digital

There have been numerous iPhone/iPod touch applications released, and musical instrument application is one of the popular categories among users.
Guitar, bass, piano, ocarina, the list goes on and on.
EVENNO introduces The Fingerist which is a music adapter that allows you to play those applications on iPhone/iPod touch like a real guitarist.
The Fingerist is a new style iPhone/iPod touch accessory that enables you to play your applications as if you are actually playing musical instruments.
This music adapter has a built-in speaker that operates on 3 AA batteries which will enable you to perform 6-hour stage live.
find our more on evenno.com
london-based japanese designer yuri suzuki is known for his interactive sound installations.
his recent experimentation has looked at the act of buying CDs which has become increasingly
more obsolete as downloading music files has gained popularity. suzuki wanted to bring value back
to the compact disc so he explored the idea of producing a CD record hybrid, first through his
series ‘physical value of sound’.
then, suzuki proposed the idea of the disc to DJ jeff mills for his new music project ‘the occurence’.
the result is a disc with a vinyl press-on on one side and a CD mix on the other, merging analog
and digital music formats into one. the disc has been produced by AXIS records and manufactured
by german company optimal media production. mills’ digital-analog album is finally on the market
in a limited edition.

[via www.designboom.com]

If you’ve been into softsynths since the beginning, you undoubtedly remember the initial offering from a little Swedish company called Propellerheads. Rebirth was one of the first widely popular software synths and emulated the infamous Roland TB-303 and TR-909 and 808 drum boxes.
[via Waveformless]

