cdn.media.ccc.de/events/lac/lac18/h264-hd/lac18-34-eng-Pro-audio_on_Arch_Linux_revisited_hd.mp4?1528651246 1d09e62a-d833-5ef3-800a-836d61167bc2 2018-06-10T00:00:00+02:00 David Runge No lac18, 34 This workshop will be a recap and show-case on pro-audio packaging and end-user appliances on Arch Linux. The emphasis will be on direct best practices and use-cases, beginning with a short introduction to important changes applied to the [community] repository over the past months. The workshop is meant as an entry point for long standing, new or only interested (and maybe soon to be) Arch Linux users to the use of pro-audio software. This workshop will be a recap and show-case on pro-audio packaging and end-user appliances on Arch Linux. The emphasis will be on direct best practices and use-cases, beginning with a short introduction to important changes applied to the [community] repository over the past months. The workshop is meant as an entry point for long standing, new or only interested (and maybe soon to be) Arch Linux users to the use of pro-audio software. about this event: https://c3voc.de 00:45:50 https://media.ccc.de/v/lac2018-54-distributed_time_centric_apis_with_clapi Distributed control of applications by multiple simultaneous devices has traditionally been achieved via protocols such as MIDI or OSC. These simple protocols require additional semantics, often communicated out of band, in order to construct meaningful APIs. We present the Concert Light-weight API (CLAPI) framework: a session-based pub/sub API framework that aims to simplify the definition and usage of semantic, time-centric distributed controls. Distributed control of applications by multiple simultaneous devices has traditionally been achieved via protocols such as MIDI or OSC. These simple protocols require additional semantics, often communicated out of band, in order to construct meaningful APIs. We present the Concert Light-weight API (CLAPI) framework: a session-based pub/sub API framework that aims to simplify the definition and usage of semantic, time-centric distributed controls. about this event: https://c3voc.de Sun, 10 Jun 2018 00:00:00 +0200 https://cdn.media.ccc.de/events/lac/lac18/h264-hd/lac18-54-eng-Distributed_time-centric_APIs_with_CLAPI_hd.mp4?1528651189 73f97a6e-a0b7-5ba1-9005-6758eb053687 2018-06-10T00:00:00+02:00 Paul Weaver, David Honour No lac18, 54 Distributed control of applications by multiple simultaneous devices has traditionally been achieved via protocols such as MIDI or OSC. These simple protocols require additional semantics, often communicated out of band, in order to construct meaningful APIs. We present the Concert Light-weight API (CLAPI) framework: a session-based pub/sub API framework that aims to simplify the definition and usage of semantic, time-centric distributed controls. Distributed control of applications by multiple simultaneous devices has traditionally been achieved via protocols such as MIDI or OSC. These simple protocols require additional semantics, often communicated out of band, in order to construct meaningful APIs. We present the Concert Light-weight API (CLAPI) framework: a session-based pub/sub API framework that aims to simplify the definition and usage of semantic, time-centric distributed controls. about this event: https://c3voc.de 00:27:59 https://media.ccc.de/v/lac2018-30-how_to_create_real_time_audio_appliances_with_debian_gnu_linux This hands-on workshop will introduce participants to methods for creating single-purpose GNU/Linux distributions for inexpensive ARM boards like the Raspberry Pi 3, and open source hardware including the BeagleBone Black. There will be an emphasis on optimising performance for demanding real-time audio applications such as xwax, as used in the PiDeck[1] project. Issues of maintainability, field upgrades and security will also be covered. This hands-on workshop will introduce participants to methods for creating single-purpose GNU/Linux distributions for inexpensive ARM boards like the Raspberry Pi 3, and open source hardware including the BeagleBone Black. There will be an emphasis on optimising performance for demanding real-time audio applications such as xwax, as used in the PiDeck[1] project. Issues of maintainability, field upgrades and security will also be covered. about this event: https://c3voc.de Sun, 10 Jun 2018 00:00:00 +0200 https://cdn.media.ccc.de/events/lac/lac18/h264-hd/lac18-30-eng-How_to_create_real-time_audio_appliances_with_Debian_GNU_Linux_hd.mp4?1528651164 7388bd9b-e82c-5f4d-988a-4e293c165f81 2018-06-10T00:00:00+02:00 Daniel James, Christopher Obbard No lac18, 30 This hands-on workshop will introduce participants to methods for creating single-purpose GNU/Linux distributions for inexpensive ARM boards like the Raspberry Pi 3, and open source hardware including the BeagleBone Black. There will be an emphasis on optimising performance for demanding real-time audio applications such as xwax, as used in the PiDeck[1] project. Issues of maintainability, field upgrades and security will also be covered. This hands-on workshop will introduce participants to methods for creating single-purpose GNU/Linux distributions for inexpensive ARM boards like the Raspberry Pi 3, and open source hardware including the BeagleBone Black. There will be an emphasis on optimising performance for demanding real-time audio applications such as xwax, as used in the PiDeck[1] project. Issues of maintainability, field upgrades and security will also be covered. about this event: https://c3voc.de 00:59:42 https://media.ccc.de/v/lac2018-26-understanding_and_being_creative_with_pure_data_s_data_structures Pure Data’s data structures are one of the few core features that distinguish Pd from Max/MSP. Yet, they’re also one of the few modules which are used solely by a small group of users. The main reasons for this would be both the not yet very mature and complete collection of objects, as well as not very intuitive implementation in Pd’s language. This workshop illustrates the possibilities of Pd’s data structures as a fruitful companion to any Pd user interested in a closer and more flexible interaction with the graphical representation of data. The first part explains how to program with data structures (and their shortcomings). The second part analyses several examples of “real life” situations (display and control examples, up to complex patches to control / generate music in realtime). After this workshop, it should be clear how to program with data structures, and integrate them inindividual patches. Pure Data’s data structures are one of the few core features that distinguish Pd from Max/MSP. Yet, they’re also one of the few modules which are used solely by a small group of users. The main reasons for this would be both the not yet very mature and complete collection of objects, as well as not very intuitive implementation in Pd’s language. This workshop illustrates the possibilities of Pd’s data structures as a fruitful companion to any Pd user interested in a closer and more flexible interaction with the graphical representation of data. The first part explains how to program with data structures (and their shortcomings). The second part analyses several examples of “real life” situations (display and control examples, up to complex patches to control / generate music in realtime). After this workshop, it should be clear how to program with data structures, and integrate them inindividual patches. about this event: https://c3voc.de Sat, 09 Jun 2018 00:00:00 +0200 https://cdn.media.ccc.de/events/lac/lac18/h264-hd/lac18-26-eng-Understanding_and_being_creative_with_Pure_Datas_data_structures_hd.mp4?1528651127 5310292d-8d5e-5c7f-9786-71616794d8c0 2018-06-09T00:00:00+02:00 Joao Pais No lac18, 26 Pure Data’s data structures are one of the few core features that distinguish Pd from Max/MSP. Yet, they’re also one of the few modules which are used solely by a small group of users. The main reasons for this would be both the not yet very mature and complete collection of objects, as well as not very intuitive implementation in Pd’s language. This workshop illustrates the possibilities of Pd’s data structures as a fruitful companion to any Pd user interested in a closer and more flexible interaction with the graphical representation of data. The first part explains how to