The iRig Pro Quattro I/O is a fourinput, two-output portable audio and MIDI interface that can also be used as a standalone microphone preamplifier or a line mixer (see Figure 1). It can be used to facilitate recording to a mobile device, computer, DSLR camera, or connected directly to a PA system. The input and output connections are located on the top, bottom, left, and right panels, with the top panel reserved for controls and meters. The interface has four combination XLR/1/4-in input jacks. The first two double-up as Hi-Z instrument inputs and the second two can act as line inputs. Two further line inputs are available on a 1/8-in mini stereo jack input and RCA ports. There are microphone preamplifiers included on all four XLR inputs, with phantom power that can be switched on/off for pairs of channels. There is also a mini-jack input and output for MIDI. The interface has a stereo line output on 1/8-in mini jack port (unbalanced), and left and right XLR outputs (balanced). It also has a miniDIN connector for connecting to external devices. A number of cables are supplied with purchase: lightning to mini-DIN, USB-C to mini-DIN, and USB-A to mini-DIN. A TRS male to female adapter, a 1/4-in thread mount adapter, and four AA batteries and also provided. The interface is MFi-certified for use with iOS devices without the need for adapters. The interface supports sample rates up to 96 kHz at 24-bit depth. It has a built-in omnidirectional microelectromechanical systems (MEMS) microphone that has a frequency response of 30 Hz to 20 kHz and a maximum SPL of 110 dB. The iRig
iRig Pro Quattro I/O是一个四输入、两输出的便携式音频和MIDI接口，也可以用作独立的麦克风前置放大器或线路混频器（见图1）。它可以用于方便记录到移动设备、计算机、单反相机或直接连接到PA系统。输入和输出连接位于顶部、底部、左侧和右侧面板上，顶部面板保留用于控制和仪表。接口有四个XLR/1/4英寸组合输入插孔。前两个兼作Hi-Z仪器输入，后两个可作为线路输入。1/8英寸迷你立体声插孔输入和RCA端口上还有两个线路输入。所有四个XLR输入都包含麦克风前置放大器，具有可为成对通道打开/关闭的幻影电源。还有一个用于MIDI的迷你插孔输入和输出。该接口在1/8英寸迷你插孔端口上有立体声线路输出（不平衡），左、右XLR输出（平衡）。它还有一个用于连接外部设备的miniDIN连接器。购买时提供了许多电缆：闪电至迷你DIN、USB-C至迷你DIN和USB-A至迷你DIN。还提供了一个TRS公母适配器、一个1/4英寸螺纹安装适配器和四个AA电池。该接口经过MFi认证，可与iOS设备一起使用，无需适配器。该接口支持24位深度下高达96 kHz的采样率。它有一个内置的全向微机电系统（MEMS）麦克风，其频率响应为30 Hz至20 kHz，最大SPL为110 dB。iRig
{"title":"Products of Interest","authors":"","doi":"10.1162/comj_r_00624","DOIUrl":"10.1162/comj_r_00624","url":null,"abstract":"The iRig Pro Quattro I/O is a fourinput, two-output portable audio and MIDI interface that can also be used as a standalone microphone preamplifier or a line mixer (see Figure 1). It can be used to facilitate recording to a mobile device, computer, DSLR camera, or connected directly to a PA system. The input and output connections are located on the top, bottom, left, and right panels, with the top panel reserved for controls and meters. The interface has four combination XLR/1/4-in input jacks. The first two double-up as Hi-Z instrument inputs and the second two can act as line inputs. Two further line inputs are available on a 1/8-in mini stereo jack input and RCA ports. There are microphone preamplifiers included on all four XLR inputs, with phantom power that can be switched on/off for pairs of channels. There is also a mini-jack input and output for MIDI. The interface has a stereo line output on 1/8-in mini jack port (unbalanced), and left and right XLR outputs (balanced). It also has a miniDIN connector for connecting to external devices. A number of cables are supplied with purchase: lightning to mini-DIN, USB-C to mini-DIN, and USB-A to mini-DIN. A TRS male to female adapter, a 1/4-in thread mount adapter, and four AA batteries and also provided. The interface is MFi-certified for use