A Tetrahedral Microphone Processor for Ambisonic Recording
Fons Adriaensen

This paper introduces a Linux audio application that provides an integrated solution for making full 3-D Ambisonics recordings by using a tetrahedral microphone. Apart from the basic A to B format conversion it performs a number of auxiliary functions such as LF filtering, metering and monitoring, turning it into a complete Ambisonics recording processor. It also allows for calibration of an individual microphone unit based on measured impulse responses. A new JACK backend required to make use of a particular four-channel audio interface optimised for Ambisonic recording is also introduced.

When: Friday, 15h30 - 16h15, H0110

Renewed architecture of the sWONDER software for Wave Field Synthesis on large scale systems
Marije Baalman, Simon Schampijer, Torben Hohn, Thilo Koch, Daniel Plewe, Eddie Mond

For large Wave Field Synthesis (WFS) systems multiple computers are needed for rendering to manage the necessary amount of audio channels. To make this possible with the sWONDER software, the software was completely restructured and divided into several separate programs which can run on multiple computers, communicating with each other via OSC. This paper describes the new structure of the program, as well as several implementation details of the scheduling unit and audio rendering unit.

In 2006/2007, the TU Berlin launched a project to equip one of the lecture halls with a large WFS system, of in total 840 loudspeaker channels, both for sound reinforcement during the regular lectures, as well as to have a large scale WFS system for both scientific and artistic research purposes.

The presentation will take place in this lecture hall and include a demonstration of the system.

When: Saturday, 13h30 - 14h30, H0104

Music Composition through Spectral Modeling Synthesis and Pure Data.
Edgar Barroso

A major problem of the composition process involving music technology is the selection of the tools within the broader context of the ever-changing language of multimedia production. The focus of the talk will be on creative applications of the SMSTools and Pure Data in two specific works: Searching your Synesthesia (2005) for flute, clarinet, cello, piano and live electronics and ODD (2006) for electroacoustic multi channel 5.1 Surround Piece. The talk will provide a brief view on how this open source software offers the user the possibility to experiment with a vast number of compositional techniques in very flexible programming environments. This view is based on the analysis of the research that has been carried out within the compositional course of action concerning several pieces. It is intended to share a particular framework for enabling interactions between specific tools for the creative process.

When: Thursday, 15h00 - 15h45, LA Pool (H2038)

A Software-based Mixing Desk for Acousmatic Sound Diffusion
André Bartetzki

By commission of the Studio für elektroakustische Musik (SeaM) at the Musikhochschule in Weimar I'm developing a software-based mixing desk for acousmatic performances. The software is written in the SuperCollider3 language and is therefore platform independant. Besides the necessary fast computer the hardware consists of multi-channel audio interfaces ( +24 in- an outputs) and a large MIDI-controller with 24 faders, rotary knobs etc. as well as a USB key pad with assignable buttons. Within this project I try to overcome the usual difficulties with traditional analog or digital mixers, which are barely suited for the concert diffusion of tape music. Mixing desk are well structured to reduce a larger number of (mono) input signals to less outputs. But in concerts of electro-acoustic music we deal very often with less source signals (sometimes multi-channel) to distribute them to a larger number of loudspeakers. There are more than 48 speakers in some acousmatic setups, sometimes grouped together in order to get different layers of depth, height, un/directivity etc. Classical mixing desks have special purpose outputs (direct out, aux, groups) which are not flexible enough for acousmatic performances in terms of routing, accessability and controllability. The structure of this software solution reflects these aspects among other things through two new layers in addition to the ususal input and output channels: a layer of dynamically controllable routing matrices and a layer of in-between multi-channel outputs. This concepts allows the user to mix one-to-one, many-to-many, one-to- many and many-to-one routing and superimposing grouping principles according to the needs of the performance.

When: Saturday, 18h00 - 19h00, Tesla (before the concert)

pnpd, a new audio synthesis engine with a dataflow language
Tim Blechmann

pnpd is a new dataflow-based computer music system. It's syntax shares a common subset with max-like languages like Pd or Max/MSP, but introduces some new concepts to the dataflow language, especially it introduces an extended and extendable message type system, data encapsulation and namespaces. Currently, it doesn't provide a graphic user interface, but contains a compiler for a text-based patcher language and a command-line interpreter, which can be controlled via osc. The audio synthesis engine is designed for supporting low latencies and is optimized for high performance.

When: Friday: 13h30 till 14h15, H0110

openSUSE JAD - Tutorials for installation and producing music
Michael Bohle and the JackLab team

openSUSE JAD - how does it work? A user friendly installation with YaST and other tutorials from the Community with the JackLab Team,
- How to upgrade a standard openSUSE 10.2 installation to a fully functional professional Digital Audio Workstation in 3 easy steps using various sources including the JAD repository.
- A tutorial to show the advancement of linux audio and how to workaround things that are still problematical, for example the limited ability to use VST plug-ins or missing "total recall".
- We will implement a virtual music production environment with real instruments, software-based realtime effects and tone generators.
- Basics of the following software will be covered: Jack, Ardour2VST (and how to compile Ardour2 with VST support), energy XT2, Rosegarden, various VST plugins and how to get them working in Linux.
- The following will be covered in more detail: advanced Jack transport and routing, using several synced software applications at the same time.

Introduction of 1 CD JAD Install (JackLab Audio Distribution) - first developers release We want to present the first 1-CD install of the openSUSE 10.2 based JackLab Audio Distribution and freely give away this CD to all participants.

When: Thursday, 15h15 till 16h15, H3503 and Saturday: 15h45 till 17h45, H3503

Integrating Documentation, End-User Support, and Developer Resources using *.linuxaudio.org
Ivica Ico Bukvic, Robin Gareus, Daniel James

In an ongoing mission to consolidate online resources Linuxaudio.org is currently working on integrating LA* mailing lists as well as deploying a comprehensive end-user documentation, indexing, and developer support platform. With Dave Phillips' recent announcement to retire as the maintainer of the invaluable linux-sound.org online resource, this project has become the top-priority initiative at Linuxaudio.org. At this year's LAC we envision a talk to announce ongoing work at *.linuxaudio.org in hopes to kick off a workshop and discussion (developers) as well as present the results and user-aspects to a larger audience (users). This talk is primarily documentation-oriented and is intended to serve as a catalyst for a community workshop and discussion (doc-editors, web-devel, artists, etc.). It is our hope that the ensuing feedback as well as recruitment will assist in developing the next-generation online documentation, indexing, and support platform for delivering comprehensive and tightly integrated content, incorporating most of the current communication technologies and protocols (listserv, wiki, forum), and requiring minimal maintenance overhead.

