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Comparison Of Audio Synthesis Environments
Software audio synthesis environments typically consist of an audio programming language (which may be graphical) and a user environment to design/run the language in. Although many of these environments are comparable in their abilities to produce high-quality audio, their differences and specialties are what draw users to a particular platform. This article compares noteworthy audio synthesis environments, and enumerates basic issues associated with their use. Subjective comparisons Audio synthesis environments comprise a wide and varying range of software and hardware configurations. Even different versions of the same environment can differ dramatically. Because of this broad variability, certain aspects of different systems cannot be directly compared. Moreover, some levels of comparison are either very difficult to objectively quantify, or depend purely on personal preference. Some of the commonly considered subjective attributes for comparison include: * Usability (how dif ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Audio Programming Language
This is a list of notable programming languages optimized for sound production, algorithmic composition, and sound synthesis. * ABC notation, a language for notating music using the ASCII character set * ChucK, strongly timed, concurrent, and on-the-fly audio programming language * Real-time Cmix, a MUSIC-N synthesis language somewhat similar to Csound * Common Lisp Music (CLM), a music synthesis and signal processing package in the Music V family * Csound, a MUSIC-N synthesis language released under the LGPL with many available unit generators * Extempore, a live-coding environment which borrows a core foundation from the Impromptu environment * FAUST, Functional Audio Stream, a functional compiled language for efficient real-time audio signal processingGLICOL a graph-oriented live coding language written in Rust * Hierarchical Music Specification Language (HMSL), optimized more for music than synthesis, developed in the 1980s in Forth * Impromptu, a Scheme language enviro ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Csound
Csound is a domain-specific computer programming language for audio programming. It is called Csound because it is written in C, as opposed to some of its predecessors. It is free software, available under the LGPL-2.1-or-later. Csound was originally written at MIT by Barry Vercoe in 1985, based on his earlier system called Music 11, which in its turn followed the MUSIC-N model initiated by Max Mathews at the Bell Labs. Its development continued throughout the 1990s and 2000s, led by John Fitch at the University of Bath. The first documented version 5 release is version 5.01 on March 18, 2006. Many developers have contributed to it, most notably Istvan Varga, Gabriel Maldonado, Robin Whittle, Richard Karpen, Iain McCurdy, Michael Gogins, Matt Ingalls, Steven Yi, Richard Boulanger, Victor Lazzarini and Joachim Heintz. Developed over many years, it currently has nearly 1700 unit generators. One of its greatest strengths is that it is completely modular and extensib ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
BSD Licenses
BSD licenses are a family of permissive free software licenses, imposing minimal restrictions on the use and distribution of covered software. This is in contrast to copyleft licenses, which have share-alike requirements. The original BSD license was used for its namesake, the Berkeley Software Distribution (BSD), a Unix-like operating system. The original version has since been revised, and its descendants are referred to as modified BSD licenses. BSD is both a license and a class of license (generally referred to as BSD-like). The modified BSD license (in wide use today) is very similar to the license originally used for the BSD version of Unix. The BSD license is a simple license that merely requires that all code retain the BSD license notice if redistributed in source code format, or reproduce the notice if redistributed in binary format. The BSD license (unlike some other licenses e.g. GPL) does not require that source code be distributed at all. Terms In additi ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Pure Data
Pure Data (Pd) is a visual programming language developed by Miller Puckette in the 1990s for creating interactive computer music and multimedia works. While Puckette is the main author of the program, Pd is an open-source project with a large developer base working on new extensions. It is released under BSD-3-Clause. It runs on Linux, MacOS, iOS, Android and Windows. Ports exist for FreeBSD and IRIX. Pd is very similar in scope and design to Puckette's original Max program, developed while he was at IRCAM, and is to some degree interoperable with Max/MSP, the commercial predecessor to the Max language. They may be collectively discussed as members of the Patcher family of languages. With the addition of the Graphics Environment for Multimedia (GEM) external, and externals designed to work with it (like Pure Data Packet / PiDiP for Linux, ), framestein for Windows, GridFlow (as n-dimensional matrix processing, for Linux, , Windows), it is possible to create and manipula ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Miller Puckette
Miller Smith Puckette (born 1959) is the associate director of the Center for Research in Computing and the Arts as well as a professor of music at the University of California, San Diego, where he has been since 1994. Puckette is known for authoring Max, a graphical development environment for music and multimedia synthesis, which he developed while working at IRCAM in the late 1980s. He is also the author of Pure Data (Pd), a real-time performing platform for audio, video and graphical programming language for the creation of interactive computer music and multimedia works, written in the 1990s with input from many others in the computer music and free software communities. Biography An alumnus of St. Andrew's-Sewanee School in Tennessee, Miller Puckette got involved in computer music in 1979 at MIT with Barry Vercoe. S ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Max/MSP