with iOS devices without the need for adapters. The interface supports sample rates up to 96 kHz at 24-bit depth. It has a built-in omnidirectional microelectromechanical systems (MEMS) microphone that has a frequency response of 30 Hz to 20 kHz and a maximum SPL of 110 dB. The iRig","PeriodicalId":50639,"journal":{"name":"Computer Music Journal","volume":"45 4","pages":"77-88"},"PeriodicalIF":0.0,"publicationDate":"2023-04-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49424972","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
In this issue’s first article, Roger Dannenberg presents new developments in his O2 software, which he refers to as “communications middleware for interactive music systems.” The software sends messages between machines, including over the Internet, or between processes or threads on a single machine. O2 has similarities to Matt Wright and Adrian Freed’s Open Sound Control (OSC) protocol but offers important additional functionality, as the article explains. Dannenberg’s research won the Best Paper award at the 2022 International Computer Music Conference (ICMC). That award entails publication of an extended version of the paper in Computer Music Journal, and his current article actually represents a thorough rewrite. Augmented instruments constitute an important category of interfaces for performing musicians. Whereas many types of interface require new performance techniques or simply emulate the interfaces of existing instruments, an augmented instrument actually incorporates a traditional musical instrument wholesale but extends it, perhaps by adding sensors to process the instrument’s sound. Such is the case with GuiaRT, an augmented nylon-string guitar described by Freire, Armondes, and Silva in this issue. The guitar uses a hexaphonic pickup to capture each string’s sound, which undergoes continuous audio analysis.
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The problem of target-based computer-aided orchestration is a recurring topic in the contemporary music community. Because of its complexity, computer-aided orchestration remains a partially unsolved problem and several systems have been developed in the last twenty years. This article presents a practical overview of the recently introduced Orchidea framework for dynamic computer-aided target-based orchestration. Orchidea continues the line of tools dedicated to the subject (the so-called Orchid* family) originally developed at the Institut de Recherche et Coordination Acoustique/Musique in Paris. Unlike its predecessors, Orchidea uses a combination of optimization techniques that include stochastic matching pursuit, long short-term memory neural networks, and monoobjective evolutionary optimization, with a specifically designed cost function. Symbolic constraints can be integrated in the cost function, and temporally evolving sounds are handled by segmenting them into a set of static targets optimized jointly and then connected. Orchidea is deployed in three different ways: a standalone application, designed to streamline a simplified compositional workflow; a Max package, targeted at composers willing to connect target-based orchestration to the more general area of computer-aided composition; and a set of command-line tools, mostly intended for research purposes and batch processing. The main aim of this article is to present an overview of such software systems and show several instances of the Orchidea framework's application in recent musical productions, tracing the path for future research on the subject.