When: Thursday, 17h30 - 18h30, H3503 (for developers) and Saturday, 14h30 - 15h30, H3503 (for users)

Audio Metering and Linux
Andres Cabrera

This documents presents an overview of current audio level and loudness measuring techniques and concepts, in the context of musical and post production environments. It proposes a metering application, which is currently in early development, which should address metering needs currently unsatisfied in Linux.

When: Friday, 16h15 - 17h00, H0110

Qtractor - A Audio/MIDI multi-track sequencer
Rui Nuno Capela

Qtractor is a MIDI/Audio multi-track sequencer application written in C++ around the Qt4 toolkit using Qt Designer. The initial target platform will be Linux, where the Jack Audio Connection Kit (JACK) for audio, and the Advanced Linux Sound Architecture (ALSA) for MIDI, are the main infrastructures to evolve as a fairly-featured Linux Desktop Audio Workstation GUI, specially dedicated to the personal home-studio.

When: Thursday, 13h00 - 13h45, H0110 and a Hands On Demo: Friday, 15h30 - 16h30, LA Pool (H2038)

Compiling Simulink Models as SuperCollider UnitGenerators
Martin Carlé, Sönke Hahn

Simulink is a widely used modeling language for general purpose simulations and systems design. It extends the basic matrix computational features of MatLab towards a compilable data- flow paradigm with a graphical interface similar to MAX or PD. Our demonstration will show how functional models and simulations within Simulink can be tuned for realtime execution and compiled as multichannel in-out SuperCollider UnitGenerators. It should be discussed how this links or presents an alternative approach to Faust (Functional AUdio STreams) and Q. Further, the SimPowerSystems Toolbox allows to simulate a variety of electrical circuits. We will demonstrate how simple vacuum tube models, tube-amplifier circuits and ancient ENIAC flip-flops are to be set-up, compiled and installed within an automated research and development circle. While Simulink is commercial software, sources and compiled UnitGenerators are not. Other than for MatLab in Octave there is no free counterpart we know of. Since Simulink is a "quasi industry standard" it offers enormous access to free (especially physical) models and signal processing knowledge. Our intents are to explore them and to provide an easy and effective way of using them for musical purposes. The whole development framework heavily depends on free and open source software (JACK, SuperCollider, Linux etc.) and our contributions to the processes will be published under GPL.

When: Thursday, 17h30 - 18h30, LA Pool (H2038)

Audio on Linux: crashing into the 80/20 limit - Keynote
Paul Davis

It seems appropriate, five years after the first Linux Audio Conference, to review how much has changed, how much has stayed the same, and where we, as a community of developers and users, are going. In particular it seems time to talk about the way that a well known rule of software developer ("80% of the work takes 20% of the time, and the remaining 20% of the work takes 80% of the time") seems to characterize the current state of audio on Linux. This appears true for desktop audio, for music applications, for device drivers and more. This talk will review some of the highlights of the 80%, but will also talk about how this situation has occured, and what could be done to move forward.

When: Saturday, 11h00 - 11h30 (H0104)

Python for Sound Manipulation - A versatile creation environment - Tutorial
Renato Fabbri and Fábio Furlanete

Description: Python is an dynamically typed, interpreted and interactive programming language that uses automatic memory management and is able to easily import diverse libraries. Therefore, it is adequate for non-professional programmers willing to use diverse functionalities, such as usual multimedia computer users. For audio manipulation, there is the SndObj library, called upon Python by the PySndObj module, that integrates traditional audio tools such as filters, syntethizers and signal mixers. On the other hand, we have Numerical Python, that adds fast multidimensional array facilities to Python, and ctypes, a ffi (Foreign Function Interface) package for Python, that can wrap C libraries in pure Python. In that way, we can create and modify simple and clean Python programms for audio and music creation with basic SndObj library objects, and, progressively modifying the code, introduce array processing and the use of external libraries for audio manipulation. Besides learning how to use Python for synthesis and audio manipulation, the attenders will learn to load different file formats and output sound through Alsa and jack.

When: Friday, 11h00 - 13h00, LA Pool (H2038)

Developing Shared Tools: a Researchers Integration Medium - Workshop
Fábio Furlanete and Renato Fabbri

The liNICS Computer Music dedicated Linux distribution Case Study The liNICS Linux distribution started as a tool for a doctoral research experiment in Computer Music. After that, it has been widely used at the Interdisciplinary Nucleus of Sonic Communication (NICS), an institution based at the University of Campinas, Brazil. From the beginning of 2006, liNICS has allowed a considerable interaction between musicians, engineers and mathematicians by use and development at different levels of the system. Feature demand guided feedbacks and how-to requests made salient how useful it is to count with each other's knowledge. The result of this strong interaction between artists and researchers has been the production of multi-author papers, new tools learning, group study proliferation, music production, and the widening of interests. In such a way, it became clear the capacity of intensifying people's involvement with each other's work by the development of a shared tool, and how the open development format can be useful for an already established research institution. This workshop is meant to be a BoF session. The initial issue established by a liNICS experience overview, some technical procedures and the social phenomena involved.

When: Thursday, 15h00 - 17h00, MacPool (H3014)

Visual prototyping of audio applications (CLAM)
David Garcia, Pau Arumi, Xavier Amatriain

This article describes an architecture that enables visual prototyping of real-time audio applications and plugins. Visual prototyping means that a developer can build a working application, including user interface and processing core, just by assembling elements together and changing their properties in a visual way. The article addresses the problem of having to bind interactive user interface to a real-time processing core, when both are defined dynamically with an extensible set of components, allowing bidirectional communication of arbitrary types of data and still fulfilling real-time requirements of audio applications. It also introduces some design patterns that have enabled its implementation.

When: Saturday, 16h00 - 16h45, H0110

Interfacing Pure Data with Faust
Albert Gräf

This paper reports on a new plugin interface for Grame's functional DSP programming language Faust. The interface allows Faust programs to be run as externals in Miller Puckette's Pd (Pure Data), making it possible to extend Pd with new audio objects programmed in Faust. The software also includes a script to create wrapper patches around Faust units which feature "graph-on-parent" GUI elements to facilitate the interactive control of Faust units. The paper gives a description of the interface and illustrates its usage by means of a few examples.

When: Thursday, 15h45 - 16h30, H0110

Faust Hands On Demo
Yann Orlarey and Albert Gräf

This hands on demo will give the audience the opportunity to discover and practice Faust (http://faust.grame.fr) : an easy and powerful audio programming language. It should be of interest for ALSA and Jack developers but also for users of existing languages like PD, SC or Max.

