> Web Audio Conference 2022, Cannes (France) – Call for Submissions
>
> The 7th Web Audio Conference (WAC 2022) will be held in Cannes on July 6-8, 2022 at the University Côte d'Azur.
>
> The WAC is an international conference dedicated to web-based audio technologies and applications. The conference addresses research, development, design, artworks, and standards concerned with emerging audio-related web technologies.
>
> The conference includes two days of talks, poster presentations, demos, installations and performances and a third day with workshops and tutorials. The attendees are invited to a banquet in the evening on the second day.
>
> Please refer to the WAC 2022 website at https://wac2022.i3s.univ-cotedazur.fr/ <https://wac2022.i3s.univ-cotedazur.fr/> for up-to-date information about the conference.
>
> For any questions and requests contact us at wac2022(a)i3s.unice.fr <mailto:wac2022@i3s.unice.fr> or via the Twitter account @webaudioconf <https://twitter.com/webaudioconf>.
>
> Theme and Topics
>
> Emerging web standards such as Web Audio and MIDI, WebRTC, Media Capture and Streams, Media Source Extensions, Timing Object and many others open a multidisciplinary field of innovation that connects state-of-the-art audio techniques with the 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, and engineers in industry and academia, highlighting new standards, tools, APIs, and practices as well as innovative design and applications.
>
> The theme for this edition is "innovative audio narrative"
>
> The scope of the conference encompasses, but is not restricted to, the following areas:
>
> Web Audio API and other existing or emerging web standards for audio and music
>
> Tools, practices, and strategies for web-based audio application development
>
> Innovative web-based audio and music applications
>
> Web-based audio production, delivery, and experience
>
> Audio processing and rendering techniques
>
> Frameworks for audio synthesis, processing, and transformation
>
> Audio data and metadata formats and network delivery
>
> Cloud/HPC for audio production
>
> 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 web-based audio projects
>
> Hardware and tangible interfaces 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.
> Keynote Speakers
>
> The WAC 2022 features two keynotes by Mark Sandler (Queen Mary University of London) and Jari Kleimola (freelance audio developer).
>
> Submission Types
>
> We welcome submissions in the following tracks: papers, talks, demos, and artistic works. All submissions will be single-blind peer reviewed. The conference proceedings will be published open-access online and will include papers, abstracts of talks and demos, and program notes of artistic works. When submitting a paper or talk, you also should consider submitting a demo of your work (requires as a separate submission in the demo track).
>
> Papers (Plenary or Poster): Submit a paper to be given as a plenary presentation (max. 6 pages) or a poster (max. 4 pages). Paper submissions have to use the provided templates.
>
> Talks: Submit a talk to be given in a plenary session. Talk submissions consist of an abstract and a description of the talk including an outline of the talk and a detailed overview of the presented work or idea (max. 2 pages) together with links to additional documentation.
>
> Demos: Submit a work to be presented at a hands-on demo session. Demo submissions consist of an abstract and a detailed description of the presented work and setup (max. 2 pages), links to additional documentation, and a complete list of technical requirements.
>
> Artistic Works (Performance or Artworks): Submit a performance or artwoks/installation making creative use of web audio standards. Works can include elements such as audience device participation and collaboration, web-based interfaces, and/or other imaginative approaches to web technology. Apart from an abstract, submissions to this track consist of a description of the work (max. 2 pages), links to audio/video/image documentation, and a complete list of technical requirements as well as short program notes (max. 5000 characters) and one-paragraph biographies of the authors (max. 1000 characters per author).
>
> Workshops and Tutorials
>
> The third day of the conference (July 8) is dedicated to workshops and tutorials. It’s the perfect time to dive deeper into topics learned at the conference with a more hands-on approach. If you are interested in running a tutorial session or a workshop at the conference, please contact the organizers directly at wac2022workshops(a)i3s.unice.fr <http://wac2022workshops@i3s.unice.fr/> with a short description of your tutorial or workshop.
>
> Free Attendance and Assistance for Contributors
>
> The WAC is a community-run conference with a limited budget. Nevertheless, we would like to make sure that at least one author of each submission selected in the peer-review process can attend the conference. For submissions that are not affiliated to an institution or corporation, authors can request the waiving of the conference fee (the request is limited to one author per submission and hidden from the review).
>
> If you are from an underrepresented group and need further financial assistance to present your work at the conference, you can apply for financial aid at wac2022chairs(a)i3s.unice.fr <http://wac2022chairs@i3s.unice.fr/>.
>
> Companies and institutions covering travel expenses and tickets for presenters without being involved in the presented work will be included on the sponsors page of the conference website.
>
> Important Dates
>
> January 1, 2022: Open call for submissions starts.
> March 15, 2022: Submissions deadline for Papers (research track) (updates possible until March 23, 2022).