基于目标的计算机辅助编曲问题是当代音乐界反复讨论的话题。由于其复杂性，计算机辅助编排仍然是一个部分未解决的问题，在过去的二十年中已经开发了几个系统。本文介绍了最近引入的用于动态计算机辅助基于目标的编排的Orchidea框架的实际概述。Orchidea延续了最初由巴黎的Institut de Recherche et Coordination Acoustique/Musique开发的专门用于该主题(所谓的Orchid* family)的工具系列。与它的前辈不同，Orchidea使用了包括随机匹配追踪、长短期记忆神经网络和单目标进化优化在内的优化技术组合，并具有专门设计的成本函数。符号约束可以整合到代价函数中，并且通过将它们分割成一组共同优化然后连接的静态目标来处理时间进化的声音。Orchidea以三种不同的方式部署:一个独立的应用程序，旨在简化简化的合成工作流程;一个Max包，针对那些愿意将基于目标的编曲与更广泛的计算机辅助作曲领域联系起来的作曲家;以及一组命令行工具，主要用于研究目的和批处理。本文的主要目的是对此类软件系统进行概述，并展示Orchidea框架在最近音乐作品中的几个应用实例，为未来的研究指明方向。
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In this issue’s first article, Roger Dannenberg presents new developments in his O2 software, which he refers to as “communications middleware for interactive music systems.” The software sends messages between machines, including over the Internet, or between processes or threads on a single machine. O2 has similarities to Matt Wright and Adrian Freed’s Open Sound Control (OSC) protocol but offers important additional functionality, as the article explains. Dannenberg’s research won the Best Paper award at the 2022 International Computer Music Conference (ICMC). That award entails publication of an extended version of the paper in Computer Music Journal, and his current article actually represents a thorough rewrite. Augmented instruments constitute an important category of interfaces for performing musicians. Whereas many types of interface require new performance techniques or simply emulate the interfaces of existing instruments, an augmented instrument actually incorporates a traditional musical instrument wholesale but extends it, perhaps by adding sensors to process the instrument’s sound. Such is the case with GuiaRT, an augmented nylon-string guitar described by Freire, Armondes, and Silva in this issue. The guitar uses a hexaphonic pickup to capture each string’s sound, which undergoes continuous audio analysis.
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Abstract This article discusses the algorithmic design and implementation of A Queda do Céu, a sound installation and kinetic sculpture related to the Soundlapse project. In it we provide an overview of the project and go on to describe the main computational challenges related to the installation, which included a variety of real-time processing, interpolation, and mapping algorithms. We contextualize the work in relation to regional ecological and political debates, as well as the global climate crisis. In doing so, we echo other sound and field-recording artists in proposing that artworks have an important function as experimental arenas in which new technological applications can be probed and where new modes of listening can be investigated, reconfigured, and exercised. In closing, we lay out an overview of the current challenges being tackled by the Soundlapse project, specifically the development of a refined version of the sonic time-lapse method that incorporates machine learning routines and user-defined spatialization capabilities.
摘要本文讨论了与Soundlapse项目相关的声音装置和动感雕塑A Queda do Céu的算法设计和实现。在其中，我们概述了该项目，并继续描述了与安装相关的主要计算挑战，其中包括各种实时处理、插值和映射算法。我们将这项工作与区域生态和政治辩论以及全球气候危机联系起来。在这样做的过程中，我们呼应了其他录音和现场录音艺术家的观点，他们认为艺术品作为实验场具有重要作用，在这里可以探索新的技术应用，并可以研究、重新配置和运用新的聆听模式。最后，我们概述了Soundlapse项目目前正在解决的挑战，特别是开发一种改进版的声波延时方法，该方法结合了机器学习例程和用户定义的空间化功能。
{"title":"Listening to the Anthropocene: A Queda do Céu","authors":"André Rabello-Mestre;Felipe Otondo","doi":"10.1162/comj_a_00633","DOIUrl":"10.1162/comj_a_00633","url":null,"abstract":"Abstract This article discusses the algorithmic design and implementation of A Queda do Céu, a sound installation and kinetic sculpture related to the Soundlapse project. In it we provide an overview of the project and go on to describe the main computational challenges related to the installation, which included a variety of real-time processing, interpolation, and mapping algorithms. We contextualize the work in relation to regional ecological and political debates, as well as the global climate crisis. In doing so, we echo other sound and field-recording artists in proposing that artworks have an important function as experimental arenas in which new technological applications can be probed and where new modes of listening can be investigated, reconfigured, and exercised. In closing, we lay out an overview of the current challenges being tackled by the Soundlapse project, specifically the development of a refined version of the sonic time-lapse method that incorporates machine learning routines and user-defined spatialization capabilities.","PeriodicalId":50639,"journal":{"name":"Computer Music Journal","volume":"46 1-2","pages":"25-39"},"PeriodicalIF":0.0,"publicationDate":"2022-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41794542","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Felipe de Almeida Ribeiro;Ricardo de Oliveira Thomasi
Abstract This research presents a mapping out of Brazilian electroacoustic music studios from 1960 to 2000, especially those that emerged in connection with universities and other institutions. A major criterion was to understand “music studios” as cultural territories, as places for creation, collaboration, and exchange. We present a timeline highlighting the main trajectories of composers, institutions, and events, all related to the development of these studios. We interviewed composers and investigated a wide variety of documents, ranging from scholarly papers and journal articles through books, recordings, and websites. As a result, the timeline introduces the main spaces that have fostered electroacoustic music in Brazil, revealing the idea of gambiarra [make do, workaround], a sort of Brazilian DIY culture.