program with data structures (and their shortcomings). The second part analyses several examples of “real life” situations (display and control examples, up to complex patches to control / generate music in realtime). After this workshop, it should be clear how to program with data structures, and integrate them inindividual patches. Pure Data’s data structures are one of the few core features that distinguish Pd from Max/MSP. Yet, they’re also one of the few modules which are used solely by a small group of users. The main reasons for this would be both the not yet very mature and complete collection of objects, as well as not very intuitive implementation in Pd’s language. This workshop illustrates the possibilities of Pd’s data structures as a fruitful companion to any Pd user interested in a closer and more flexible interaction with the graphical representation of data. The first part explains how to program with data structures (and their shortcomings). The second part analyses several examples of “real life” situations (display and control examples, up to complex patches to control / generate music in realtime). After this workshop, it should be clear how to program with data structures, and integrate them inindividual patches. about this event: https://c3voc.de 02:01:06 https://media.ccc.de/v/lac2018-103-lightning_talks A set of lightning talks by you! A set of lightning talks by you! about this event: https://c3voc.de Sat, 09 Jun 2018 00:00:00 +0200 https://cdn.media.ccc.de/events/lac/lac18/h264-hd/lac18-103-eng-Lightning_Talks_hd.mp4?1528651066 a421f5fb-5423-572d-a7e5-c12cb71628df 2018-06-09T00:00:00+02:00 LAC team No lac18, 103 A set of lightning talks by you! A set of lightning talks by you! about this event: https://c3voc.de 01:30:45 https://media.ccc.de/v/lac2018-39-rtosc_realtime_safe_open_sound_control_messaging Audio applications which go beyond MIDI processing often utilize OSC (Open Sound Control) to communicate complex parameters and advanced operations. A variety of libraries offer solutions to network transportation of OSC messages and provide approaches for pattern matching the messages in dispatch. Dispatch however is performed inefficiently and manipulating OSC messages is oftentimes not realtime safe. rtosc was written to quickly dispatch and manipulate large quantities of OSC messages in realtime constrained environments. The fast dispatch is possible due to the internal tree representation as well as the use of perfect-minimal-hashing within the pattern matching phase of dispatch. The primary user of rtosc is the ZynAddSubFX project which uses OSC to map 3,805,225 parameters and routinely dispatches bursts of up to 1,000 messages per second during normal audio processing. For audio application rtosc provides a simple OSC serialization toolset, the realtime safe dispatch mechanisms, a ringbuffer implementation, and a rich metadata system for representing application/library parameters. This combination is not available in any other OSC library at the time of writing. Audio applications which go beyond MIDI processing often utilize OSC (Open Sound Control) to communicate complex parameters and advanced operations. A variety of libraries offer solutions to network transportation of OSC messages and provide approaches for pattern matching the messages in dispatch. Dispatch however is performed inefficiently and manipulating OSC messages is oftentimes not realtime safe. rtosc was written to quickly dispatch and manipulate large quantities of OSC messages in realtime constrained environments. The fast dispatch is possible due to the internal tree representation as well as the use of perfect-minimal-hashing within the pattern matching phase of dispatch. The primary user of rtosc is the ZynAddSubFX project which uses OSC to map 3,805,225 parameters and routinely dispatches bursts of up to 1,000 messages per second during normal audio processing. For audio application rtosc provides a simple OSC serialization toolset, the realtime safe dispatch mechanisms, a ringbuffer implementation, and a rich metadata system for representing application/library parameters. This combination is not available in any other OSC library at the time of writing. about this event: https://c3voc.de Sat, 09 Jun 2018 00:00:00 +0200 https://cdn.media.ccc.de/events/lac/lac18/h264-hd/lac18-39-eng-Rtosc_-_Realtime_Safe_Open_Sound_Control_Messaging_hd.mp4?1528651009 3435e7bd-8bab-59d8-b3d8-c7a0998567a5 2018-06-09T00:00:00+02:00 Mark McCurry No lac18, 39 Audio applications which go beyond MIDI processing often utilize OSC (Open Sound Control) to communicate complex parameters and advanced operations. A variety of libraries offer solutions to network transportation of OSC messages and provide approaches for pattern matching the messages in dispatch. Dispatch however is performed inefficiently and manipulating OSC messages is oftentimes not realtime safe. rtosc was written to quickly dispatch and manipulate large quantities of OSC messages in realtime constrained environments. The fast dispatch is possible due to the internal tree representation as well as the use of perfect-minimal-hashing within the pattern matching phase of dispatch. The primary user of rtosc is the ZynAddSubFX project which uses OSC to map 3,805,225 parameters and routinely dispatches bursts of up to 1,000 messages per second during normal audio processing. For audio application rtosc provides a simple OSC serialization toolset, the realtime safe dispatch mechanisms, a ringbuffer implementation, and a rich metadata system for representing application/library parameters. This combination is not available in any other OSC library at the time of writing. Audio applications which go beyond MIDI processing often utilize OSC (Open Sound Control) to communicate complex parameters and advanced operations. A variety of libraries offer solutions to network transportation of OSC messages and provide approaches for pattern matching the messages in dispatch. Dispatch however is performed inefficiently and manipulating OSC messages is oftentimes not realtime safe. rtosc was written to quickly dispatch and manipulate large quantities of OSC messages in realtime constrained environments. The fast dispatch is possible due to the internal tree representation as well as the use of perfect-minimal-hashing within the pattern matching phase of dispatch. The primary user of rtosc is the ZynAddSubFX project which uses OSC to map 3,805,225 parameters and routinely dispatches bursts of up to 1,000 messages per second during normal audio processing. For audio application rtosc provides a simple OSC serialization toolset, the realtime safe dispatch mechanisms, a ringbuffer implementation, and a rich metadata system for representing application/library parameters. This combination is not available in any other OSC library at the time of writing. about this event: https://c3voc.de 00:27:41 https://media.ccc.de/v/lac2018-43-software_architecture_for_a_multiple_avb_listener_and_talker_scenario This paper presents a design approach for an AVB network segment deploying two different types of AVB server for multiple parallel streams. The first type is an UDP proxy server and the second server type is a digital signal processing server. The Linux real time operating system configurations are discussed, as well as the software architecture itself and the integration of the Jack audio server. A proper operation of the JACK server, alongside two JACK clients, in this multiprocessing environment could be shown, although a persisting buffer leak prevents significant jitter and latency measurements. A coarse assessment shows however, that the operations are within reasonable bounds. This paper presents a design approach for an AVB network segment deploying two different types of AVB server for multiple parallel streams. The first type is an UDP proxy server and the second server type is a digital signal processing server. The Linux real time operating system configurations are discussed, as well as the software architecture itself and the integration of the Jack audio server. A proper operation of the JACK server, alongside two JACK clients, in this multiprocessing environment could be shown, although a persisting buffer leak prevents significant jitter and latency measurements. A coarse assessment shows however, that