The video here guides you through the following steps.
General optimisation:
1. Set your computer’s power for high performance
If your computer is set to conserve energy, the CPU may not be running at full speed all of the time. This can have a detrimental effect on your computer’s audio performance. To set your computer’s power for high performance:
- Go to: Start>Control Panel>Power Options
- Choose “High Performance”
- Click the “Change plan settings” button.
- Make sure both power options are set to “Never”
2. Disable system sounds
System sounds can interrupt audio. Ensure that they are disabled by doing the following:
- Go to control panel and select “Sound”
- Go to the sounds tab
- Under sounds scheme, select “No sounds”
- Click “Apply” then, “OK”
3. Enable DMA (Direct memory access) on each IDE channel
This allows data to be transferred directly into the memory and can improve audio performance. To ensure that DMA is enabled:
- Open device manager
- Expand the IDE ATA/ATAPI controllers category then double click on each one of the IDE channels
- Under the ‘Advanced settings’ tab, make sure the ‘Enable DMA’ box is ticked in device properties
Please note: this only applies to some hardware and if this option is not available, you should not worry about completing this step.
4. Set processor scheduling to “Background services”
This will improve the performance of your audio drivers on your computer. To do this:
- In control panel select “system”
- Go to “Advanced system settings” and then the “Performance” tab
- Set processor scheduling as “Background Services”
- Click “Apply” then “OK”
5. Disable Windows Firewall, anti-virus and spyware software
These should all be disabled to ensure that no interferences occur during audio recording or playback and to ensure that maximum resources are available. To remain secure while your firewall and antivirus disabled, it is advisable to temporarily disconnect from any internet connections when working with audio.
Advanced optimisation:
If you wish to optimise your system further, or you are using a system that is particularly lacking in resources you can follow the tips below for advanced optimisation.
Disable Visual effects
The visual features in Windows 7 can use resources that could otherwise help to improve audio performance. As a start, it is good idea to disable some of the visual features by doing the following:
- Press start and in the search box type: “SystemPropertiesPerformance” and press enter
- On the visual effects tab select “custom”
- Untick: “Animate windows when minimising and maximising” to help prevent glitches when minimising and maximising. You can also experiment with disabling other visual effects in the custom list to see how they improve audio performance.
- Once finished, press “OK”
If you wish to optimise your Windows 7 graphics for the best performance use the “Adjust for best performance”. Although improving computer performance, this will make your Windows 7 appear a lot less aesthetically pleasing.
Disable Windows services
One way in which you can make more resources available to improve audio performance, is to disable unnecessary Windows 7 services as these use valuable resources. The following site has a comprehensive guide to the services running on Windows 7 and helps locate the services that are safe to disable:
Windows 7 Service Configurations by Black Viper
[via www.focusrite.com ]
The Pleasurize Music Foundation launched a wide-ranging initiative for ending the “Loudness War”
In January 2009, The Pleasurize Music Foundation launched a wide-ranging initiative for ending the “Loudness War” being waged by successive music releases. This initiative aims to introduce a dynamic standard through several phases.
TT Dynamic Range Meter (free download) makes it possible to provide releases with a whole-number dynamic value to be printed on the recording medium as a logo, giving consumers an immediate means of knowing the dynamic quality of a recording.
An online database is planned for furnishing information on music already released with the standard.
Founder and conceptual father Friedemann Tischmeyer on the functions and aims of the Foundation:
“We believe that music – as an artistic means of expression – should transmit emotions. Nowadays, this is possible only to a limited degree because dynamics — a fundamental part of expressivity — are often missing. On a subconscious level, emotions are expressed by musicians emphasized with a feeling of urgency or insistence. Modern mainstream music sounds like a flatly pressed board being rammed through loudspeakers and uses the greatest possible amount of intrusiveness just as advertising does – as a means of constantly trying to get the listener’s attention. In this way, a fundamental aspect of music is lost. Countless consumers who are old enough to remember more dynamic music are not even aware of what is wrong with releases nowadays. The experience of buying music has become frustrating. Who wants to spend money for music that just beats your ears? This process of over-compressing music has been occurring in such a gradual, insidious way that many industry professionals are unable to draw clear boundaries between music that is over-compressed and music that is not. One thing is for sure: when we turn music off because it is getting on our nerves, then it is probably because of a lack of dynamics. Unfortunately, strongly compressed music is also an unpleasant way of generating aggression. We who create music have a certain responsibility with regards to the rest of society.”
How did this phenomenon happen?
“The arrival of digital technology has made it technically possible for this process, thereby answering the commercial need of simply wanting to be heard. The principle is: ‘Whoever shouts the loudest will be heard.’ For labels and radio stations, loudness is the most important criterion in music. And that is where our work begins: We aim to provide qualified information so that people understand that loudness is not a measure of quality in music! There is a great lack of information in this area which has taken on huge proportions: most young people have never heard truly dynamic music played over a good-sounding hi-fi system. I believe that some of them would be so emotionally overwhelmed that they would cry with joy when hearing truly dynamic music under such conditions.”
What made you begin this wide-reaching initiative?
“As a mastering engineer I stand right in the crossfire between the detail-work of trying to obtain the best possible sound and the commercial pressures of my customers. Even when a customer knows that the sound suffers when dynamic range is further decreased, they accept this for fear of not being heard. This makes all my efforts involving working on fine nuances of sound practically obsolete. The only choice we are given is to make the loudest possible master with the least amount of sound-quality damage. Of course, that is not a satisfying way of working – all of the leading mastering engineers in the world agree here.”
“We therefore believe that our standard will increase the value of music. It is too simplistic to make the MP3 format out to be the scapegoat with regards to the current market situation in the entire music industry. The truth is more complex. The loss of emotional value in music is also a big part of this. We believe that our standard will strengthen the entire music industry. As soon as good-sounding music is once again purchased, musicians and all the creative people involved in making and producing music will profit.”

TC Polytune guitar tuner is kind of insane. Instead of individually checking each string, simply strum all six open strings, and Polytune’s LED display shows which strings are sharp and flat. Follwing this, you can fine-tune each string with Polytune automatically detecting that you’re doing so and changing its display mode accordingly.
Truly amazing, kind of scary, and likely to help out hacks and talented musicians alike. Coming next month at $99.95
via audiomidi
Misa Digital Guitar
misa digital guitar running linux kernel 2.6.31. very fun and mesmerizing to play. sydney, australia.
The Misa digital guitar is a MIDI controller. It must be plugged into a MIDI sound module. The sound of this instrument is limited only by what you connect to it.

