The Mobile Csound platform

This article discusses the development of the Mobile Csound Platform (MCP), a group of related projects that aim to provide support for sound synthesis and processing under various new environments. Csound is itself an established computer music system, derived from the MUSIC N paradigm, which allows various uses and applications through its Application Programming Interface (API). In the article, we discuss these uses and introduce the three environments under which the MCP is being run. The projects designed for mobile operating systems, iOS and Android, are discussed from a technical point of view, exploring the development of the CsoundObj toolkit, which is built on top of the Csound host API. In addition to these, we also discuss a web deployment solution, which allows for Csound applications on desktop operating systems without prior installation. The article concludes with some notes on future developments

The Mobile Csound platform

This article discusses the development of the Mobile Csound Platform (MCP), a group of related projects that aim to provide support for sound synthesis and processing under various new environments. Csound is itself an established computer music system, derived from the MUSIC N paradigm, which allows various uses and applications through its Application Programming Interface (API). In the article, we discuss these uses and introduce the three environments under which the MCP is being run. The projects designed for mobile operating systems, iOS and Android, are discussed from a technical point of view, exploring the development of the CsoundObj toolkit, which is built on top of the Csound host API. In addition to these, we also discuss a web deployment solution, which allows for Csound applications on desktop operating systems without prior installation. The article concludes with some notes on future developments

The Mobile Csound platform

This article discusses the development of the Mobile Csound Platform (MCP), a group of related projects that aim to provide support for sound synthesis and processing under various new environments. Csound is itself an established computer music system, derived from the MUSIC N paradigm, which allows various uses and applications through its Application Programming Interface (API). In the article, we discuss these uses and introduce the three environments under which the MCP is being run. The projects designed for mobile operating systems, iOS and Android, are discussed from a technical point of view, exploring the development of the CsoundObj toolkit, which is built on top of the Csound host API. In addition to these, we also discuss a web deployment solution, which allows for Csound applications on desktop operating systems without prior installation. The article concludes with some notes on future developments

The Mobile Csound platform

This article discusses the development of the Mobile Csound Platform (MCP), a group of related projects that aim to provide support for sound synthesis and processing under various new environments. Csound is itself an established computer music system, derived from the MUSIC N paradigm, which allows various uses and applications through its Application Programming Interface (API). In the article, we discuss these uses and introduce the three environments under which the MCP is being run. The projects designed for mobile operating systems, iOS and Android, are discussed from a technical point of view, exploring the development of the CsoundObj toolkit, which is built on top of the Csound host API. In addition to these, we also discuss a web deployment solution, which allows for Csound applications on desktop operating systems without prior installation. The article concludes with some notes on future developments

The Analogue Computer as a Voltage-Controlled Synthesiser

This paper re-appraises the role of analogue computers within electronic and computer music and provides some pointers to future areas of research. It begins by introducing the idea of analogue computing and placing in the context of sound and music applications. This is followed by a brief examination of the classic constituents of an analogue computer, contrasting these with the typical modular voltage-controlled synthesiser. Two examples are presented, leading to a discussion on some parallels between these two technologies. This is followed by an examination of the current state-of-the-art in analogue computation and its prospects for applications in computer and electronic music

Lorentz breaking Effective Field Theory and observational tests

Analogue models of gravity have provided an experimentally realizable test field for our ideas on quantum field theory in curved spacetimes but they have also inspired the investigation of possible departures from exact Lorentz invariance at microscopic scales. In this role they have joined, and sometime anticipated, several quantum gravity models characterized by Lorentz breaking phenomenology. A crucial difference between these speculations and other ones associated to quantum gravity scenarios, is the possibility to carry out observational and experimental tests which have nowadays led to a broad range of constraints on departures from Lorentz invariance. We shall review here the effective field theory approach to Lorentz breaking in the matter sector, present the constraints provided by the available observations and finally discuss the implications of the persisting uncertainty on the composition of the ultra high energy cosmic rays for the constraints on the higher order, analogue gravity inspired, Lorentz violations.Comment: 47 pages, 4 figures. Lecture Notes for the IX SIGRAV School on "Analogue Gravity", Como (Italy), May 2011. V.3. Typo corrected, references adde

A view of computer music from New Zealand: Auckland, Waikato and the Asia/Pacific connection

Dealing predominantly with ‘art music’ aspects of electroacoustic music practice, this paper looks at cultural, aesthetic, environmental and technical influences on current and emerging practices from the upper half of the North Island of New Zealand. It also discusses the influences of Asian and Pacific cultures on the idiom locally. Rather than dwell on the similarities with current international styles, the focus is largely on some of the differences

Streaming Spectral Processing with Consumer-level Graphics Processing Units

This paper describes the implementation of a streaming spectral processing system for realtime audio in a consumer-level onboard GPU (Graphics Processing Unit) attached to an off-the-shelf laptop computer. It explores the implementation of four processes: standard phase vocoder analysis and synthesis, additive synthesis and the sliding phase vocoder. These were developed under the CUDA development environment as plugins for the Csound 6 audio programming language. Following a detailed exposition of the GPU code, results of performance tests are discussed for each algorithm. They demonstrate that such a system is capable of realtime audio, even under the restrictions imposed by a limited GPU capability