the operations are within reasonable bounds. about this event: https://c3voc.de Sat, 09 Jun 2018 00:00:00 +0200 https://cdn.media.ccc.de/events/lac/lac18/h264-hd/lac18-43-eng-Software_Architecture_for_a_Multiple_AVB_Listener_and_Talker_Scenario_hd.mp4?1528650978 2cdaa41a-1103-578d-a065-c2290927104f 2018-06-09T00:00:00+02:00 Christoph Kuhr, Alexander Carôt No lac18, 43 This paper presents a design approach for an AVB network segment deploying two different types of AVB server for multiple parallel streams. The first type is an UDP proxy server and the second server type is a digital signal processing server. The Linux real time operating system configurations are discussed, as well as the software architecture itself and the integration of the Jack audio server. A proper operation of the JACK server, alongside two JACK clients, in this multiprocessing environment could be shown, although a persisting buffer leak prevents significant jitter and latency measurements. A coarse assessment shows however, that the operations are within reasonable bounds. This paper presents a design approach for an AVB network segment deploying two different types of AVB server for multiple parallel streams. The first type is an UDP proxy server and the second server type is a digital signal processing server. The Linux real time operating system configurations are discussed, as well as the software architecture itself and the integration of the Jack audio server. A proper operation of the JACK server, alongside two JACK clients, in this multiprocessing environment could be shown, although a persisting buffer leak prevents significant jitter and latency measurements. A coarse assessment shows however, that the operations are within reasonable bounds. about this event: https://c3voc.de 00:34:18 https://media.ccc.de/v/lac2018-42-ableton_link_a_technology_to_synchronize_music_software Ableton Link is a technology that synchronizes musical beat, tempo, phase, and start/stop commands across multiple applications running on one or more devices. Unlike conventional musical synchronization technologies, Link does not require master/client roles. Automatic discovery on a local area network enables a peer-to-peer system, which peers can join or leave at any time without disrupting others. Musical information is shared equally among peers, so any peer can start or stop while staying in time, or change the tempo, which is followed by all other peers. Ableton Link is a technology that synchronizes musical beat, tempo, phase, and start/stop commands across multiple applications running on one or more devices. Unlike conventional musical synchronization technologies, Link does not require master/client roles. Automatic discovery on a local area network enables a peer-to-peer system, which peers can join or leave at any time without disrupting others. Musical information is shared equally among peers, so any peer can start or stop while staying in time, or change the tempo, which is followed by all other peers. about this event: https://c3voc.de Sat, 09 Jun 2018 00:00:00 +0200 https://cdn.media.ccc.de/events/lac/lac18/h264-hd/lac18-42-eng-Ableton_Link_-_A_technology_to_synchronize_music_software_hd.mp4?1528650946 941d66c1-b9f8-5327-a157-44401fd3a554 2018-06-09T00:00:00+02:00 Florian Goltz No lac18, 42 Ableton Link is a technology that synchronizes musical beat, tempo, phase, and start/stop commands across multiple applications running on one or more devices. Unlike conventional musical synchronization technologies, Link does not require master/client roles. Automatic discovery on a local area network enables a peer-to-peer system, which peers can join or leave at any time without disrupting others. Musical information is shared equally among peers, so any peer can start or stop while staying in time, or change the tempo, which is followed by all other peers. Ableton Link is a technology that synchronizes musical beat, tempo, phase, and start/stop commands across multiple applications running on one or more devices. Unlike conventional musical synchronization technologies, Link does not require master/client roles. Automatic discovery on a local area network enables a peer-to-peer system, which peers can join or leave at any time without disrupting others. Musical information is shared equally among peers, so any peer can start or stop while staying in time, or change the tempo, which is followed by all other peers. about this event: https://c3voc.de 00:33:08 https://media.ccc.de/v/lac2018-17-sentire Sentire is an Italian word that means both to hear and to feel. The project is about exploring the fine mixture of these two senses and, particularly, to their amplification and morphing. 'Sentire' project was initiated by two Berlin-based artists Marcello Lussana and Olga Kozmanidze in 2016. The project consists of two parts: immersive performance series based on interactive sound and PhD research on human perception. In the course of the project we have been using a device (bracelets) connecting two people to the sound system and tracking distance and touch events between them. We apply and constantly develop a method of device usage according to which participants proceed through a scenario of two phases interaction. Depending on distance and touch between them different sounds are triggered and changing, creating an instant sound feedback. Gradually both hearing and sense of touch morth one into another giving a chance to perceive one's body on a deep level. The interactive system has been designed with the Supercollider software and it runs on Linux Mint. Sentire is an Italian word that means both to hear and to feel. The project is about exploring the fine mixture of these two senses and, particularly, to their amplification and morphing. 'Sentire' project was initiated by two Berlin-based artists Marcello Lussana and Olga Kozmanidze in 2016. The project consists of two parts: immersive performance series based on interactive sound and PhD research on human perception. In the course of the project we have been using a device (bracelets) connecting two people to the sound system and tracking distance and touch events between them. We apply and constantly develop a method of device usage according to which participants proceed through a scenario of two phases interaction. Depending on distance and touch between them different sounds are triggered and changing, creating an instant sound feedback. Gradually both hearing and sense of touch morth one into another giving a chance to perceive one's body on a deep level. The interactive system has been designed with the Supercollider software and it runs on Linux Mint. about this event: https://c3voc.de Fri, 08 Jun 2018 00:00:00 +0200 https://cdn.media.ccc.de/events/lac/lac18/h264-hd/lac18-17-eng-Sentire_hd.mp4?1528645365 a09184d6-d5d5-5c7d-9dcb-2817b7f14009 2018-06-08T00:00:00+02:00 Marcello Lussana, Olga Kozmanidze, Pascal Staudt No lac18, 17 Sentire is an Italian word that means both to hear and to feel. The project is about exploring the fine mixture of these two senses and, particularly, to their amplification and morphing. 'Sentire' project was initiated by two Berlin-based artists Marcello Lussana and Olga Kozmanidze in 2016. The project consists of two parts: immersive performance series based on interactive sound and PhD research on human perception. In the course of the project we have been using a device (bracelets) connecting two people to the sound system and tracking distance and touch events between them. We apply and constantly develop a method of device usage according to which participants proceed through a scenario of two phases interaction. Depending on distance and touch between them different sounds are triggered and changing, creating an instant sound feedback. Gradually both hearing and sense of touch morth one into another giving a chance to perceive one's body on a deep level. The interactive system has been designed with the Supercollider software and it runs on Linux Mint. Sentire is an Italian word that means both to hear and to feel. The project is about exploring the fine mixture of these two senses and, particularly, to their amplification and morphing. 