{"title":"Mapping Out the Origins of Electroacoustic Music Studios in Brazil","authors":"Felipe de Almeida Ribeiro;Ricardo de Oliveira Thomasi","doi":"10.1162/comj_a_00639","DOIUrl":"10.1162/comj_a_00639","url":null,"abstract":"Abstract This research presents a mapping out of Brazilian electroacoustic music studios from 1960 to 2000, especially those that emerged in connection with universities and other institutions. A major criterion was to understand “music studios” as cultural territories, as places for creation, collaboration, and exchange. We present a timeline highlighting the main trajectories of composers, institutions, and events, all related to the development of these studios. We interviewed composers and investigated a wide variety of documents, ranging from scholarly papers and journal articles through books, recordings, and websites. As a result, the timeline introduces the main spaces that have fostered electroacoustic music in Brazil, revealing the idea of gambiarra [make do, workaround], a sort of Brazilian DIY culture.","PeriodicalId":50639,"journal":{"name":"Computer Music Journal","volume":"46 1-2","pages":"94-107"},"PeriodicalIF":0.0,"publicationDate":"2022-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"64509532","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract This article discusses the foundation of Studio PANaroma de Música Eletroacústica in São Paulo in 1994, an institution of the São Paulo State University and one of the most active research and production centers in the area in the world, contextualizing its conception with the internationalist tendencies present since the beginning of modernism in Brazil. To this end, the text discusses the notion of cultural anthropophagy, as formulated by Oswald de Andrade; discusses a brief history of the first initiatives in the field of electroacoustic music in Brazil; and focuses on the historical importance and the particularity of the Studio PANaroma, which substantially changed the development of electroacoustic music in the country. The studio's activities are described, including the founding of the studio's loudspeaker orchestra, as well as the studio's main research activities.
{"title":"The Studio PANaroma and Electroacoustic Music in Brazil","authors":"Flo Menezes","doi":"10.1162/comj_a_00635","DOIUrl":"10.1162/comj_a_00635","url":null,"abstract":"Abstract This article discusses the foundation of Studio PANaroma de Música Eletroacústica in São Paulo in 1994, an institution of the São Paulo State University and one of the most active research and production centers in the area in the world, contextualizing its conception with the internationalist tendencies present since the beginning of modernism in Brazil. To this end, the text discusses the notion of cultural anthropophagy, as formulated by Oswald de Andrade; discusses a brief history of the first initiatives in the field of electroacoustic music in Brazil; and focuses on the historical importance and the particularity of the Studio PANaroma, which substantially changed the development of electroacoustic music in the country. The studio's activities are described, including the founding of the studio's loudspeaker orchestra, as well as the studio's main research activities.","PeriodicalId":50639,"journal":{"name":"Computer Music Journal","volume":"46 1-2","pages":"108-119"},"PeriodicalIF":0.0,"publicationDate":"2022-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41854121","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract The political and economic instability in most Latin American countries has been profoundly affecting the lives of its inhabitants for decades. Support for artistic activities has usually been postponed to solve urgent social problems. Despite that, the development in these countries of the electronic arts, in general, and electroacoustic and computer music, in particular, is astounding. Mauricio Kagel, Reginaldo Carvalho, Hilda Dianda, Juan Amenabar, Horacio Vaggione, Jorge Antunes, Jocy de Oliveira, José Vicente Asuar, and Juan Blanco are only some of the many names in the ocean of electroacoustic music creativity that has always been Latin America. Archiving and disseminating electronic art—and working on a revised version of its history—is crucial to comprehend the present and build our future. The Latin American Electroacoustic Music Collection, hosted by the Daniel Langlois Foundation for Art, Science, and Technology in Montreal, has over 1,700 digital recordings of compositions created between 1957 and 2007 by almost 400 composers. The Collection has recovered and made visible (and listenable) the creative work of many composers otherwise almost forgotten. It has defied the hegemony of the computer and electroacoustic music history narrative, helping to break barriers and widening the way their history is understood.