As we will see, Faust offers an interesting alternative to C for the development of high performance audio applications and plugins. Faust is a very expressive language, programs can be typically 100 times shorter than the equivalent C programs. It is the first audio language to be fully compiled. Faust programs are translated into highly optimized C++ code. This code works at sample level without any overhead and can compete with hand written C code in terms of efficiency. Finally Faust offers an easy deployment on multiple platforms. From a single Faust program, the compiler can generate native implementations for Alsa, Jack, LADSPA, SC, PD, VST, MAX,... .

As we will also see during this hands on demo, Faust is not aimed at replacing existing music languages, but at offering a useful complement to them. We will show how easy it is to produce native plugins for various architectures. In particular we will demonstrate the production of PD plugins and patches thanks to the powerful faust2pd utility (http://q-lang.sourceforge.net/examples.html#Multimedia).

When: Saturday, 16h00 - 17h00, LA Pool (H2038)

Proposal for an XML format for Time, Positions and Parts of Audio Waveforms
Jens Gulden and Hanns Holger Rutz

This article describes a proposal for a model describing the notions of time, positions and parts of audio waveforms. The model is intended to derive a partial XML specification for musical instruments from it. In practice, an implementation of the model would provide functionality to cut an audio waveform into pieces and recombine them in a different order, or repeat some pieces. A prototype implementation that realizes a functional subset is available.

When: Friday, 11h00 - 11h45, H0110

JJack: Using the JACK Audio Connection Kit with Java
Jens Gulden

The JACK Audio Connection Kit is the de facto standard on Linux operating systems for lowlatency audio, providing interoperability between multiple independent audio processing applications. As sound output is not well supported by the Java language itself, is has proven to be useful to provide interoperability between JACK and Java. This allowing writing music applications in Java with professional audio performance and interoperability.

When: Friday, 11h45 - 12h30, H0110

Model Driven Software Development with SuperCollider and UML
Jens Gulden

The SuperCollider programming language had originally been designed as a script-like interface to a corresponding SuperCollider audio server. However, the language has grown to a serious object oriented programming language by now, and hence allows applying visual modeling techniques for model driven development of object oriented software systems. This article shows how diagram based visual modeling with the Unified Modeling Language (UML) can be used for creating SuperCollider software.

When: Saturday, 16h45 - 17h30, H0110

Offener Schaltkreis, An interactive Sound Installation
Christoph Haag, Martin Rumori, Franziska Windisch, Ludwig Zeller

Offener Schaltkreis (Open Circuit) is an interactive sound installation developed by students at the Academy of Media Arts, Cologne. It mainly focuses on openness, which applies to all facets such as optical appearance, the interface given to the user, the technical tools being used and the collaborative style in which the installation has been developed. In this paper, we will discuss the aesthetical and technical issues of our sound installation Offener Schaltkreis.

When: Saturday, 14h30 - 15h15, H0110

Stereo, Multichannel and Binaural Sound Spatialization in Pure-Data
Georg Holzmann

The goal of this workshop is to show how to position sound in space (stereo, multichannel and binaural). This should be done from a user point of view, without explaining the detailed mathematic behind the algorithms. Therefore existing and open-source implementations in Pure-Data will be used and explained.
Topics:
- stereo-panning methods
- vector based amplitue panning (VBAP)
- ambisonic
- binaural ambisonic and 3D room simulation
To all topics I will explain the handling of the Pd implementations and the advantages/disadvantages of the specific methods demonstrated on examples.

When: Friday, 13h30 - 14h30, LA Pool (H2038)

Canorus - a music score editor - Workshop
Reinhard Katzmann, Matevz Jekovec

Canorus is a free next generation cross-platform music score editor. It could be called a sequel of a well-known KDE music score editor, NoteEdit. Canorus was founded by NoteEdit developers mainly due to NoteEdit 's poorly-designed bases (like lack of developers documentation). Canorus means sweet, rich, deep, warm, friendly and gentle sound and harmony. This is exactly what Canorus should present: A friendly user interface, deep and strong fundamentals, a warm welcome to newcomers and a rich set of features. The workshop is intended for developers and end users. It presents the current state of development, showing a demo of the program, last but not least presenting the roadmap for the further development process.
For more information about Canorus please read http://canorus.berlios.de/wiki/index.php.

When: Friday, 13h30 - 15h30, MacPool (H3014)

Buzztard Music Production Environment - Demo
Stefan Kost and Thomas Wabner

The buzztard [1] project aims to provide a free, open source music studio that is based on the concept of the windows only and closed source software buzz [2]. Characteristic for this software genre is that all audio is generated by virtual instruments. The buzz software is not really further developed, as the main developer has lost his source code. In comparison to buzz, we hope that our software will improve in usability and features in the future. To allow migration for buzz users, we are providing song-file import and buzz-machine (plugins) reuse.

Keywords
tracker, virtual music studio, gstreamer.

Architecture
The software uses GStreamer as a media framework. The main UI is build using Gtk+ and optionaly various other gnome technologies. The project consists of several modules, namely a core library, front-ends and extensions.

Status
The project has released a first version in the end of October 2006. Version 0.2 release is scheduled for spring 2007.

References
[1] Stefan Kost et al. 2002-2006. Buzztard Music production Environment. http://www.buzztard.org, http://en.wikipedia.org/wiki/Buzztard
[2] Oskari Tammelin. 1997-2000. Buzz (3rd Generation Tracker). http://www.buzzmachines.com, http://en.wikipedia.org/wiki/Buzz_%28software%29

When: Thursday, 13h00 - 13h45, H3503

The One Laptop Per Child (OLPC) Audio Subsystem
Jaya Kumar

The OLPC is a Linux based laptop-like device intended as an educational tool targeted at developing countries. The audio subsystem of the OLPC faces typical challenges such as minimizing power consumption, performance/quality and component cost pressures and tradeoffs, as well as less common challenges such as the need to repurpose audio input as an oscilloscope or analog input system. This paper explains issues encountered during support and development of ALSA and low level audio support on the OLPC. It will also touch on possible future plans for the low level audio software side of the OLPC.