'Sentire' project was initiated by two Berlin-based artists Marcello Lussana and Olga Kozmanidze in 2016. The project consists of two parts: immersive performance series based on interactive sound and PhD research on human perception. In the course of the project we have been using a device (bracelets) connecting two people to the sound system and tracking distance and touch events between them. We apply and constantly develop a method of device usage according to which participants proceed through a scenario of two phases interaction. Depending on distance and touch between them different sounds are triggered and changing, creating an instant sound feedback. Gradually both hearing and sense of touch morth one into another giving a chance to perceive one's body on a deep level. The interactive system has been designed with the Supercollider software and it runs on Linux Mint. about this event: https://c3voc.de 01:05:39 https://media.ccc.de/v/lac2018-15-getting_started_with_purr_data This hands-on workshop is intended for Pd and Linux audio users who want to start using Purr Data. For an introduction to Purr Data, please check our LAC17 presentation (https://www.youtube.com/watch?v=T1wo496Zx0s) and the Quick Introduction (https://agraef.github.io/purr-data-intro). Topics of the 90 min workshop vary from the basics to the moderately advanced and include: - Getting a minimal Purr Data installation up and running quickly on Linux (compiling from source). - First-time setup (configuring MIDI and audio devices, setting up Pd-Lua). - Real-time audio and MIDI processing, making music with Purr Data. - Programming new objects (a.k.a. Pd externals) the easy way with Pd-Lua (https://github.com/agraef/pd-lua). - Custom graphics and data structure visualizations in Purr Data. This hands-on workshop is intended for Pd and Linux audio users who want to start using Purr Data. For an introduction to Purr Data, please check our LAC17 presentation (https://www.youtube.com/watch?v=T1wo496Zx0s) and the Quick Introduction (https://agraef.github.io/purr-data-intro). Topics of the 90 min workshop vary from the basics to the moderately advanced and include: - Getting a minimal Purr Data installation up and running quickly on Linux (compiling from source). - First-time setup (configuring MIDI and audio devices, setting up Pd-Lua). - Real-time audio and MIDI processing, making music with Purr Data. - Programming new objects (a.k.a. Pd externals) the easy way with Pd-Lua (https://github.com/agraef/pd-lua). - Custom graphics and data structure visualizations in Purr Data. about this event: https://c3voc.de Fri, 08 Jun 2018 00:00:00 +0200 https://cdn.media.ccc.de/events/lac/lac18/h264-hd/lac18-15-eng-Getting_Started_with_Purr_Data_hd.mp4?1528644617 120769e8-b34e-5303-88ca-cd7ee8d2fca0 2018-06-08T00:00:00+02:00 Albert Gräf No lac18, 15 This hands-on workshop is intended for Pd and Linux audio users who want to start using Purr Data. For an introduction to Purr Data, please check our LAC17 presentation (https://www.youtube.com/watch?v=T1wo496Zx0s) and the Quick Introduction (https://agraef.github.io/purr-data-intro). Topics of the 90 min workshop vary from the basics to the moderately advanced and include: - Getting a minimal Purr Data installation up and running quickly on Linux (compiling from source). - First-time setup (configuring MIDI and audio devices, setting up Pd-Lua). - Real-time audio and MIDI processing, making music with Purr Data. - Programming new objects (a.k.a. Pd externals) the easy way with Pd-Lua (https://github.com/agraef/pd-lua). - Custom graphics and data structure visualizations in Purr Data. This hands-on workshop is intended for Pd and Linux audio users who want to start using Purr Data. For an introduction to Purr Data, please check our LAC17 presentation (https://www.youtube.com/watch?v=T1wo496Zx0s) and the Quick Introduction (https://agraef.github.io/purr-data-intro). Topics of the 90 min workshop vary from the basics to the moderately advanced and include: - Getting a minimal Purr Data installation up and running quickly on Linux (compiling from source). - First-time setup (configuring MIDI and audio devices, setting up Pd-Lua). - Real-time audio and MIDI processing, making music with Purr Data. - Programming new objects (a.k.a. Pd externals) the easy way with Pd-Lua (https://github.com/agraef/pd-lua). - Custom graphics and data structure visualizations in Purr Data. about this event: https://c3voc.de 01:31:35 https://media.ccc.de/v/lac2018-12-inbuilt_musicality This Workshop demonstrates the use of the Yoshimi soft synthesiser as a platform for building entirely synthetic musical instruments, based on exploring the structure and interplay of defining traits within musical sound. Starting from characteristic overtones and spectral patterns as foundation, the specific body of the tone can be shaped by fine tuning the transients. Further techniques of transforming the sound are used to build a fabric of related sound layers and create a distinct voice, able to operate within the musical context of the composition. This Workshop demonstrates the use of the Yoshimi soft synthesiser as a platform for building entirely synthetic musical instruments, based on exploring the structure and interplay of defining traits within musical sound. Starting from characteristic overtones and spectral patterns as foundation, the specific body of the tone can be shaped by fine tuning the transients. Further techniques of transforming the sound are used to build a fabric of related sound layers and create a distinct voice, able to operate within the musical context of the composition. about this event: https://c3voc.de Fri, 08 Jun 2018 00:00:00 +0200 https://cdn.media.ccc.de/events/lac/lac18/h264-hd/lac18-12-eng-Inbuilt_Musicality_hd.mp4?1528644272 c9c5ed0c-0b40-51db-a30f-ca6b72d83420 2018-06-08T00:00:00+02:00 Hermann Voßeler No lac18, 12 This Workshop demonstrates the use of the Yoshimi soft synthesiser as a platform for building entirely synthetic musical instruments, based on exploring the structure and interplay of defining traits within musical sound. Starting from characteristic overtones and spectral patterns as foundation, the specific body of the tone can be shaped by fine tuning the transients. Further techniques of transforming the sound are used to build a fabric of related sound layers and create a distinct voice, able to operate within the musical context of the composition. This Workshop demonstrates the use of the Yoshimi soft synthesiser as a platform for building entirely synthetic musical instruments, based on exploring the structure and interplay of defining traits within musical sound. Starting from characteristic overtones and spectral patterns as foundation, the specific body of the tone can be shaped by fine tuning the transients. Further techniques of transforming the sound are used to build a fabric of related sound layers and create a distinct voice, able to operate within the musical context of the composition. about this event: https://c3voc.de 02:04:16 https://media.ccc.de/v/lac2018-7-djing_with_floss_mixxx_workshop Many of us would love to start DJing with software, comparable to commercial offerings out there. Thanks to the fantastic work that the Mixxx has done, it is now possible. However, Mixxx could be a little off-putting due to the fact that setting a controller up might not be as user friendly as with software like Traktor. Louigi will run through all the difficult places, demonstrate how to set things up with a random midi controller (i.e., not explicitly supported by Mixxx templates), and how to use scripts. Hopefully after this workshop people will have a good guide on how to start working with Mixxx! A list of things discussed: 1. Choosing an XML template for Mixxx UI 2. Customizing the template for your needs 3. Setting up preferences 4. Adding a midi controller in 4.1 Figuring out the midi signals map 4.2 Organizing your controller XML file 4.3 Scripting and why its not scary 5. A demo Many of us would love to start DJing with software, comparable to commercial offerings out there. Thanks to the fantastic work that the Mixxx has done, it is now possible. However, Mixxx could be a little off-putting due to the fact that setting a controller up might not be as user friendly as with software like Traktor. Louigi will run through all the difficult places, demonstrate how to set things up with a random midi controller (i.e., not explicitly supported