> April 15, 2022: Submissions deadline for Talks, Posters, Demos, Performances, Artworks. (updates possible until April 23, 2022).
> Mai 17, 2022: Notification of acceptances and rejections for Papers (research track).
> May 17, 2022: Notification of acceptances and rejections for Talks, Posters, Demos, Performances, Artworks.
> June 10, 2022: Early-bird registration deadline.
> June 10, 2022: Camera ready submission and presenter registration deadline.
> July 6-8, 2022: The conference.
> Templates and Submission System
>
> The submissions for WAC are handled through the WAC 2022Â conference management system <https://easychair.org/conferences/?conf=wac2022> (EasyChair). In case you need assistance with your submission please contact us at wac2022program(a)i3s.unice.fr <http://wac2022program@i3s.unice.fr/>.
>
> All submissions of papers and abstracts to be published in the conference proceedings have to use the WAC 2022Â templates for Word or LaTex <https://mega.nz/file/ClJ0ERRK#x5bLrbNVPE1A5mwYswSTK6tZk2L63S9EYKgg13y2iQY>.
>
> Code of Conduct
>
> By submitting your work to the WAC, you agree to abide by our code of conduct available on the conference web site <https://wac2022.i3s.univ-cotedazur.fr/>. Violations against the code of conduct will result in exclusion from the conference.
>
> Best wishes,The WAC 2022 Committee
>
Greetings !
https://youtu.be/9qt2ScYAU6s
A self-generative patch in VCV Rack v2. Nothing extraordinary going on,
just some pleasant listening.
Enjoy, comments welcome.
Best regards,
dp
Hey hey,
my latest downbeat electronica track, including real live Rav drum:
https://youtu.be/rDyKZPJbGXk
OGG version:
https://www.dropbox.com/s/0wyjrjvjt5d4tnr/when_everythings_been_said.ogg
Instrumentation: Yoshimi for pads and bells, LinuxSampler for percussion,
Mellotron, fretless bass, main drums and Piano. The piano is commercial, the
drums were created from incidental sounds which were a giveaway/teaser (rocks
and a wicker chair). Csound for the physically inspired piano. In hardware:
MiniBrute 2s and Neutron for basses, Microwave XT for additional pads.
The Rav drum was recorded at a friend's house. I cut four loops from it and
fired those with LinuxSampler. This experience was the inspiration to create
the Csound handpan instrument.
Plugins: g2reverb, Zita-reverb, CAPS plate 2x2, Calf Reverb and many
additional plugins from SWH, CAPS< TAP, Calf, Invada and Fons' plugins for
chorus, delays, EQ'ing, compression and colouring.
Enjoy! Feedback is, as ever, welcome. :)
Best wishes,
Jeanette
--
* Website: http://juliencoder.de - for summer is a state of sound
* Youtube: https://www.youtube.com/channel/UCMS4rfGrTwz8W7jhC1Jnv7g
* Audiobombs: https://www.audiobombs.com/users/jeanette_c
* GitHub: https://github.com/jeanette-c
Say hello to the girl that I am! <3
(Britney Spears)
Here is a late musical seasonal greeting to Linux Audio.
(I wrote and recorded this track already on Christmas Day and intended
to improve the mix before publishing, but since I have to work this week
and it would probably not get finished until next year, I decided to put
it out as is.)
**The theme to a soppy Christmas television mini-series from the
eighties that never was**
Soundcloud: https://soundcloud.com/spotlightkid/a-castle-in-bohemia
Ogg Vorbis download: https://0x20.eu/nc/s/RFBjkL6kFacMWo9
FLAC download: https://0x20.eu/nc/s/wbY7HjTB2fYwyT8
Synopsis: A young woman from western Europe spends a year in communist
era Bohemia (then Czechoslovakia), where she has family ties, as a farm
hand. She lives on the premises of a small castle, which belongs to an
impoverished family of aristocratic roots. When she meets the young son
of the family, their initial mutual attraction is cut short by
misunderstandings caused by prejudice and differences in upbringing.
Over time though, he wins her heart by showing her the beauty of the
Bohemian country side and the joys of a simple rural life while she
enchants him with her classical flute playing and brings him to overcome
his introvert nature by introducing him to Italo disco dancing.
:)
Composed and produced by Christopher Arndt on Christmas Day 2021.
Recorded in Ardour 6 DAW on Linux with a Yamaha Reface DX FM synthesizer
into a Focusrite Scarlett 6i6 audio interface.
No samples, no filters, just one synth.
Reface DX patches by Christopher Arndt and from SoundMondo.com (list on
request).
Some EQ ("EQ10Q") used on the horn sound, IR reverb using "LSP
Impulsnachhall" and Samplicity M7 "Boston Hall A" impulse response, and
multi-band EQ and compression on master bus using "ZamAudio ZaMultiCompX2".
Share & Enjoy!