When: Sunday: 11h45 - 12h30, H0104

Musical Signal Scripting with PySndObj
Victor Lazzarini

When: Thursday: 15h00 till 15h45, H0110

Stochastic Composition with SuperCollider
Sergio Luque

After starting with a general introduction to SuperCollider 3: the programming language and the server architecture; we will explore several ways of working with stochastic procedures to compose algorithmically and to synthesize sounds. We will make use of SuperCollider's powerful Patterns and Events framework to create musical structures by combining random distributions, tendency masks and Markov chains. Also, we will read through the code of the pieces that I will present during the Friday night concert. Note: this workshop is completely SuperCollider beginner friendly.
More info: http://www.sergioluque.com

When: Sunday: 11h00 till 13h00, MacPool (H3014)

Beyond open source music software: extending open source philosophy to the music with CODES
Evandro Manara MILETTO, Luciano Vargas FLORES, Daniel Eugenio KUCK, Marcelo Soares PIMENTA and Jerome RUTILY

This paper presents CODES - COoperative Music Prototype DESign - a Web-based cooperative music composition environment. This means it allows any person to connect with other users, through the Web, and cooperate with them to draft simple musical pieces, in a prototyping way. Besides describing our main design decisions and overall implementation solutions, we will also briefly discuss our belief that CODES is not just open source music software, but extends the open source notion as it reuses publicly available code (frameworks) and tools, and allows open music production, in a way as collective as open source development.

When: Thursday: 17h00 till 17h45, H0110

pure-dyne
Aymeric Mansoux, Antonios Galanopoulos and Chun Lee

pure:dyne is a live GNU/Linux distribution opti- mized for the purpose of real-time audio and visual performance. As its name suggests, pure:dyne is built upon the dyne:II platform and originally op- timized for PureData. However, pure:dyne now also contains several other interesting and useful creative software, and is becoming evermore practical to be used as a complete GNU/Linux distribution for both media art and daily tasks. This paper therefore aims to introduce and discuss several aspects surrounding pure:dyne thus encouraging the usage and feedback of this project

When: Sunday: 11h00 till 11h45, H0104

Getting Linux to produce Music fast and powerful
Hartmut Noack

At the LAC 2006 I introduced a plan to build a PC to serve as a Linux Audio Workstation. Now we have a prototype of this machine, that we would like to demonstrate. The box shall be displayed, tried and reviewed by visitors of the conference to find out, how its concept can yield its intended results. The machine has a set of essential GUI-oriented Linux audio software that works with jackd and is integrated with scripts, presets and templates that allow to start complex scenarios with a single click and comes with extensive user-oriented documentation.

When: Thursday: 17h30 till 18h15, H0110 and demonstrated in the Lichthof on Friday, Saturday and Sunday

Firewire Audio on Linux - Demo
Pieter Palmers

Together with the "Firewire Audio on Linux" talk, this demo will provide an overview of the current status of Firewire based audio and music on Linux. We will demonstrate some firewire audio interfaces, illustrating what we currently can and can't do. We'll also show some more exotic features that make the Linux implementation stand out compared to their Windows/MacOS counterparts.

When: Thursday: 16h30 till 17h15, H3503

Firewire Audio on Linux
Pieter Palmers

Firewire audio devices are flooding the market of the (semi-)pro audio interface market. At LAC2005, the freshly started FreeBoB project has been presented, a project that aimed at supporting BridgeCo BeBoB based devices. This talk will discuss the evolution of the FreeBoB project towards a framework generic enough to support a multitude of devices, them being BeBoB based or not, conform to standards or not. The main focus will be the design and implementation of this new framework, and the end-user functionality provided.

When: Sunday: 13h00 till 13h45, H0104

From resistors to samples: Developing open hardware instruments using Arduino, Pure Data and Processing - Workshop
Recursive Dog collective (Dolo Piqueras, Emanuele Mazza and Enrique Tomás)

The advent of Arduino, a simple open-source hardware system for data acquisition and prototyping, has made it possible for anyone to design musical instruments. No experience in electronics or programming is required and, more importantly, there is no need to invest large sums of money in commercial interfaces.

By combining Arduino with Pure Data, a free audio and visual programming environment in real time, we have the tools needed to make electronic musical instruments based on interacting with the physical world. Based on these technologies, but also as part of the Experimental Music Instruments (EMI) project, RecursiveDog has designed some complex instruments for live performance that you can download from our website (http://www.recursivedog.org).

In this workshop, the technical knowledge needed to design and produce electronic musical instruments will be taught, using the free open-source tools mentioned above: Pure Data, Arduino and EMI. RecursiveDog will show you how to become a digital luthier for some hours and design a small music instrument to perform with. Each one of the instruments and prototypes produced will be used in the Sunday's final jam session.

When: Thursday, 13h00 - 14h30, MacPool (H3014), at other times that the MacPool is open, work on the instruments can be continued.

Video Editing with the Open Movie Editor
Richard Spindler

The Open Movie Editor is a simple video editing software that integrates with the Jack Audio Connection Kit and provides synced editing with all audio applications that implement the jack transport control, like ardour for example. It's designed with usability in mind, therefore easy to use for the beginner, yet aims to be powerful enough for the amateur film and video artist. The demo will start with a comprehensive yet compact overview of the available features and how to use that functionality. It will conclude with a hands on experience and allow the audience to make its first steps with the software. There will also be room for potential users to propose features that they would like to see in a video editing tool for linux.

The Homepage of the software is http://openmovieeditor.sourceforge.net/

When: Friday, 14h30 - 15h30, LA Pool (H2038)

Developing LADSPA Plugins with Csound
Rory Walsh and Victor Lazzarini

Csound is one of the most powerful audio programming languages available to electroacoustic composers today. It origins can be traced directly back to Max Matthews in Bell Labs and since its inception it has grown to become one of the most extensive computer music toolkits in development. This paper will describe a new toolkit for the development of LADSPA plugins using the Csound audio programming language. The toolkit itself was developed using the new Csound API and the Linux Audio Developers Simple Plugin API. This text will explore the implementation of said toolkit and conclude with a examples of the toolkit in use.

When: Friday: 14h15 till 15h00, H0110

Real-Time Multiple-Description Coding of Speech Signals
Jan Weil, Kai Clüver, and Thomas Sikora

When sending speech data over lossy networks like the internet, multiple-description (MD) coding is a means to improve the perceived quality by dividing the data into multiple descriptions which are then sent as separate packets. In doing so the speech sig- nal can still be decoded even if only parts of these de- scriptions are received. The present paper describes the structure of a software which demonstrates the benefits of this coding scheme using a client-server architecture.