by Mixxx templates), and how to use scripts. Hopefully after this workshop people will have a good guide on how to start working with Mixxx! A list of things discussed: 1. Choosing an XML template for Mixxx UI 2. Customizing the template for your needs 3. Setting up preferences 4. Adding a midi controller in 4.1 Figuring out the midi signals map 4.2 Organizing your controller XML file 4.3 Scripting and why its not scary 5. A demo about this event: https://c3voc.de Fri, 08 Jun 2018 00:00:00 +0200 https://cdn.media.ccc.de/events/lac/lac18/h264-hd/lac18-7-eng-Djing_with_FLOSS_Mixxx_Workshop_hd.mp4?1528643419 7ea126c8-5684-5217-91a0-a52dbcd5453d 2018-06-08T00:00:00+02:00 Louigi Verona No lac18, 7 Many of us would love to start DJing with software, comparable to commercial offerings out there. Thanks to the fantastic work that the Mixxx has done, it is now possible. However, Mixxx could be a little off-putting due to the fact that setting a controller up might not be as user friendly as with software like Traktor. Louigi will run through all the difficult places, demonstrate how to set things up with a random midi controller (i.e., not explicitly supported by Mixxx templates), and how to use scripts. Hopefully after this workshop people will have a good guide on how to start working with Mixxx! A list of things discussed: 1. Choosing an XML template for Mixxx UI 2. Customizing the template for your needs 3. Setting up preferences 4. Adding a midi controller in 4.1 Figuring out the midi signals map 4.2 Organizing your controller XML file 4.3 Scripting and why its not scary 5. A demo Many of us would love to start DJing with software, comparable to commercial offerings out there. Thanks to the fantastic work that the Mixxx has done, it is now possible. However, Mixxx could be a little off-putting due to the fact that setting a controller up might not be as user friendly as with software like Traktor. Louigi will run through all the difficult places, demonstrate how to set things up with a random midi controller (i.e., not explicitly supported by Mixxx templates), and how to use scripts. Hopefully after this workshop people will have a good guide on how to start working with Mixxx! A list of things discussed: 1. Choosing an XML template for Mixxx UI 2. Customizing the template for your needs 3. Setting up preferences 4. Adding a midi controller in 4.1 Figuring out the midi signals map 4.2 Organizing your controller XML file 4.3 Scripting and why its not scary 5. A demo about this event: https://c3voc.de 00:56:51 https://media.ccc.de/v/lac2018-11-the_levtools_a_modular_toolset_in_purr_data_for_creating_and_teaching_electronic_music The levTools are a set of abstractions for Pure Data, that are primarily designed for teaching electronic music. Moreover, they have a huge creative potential for experienced pd-users or computer musicians in general, especially when working on linux-based OS. The flexible and open character of the modular toolset allows multiple approaches. The levTools are free and open source. They were developed by Marten Seedorf in the context of the Berlin based lev–project, an educational project focussing on electronic music culture. This workshop introduces the levTools. The levTools are a set of abstractions for Pure Data, that are primarily designed for teaching electronic music. Moreover, they have a huge creative potential for experienced pd-users or computer musicians in general, especially when working on linux-based OS. The flexible and open character of the modular toolset allows multiple approaches. The levTools are free and open source. They were developed by Marten Seedorf in the context of the Berlin based lev–project, an educational project focussing on electronic music culture. This workshop introduces the levTools. about this event: https://c3voc.de Fri, 08 Jun 2018 00:00:00 +0200 https://cdn.media.ccc.de/events/lac/lac18/h264-hd/lac18-11-eng-The_levTools_-_a_modular_toolset_in_purr_data_for_creating_and_teaching_electronic_music_hd.mp4?1528642935 1b870836-5cf6-563d-947d-019f59c30374 2018-06-08T00:00:00+02:00 Marten Seedorf, Simon Steinhaus No lac18, 11 The levTools are a set of abstractions for Pure Data, that are primarily designed for teaching electronic music. Moreover, they have a huge creative potential for experienced pd-users or computer musicians in general, especially when working on linux-based OS. The flexible and open character of the modular toolset allows multiple approaches. The levTools are free and open source. They were developed by Marten Seedorf in the context of the Berlin based lev–project, an educational project focussing on electronic music culture. This workshop introduces the levTools. The levTools are a set of abstractions for Pure Data, that are primarily designed for teaching electronic music. Moreover, they have a huge creative potential for experienced pd-users or computer musicians in general, especially when working on linux-based OS. The flexible and open character of the modular toolset allows multiple approaches. The levTools are free and open source. They were developed by Marten Seedorf in the context of the Berlin based lev–project, an educational project focussing on electronic music culture. This workshop introduces the levTools. about this event: https://c3voc.de 00:58:40 https://media.ccc.de/v/lac2018-44-camomile_creating_audio_plugins_with_pure_data Camomile is an audio plugin with Pure Data embedded allowing to create original and cross-platform audio plugins using patches and that could run in any digital audio workstation that accepts the VST or Audio Unit formats. The paper presents an overview of the current functionalities of Camomile and the possibilities offered by this tool. Following this, the main lines of the future developments are exposed. Camomile is an audio plugin with Pure Data embedded allowing to create original and cross-platform audio plugins using patches and that could run in any digital audio workstation that accepts the VST or Audio Unit formats. The paper presents an overview of the current functionalities of Camomile and the possibilities offered by this tool. Following this, the main lines of the future developments are exposed. about this event: https://c3voc.de Fri, 08 Jun 2018 00:00:00 +0200 https://cdn.media.ccc.de/events/lac/lac18/h264-hd/lac18-44-eng-Camomile_Creating_audio_plugins_with_Pure_Data_hd.mp4?1528642492 9e4db5be-6268-5c92-a58e-72f3d26925fe 2018-06-08T00:00:00+02:00 Pierre Guillot No lac18, 44 Camomile is an audio plugin with Pure Data embedded allowing to create original and cross-platform audio plugins using patches and that could run in any digital audio workstation that accepts the VST or Audio Unit formats. The paper presents an overview of the current functionalities of Camomile and the possibilities offered by this tool. Following this, the main lines of the future developments are exposed. Camomile is an audio plugin with Pure Data embedded allowing to create original and cross-platform audio plugins using patches and that could run in any digital audio workstation that accepts the VST or Audio Unit formats. The paper presents an overview of the current functionalities of Camomile and the possibilities offered by this tool. Following this, the main lines of the future developments are exposed. about this event: https://c3voc.de 00:24:27 https://media.ccc.de/v/lac2018-38-mruby_zest_a_scriptable_audio_gui_framework Audio tools face a set of uncommon user interface design and implementation challenges. These constraints make high quality interfaces within the open source realm particular difficult to execute on volunteer time. The challenges include producing a unique identity for the application, providing easy to use controls for the parameters of the application, and providing interesting ways to visualize the data within the application. Additionally, existing toolkits produce technical issues when embedding within plugin hosts. MRuby-Zest is a new toolkit that was build while the ZynAddSubFX user interface was rewritten. This toolkit possesses unique characteristics within open source toolkits which target the problems specific to audio applications. Audio tools face a set of uncommon user interface design and implementation challenges. These constraints make high quality interfaces within the open