Hi
I like to announce a new release of GxPlugins.lv2
GxPlugins.lv2 is a set of mostly analogue guitar pedal simulations as
LV2 plugins, simulated with the guitarix ampsim (DK method) toolkit.
This release add GxBlueAmp GxClubDrive GxEternity GxLuna GxPlexi
GxSloopyBlue and GxTimRay
to the set.
I hope they may be useful for the one or the other.
Build instruction and screenshots may be found here:
https://github.com/brummer10/GxPlugins.lv2
the release tar.gz file is located here:
https://github.com/brummer10/GxPlugins.lv2/releases
Thanks goes to Olivier Humbert, Cyrus and David Runge for there
contributions to the project.
regards
hermann
Hey everyone!
I need advice on resampling.
To give you context, I am working at SoundCloud, and one of the current
projects is to refactor the transcoding pipeline. And proper resampling
tools is a question that keeps coming up.
One of the pipelines takes the uploaded file and transcodes it into an mp3.
The general idea is to convert the original file to wav, resample it to
44100, and then finally convert it to mp3 using LAME.
There are several questions here.
1. Which tool to use for transcoding. Should it be SoX, or FFmpeg, or
something else? A lot of the info out there seems to favor SoX, but a lot
of that info is pretty old.
2. Does it make sense to resample to 44100 or to 48000? If it were opus,
the answer if simple: 48000, because that's what the opus spec actually
recommends. There is no such recommendation for mp3 files. Also, upsampling
is not an innocent procedure and the converter has to be of high quality as
well.
p.s.: the described pipeline is not the only one, the original file is
transcoded into multiple formats, including formats with 48000 sample rate,
but the one I am asking about focuses specifically on producing an mp3.
Louigi Verona
https://louigiverona.com/
Hello,
the first version of the third B.Plugin is just out now: B.Shapr
Features:
* Four shapers, based on Bezier curves
* Each shaper connectable to audio in, constant signal, or other shapers
* Apply shape to level / gain, balance, stereo width, low pass filter or
high pass filter
* Time or beat / bar controlled
Project page:
https://github.com/sjaehn/BShapr
Release:
https://github.com/sjaehn/BShapr/releases
Video:
https://www.youtube.com/watch?v=DxYQJ_XJwbU
Hi all.
As usual the second Tuesday of the month is upon us. I'll be in the
mainhall from 20:00.
See you there.
Cheers
/Daniel
PS Let's keep the follow-up discussion in the LAU thread. DS
PPS Yes, I did copy-paste from the previous mail... DS
*Apologies for cross-postings*
# Fifth Annual Web Audio Conference - 2nd Call for Submissions
https://www.ntnu.edu/wac2019
The fifth Web Audio Conference (WAC) will be held 4-6 December, 2019 at the
Norwegian University of Science and Technology (NTNU) in Trondheim, Norway.
WAC is an international conference dedicated to web audio technologies and
applications. The conference addresses academic research, artistic
research, development, design, evaluation and standards concerned with
emerging audio-related web technologies such as Web Audio API, Web RTC,
WebSockets and Javascript. The conference welcomes web developers, music
technologists, computer musicians, application designers, industry
engineers, R&D scientists, academic researchers, artists, students and
people interested in the fields of web development, music technology,
computer music, audio applications and web standards. The previous Web
Audio Conferences were held in 2015 at IRCAM and Mozilla in Paris, in 2016
at Georgia Tech in Atlanta, in 2017 at the Centre for Digital Music, Queen
Mary University of London in London, and in 2018 at TU Berlin in Berlin.
The internet has become much more than a simple storage and delivery
network for audio files, as modern web browsers on desktop and mobile
devices bring new user experiences and interaction opportunities. New and
emerging web technologies and standards now allow applications to create
and manipulate sound in real-time at near-native speeds, enabling the
creation of a new generation of web-based applications that mimic the
capabilities of desktop software while leveraging unique opportunities
afforded by the web in areas such as social collaboration, user experience,
cloud computing, and portability. The Web Audio Conference focuses on
innovative work by artists, researchers, students, and engineers in
industry and academia, highlighting new standards, tools, APIs, and
practices as well as innovative web audio applications for musical
performance, education, research, collaboration, and production, with an
emphasis on bringing more diversity into audio.