The Stimmmopped is an electronic guitar tuner made to be used as a guitar pick. This uses two LEDs synchronized to blink at the exact frequency of the string you are tuning. Pluck the string with the corner of the PCB and then shine the light on the string you are tuning. As the vibrating string moves back and forth it will only pick up the spot of light when the frequency matches that of the blinking LED. Once in tune, both red lights will appear to be constantly illuminated and immobile on the string.
An Atmel ATmega8 is used to control the device, interfacing with two buttons and a seven-segment display to choose the pitch currently being tuned. Gibson has a robotic guitar that features an auto-tuning mode, but if you don’t want to shell that much this low cost and simple build is for you.
[Thanks Sören] www.hackaday.com

Open Labs introduced SoundSlate – the ultimate virtual instrument player and hardware DAW for your keyboard workstation or MIDI controller, contained in a sexy 1U rackmountable case.
SoundSlate redefines music production and performance by incorporating Open Labs‘ music operating environment including the critically acclaimed virtual instrument host Riff, 8000+ of sounds and effects, a robust audio i/o, and a powerful computer core running Windows XP into a 1U-ultra compact case that packs a punch.
Technical specifications:
CPU
Intel® Core2 Duo ® (2.8GHz)
Memory
2 GB (upgradeable to 4GB)
Storage
500 Gigabyte (upgradeable to 2TB)
Drive
Slimline CD/DVD Burner
Connection
(8) USB 2.0 ports
(1) Gigabit (10/100/1000) Ethernet port
(2) DVI Video ports (1 DVI-I, 1 DVI-D)
(1) E-SATA port
Audio
Sample Rates: 44.1, 48, 96, 192kHz from internal crystal or externally supplied clock (no sample rate conversion)
Bit Depths: 24-bit I/O, 32-bit processing
E-MU E-DSP™ 32-bit DSP with 67-bit accumulator (double precision w/ 3 headroom bits)
Hardware-accelerated, 32-channel mixing, and multi-effects processing
Zero-latency direct hardware monitoring w/effects
ASIO 2.0, WDM/MME/DirectSound Drivers
EDI (E-MU Digital Interface) proprietary 64-channel audio link over CAT-5 cable
Anti-Pop speaker protection minimizes noise during power on/off
Ultra-low jitter, clock subsystem: < 1 ns in PLL mode (44.1kHz, Opt. S/PDIF Sync)
Analog Line Inputs (2)
Type: servo-balanced, DC-coupled, low-noise input circuitry
A/D converter: AK5394A
Level (software selectable):
- Professional: +4dBu nominal, 20dBu max (balanced)
- Consumer: -10dBV nominal, 6dBV max (unbalanced)
Frequency Response (20Hz – 20kHz): +/- .05dB
Dynamic Range (1kHz, A-weighted): 120dB
Signal-to-Noise Ratio (A-weighted): 120dB
THD+N (1kHz at -1dBFS): -110dB (.0003%)
Stereo Crosstalk (1kHz at -1dBFS): < -115dB
Analog Line Outputs (2)
Type: Balanced, low-noise, 3-pole low-pass differential filter
D/A converter: CS4398
Level (software selectable):
- Professional: +4dBu nominal, 20dBu max (balanced)
- Consumer: -10dBV nominal, 6dBV max (unbalanced)
Frequency Response (20Hz – 20kHz): + 0.0/-.35dB,
Dynamic Range (1kHz, A-weighted): 120dB
Signal-to-Noise Ratio (A-weighted): 120dB
THD+N (1kHz at -1dBFS): -105dB (.0006%)
Stereo Crosstalk (1kHz at -1dBFS): < -115dB
Digital I/O
S/PDIF:
- 2 in/2 out coaxial (transformer coupled)
- 2 in/2 out optical (software switched at ADAT)
- AES/EBU or S/PDIF format (software selectable)
ADAT:
- 8 channels, 24-bit @ 44.1/48kHz
- 4 channels, 24-bit @ 96kHz (S-MUX compatible)
- 2 channels, 24-bit @ 192kHz
MIDI:
- 1 in, 1 out
Synchronization
Internal crystal sync at 44.1, 48, 96, 192kHz
External sample rate sync via
- ADAT (44.1 – 192kHz)
- S/PDIF (opt. or coax 44.1 – 96kHz)
Power Supply
250 Watt Power Supply, Whisper Quiet Cooling Fans (Internal Chassis, Processor & Power Supply)
Dimensions:
19”(W) X 12”(D) X 1U(H)
More information: Open Labs
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