When: Thursday: 13h45 till 14h30, H0110

blue: a music composition environment for Csound
Steven Yi

blue is a music composition environment for Csound. It is written in Java and works anywhere a Java Virtual Machine version 1.4 or higher is available. By using blue's SoundObjects, Instruments, NoteProcessors, timeline, mixer, parameter automation, and other features, users are able to work quickly and intuitively to express and shape musical ideas. With the tools provided in blue, the user is able to take advantage of all of the features of Csound in an environment designed to make the compositional experience focused, productive, and enjoyable.

blue Homepage: http://www.csounds.com/stevenyi/blue

When: Thursday: 14h00 till 14h45, H3503

Livecoding with SuperCollider
Alberto de Campo

When: Thursday: 13h00 till 14h30, LA Pool (H2038) and Friday, 11h00 till 12h30, LA Pool (H2038)

Technical tour of the T-Labs
Sascha Spors

In collaboration with Berlin's Technical University (TU Berlin), Deutsche Telekom Laboratories have been established on the TU Berlin campus. Our mission is to conduct pioneering research into innovative information and telecommunications technologies for the modern marketplace. Behind the scenes, Linux Audio is being used for the research and development of audio applications, such as binaural technologies and wave field synthesis.

When: Friday: 13h00 till 15h00, meeting point 13h00 at the Info desk. Maximum of 30 persons can attend

Panel discussion ``if ( Linux Audio ), then {...}, else {...}''
Moderated by Stefan Weinzierl

We have invited several speakers from various backgrounds, both from within the community and from outside of the community, to shed their light on Linux Audio, and the future. Topic of discussion are the opportunities and possibilities for Linux Audio in the industry, in research, in art and in education.

When: Saturday: 12h00 till 13h00, H0104

Reale Existenz! (2007)
André Bartetzki

This piece is based on short fragments of a lecture by the Austrian physicist Schrödinger. Erwin Schrödinger, one of the inventors of quantum physics, got very popular due to his thought experiment with a cat in a closed box in which he tried to illustrate the superposition of quantum states. Coupled to the state of a decaying atom (via a Geiger counter and a flask of acid) the cat is after a while both dead and still alive according to the superposition of the two possible states of that unstable atom. Only a collapse of the wave function of this system - caused by an observer or by the influence of the macroscopic environment - could the cat release of its indecisive state.

Biography
André Bartetzki was born in Berlin in 1962.
After a professional training and a few years of working as sound technician at the East-German state broadcast station and recording studios he studied sound engineering at the Hochschule für Musik "Hanns Eisler" in Berlin. During his studies, he began to set up a studio for electroacoustic music at the Hochschule, and between 1992 and 2002 he has lectured there and directed the studio. He has also given lectures and workshops in sound synthesis and algorithmic composition at the Technical University in Berlin, the Bauhaus-University Weimar, the Hochschule fuer Musik und Theater Rostock, the KlangArt festival in Osnabrück and at the Academy of Arts in Berlin. Between 1999 and 2004 he worked at the electroacoustic studio at the Musikhochschule "Franz Liszt" and at the Media Arts faculty of the Bauhaus-University in Weimar.
Besides teaching, he works frequently as a programmer, sound designer and sound engineer with ensembles, soloists and composers of new music.
His software CMask for algorithmic composition is being used by many composers around the world.
Since the mid-nineties he has been developing and performing his own musical and media art projects: tape music, performances with live-electronics, video and sound installations. His works were performed at international festivals for contemporary and electroacoustic music such as the Kryptonale Berlin, the ICMC 2002 Gothenburg, the BIMESP 2002 Sao Paulo, the SICMF 2003 and 2004 in Seoul, the ACMC 2005 in Brisbane. He became Finalist at the Bourges Festival and at the CIMESP Sao Paulo 2001. In 2004 he received a commission for the European Bell Festival by the ZKM Karlsruhe.
Between 1997 and 2004 he was a member of the board of the German Association for Electroacoustic Music (DEGEM), where he has worked as the editor of the DEGEM newsletter.

Part of the WFS-Loop: Thursday, Friday: 13h00-17h00, Saturday: 15h00-18h00, Sunday: 16h00-18h00

Streams (2007)
Victor Lazzarini

Streams is a multi-dimensional woodwind quartet, set in 3-D physical space and in the several dimensions of frequency-space. The piece is roughly composed of three overlapping sections, starting with a slow continuous-sound part where each of the four instruments get split in two and glide around the space eventually condensing back together. The middle section starts with chord-forming lines that are spun around the space, continuing into brief statements of melodic motives that eventually lead to interlocking ostinatos. These accellerate to an impossible tempo and then slow down to the original speed. The third section is dominated by an ever-ascending canon (by tone), played by slightly un-synchronised parts. A final coda is based on the ideas/texture of the first section. The piece was composed mostly using software specially developed by the composer for spectral and time-domain processing. This wavefield-synthesis version is dedicated to the TU-Berlin WFS team: Marije, Simon, Torben, Thilo, Daniel and Eddie.

Biography
Victor Lazzarini is a composer and researcher working mainly in the area of Computer Music. A graduate of the Universidade Estadual de Campinas (UNICAMP) in Brazil, he completed his doctorate at the University of Nottingham in 1996. His past musical activities also included movie soundtrack composition and performance as jazz pianist and arranger. He is currently a Senior Lecturer at the Music Department, NUI Maynooth, Ireland, where he also directs the Music Technology Laboratory.

Part of the WFS-Loop: Thursday, Friday: 13h00-17h00, Saturday: 15h00-18h00, Sunday: 16h00-18h00

East (from Atlas) (2007) 17:00
Christian Calon

Based on an idea of cartography, the Atlas project, in its final form will be a spatial installation. Musically, it is an hommage to man's creative enterprise which consists into probing the unknown with the help of sound making instruments and then to turn ephemeral impressions into imperishable creations.
This part of Atlas, East, was realized first as a concert version. The composition and the spatialization followed the concept of soundfield, which a WFS excels at reproducing. All sounds were generated as correlated multitrack objects to be placed and spatialized as small constellations in this larger sound field, in order to create a multi-directional space for the listener.
The music is based on the sounds of traditional music instruments from the Far Eastern regions of the Earth.
The realization of East was made possible with a commission from the Inventionen Festival/DAAD, Berlin, and the Canada Council. I am very grateful to these institutions whom I warmly thank for triggering and supporting this stage of the large Atlas project.

In its final spatial installation form, Atlas will stage several parallel maps:

• in sound, it is a tribute to the creative enterprises of man in probing the unknown with the help of his musical instruments
• as a silent and virtual monument, the projected bodyscape images will present as another cartography, a surround topography of skins and faces of mankind in its richness and diversity
• at the same time projected texts appearing on or around the bodyscapes, will draw and list an underlying world map of Infamies, acts of hate, violence and power, perpetrated by man on his fellow man.