## Keynote Speakers
We are pleased to announce our two keynote speakers: Rebekah Wilson
(independent researcher, technologist, composer, co-founder and technology
director for Chicago’s Source Elements) and Norbert Schnell (professor of
Music Design at the Digital Media Faculty at the Furtwangen University).
More info available at: https://www.ntnu.edu/wac2019/keynotes
## Theme and Topics
The theme for the fifth edition of the Web Audio Conference is Diversity in
Web Audio. We particularly encourage submissions focusing on inclusive
computing, cultural computing, postcolonial computing, and collaborative
and participatory interfaces across the web in the context of generation,
production, distribution, consumption and delivery of audio material that
especially promote diversity and inclusion.
Further areas of interest include:
* Web Audio API, Web MIDI, Web RTC and other existing or emerging web
standards for audio and music.
* Development tools, practices, and strategies of web audio applications.
* Innovative audio-based web applications.
* Web-based music composition, production, delivery, and experience.
* Client-side audio engines and audio processing/rendering (real-time or
non real-time).
* Cloud/HPC for music production and live performances.
* Audio data and metadata formats and network delivery.
* Server-side audio processing and client access.
* Frameworks for audio synthesis, processing, and transformation.
* Web-based audio visualization and/or sonification.
* Multimedia integration.
* Web-based live coding and collaborative environments for audio and music
generation.
* Web standards and use of standards within audio-based web projects.
* Hardware and tangible interfaces and human-computer interaction in web
applications.
* Codecs and standards for remote audio transmission.
* Any other innovative work related to web audio that does not fall into
the above categories.
## Submission Tracks
We welcome submissions in the following tracks: papers, talks, posters,
demos, performances, and artworks. All submissions will be single-blind
peer reviewed. The conference proceedings, which will include both papers
(for papers and posters) and extended abstracts (for talks, demos,
performances, and artworks), will be published open-access online with
Creative Commons attribution, and with an ISSN number. A selection of the
best papers, as determined by a specialized jury, will be offered the
opportunity to publish an extended version at the Journal of Audio
Engineering Society.
**Papers**: Submit a 4-6 page paper to be given as an oral presentation.
**Talks**: Submit a 1-2 page extended abstract to be given as an oral
presentation.
**Posters**: Submit a 2-4 page paper to be presented at a poster session.
**Demos**: Submit a work to be presented at a hands-on demo session. Demo
submissions should consist of a 1-2 page extended abstract including
diagrams or images, and a complete list of technical requirements
(including anything expected to be provided by the conference organizers).
**Performances**: Submit a performance making creative use of web-based
audio applications. Performances can include elements such as audience
device participation and collaboration, web-based interfaces, Web MIDI,
WebSockets, and/or other imaginative approaches to web technology.
Submissions must include a title, a 1-2 page description of the
performance, links to audio/video/image documentation of the work, a
complete list of technical requirements (including anything expected to be
provided by conference organizers), and names and one-paragraph biographies
of all performers.
**Artworks**: Submit a sonic web artwork or interactive application which
makes significant use of web audio standards such as Web Audio API or Web
MIDI in conjunction with other technologies such as HTML5 graphics, WebGL,
and Virtual Reality frameworks. Works must be suitable for presentation on
a computer kiosk with headphones. They will be featured at the conference
venue throughout the conference and on the conference web site. Submissions
must include a title, 1-2 page description of the work, a link to access
the work, and names and one-paragraph biographies of the authors.
**Tutorials**: If you are interested in running a tutorial session at the
conference, please contact the organizers directly.
## Important Dates
March 26, 2019: Open call for submissions starts.
June 16, 2019: Submissions deadline.
September 2, 2019: Notification of acceptances and rejections.
September 15, 2019: Early-bird registration deadline.
October 6, 2019: Camera ready submission and presenter registration
deadline.
December 4-6, 2019: The conference.
At least one author of each accepted submission must register for and
attend the conference in order to present their work. A limited number of
diversity tickets will be available.
## Templates and Submission System
Templates and information about the submission system are available on the
official conference website: https://www.ntnu.edu/wac2019
Best wishes,
The WAC 2019 Committee
