Join Us For ADC24 - Bristol - 11-13 November 2024
More Info: https://audio.dev/
@audiodevcon
Virtual Acoustics: Recreating Natural Phenomena in the Digital Domain - Aidan Baker - ADC 2023
Audio in the VR / AR domain may become a dominant section of this industry in the coming years. While methods for processing spatial audio already exist (and formal standards have been created and utilized) another factor of immersive audio remains (mostly) untouched: Virtual acoustic systems that mimic the virtual spaces.
This talk will go over various techniques for handling room acoustics in both real-time and offline settings, and going over both their benefits, as well as their drawbacks. Additionally, we will look over how to go about approximating room acoustics without breaking the proverbial (cpu) bank.
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Aidan Baker
I am an audio developer who is fascinated by sound's physical phenomena. Presently I run a company called Lese which develops audio plugins + acoustic simulation software.
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Streamed & Edited by Digital Medium Ltd: https://online.digital-medium.co.uk
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Organized and produced by JUCE: https://juce.com/
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Special thanks to the ADC23 Team:
Sophie Carus
Derek Heimlich
Andrew Kirk
Bobby Lombardi
Tom Poole
Ralph Richbourg
Jim Roper
Jonathan Roper
Prashant Mishra
Aliasing and Oversampling for DSP Engineers - Sam Fischmann - ADC 2023
Aliasing distortion and oversampling have become especially popular discussion topics in the wake of widely-available consumer analysis tools such as Plugin Doctor. In response, audio software users have been more vocal about aliasing, in many cases asking audio developers to provide oversampling.
As it turns out, not all oversampling is the same, we face several trade-offs when implementing it, and we don’t always need it. This talk aims to help you understand aliasing distortion, how oversampling addresses it, and some potential downsides of overuse. It also provides guidelines to help you decide when oversampling is necessary, what kind of oversampling to use, and mentions some open-source libraries that give you flexibility to make the right decision for your software.
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Sam Fischmann
Sam is a seasoned developer and composer, with experience spanning Web, embedded, and desktop systems. He founded Musik Hack with Stan Greene to release products that are easy to use without sacrificing quality or creative control. In the process, he learned that not only does he love making audio software, he loves teaching it! You can find him talking with White Sea Studios, Bobby Owsinski, Help me Devvon, or pretty much anybody that wants to have an interesting and engaging conversation.
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Streamed & Edited by Digital Medium Ltd: https://online.digital-medium.co.uk
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Organized and produced by JUCE: https://juce.com/
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Special thanks to the ADC23 Team:
Sophie Carus
Derek Heimlich
Andrew Kirk
Bobby Lombardi
Tom Poole
Ralph Richbourg
Jim Roper
Jonathan Roper
Prashant Mishra
Join Us For ADC24 - Bristol - 11-13 November 2024
More Info: https://audio.dev/
@audiodevcon
PANEL: Audio Tech Ecosystem in India: Opportunities and Challenges - Sneha Khanwalkar, Manaswi Mishra, Siddharth Bhardwaj, Krishna Chetan TR and Moderated by Prashant Mishra - ADCx India 2024
Building an audio tech ecosystem requires efforts on various fronts including academics & research, users, passionate creators, developers as well as business. The panelists representing each of these backgrounds, discuss the current state of music & audio tech industry in India, recent efforts put into creating startups, and stories of finding and connecting with like minded people.
The aim of the session is to spark new ideas among everyone who aims to contribute in scaling up the industry, acknowledging existing challenges and collectively finding solutions. The Q&A section with the audience adds interesting action items.
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Sneha Khanwalkar
Music Director
Music Director and Artist working in the Indian Film Industry. Currently, working on a Music Marketplace platform called Soundcake as a Founder.
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Manaswi Mishra
PhD, Researcher and Computational Artist - MIT Media Lab
PhD and LEGO Pappert Fellow at MIT Media Lab researching novel frameworks for a new age of composing and performing musician centered A.I. Published in Boston Globe, Harvard Tech Review, Washington Post, Conference of Computational Creativity, Copyright Society etc.