Biography
His first works emerged in Canada and soon brought him international attention. In 1989-90 he acted as vice-president for the CEC. In 1991 he was appointed to the musical direction of the GMEM (France) and in 1995, as a guest of the DAAD, he went to Berlin where he lived for several years.
His concert works, sound installation or radio projects have all in common the exploration of the listening experience. The conception of sound shapes projection and the importance of listening contexts are at the heart of his creative research leading to a on-going process of investigation of new technologies. In parallel, he pursues his reflection on the narrative forms through writing and composing for the radio medium.
His work is performed worldwide and received honors in major international competitions: 2006 - Prix Opus, Quebec, 2004 - Represents Canada at the World New Music Days (Switzerland), 2003 - Distinction at the International CIMESP competition (Brasil), Selection of the Confluencias International Competition (Spain); 2001 - Grand Prix Phonurgia Nova International (France); 1999 - Grand Prix Marulic of the UER/EBU (European Broadcasting Union); 1997 - Distinction at Prix Ars Electronica (Austria); 1996 - Lynch-Staunton Prize, Canada Council (Canada); 1995 - Distinction at Prix Ars Electronica (Austria); 1995 - Berlin DAAD guest (Germany); 1994 - 2nd Prize, Bourges International Competition (France); 1991 - 2nd Prize, NEWCOMP International Computer Music Competition (USA); 1989 - 1st Prize, Bourges International Competition (France); 1989 - Canada representation at the World Music Days ISCM (France); 1988 - 2nd Prize, NEWCOMP International Computer Music Competition (USA); 1985 - 1st Prize, Luigi Russolo International Competition (Italy)
His first solo CD "Ligne de vie" (IMED 9001) was proposed for the 1990 Grammy Awards (USA) and the second CD "Les corps éblouis" (IMED 9838) was nominated for the album of the year at the 1998 Opus Awards (Canada). His music is published on the Empreintes DIGITALes label (Montreal) and also appears on various labels (coming:: The Ulysses project, surround DVD).
A free-lance artist, he now lives in Montreal.

Part of the WFS-Loop: Thursday, Friday: 13h00-17h00, Saturday: 15h00-18h00, Sunday: 16h00-18h00

Rituale (2004/7) 15:00
Hans Tutschku

The 15 minute piece ``Rituale'' (2004) processes human voices and instrumental sounds from various cultures to a sound ritual. It is a continuation of the work on ``Rojo'' and ``object-obstacle'', which were both also concerned with the theme of rituals. The composition uses extensively the possibility to place sound sources between the speakers and the listeners - and so inside the listening room. In this way the sounds come very close to the listeners.
``Rituale'' was originally (in 2004) created for the IOSONO Wave Field Synthesis system in the Ilmenauer Lindenkino, and was adapted for the lecture hall of the TU Berlin in 2007.

Biography
Member of the "Ensemble for intuitive music Weimar" since 1982. He studied composition of electronic music at the college of music Dresde and had since 1989 the opportunity to participate in several concert cycles of Karlheinz Stockhausen to learn the art of the sound direction. He further studied 1991/92 Sonology and electroacoustic composition at the royal conservatoire in the Hague (Holland). 1994 followed a one year's study stay at IRCAM in Paris. He taught 1995/96 as a guest professor electroacoustic composition in Weimar. 1996 he participated in composition workshops with Klaus Huber and Brian Ferneyhough. 1997-2001 he taught electroacoustic composition at IRCAM in Paris and from 2001 to 2004 at the conservatory of Montbéliard. In May 2003 he completed a doctorate (PhD) with Professor Dr. Jonty Harrison at the University of Birmingham. During the spring term 2003 he was the "Edgar Varèse Gast Professor" at the TU Berlin. Since September 2004 Hans Tutschku has been working as composition professor and director of the electroacoustic studios at Harvard University (Boston). He is the winner of many international composition competitions, among other: Bourges, CIMESP Sao Paulo, Hanns Eisler price, Prix Ars Electronica, Prix Noroit and Prix Musica Nova. In 2005 he received the culture prize of the city of Weimar.

Part of the WFS-Loop: Thursday, Friday: 13h00-17h00, Saturday: 15h00-18h00, Sunday: 16h00-18h00

Command Control Communications
Hanns Holger Rutz and Cem Akkan

Command Control Communications is an interactive installation with video by Cem Akkan and noises by Sciss. One recipient at a time can choose the ``categories'' of movies to be shown. Brief loops of commerical hollywood movie advertisement are used in a junk-art or arte povera fashion: making an aesthetic object out of trash. We are playing with the stereotype point of view exhibited in practically all of the trailers, which is exaggerated by using a very low image quality with typically eight frames per second, by sorting them in partly odd categories and mainly by confronting the viewer with four simultaneous images.

While produced solely on the laws of entertainment of the mass taste and capitalist profit maximization, the themes and stereotypes clearly reflect the sickness of a society which is the most violent in the western world. The excessive use of violence and reference to the Christian symbolics (also reflected in the categories of ``evil'' and ``mystery'') seem to feed an already existing paranoia. When it comes to the ``messages'', a surprising congruence with the political debate as transported by the media democracy is revealed. While it is generally acknowlegded that countries at war tend to have a cinema that serves as a psychological aid or distraction for the people, we rather gain the impression of a permanent war.

Biographies
Sciss aka Hanns Holger Rutz (b. 1977) began to create electronic and noise music around 1999. Between 1999 and 2004, he studied computer music at the Electronic Studio of the Technical University Berlin. Since 2004, he is research associate at the Studio for electroacoustic Music (SeaM) in Weimar. His electroacoustic works include CD-albums (e.g. ``Residual'' 2002) and E.P.'s (e.g. ``Crosshatch'' 2004), multichannel concert pieces (e.g. ``Strahlung'' 2006), works with video (``Achronie'' 2002, with video by Cem Akkan), and installation pieces (``Zelle 148'', Erfurt 2006, ``Rigid String Geometry'' Weimar/Berlin 2006, among others). Live-electronic works encompass solo performances, varying duo projects, the ChromaticField trio, and the quartet Hennig/Markowski/Sciss/Sienknecht. Since 1999, development of audio software. In 2003 co-organizing the Salon Bruit platform for experimental music.
Cem Akkan, born 1959 in Istanbul, Turkey. Occupation: photography, recording engineer. Studied communication sciences in Vienna, lives in Berlin and New York since the early 1990s. Studied audio engineering in NYC. Various projects involving video and sound.

