Role-reversal: Max/MSP as an audio engine for Java

2008

The computer has long been considered an extremely attractive tool for creating, manipulating, and analyzing sound. Its precision, possibilities for new timbres, and potential for fantastical automation make it a compelling platform for expression and experimentation -but only to the extent that we are able to express to the computer what to do, and how to do it. To this end, the programming language has perhaps served as the most general, and yet most precise and intimate interface between humans and computers. Furthermore, "domain-specific" languages can bring additional expressiveness, conciseness, and perhaps even different ways of thinking to their users. This thesis argues for the philosophy, design, and development of ChucK, a general-purpose programming language tailored for computer music. The goal is to create a language that is expressive and easy to write and read with respect to time and parallelism, and to provide a platform for precise audio synthesis/analysis and rapid experimentation in computer music. In particular, ChucK provides a syntax for representing information flow, a new time-based concurrent programming model that allows programmers to flexibly and precisely control the flow of time in code (we call this "strongly-timed"), and facilities to develop programs on-the-fly -as they run. A ChucKian approach to live coding as a new musical performance paradigm is also described. In turn, this motivates the Audicle, a specialized graphical environment designed to facilitate on-the-fly programming, to visualize and monitor ChucK programs in real-time, and to provide a platform for building highly customizable user interfaces.

Journal of The Audio Engineering Society, 2022

Many visual programming languages (VPLs) which include Max or PureData provide a graphic canvas for connecting between functions or data. This canvas, also called a patcher, is basically a graph meant to be interpreted as a dataflow computation by the system. Some VPLs are used for multimedia performance or content generation since the UI system is generally a significant element of the language. This paper presents a web-based VPL, JSPatcher, which allows you to build audio graphs using the Web Audio API. Users can use a web browser to graphically design and run DSP algorithms using domain specific languages (DSL) for audio processing such as FAUST or Gen and execute them in a dedicated high priority thread called AudioWorklet. The application can also be utilized to create interactive programs and shareable artworks online with other JavaScript language built-ins, Web APIs, web-based audio plugins or external JavaScript modules.

2009

This article reports on developments conducted in the framework of the SampleOrchestrator project. We assembled for this project a set of tools allowing for the interactive real-time synthesis of automatically analysed and annotated audio files. Rather than a specific technique we present a set of components that support a variety of different interactive real-time audio processing approaches such as beatshuffling, sound morphing, and audio musaicing. We particularly insist on the design of the central element of these developments, an optimised data structure for the consistent storage of audio samples, descriptions, and annotations closely linked to the SDIF file standard.

The topic of this panel is object models, programming languages, and application programmer's interfaces for digital audio processing. The panel brings together developers who share the experience of designing more than one model or language for DASP software, and who are willing to compare and contrast them in terms of their underlying assumptions, the design trade-offs they made in the process, and the rules of thumb that they have learned over their years of experience. Referring back to previous works on languages and environments for computer music, we ask the questions raised in the past: what factors contribute to the success of a computer music language or tool? How do we best apply the features of modern programming languages, development and delivery environment? What have we learned since the 1980s (or the 1960s for that matter) that influences model and language design for music? The panel will be structured a free-flowing discussion of the decisions and trade-offs in system design, rather than a show-and-tell of each of the participants systems, or long position papers.

2018

Disclaimer Neither the ABC_DJ consortium as a whole, nor a certain party of the ABC_DJ consortium warrant that the information contained in this document is capable of use, nor that use of the information is free from risk, and accepts no liability for loss or damage suffered by any person using this information. Neither the European Commission, nor any person acting on behalf of the Commission, is responsible for any use which might be made of the information in this document. The views expressed in this document are those of the authors and do not necessarily reflect the policies of the European Commission.

This is the first of a series of three volumes dedicated to digital synthesis and sound design. Prerequisites for the study of this book are minimal, and include nothing more than rudimentary musical knowledge as well as basic computer skills. Alessandro Cipriani and Maurizio Giri's book is one of the first courses on electronic sound that explicitly integrates perception, theory, and practice using examples of real-time sound synthesis you can manipulate and experience for yourself. In my opinion, Cipriani and Giri have done a masterful job of allowing experiential and theoretical knowledge to reinforce each other. This book will work either as a textbook or as a vehicle for the independent learner. As a bonus, the book includes a thorough introduction to digital signal processing with Max/MSP and serves as a wonderful introduction to the programming concepts in that software. I hope you will take advantage of the excellent Max/MSP examples the authors have created. They are si...

2018

Penelitian ini bertujuan untuk menilai tingkat kepuasan pengguna (user experience) untuk penerapan sistem Object-based Audio pada televisi. Proses pengolahan data menggunakan metode Kansei Engineering Tipe 1 : Klasifikasi Kategori dengan penerjemahan makna Kansei (kesan) pengguna dalam bentuk kata-kata atau disebut Kansei Words. Penelitian ini menemukan 4 faktor utama yaitu imaginatif, nyaman, termotivasi, dan unik dari perasaan pengguna pada penerapan sistem Object-based Audio. Sedangkan pada sistem Stereophonic hanya terdapat 2 faktor yaitu nyaman dan menantang. Sehingga dapat disimpulkan bahwa sistem Object-based Audio lebih disukai dan diinginkan serta mempengaruhi banyak faktor pengguna dibandingkan sistem Stereophonic. Hasil peneltian ini dapat dijadikan sebagai acuan bagi produsen untuk menerapkan sistem Object-based Audio pada televisi. Kata Kunci : User Experience, Televisi, Object-Based Audio, Stereo, Kansei Engineering

Intelligent Design of Interactive Multimedia Listening Software, 2015

In this chapter, the principles and guidelines that should be borne in mind when designing and developing some digital elements such as ‘instructions', ‘tasks', ‘(reading) texts' and ‘self-assessment tests' in interactive multimedia listening software (MLS) for second/foreign language learning (SLL/FLL) are focused on. The stages of software design and development are categorized into six separate stages: (1) feasibility, (2) setting up a team of experts, (3) designing, (4) programming, (5) testing and (6) evaluating (Turel & McKenna, 2013, pp.188-190). Each stage as well as each digital element of interactive MLS is vitally important in the design and development process of cost effective applications. A wide range of principles and guidelines need to be taken into account at each stage as well as in the design and development of each element so that we can design and develop every single digital element of interactive MLS efficiently. As a whole, all of these can e...

2014

The Web offers a great opportunity to share, deploy and use programs without installation difficulties. In this article we explore the idea of freely combining/composing real-time audio applications deployed on the Web using Faust audio DSP language.

Proceedings of the 9th ACM SIGPLAN International Workshop on Functional Art, Music, Modelling, and Design, 2021

We propose a programming language for music named mimium, which combines temporal-discrete control and signal processing in a single language. mimium has an intuitive imperative syntax and can use stateful functions as Unit Generator in the same way as ordinary function definitions and applications. Furthermore, the runtime performance is made equivalent to that of lower-level languages by compiling the code through the LLVM compiler infrastructure. By using the strategy of adding a minimum number of features for sound to the design and implementation of a general-purpose functional language, mimium is expected to lower the learning cost for users, simplify the implementation of compilers, and increase the self-extensibility of the language. In this paper, we present the basic language specification, semantics for simple task scheduling, the semantics for stateful functions, and the compilation process. mimium has certain specifications that have not been achieved in existing languages. Future works suggested include extending the compiler functionality to combine task scheduling with the functional paradigm and introducing multi-stage computation for parametric replication of stateful functions. CCS Concepts: • Applied computing → Sound and music computing; • Computer systems organization → Real-time languages; • Theory of computation → Timed and hybrid models.