Chris
On 12/23/21 1:15 AM, Jeremy Jongepier wrote:
> Dear all,
>
> I'd like to announce rtcqs, the continuation of the
> realtimeconfigquickscan project. It's a port to Python with some added
> extra's, like a Spectre/Meltdown mitigations check and a Qt GUI. It
> has the approval of the original author of realtimeconfigquickscan to
> whom I owe a debt of gratitude, not only for the original code but
> also for his helpfulness with the continuation, or maybe even
> evolution of the project.
>
> So check it out, indulge me with bugs, issues, improvements or any
> other useful feedback on the Codeberg repo which you can find at at
> https://codeberg.org/rtcqs/rtcqs
>
> Happy system tuning and happy holidays!
>
> Jeremy
Thanks. Returns the same information the older script did.
Although I installed the Q1 GUI, how do you run it? Not important, I
prefer the script, but just asking.
--
David W. Jones
gnome(a)hawaii.rr.com
authenticity, honesty, community
http://dancingtreefrog.com
"My password is the last 8 digits of π."
Does anybody know of a tool that I could feed audio in to, and have it output an "interpreted" video? Not necessarily a "waveform" of the audio, more something abstract, like an acid-tripped audio fractal or something.
Thanks!
I've just push my latest work to github, It's a pure, nasty growling
bass fuzz pedal, with bold out-front presence, and cutting articulation.
It's for those who love those good old transistor based fuzz pedals.
https://github.com/brummer10/Rumor <https://github.com/brummer10/Rumor>
rooowwwaaa a a a a  a   a    a
Hey hey,
I had the great opportunity to remix a song by Oscillator (Staffan Melin).
Here's the Linux musician's thread with the original:
https://linuxmusicians.com/./viewtopic.php?f=9&t=23954
Here's my remix:
https://youtu.be/yPYko4vuvEk
and a direct OGG version:
https://www.dropbox.com/s/n05lejzwj0851t1/pandora_mix2.ogg
This song uses samples from Missa pro defunctis - 1. Requiem by permission (CC
BY 3.0), see
https://musopen.org/music/44142-missa-pro-defunctis/
Vocals performed by Kajsa Olsson
This remix uses a few of the arpeggio rhythm sounds from the original,
re-recordings of pads, bass and some arpeggio/sequence style sounds to allow
for slightly adapted harmonies. :) The drums are completely new.
Besides some hardware for the monophonic sounds, there is a lot of Yoshimi for
the three pads and two choirs. There is also Aeolus. I always wanted a good
place for Aeolus in a popular production. None better!
The drums are a mix of samples loaded into LinuxSampler, partly sampled from
hardware, partly synthesized in Csound.
The processing is rather heavy duty, but quite conventional. Lots of use for
SWH (Barry's Satan maximzer! :) ), CAPS, TAP, Calf, Invada and Fons' g2verb,
zita-reverb and parametric 4-band filter.
Enjoy and best wishes,
Jeanette
--
* Website: http://juliencoder.de - for summer is a state of sound
* Youtube: https://www.youtube.com/channel/UCMS4rfGrTwz8W7jhC1Jnv7g
* Audiobombs: https://www.audiobombs.com/users/jeanette_c
* GitHub: https://github.com/jeanette-c
Don't, don't let me be the last to know
Don't hold back, just let it go <3
(Britney Spears)
Dear list,
I'm mainly using Pianoteq and setBfree for live performance. To quickly adapt my
sound volume of both SoftSynths together I'm using a foot pedal to send Midi
volume commands to both applications. Unfortunately that is not working very
well for both programs are using the Midi volume values (0-127) differently.
Pianoteq adjusts its output volume according to a more logarithmic manner while
setBfree seems to handle it linearly. Thus if I adjust both volumes to a similar
SPL for Midi value = 127 the organ is way to loud at lower levels compared to
Pianoteq.
Meanwhile I have found the location in the source of setBfree where I could make
adjustments. I have measured the logarithmic dependency of Pianotec's Midi to
volume characteristic and found a formula to be used in setBfree to get a
similar performance. It would be nice if this could find its way into the
original source.
Now I have the following questions:
Does anyone of you know if the original swell pedal of the B3 is changing the
volume in a linear or logarithmic way? Maybe if the original B3 uses a linear
characteristic we should not change setBfree's code.
The function I'm using is mimicking Pianotec's characteristic. Maybe there is a
more global approach for changing from linear to logarithmic behavior over Midi
volume values? Surely for me it's ideal when both Synths have same characteristic.
Do you know a source where I can find more general info about lin<=> log
conversion of Midi volume in software? How is it handled in other professional
programs? I know that every amplifier uses a logarithmic pot for volume control
to follow more the human loudness perception.
Do you think its worth the effort to send a patch to github's repository (I've
never done such a thing so far)?
Thank you for your time
Gerhard