H3008 Thursday: 14h00-17h00, Friday, Saturday, Sunday: 12h00-17h00

MODES OF INTERFERENCE / 3
Agostino Di Scipio

A small network of electric guitars and amplifiers, left free to resonate from high-gain feedback. A computer handles this feedback system, preventing sustained saturation and soliciting various system resonances. The process remains subject to perturbations from the environment (room, court, or else) mediated by the body of the guitars and the strings. Overall, this work is also a comment on the electric guitar, today little more than a torn-out, consumed pop-culture icon, whose elementary phallic symbolism is repeated myriads of times every day around us. But especially, the work proposes a kind of deconstruction of the electric guitar sound: no violent act of performing is staged here to let it come into existence, no dramatic gesture ("guitar hero") is needed to let the feedback system regulate its own unfolding in time.

First presentation took place in the XVII century court of the Conservatory of Music of Naples, 23.02.2007.

Biography
Agostino Di Scipio has been living in L'Aquila since 1985.
Composer of a variety of sound works, including tape music, sound installations and music scored for instrumentalists (soloists or ensembles) + interactive computer systems. Many of his compositions develop from unconventional sound synthesis/processing methods inspired to phenomena of noise and turbulence, and recently focus on the "man-machine-environment" feedback loop (for instance his live-electronics solos titled Ecosistemico Udibile). Currently full time Electronic Music Professor at the Conservatory of Naples, and instructor in live electronics at Centre Creation Musicale Iannis Xenakis (CCMIX), Paris. A former "visiting faculty member" at the Dept. of Communication and Fine Arts of Simon Fraser University (Burnaby-Vancouver, 1993), and "visiting composer" at Sibelius Academy Computer Music Studio (Helsinki, 1995), in 2004 Di Scipio was artist-in-residence for the DAAD Berliner Künstlerprogramm.

H3021 Thursday: 14h00-17h00, Friday, Saturday, Sunday: 12h00-17h00

fijuu

fijuu is a 3D, audio/visual installation. Using a PlayStation-style gamepad, the player(s) of fijuu dynamically manipulate 3D instruments to make improvised music. fijuu is built using the open source rendering engine OGRE and runs on Linux. in the future fijuu will be released as a Linux live CD project, so players can simply boot up their PC with a compatible gamepad plugged in, and play without installing anything (regardless of operating system). This effectively turns the domestic PC into a console for game based audio performances.
http://fijuu.com

H2038 Thursday: 16h00-17h30, Sunday: 11h00-14h00

Yue

The Yue project started about three years ago in Reggio Emilia, Italy, and it's composed by four musicians (Daniele Torelli, Luca Piccinini, Luca Bigliardi, Sara Menozzi) and a video artist (Andrea Bagnacani) who want to use free software only. Our activity is mainly live-oriented, and in the last two years we played many concerts all over Italy ranging from discos to outdoor festivals to pubs, and at the LAC2006 in Karlsruhe. The software parts of our work is realized with free software running on Debian GNU/Linux systems, the whole live setup includes Seq24, Ghostes, DSSI plugins like Whysynth and Xsynth, samplers like Fluidsynth-DSSI and Specimen, Ardour, many LADSPA effect, Freej and Effectv for the video part. We also use ``normal'' instruments, such as guitars, keyboards and Sara's beautiful female voice. Our music is all self-made and available under the Creative Commons Attribution-Share Alike license.
http://www.yue.it

When: Thursday: 21h00, Club concert at C-Base

Above-Under
Jim Hearon

"Above-Under" is a free interpolation of the experimental film "Oben/Unten" (1967) by Luz Mommartz. The experimental black and white film is available in the Prelinger Archives, an original collection of over 60,000 "ephemeral" (advertising, educationl, industrial, and amateur) films, several of which are available via the current internet streaming and downloading video site: http://www.archive.org/details/prelinger. The original soundtrack was by the ICENI, a five-man group who are also shown in the film. My version, called "Above-Under", colorizes and processes the video, and employs a new original digital soundtrack. In several instances the audio is created by the video, and at other times it is a freewheeling improvisation in the spirit of the original soundtrack. I did not use, sample, or otherwise employ the original soundtrack in anyway. I was also inspiried by a group of my students who are lately into glitch music, and wanted to incorporate some of those aspects into the music.

Biography
Jim Hearon is an improvisor, and electronic violinist working in multimedia and interactive graphical environments. After working in the music industry for many years, and teaching part-time at a number of schools, Jim moved to Honolulu in 2005 to work at the University of Hawaii at Manoa. Jim is an avid long board surfer, frequently in the Pacific Ocean at Waikiki Beach, and is married to Yuki Horikiri, a Japanese jazz pianist working with Educational Technology.

When: Thursday: 21h00, Club concert at C-Base

Life coding over live coding
xxxxx

Life coding over live coding. Hardware and software construct active and highly audible circuits open to visible re-configuration. Dramatic CPU and software acts are rendered brutally evident within constructivist, process performance; an open laboratory. The symphonic rise of the attempt to piece together fugal systematics is played out against the sheer noise of collapse and machine crash within a deserted borderland of control.

Biography
ap/xxxxx was founded by Martin Howse in 1998 to necessitate the code-terms expansion implied by a growing and politically active free software movement. With wilfully avant-garde intent, and through intervention, performance, staged events, seminars, hardware constructions and readily accessible software, ap interrogates in live descriptive process software culture and history. Software is viewed as substance. Performances, lectures and large-scale curated events range across international venues and festivals with further projects elaborating networked environmental code-creation machines, a language for the streamed entry of endless cinema and the development of promiscuOS, a totally untethered and highly promiscuous operating system.

When: Thursday: 21h00, Club concert at C-Base

Faltig
Frank Barknecht

FrankBarknecht is my name. I like PureData.
http://footils.org
http://goto10.org

When: Thursday: 21h00, Club concert at C-Base

Linux Cound Night

As usual the club concert is concluded with a Plug 'n' Chill session, where you can plug in your laptop and join in with the others to play. If you want to participate, please let us know at the info desk.

When: Thursday: 21h00, Club concert at C-Base

``De la incertidumbre'' for computer (2005)
Sergio Luque

Translation: (From the uncertainty)
I.- Y fue que le pareció convenible y necesario (And that was that he fancied it was right and requisite) - Duration: 9:28
This piece is loosely based on the first chapter of Don Quixote: ``In short, his wits being quite gone, he hit upon the strangest notion that ever madman in this world hit upon, and that was that he fancied it was right and requisite, as well for the support of his own honour as for the service of his country, that he should make a knight-errant of himself, roaming the world over in full armour and on horseback in quest of adventures, and putting in practice himself all that he had read of as being the usual practices of knights-errant; righting every kind of wrong, and exposing himself to peril and danger from which, in the issue, he was to reap eternal renown and fame. Already the poor man saw himself crowned by the might of his arm Emperor of Trebizond at least; and so, led away by the intense enjoyment he found in these pleasant fancies, he set himself forthwith to put his scheme into execution.''