source realm particular difficult to execute on volunteer time. The challenges include producing a unique identity for the application, providing easy to use controls for the parameters of the application, and providing interesting ways to visualize the data within the application. Additionally, existing toolkits produce technical issues when embedding within plugin hosts. MRuby-Zest is a new toolkit that was build while the ZynAddSubFX user interface was rewritten. This toolkit possesses unique characteristics within open source toolkits which target the problems specific to audio applications. about this event: https://c3voc.de Fri, 08 Jun 2018 00:00:00 +0200 https://cdn.media.ccc.de/events/lac/lac18/h264-hd/lac18-38-eng-MRuby-Zest_a_Scriptable_Audio_GUI_Framework_hd.mp4?1528642401 311574c9-5a3c-52ae-a9fd-b8ad3cc0d2be 2018-06-08T00:00:00+02:00 Mark McCurry No lac18, 38 Audio tools face a set of uncommon user interface design and implementation challenges. These constraints make high quality interfaces within the open source realm particular difficult to execute on volunteer time. The challenges include producing a unique identity for the application, providing easy to use controls for the parameters of the application, and providing interesting ways to visualize the data within the application. Additionally, existing toolkits produce technical issues when embedding within plugin hosts. MRuby-Zest is a new toolkit that was build while the ZynAddSubFX user interface was rewritten. This toolkit possesses unique characteristics within open source toolkits which target the problems specific to audio applications. Audio tools face a set of uncommon user interface design and implementation challenges. These constraints make high quality interfaces within the open source realm particular difficult to execute on volunteer time. The challenges include producing a unique identity for the application, providing easy to use controls for the parameters of the application, and providing interesting ways to visualize the data within the application. Additionally, existing toolkits produce technical issues when embedding within plugin hosts. MRuby-Zest is a new toolkit that was build while the ZynAddSubFX user interface was rewritten. This toolkit possesses unique characteristics within open source toolkits which target the problems specific to audio applications. about this event: https://c3voc.de 00:29:11 https://media.ccc.de/v/lac2018-28-introduction_to_pmpd Physical modelling is a synthesis technique where data is generated through emulating physical models, instead of using premade elements such as wave tables or recorded samples. Data based on physical models usually has a more “natural” expressivity, as it is based on rules similar to the physics of the natural world. This workshop introduces pmpd, a library by Cyrille Henry that implements a mass-spring system to build physical models. The data generated by the circuits can be used as control data for audio or video, or to synthetize sounds directly. The workshop will use the software Pure Data; the participants will receive commented didactic materials, which they will be able to later edit and tweak for their own use. To learn the concepts, experience in Pure Data isn’t necessary – although for further individual work it will be required. Partitipants should bring their own laptops and headphones. Physical modelling is a synthesis technique where data is generated through emulating physical models, instead of using premade elements such as wave tables or recorded samples. Data based on physical models usually has a more “natural” expressivity, as it is based on rules similar to the physics of the natural world. This workshop introduces pmpd, a library by Cyrille Henry that implements a mass-spring system to build physical models. The data generated by the circuits can be used as control data for audio or video, or to synthetize sounds directly. The workshop will use the software Pure Data; the participants will receive commented didactic materials, which they will be able to later edit and tweak for their own use. To learn the concepts, experience in Pure Data isn’t necessary – although for further individual work it will be required. Partitipants should bring their own laptops and headphones. about this event: https://c3voc.de Fri, 08 Jun 2018 00:00:00 +0200 https://cdn.media.ccc.de/events/lac/lac18/h264-hd/lac18-28-eng-Introduction_to_pmpd_hd.mp4?1528642361 cbd1fa17-cb88-5cd2-844c-8b9e6c76a046 2018-06-08T00:00:00+02:00 Joao Pais No lac18, 28 Physical modelling is a synthesis technique where data is generated through emulating physical models, instead of using premade elements such as wave tables or recorded samples. Data based on physical models usually has a more “natural” expressivity, as it is based on rules similar to the physics of the natural world. This workshop introduces pmpd, a library by Cyrille Henry that implements a mass-spring system to build physical models. The data generated by the circuits can be used as control data for audio or video, or to synthetize sounds directly. The workshop will use the software Pure Data; the participants will receive commented didactic materials, which they will be able to later edit and tweak for their own use. To learn the concepts, experience in Pure Data isn’t necessary – although for further individual work it will be required. Partitipants should bring their own laptops and headphones. Physical modelling is a synthesis technique where data is generated through emulating physical models, instead of using premade elements such as wave tables or recorded samples. Data based on physical models usually has a more “natural” expressivity, as it is based on rules similar to the physics of the natural world. This workshop introduces pmpd, a library by Cyrille Henry that implements a mass-spring system to build physical models. The data generated by the circuits can be used as control data for audio or video, or to synthetize sounds directly. The workshop will use the software Pure Data; the participants will receive commented didactic materials, which they will be able to later edit and tweak for their own use. To learn the concepts, experience in Pure Data isn’t necessary – although for further individual work it will be required. Partitipants should bring their own laptops and headphones. about this event: https://c3voc.de 01:54:03 https://media.ccc.de/v/lac2018-32-rsvp_a_preset_system_solution_for_pure_data This paper describes the logic and process behind the development of the RSVP preset library for the Pure Data programming environment. The library aims to tackle the lack of a native preset system in Pure Data. Other projects like Kollabs, CREAM, sssad, and others, have produced different solutions for this issue. However, after experimenting with the mentioned libraries, I decided to approach the matter with a different strategy. This led to the creation of the RSVP library which I will be describing in detail. During the development of this project, I have been theorizing of a feature request for PD that will also be shared here. This paper will offer a detailed description of how the system works, but will not go into extensive Pure Data patch descriptions. Instead, I wish to show how I structured the code and describe how the system functions with the users own projects. This paper describes the logic and process behind the development of the RSVP preset library for the Pure Data programming environment. The library aims to tackle the lack of a native preset system in Pure Data. Other projects like Kollabs, CREAM, sssad, and others, have produced different solutions for this issue. However, after experimenting with the mentioned libraries, I decided to approach the matter with a different strategy. This led to the creation of the RSVP library which I will be describing in detail. During the development of this project, I have been theorizing of a feature request for PD that will also be shared here. This paper will offer a detailed description of how the system works, but will not go into extensive Pure Data patch descriptions. Instead, I wish to show how I structured the code and describe how the system functions with the users own projects. about this event: https://c3voc.de Fri, 08 Jun 2018 00:00:00 +0200 