Max, also known as Max/MSP/Jitter, is a visual programming language for music and multimedia developed and maintained by San Francisco-based software company Cycling '74. Over its more than thirty-year history, it has been used by composers, performers, software designers, researchers, and artists to create recordings, performances, and installations. The Max program is modular, with most routines existing as shared libraries. An application programming interface (API) allows third-party development of new routines (named ''external objects''). Thus, Max has a large user base of programmers unaffiliated with Cycling '74 who enhance the software with commercial and non-commercial extensions to the program. Because of this extensible design, which simultaneously represents both the program's structure and its graphical user interface (GUI), Max has been described as the lingua franca for developing interactive music performance software. History 1980s: Miller Puckette began work ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Acoustic Research
Acoustic Research was a Cambridge, Massachusetts-based company that manufactured high-end audio equipment. The brand is now owned by VOXX. Acoustic Research was known for the AR-3 series of speaker systems, which used the acoustic suspension woofer of the AR-1 with newly designed dome mid-range speaker and high-frequency drivers. AR's line of acoustic suspension speakers were the first loudspeakers with relatively flat response, extended bass, wide dispersion, small size, and reasonable cost. Company history Acoustic Research, Inc. (“AR”) was founded in 1954 by audio pioneer, writer, inventor, researcher and audio-electronics teacher Edgar Villchur and his student, Henry Kloss. AR was established to produce the $185 () model AR-1, a loudspeaker design incorporating the acoustic suspension principle based on , granted to Edgar Villchur and assigned to Acoustic Research in 1956. Edgar Villchur's technical innovation was based on objective testing and research, most of ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Carla Scaletti
Carla Scaletti (born April 28, 1956) is an American harpist, composer, music technologist and the inventor of the Kyma Sound Design Environment as well as president of Symbolic Sound. Biography Carla Scaletti was born in Ithaca, New York. She graduated from the public schools in Albuquerque, New Mexico, then completed a Bachelor of Music from the University of New Mexico, a Master of Music from Texas Tech University, a master's in computer science from the University of Illinois and a doctorate in music composition from the same school. In the 1970s, she worked as principal harpist in the New Mexico Symphony Orchestra and Lubbock Symphony Orchestra, and composed for acoustic instruments, but later she developed an interest in computer generated music. After completing her education, she worked as a researcher at the CERL Sound Group, University of Illinois at Urbana-Champaign, and later as a visiting assistant professor at the University of Illinois before leaving the unive ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Kyma (sound Design Language)
Kyma is a visual programming language for sound design used by musicians, researchers, and sound designers. In Kyma, a user programs a multiprocessor DSP by graphically connecting modules on the screen of a Macintosh or Windows computer. Background Kyma has characteristics of both object-oriented and functional programming languages. The basic unit in Kyma is the "Sound" object, not the "note" of traditional music notation. A Sound is defined as: i) a Sound atom ii) a unary transform T(s) where s is a Sound iii) an n-ary transform T(s1, s2,.., sn), where s1,s2,..sn are Sounds A Sound atom is a source of audio (like a microphone input or a noise generator), a unary transform modifies its argument (for example, a LowpassFilter might take a running average of its input), and an n-ary transform combines two or more Sounds (a Mixer, for example, is defined as the sum of its inputs). History The first version of Kyma, which computed digital audio samples on a Macintosh 512K was writ ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
MIDI
MIDI (; Musical Instrument Digital Interface) is a technical standard that describes a communications protocol, digital interface, and electrical connectors that connect a wide variety of electronic musical instruments, computers, and related audio devices for playing, editing, and recording music. The specification originates in the paper ''Universal Synthesizer Interface'' published by Dave Smith and Chet Wood of Sequential Circuits at the 1981 Audio Engineering Society conference in New York City. A single MIDI cable can carry up to sixteen channels of MIDI data, each of which can be routed to a separate device. Each interaction with a key, button, knob or slider is converted into a MIDI event, which specifies musical instructions, such as a note's pitch, timing and loudness. One common MIDI application is to play a MIDI keyboard or other controller and use it to trigger a digital sound module (which contains synthesized musical sounds) to generate sounds, wh ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Keykit
{{Infobox Software , name = KeyKit , caption = , logo = , developer = AT&T / Tim Thompson , operating system = Windows, Linux , genre = Programming language, Music/MIDI , license = Free for non-commercial use , website = http://nosuch.com/keykit KeyKit is a graphical environment and programming language for MIDI synthesis and algorithmic composition. It was originally developed by Tim Thompson and released by AT&T. Overview Tim Thompson is a and the originator of various software titles, including Keykit and Stevie (predecessor of the now widely distributed and popular [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Live Coding
Live coding, sometimes referred to as on-the-fly programming,Wang G. & Cook P. (2004"On-the-fly Programming: Using Code as an Expressive Musical Instrument" In ''Proceedings of the 2004 International Conference on New Interfaces for Musical Expression (NIME)'' (New York: NIME, 2004). just in time programming and conversational programming, makes programming an integral part of the running program. It is most prominent as a performing arts form and a creativity technique centred upon the writing of source code and the use of interactive programming in an improvised way. Live coding is often used to create sound and image based digital media, as well as light systems, improvised dance and poetry, though is particularly prevalent in computer music usually as improvisation, although it could be combined with algorithmic composition. Typically, the process of writing source code is made visible by projecting the computer screen in the audience space, with ways of visualising the code ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