{"title":"Part of Computer Music History… (Trust Me, Latin America Has Always Been There!)","authors":"Ricardo Dal Farra","doi":"10.1162/comj_a_00632","DOIUrl":"10.1162/comj_a_00632","url":null,"abstract":"Abstract The political and economic instability in most Latin American countries has been profoundly affecting the lives of its inhabitants for decades. Support for artistic activities has usually been postponed to solve urgent social problems. Despite that, the development in these countries of the electronic arts, in general, and electroacoustic and computer music, in particular, is astounding. Mauricio Kagel, Reginaldo Carvalho, Hilda Dianda, Juan Amenabar, Horacio Vaggione, Jorge Antunes, Jocy de Oliveira, José Vicente Asuar, and Juan Blanco are only some of the many names in the ocean of electroacoustic music creativity that has always been Latin America. Archiving and disseminating electronic art—and working on a revised version of its history—is crucial to comprehend the present and build our future. The Latin American Electroacoustic Music Collection, hosted by the Daniel Langlois Foundation for Art, Science, and Technology in Montreal, has over 1,700 digital recordings of compositions created between 1957 and 2007 by almost 400 composers. The Collection has recovered and made visible (and listenable) the creative work of many composers otherwise almost forgotten. It has defied the hegemony of the computer and electroacoustic music history narrative, helping to break barriers and widening the way their history is understood.","PeriodicalId":50639,"journal":{"name":"Computer Music Journal","volume":"46 1-2","pages":"8-24"},"PeriodicalIF":0.0,"publicationDate":"2022-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46664622","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract The present work studies the scenic realizations of the ensemble called Lumínico (Rodrigo Sigal and Alejandro Escuer) from the perspective of intermediality, performance theory, musicality, and theatricality. Lumínico's proposal offers, as sound and audiovisual artists, an alternative to the experience of the traditional chamber music and electroacoustic concert, both to themselves and to the audience. In the field of music, it blurs the binary distinction between artistic work and audience by transferring the creation of the uninterrupted concert to the very moment of its execution and reception. This way, a Lumínico concert generates a unique, unrepeatable, and ephemeral event that emerges thanks to the characteristics of the scenic realization, starring the ensemble members and the audience.
{"title":"An Analytical Approach to the Scenic Realization of Electroacoustic Music: The Theatricality of Lumínico","authors":"Guillermo Eisner","doi":"10.1162/comj_a_00637","DOIUrl":"10.1162/comj_a_00637","url":null,"abstract":"Abstract The present work studies the scenic realizations of the ensemble called Lumínico (Rodrigo Sigal and Alejandro Escuer) from the perspective of intermediality, performance theory, musicality, and theatricality. Lumínico's proposal offers, as sound and audiovisual artists, an alternative to the experience of the traditional chamber music and electroacoustic concert, both to themselves and to the audience. In the field of music, it blurs the binary distinction between artistic work and audience by transferring the creation of the uninterrupted concert to the very moment of its execution and reception. This way, a Lumínico concert generates a unique, unrepeatable, and ephemeral event that emerges thanks to the characteristics of the scenic realization, starring the ensemble members and the audience.","PeriodicalId":50639,"journal":{"name":"Computer Music Journal","volume":"46 1-2","pages":"72-81"},"PeriodicalIF":0.0,"publicationDate":"2022-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45872595","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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