Audio on Unix is a little zoo, there are so many acronyms for projects and APIs that it's easy to get lost. Let's tackle that issue! Most articles are confusing because they either use audio technical jargon, or because they barely scratch the surface and leave people clueless. A little knowledge can be dangerous.
In this article I'll try to bridge the gap by not requiring any prerequisite knowledge while also giving a good overview of the whole Unix audio landscape. There's going to be enough details to remove mysticism (Oh so pernicious in web bubbles) and see how the pieces fit.
The SOUL project is creating a new language and infrastructure for writing and deploying audio code. It aims to unlock improvements in latency, performance, portability and ease-of-development that aren't possible with the current mainstream techniques that are being used.
Midi Quest supports over 850 of the most popular MIDI hardware and instruments from over 50 different manufacturers including Korg, Roland, Yamaha, Dave Smith, Kurzweil, Alesis, Waldorf, Kawai, Akai, and E-mu.
You can store, organize, and edit banks and the individual patches, combinations, multis, performances, drums settings, and other SysEx data loaded from your MIDI hardware. Midi Quest is a true multi-instrument editor/librarian designed from the ground up to effectively support multiple MIDI ports, multiple manufacturers, and multiple MIDI devices - including multiples of the same hardware.
With a rich network of sound-obsessed cafés, bars and small clubs, Aaron Coultate explains why Tokyo might be the best place in the world to listen to music.
I've heard somewhere that you're not an author until you've had two books published. If this rule also applies to music then I guess I am now officially a musician, or something. Wretched Saints, the music project I am involved with, now has its second single out. It's called "I Am Become Death" and you should be able to find it here:
Meanwhile, we're working on our next song, arguing over silly design details on our website and trying to figure out what all those audio mixing knobs do and how they can make music sound better.
I have just learned that a song from my music side project Wretched Saints, which doesn't even have a website yet, is now out on Spotify:
If you're not a Spotify user, here's an older version of this song on Soundcloud:
This is the jazz piano site of Doug McKenzie. It contains many downloadable video files in WMV format and midi files of live played songs.
Control any MIDI enabled hardware: syntesizers, drum machines, samplers, effects.
Create custom interfaces.
Host them as VST or AU plugins in your favorite DAWs.
https://www.nytimes.com/2019/01/17/arts/music/stradivarius-sound-bank-recording-cremona.html, posted 2019 by peter in art audio history music
On Jan. 7, the police cordoned off the streets. The auditorium’s ventilation and elevators were turned off. Every light bulb in the concert hall was unscrewed to eliminate a faint buzzing sound.
Upstairs in the museum, Mr. Cacciatori put on a pair of velvet gloves and took a 1615 Amati viola from its glass display case. He inspected it thoroughly, and then a security guard escorted him and the instrument down two flight of stairs to the auditorium.
The curator handed the instrument to Wim Janssen, a Dutch viola player, who walked to the center of the stage.
Most people are familiar with white noise, that static sound of an air conditioner that lulls us to sleep by drowning out any background noise.
Except technically, the whirl of a fan or hum of the AC isn’t white noise at all. Many of the sounds we associate with white noise are actually pink noise, or brown, or green, or blue. In audio engineering, there’s a whole rainbow of noise colors, each with its own unique properties, that are used to produce music, help relaxation, and describe natural rhythms like the human heartbeat. If you know what to look for, you can start to notice the colors of the noise that make up the soundscape around us.