https://cdn.media.ccc.de/events/lac/lac18/h264-hd/lac18-32-eng-RSVP_a_preset_system_solution_for_Pure_Data_hd.mp4?1528641562 214f3fd2-30e1-58fe-981b-fb7e5f6a8fa5 2018-06-08T00:00:00+02:00 Jose Rafael Subía Valdez No lac18, 32 This paper describes the logic and process behind the development of the RSVP preset library for the Pure Data programming environment. The library aims to tackle the lack of a native preset system in Pure Data. Other projects like Kollabs, CREAM, sssad, and others, have produced different solutions for this issue. However, after experimenting with the mentioned libraries, I decided to approach the matter with a different strategy. This led to the creation of the RSVP library which I will be describing in detail. During the development of this project, I have been theorizing of a feature request for PD that will also be shared here. This paper will offer a detailed description of how the system works, but will not go into extensive Pure Data patch descriptions. Instead, I wish to show how I structured the code and describe how the system functions with the users own projects. This paper describes the logic and process behind the development of the RSVP preset library for the Pure Data programming environment. The library aims to tackle the lack of a native preset system in Pure Data. Other projects like Kollabs, CREAM, sssad, and others, have produced different solutions for this issue. However, after experimenting with the mentioned libraries, I decided to approach the matter with a different strategy. This led to the creation of the RSVP library which I will be describing in detail. During the development of this project, I have been theorizing of a feature request for PD that will also be shared here. This paper will offer a detailed description of how the system works, but will not go into extensive Pure Data patch descriptions. Instead, I wish to show how I structured the code and describe how the system functions with the users own projects. about this event: https://c3voc.de 00:25:36 https://media.ccc.de/v/lac2018-35-open_hardware_multichannel_sound_interface_for_hearing_aid_research_on_beaglebone_black_with_openmha_cape4all The paper describes a new multichannel sound interface for the BeagleBone Black, "Cape4all". The sound interface has 6 input channels with optional microphone pre-amplifiers and between 4 and 6 output channels. The multichannel sound extension cape for the BeagleBone Black is designed and produced. An ALSA driver is written for it. It is used with the openMHA hearing aid research software to perform hearing aid signal processing on the BeagleBone Black with a customized Debian distribution tailored to real-time audio signal processing. The paper describes a new multichannel sound interface for the BeagleBone Black, "Cape4all". The sound interface has 6 input channels with optional microphone pre-amplifiers and between 4 and 6 output channels. The multichannel sound extension cape for the BeagleBone Black is designed and produced. An ALSA driver is written for it. It is used with the openMHA hearing aid research software to perform hearing aid signal processing on the BeagleBone Black with a customized Debian distribution tailored to real-time audio signal processing. about this event: https://c3voc.de Fri, 08 Jun 2018 00:00:00 +0200 https://cdn.media.ccc.de/events/lac/lac18/h264-hd/lac18-35-eng-Open_Hardware_Multichannel_Sound_Interface_for_Hearing_Aid_Research_on_BeagleBone_Black_with_openMHA_Cape4all_hd.mp4?1528641463 caa261ba-e54d-5cf0-9d48-6882db26c89d 2018-06-08T00:00:00+02:00 Tobias Herzke, Hendrik Kayser, Christopher Seifert, Paul Maanen, Christopher Obbard, Guillermo Payá-Vayá, Holger Blume, Volker Hohmann No lac18, 35 The paper describes a new multichannel sound interface for the BeagleBone Black, "Cape4all". The sound interface has 6 input channels with optional microphone pre-amplifiers and between 4 and 6 output channels. The multichannel sound extension cape for the BeagleBone Black is designed and produced. An ALSA driver is written for it. It is used with the openMHA hearing aid research software to perform hearing aid signal processing on the BeagleBone Black with a customized Debian distribution tailored to real-time audio signal processing. The paper describes a new multichannel sound interface for the BeagleBone Black, "Cape4all". The sound interface has 6 input channels with optional microphone pre-amplifiers and between 4 and 6 output channels. The multichannel sound extension cape for the BeagleBone Black is designed and produced. An ALSA driver is written for it. It is used with the openMHA hearing aid research software to perform hearing aid signal processing on the BeagleBone Black with a customized Debian distribution tailored to real-time audio signal processing. about this event: https://c3voc.de 00:30:22 https://media.ccc.de/v/lac2018-18-spectmorph_morphing_the_timbre_of_musical_instruments SpectMorph is an open source software which performs morphing of the timbre of musical instruments. This allows creating sounds that smoothly transition from the timbre of one instrument to the timbre of another instrument. There are three steps necessary to obtain the final sound. In the analysis, we use the fourier transform to create models of the spectrum of the input samples. During synthesis a time domain signal can be obtained from these data. An algorithm for morphing the spectral models of multiple instruments is the core of our method. Synthesis and morphing can be done in real-time. After the description of the theoretical background, we provide an overview of the features of the SpectMorph plugin. SpectMorph is an open source software which performs morphing of the timbre of musical instruments. This allows creating sounds that smoothly transition from the timbre of one instrument to the timbre of another instrument. There are three steps necessary to obtain the final sound. In the analysis, we use the fourier transform to create models of the spectrum of the input samples. During synthesis a time domain signal can be obtained from these data. An algorithm for morphing the spectral models of multiple instruments is the core of our method. Synthesis and morphing can be done in real-time. After the description of the theoretical background, we provide an overview of the features of the SpectMorph plugin. about this event: https://c3voc.de Fri, 08 Jun 2018 00:00:00 +0200 https://cdn.media.ccc.de/events/lac/lac18/h264-hd/lac18-18-eng-SpectMorph_Morphing_the_Timbre_of_Musical_Instruments_hd.mp4?1528552215 01427b19-8098-54fa-b773-a1cba2b7c7bc 2018-06-08T00:00:00+02:00 Stefan Westerfeld No lac18, 18 SpectMorph is an open source software which performs morphing of the timbre of musical instruments. This allows creating sounds that smoothly transition from the timbre of one instrument to the timbre of another instrument. There are three steps necessary to obtain the final sound. In the analysis, we use the fourier transform to create models of the spectrum of the input samples. During synthesis a time domain signal can be obtained from these data. An algorithm for morphing the spectral models of multiple instruments is the core of our method. Synthesis and morphing can be done in real-time. After the description of the theoretical background, we provide an overview of the features of the SpectMorph plugin. SpectMorph is an open source software which performs morphing of the timbre of musical instruments. This allows creating sounds that smoothly transition from the timbre of one instrument to the timbre of another instrument. There are three steps necessary to obtain the final sound. In the analysis, we use the fourier transform to create models of the spectrum of the input samples. During synthesis a time domain signal can be obtained from these data. An algorithm for morphing the spectral models of multiple instruments is the core of our method. Synthesis and morphing can be done in real-time. After the description of the theoretical background, we provide an overview of the features of the SpectMorph plugin. about this event: https://c3voc.de 00:28:34 https://media.ccc.de/v/lac2018-14-using_perlin_noise_in_sound_synthesis Perlin noise is a well known algorithm in computer graphics applications and one of the first algorithms for generating procedural textures. It has been very