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Siddharth Bhardwaj
Co-founder and CTO - Beatoven.ai
Masters in Sound and Music Computing from UPF, Barcelona, and have been working in music technology for the past 11 years. Co-founded Beatoven.ai in 2021.
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Krishna Chetan TR
CEO, Pitch innovations LLP
Award winning Music producer and Mixing engineer, who have worked on over 60 projects for Oscar winning music composer before starting music software company Pitch innovations. Passionate about music technology loves to think technical but be musical.
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Prashant Mishra
CEO, Pracific
Audio director & product creator with experience working with brands such as Disney for games & videos. Currently building audio tools with Soundly, teaching game audio at National Institute of Design and scaling up the audio, music tech & game audio ecosystem through various initiatives including Game Audio India and community management for School of Video Game Audio.
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Edited by Digital Medium Ltd - online.digital-medium.co.uk
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Organized and produced by JUCE: https://juce.com/
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Special thanks to the ADC24 Team:
Sophie Carus
Derek Heimlich
Andrew Kirk
Bobby Lombardi
Tom Poole
Ralph Richbourg
Prashant Mishra
NO MORE CODE: Introducing a New Graphical Programming Language for Audio Research and Developers - ChangHun Sung - ADC 2023
Audio software development is rapidly moving towards incorporating machine learning-based processing. While research scientists are continuously presenting us with inventive results in the field of AI, there is a lack of software engineering tools to utilize these results.
We are introducing a new development framework to bridge the gap between AI researchers and software engineers, allowing both fields to work together seamlessly.
By borrowing some concepts from functional programming languages, we designed a new node-based graphical programming language for audio software development, which is capable of handling a variety of data types including audio, multi-dimensional tensors and MIDI. Furthermore, the system is designed to support looping and branching logic using only nodes and node connections. This allows the implementation of highly flexible data processing algorithms.
Finally, as an AI voice technology company, we will present a demonstration of the plug-ins developed using our new programming language, showcasing its adaptability and advanced capabilities.
Link to Slides: https://data.audio.dev/talks/2023/no-more-code/slides.pdf
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ChangHun Sung
Chang Hun is a Software Engineer at Supertone, Inc. He previously worked in the game industry and used to develop game engines. Chang Hun now develops high performance C++ frameworks to accelerate the process of productizing ML models. He is also the principal clarinetist in an amateur orchestra in Seoul.
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Streamed & Edited by Digital Medium Ltd: https://online.digital-medium.co.uk
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Organized and produced by JUCE: https://juce.com/
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Special thanks to the ADC23 Team:
Sophie Carus
Derek Heimlich
Andrew Kirk
Bobby Lombardi
Tom Poole
Ralph Richbourg
Jim Roper
Jonathan Roper
Prashant Mishra
KEYNOTE: From NIME to NISE: Rethinking the Design and Evaluation of Musical Interfaces - Anna Xambó Sedó - ADC23
In this keynote talk, Anna will present her insights into designing and evaluating networked algorithmic spaces that support collaboration, participation, non-hierarchical structures and Do-it-yourself (DIY) practices for Sound and Music Computing (SMC) from a Human-Computer Interaction (HCI) perspective. She will dissect the term New Interfaces for Musical Expression (NIME) to propose instead the design and evaluation of 'NISEs', to accommodate the wider world of Sound-based music and art so that we can embrace other prototypes and systems that take into consideration other characteristics than 'new', 'interfaces/interactions', 'music' and 'expression'. We will look into a project that repurposes NIMEs as an educational tool; an AI-enhanced live-coding self-built environment that works as a customisable sampler of crowdsourced sounds; and a project related to creating natural NIMEs as interventions to the environment through sonic arts and sonification. The projects contribute to the vision of democratising SMC through the creation of technologies that can empower the community to solve real-world problems.