widely used in movies, games, demos, and landscape generators, but despite its popularity it has been seldom used for creative purposes in the fields outside the world of computer graphics. This paper discusses the use of Perlin noise and fractional Brownian motion for sound synthesis applications. Perlin noise is a well known algorithm in computer graphics applications and one of the first algorithms for generating procedural textures. It has been very widely used in movies, games, demos, and landscape generators, but despite its popularity it has been seldom used for creative purposes in the fields outside the world of computer graphics. This paper discusses the use of Perlin noise and fractional Brownian motion for sound synthesis applications. about this event: https://c3voc.de Fri, 08 Jun 2018 00:00:00 +0200 https://cdn.media.ccc.de/events/lac/lac18/h264-hd/lac18-14-eng-Using_Perlin_noise_in_sound_synthesis_hd.mp4?1528552185 2087de04-a1de-500c-aed8-b7c9a2ad85dc 2018-06-08T00:00:00+02:00 Artem Popov No lac18, 14 Perlin noise is a well known algorithm in computer graphics applications and one of the first algorithms for generating procedural textures. It has been very widely used in movies, games, demos, and landscape generators, but despite its popularity it has been seldom used for creative purposes in the fields outside the world of computer graphics. This paper discusses the use of Perlin noise and fractional Brownian motion for sound synthesis applications. Perlin noise is a well known algorithm in computer graphics applications and one of the first algorithms for generating procedural textures. It has been very widely used in movies, games, demos, and landscape generators, but despite its popularity it has been seldom used for creative purposes in the fields outside the world of computer graphics. This paper discusses the use of Perlin noise and fractional Brownian motion for sound synthesis applications. about this event: https://c3voc.de 00:30:03 https://media.ccc.de/v/lac2018-58-superdirt2 Fascinating electro beats mixed in with virtuous performed cello sounds which give a result of a never achieved before dance ability! With Ras Tilo at the synthesizers and Käpt'n Dirt with the cello it provides a musical experience which is situated between drum'n'bass, jungle, dub, dubstep and even far beyond... The Band: The two independent musicians knew each other through many musical projects and as flatmates, but are coming from totally different musical genres. While Ras Tilo (Vincent Rateau) got in place as a music producer and multi-instrumentalist, Käpt'n Dirt (Daniel Fritzsche) continued his classical cello studies with an open mind and ears to new musical genres. One year ago, after a request to mix cello and electronic beats at a party they founded the project Superdirt² within two weeks, got straight away a lot of bookings and played this year up to 18 gigs - from small parties to big festivals. They are mixing musical genres, looping, synthesizing, improvising and never get tired of going beyond the thinkable knowledge of music. They just released their first full-length album called “Algoriddims” - licensed under a Creative Commons license. Links: * http://superdirt.net/ * http://soundcloud.com/superdirt * https://vimeo.com/76955070 * http://www.facebook.com/Superdirt2 Fascinating electro beats mixed in with virtuous performed cello sounds which give a result of a never achieved before dance ability! With Ras Tilo at the synthesizers and Käpt'n Dirt with the cello it provides a musical experience which is situated between drum'n'bass, jungle, dub, dubstep and even far beyond... The Band: The two independent musicians knew each other through many musical projects and as flatmates, but are coming from totally different musical genres. While Ras Tilo (Vincent Rateau) got in place as a music producer and multi-instrumentalist, Käpt'n Dirt (Daniel Fritzsche) continued his classical cello studies with an open mind and ears to new musical genres. One year ago, after a request to mix cello and electronic beats at a party they founded the project Superdirt² within two weeks, got straight away a lot of bookings and played this year up to 18 gigs - from small parties to big festivals. They are mixing musical genres, looping, synthesizing, improvising and never get tired of going beyond the thinkable knowledge of music. They just released their first full-length album called “Algoriddims” - licensed under a Creative Commons license. Links: * http://superdirt.net/ * http://soundcloud.com/superdirt * https://vimeo.com/76955070 * http://www.facebook.com/Superdirt2 about this event: https://c3voc.de Thu, 07 Jun 2018 00:00:00 +0200 https://cdn.media.ccc.de/events/lac/lac18/h264-hd/lac18-58-eng-Superdirt_hd.mp4?1528552154 f6286be9-0708-5bc9-b669-5d783e2516e6 2018-06-07T00:00:00+02:00 Superdirt² No lac18, 58 Fascinating electro beats mixed in with virtuous performed cello sounds which give a result of a never achieved before dance ability! With Ras Tilo at the synthesizers and Käpt'n Dirt with the cello it provides a musical experience which is situated between drum'n'bass, jungle, dub, dubstep and even far beyond... The Band: The two independent musicians knew each other through many musical projects and as flatmates, but are coming from totally different musical genres. While Ras Tilo (Vincent Rateau) got in place as a music producer and multi-instrumentalist, Käpt'n Dirt (Daniel Fritzsche) continued his classical cello studies with an open mind and ears to new musical genres. One year ago, after a request to mix cello and electronic beats at a party they founded the project Superdirt² within two weeks, got straight away a lot of bookings and played this year up to 18 gigs - from small parties to big festivals. They are mixing musical genres, looping, synthesizing, improvising and never get tired of going beyond the thinkable knowledge of music. They just released their first full-length album called “Algoriddims” - licensed under a Creative Commons license. Links: * http://superdirt.net/ * http://soundcloud.com/superdirt * https://vimeo.com/76955070 * http://www.facebook.com/Superdirt2 Fascinating electro beats mixed in with virtuous performed cello sounds which give a result of a never achieved before dance ability! With Ras Tilo at the synthesizers and Käpt'n Dirt with the cello it provides a musical experience which is situated between drum'n'bass, jungle, dub, dubstep and even far beyond... The Band: The two independent musicians knew each other through many musical projects and as flatmates, but are coming from totally different musical genres. While Ras Tilo (Vincent Rateau) got in place as a music producer and multi-instrumentalist, Käpt'n Dirt (Daniel Fritzsche) continued his classical cello studies with an open mind and ears to new musical genres. One year ago, after a request to mix cello and electronic beats at a party they founded the project Superdirt² within two weeks, got straight away a lot of bookings and played this year up to 18 gigs - from small parties to big festivals. They are mixing musical genres, looping, synthesizing, improvising and never get tired of going beyond the thinkable knowledge of music. They just released their first full-length album called “Algoriddims” - licensed under a Creative Commons license. Links: * http://superdirt.net/ * http://soundcloud.com/superdirt * https://vimeo.com/76955070 * http://www.facebook.com/Superdirt2 about this event: https://c3voc.de 01:14:16 https://media.ccc.de/v/lac2018-100-welcome_speech A short welcome speech by the team. A short welcome speech by the team. about this event: https://c3voc.de Thu, 07 Jun 2018 00:00:00 +0200 https://cdn.media.ccc.de/events/lac/lac18/h264-hd/lac18-100-eng-Welcome_Speech_hd.mp4?1528552098 e810fff2-b069-5360-9beb-bcb2a8af8ee1 2018-06-07T00:00:00+02:00 LAC team No lac18, 100 A short welcome speech by the team. A short welcome speech by the team. about this event: https://c3voc.de 00:17:15 media.ccc.de / RSS 0.3.1 CCC media team media@c3voc.de CCC media team No CCC Congress Hacking Security Netzpolitik A wide variety of video material distributed by the CCC. All content is taken from cdn.media.ccc.de and media.ccc.de A wide variety of video material distributed by the Chaos Computer Club. This feed contains all events from lac18 as mp4