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Websites:
* NIME website: https://www.nime.org
* NIME proceedings: https://www.nime.org/archives/
* NIME diversity: https://diversity.nime.org | https://www.nime.org/diversity/
* WoNoMute: https://wonomute.github.io
* NISE game: https://annaxambo.me/nise-game/
* Sam Topley: https://www.sam-topley.co.uk
* Dirty Electronics: https://dirtyelectronics.org
* Bed of Nails circuit: https://dirtyelectronics.org/docs/Bed_of_Nails.zip
* MIRLCa: https://mirlca.dmu.ac.uk
* Hydra: https://hydra.ojack.xyz
* Female Laptop Orchestra: https://femalelaptoporchestra.wordpress.com
* Sensing the Forest: https://sensingtheforest.github.io
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Audios:
* og01 by peterMann (audio extract): https://carpal-tunnel.bandcamp.com/track/og01
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Videos:
* Different Similar Sounds: A Live Coding Evening "From Scratch": https://youtu.be/lDVsawECK2Y
* Ceci n’est pas une usine @ +RAIN Rehearsal: https://vimeo.com/838940013
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Publications:
* Jensenius, Alexander Refsum & Lyons, Michael J. (eds.) (2017). A NIME Reader: Fifteen Years of NIME. Springer. DOI: 10.1007/978-3-319-47214-0
https://stanford.io/4c9TiRi | https://bit.ly/3TuXELn
* Bowers, John & Archer, Phil (2005). Not Hyper, Not Meta, Not Cyber but Infra-Instruments. Proceedings of the International Conference on NIME. DOI: 10.5281/zenodo.1176713
https://www.nime.org/proc/bowers2005/
* Kori, Lisa & Novak, David (2020). “Handmade Sound Communities” in Collins, Nicolas (2020) Handmade Electronic Music, Routledge. DOI: 10.4324/9780429264818
https://www.handmadeelectronicmusic.com
* Landy, Leigh (2007). Understanding the Art of Sound Organisation. MIT Press. DOI: 10.7551/mitpress/7472.001.0001
* Hayes, Lauren & Marquez-Borbon, Adnan (2020). Nuanced and Interrelated Mediations and Exigencies (NIME): Addressing the Prevailing Political and Epistemological Crises. Proceedings of the International Conference on NIME. DOI: 10.5281/zenodo.4813459
https://www.nime.org/proc/nime20_83/
* Born, Georgina (2020). Diversifying MIR: Knowledge and Real-World Challenges, and New Interdisciplinary Futures. Transactions of the ISMIR, 3(1), pp. 193–204.
https://bit.ly/3VfFdM6
* Bardzell, Shaowen (2010). "Feminist HCI: Taking Stock and Outlining an Agenda for Design" In Proceedings of the SIGCHI Conference on Human Factors in Computing Systems, pp. 1301-1310.
https://bit.ly/3wMkUMa
* Jawad, Karolina & Xambó, Anna (2020). How to Talk of Music Technology: An Interview Analysis Study of Live Interfaces for Music Performance among Expert Women. In: Proceedings of ICLI (ICLI 2020), pp. 41-47.
https://bit.ly/439DmdR
* Masu, Raul; Morreale, Fabio & Jensenius, Alexander Refsum (2023). The O in NIME: Reflecting on the Importance of Reusing and Repurposing Old Musical Instruments. Proceedings of the International Conference on NIME.
https://bit.ly/3TFKBXX
* Weetman, Catherine (2016). A Circular Economy Handbook for Business and Supply Chains: Repair, Remake, Redesign, Rethink. London: Kogan Page.
* Koren, Leonard (2008). Wabi-Sabi for Artists, Designers, Poets & Philosophers. Imperfect Publishing.
* Xambó, Anna; Saue, Sigurd; Jensenius, Alexander Refsum; Støckert, Robin & Brandtsegg, Oeyvind (2019). NIME Prototyping in Teams: A Participatory Approach to Teaching Physical Computing. Proceedings of the International Conference on NIME. DOI: 10.5281/zenodo.3672932
https://www.nime.org/proc/xambo2019/
* Xambó, Anna (2023). Discovering Creative Commons Sounds in Live Coding. Organised Sound, 28(2), 276-289. DOI:10.1017/S1355771823000262
https://bit.ly/48XkXCo
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Anna Xambó Sedó
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Streamed & Edited by Digital Medium Ltd: https://online.digital-medium.co.uk
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Organized and produced by JUCE: https://juce.com/
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