II.- Interludio - Duration: 11:28
An interlude (only synthetic sounds were used in this piece).

III. Qué gigantes? - Duration: 6:00
This piece takes as its point of departure the concept of uncertainty present in the book Don Quixote. Uncertainty about all things, nothing is sure nor permanent. In this book, the events, the persons and the objects are perceived in very different ways by all the characters: Milan Kundera affirms that this book has no characters at all, but egos. ``Fortune is arranging matters for us better than we could have shaped our desires ourselves, for look there, friend Sancho Panza, where thirty or more monstrous giants present themselves, all of whom I mean to engage in battle and slay, and with whose spoils we shall begin to make our fortunes; for this is righteous warfare, and it is God's good service to sweep so evil a breed from off the face of the earth. 'What giants?' said Sancho Panza.''

Biography
Born in Mexico City in 1976. He is currently pursuing a PhD in Composition at the University of Birmingham. He received a Master's Degree in Sonology (with distinction) at the Royal Conservatory in The Hague, studying with Paul Berg and Kees Tazelaar. He received a Master's Degree in Composition from the Conservatory of Rotterdam, studying with Klaas de Vries and Rene Uijlenhoet. He has a Bachelor's Degree in Composition from the Musical Studies and Research Centre (CIEM, Mexico), and has been admitted Associate in Musical Theory, Criticism and Literature by the Trinity College London. His music has been performed in Mexico, Germany, the United Kingdom, the Netherlands, France, the United States, Chile, Spain, Australia, Switzerland and Cuba.

When: Friday: 19h00, Concert at Cervantes

RecursiveDoor
Recursive Dog collective (Dolo Piqueras, Emanuele Mazza and Enrique Tomás)

Aldous Huxley's The Doors of Perception was first published in Great Britain in 1954. The book was inspired by William Blake's words If the doors of perception were cleansed everything would appear to man as it is, infinite. For man has closed himself up, till he sees all things through' narrow chinks of his cavern. Huxley's book is considered to be one of the more profound studies of the effects of mind-expanding drugs and what they teach about how the mind works. As in Huxley's essays, RecursiveDoor functions as an examiner and critic of social mores, societal norms and ideals concerning art perception using real time generative audio and visuals controlled by our non- traditional interfaces. Using Huxley's words, in RecursiveDoor space and dimension become irrelevant, and perceptions seem to be enlarged and at times even overwhelming.

Recursive Dog is a Spanish artists collective providing recursive ideas and hacktivism around generative art and free culture. Recursive Dog uses open source software and hardware like Arduino, Processing and Pure Data or Csound to develop genetic structures that also depend on the sound activity produced by our performance or by the audience. You can also join us in our open workshops and become an electronic gypsy like us.
More info: http://www.recursivedog.org

Thanks to Facultad de Bellas Artes de Valencia, Laboratorio de Luz and Facultad de Bellas Artes de Cuenca, Art Department, IndEvol Group

When: Friday: 19h00, Concert at Cervantes

CYT (2007) 8:00 / DUX (2006) 7:45 / TAU (2005) 5:40
Edgar Barroso

CYT Cyt is the greek root for cell, the human body is a system made up of discrete organs and tissues, however, individual cells that compose these essential tissues are often short-lived. The skin covering our body today is not really the same skin we had a month ago. The piece follows this principle in the sense that it is constructed with "sound cells" that have specific functions and are constantly regenerating to sustain "life". The sounds are classified depending on the potential of self-renewal, proliferation potential and the degree of differentiation. In addition, the numerical balance of this sounds, will determine the way in which musical ideas interact, and the variations that could emerge if that fragile balanced is changed.

DUX From Latin "leader", four sounds conforms the leaders of their legions of sub-sounds. The piece begins with a single sound, that "hauls" to a series of others that are forming and connecting the music ideas throughout the piece. The form is determined by this same criteria, is a piece divided in four clear sections, in which each dux sound has a protagonist role, these sounds are formed by two recordings, cello and contact microphone and the other two are generated by synthesis. The creation of sub-sounds are mainly done by re-synthesis and audio processing changing their location within the space.

TAU The piece is based on the metaphoric idea of one of the six components that form leptons, called Tau. This particle, in spite of being considered as a lepton, that literately means "slight mass" has more than three thousands times more mass than an electron. From that idea I wanted it to make an analogy with the sounds, to represent isolated elements that can exist with no need of other particles, but that will possibly have much more weight than another phenomena, which at first, would seem dominant, and perhaps represent sound particles. (Not every thing is the way it "sounds").

Biography
Born in Mexico in 1976. Edgar Barroso is at the present time a composer in residence at the PHONOS Foundation. His education includes a Master in Digital Arts, a Postgraduate Diploma in Composition and Contemporary Technologies and a Bachelor in Music Composition. His music has been interpreted in important forums in North America, Ibero-America, Asia and Europe. He recently gained the 1st Grand Prize of the Harvard University Live Electronics International Composition Competition (USA), and is a finalist of the International Composition Competition "Ensemblia 2007" (Germany). In addition he is dedicated to instrumental practice as a cello player, exploring diverse techniques of improvisation with/out live electronics.

Thanks to PHONOS Foundation, MTG Music Technology Group, Universitat Pompeu Fabra

When: Friday: 19h00, Concert at Cervantes

Kitchen <-> Miniature(s)

A good quality sound recorder and a kitchen. Humanity tuned to common shapes and sizes that create shared resonances I have come to recognize everywhere there is a kitchen. These tightly chained miniatures explore a few of the many kitchen utensils and small appliances that I recorded (that is, anything that would fit with me inside my bedroom closet). Featured prominently through the piece is the mechanical timer of a toaster oven, as well as cookie sheets, plates, trivets, the klanging sound and inner resonances of the lid of a wok and many more kitchen instruments. More than 3000 lines of Common Lisp code are used to create large scale forms and detailed sound processing. Without Bill Schottstaedt's CLM (Common Lisp Music), Juan Pampin's ATS (Analysis, Transformation and Synthesis) and Rick Taube's Common Music this piece would not have existed. Grani (a granular synthesis software instrument) and other old software friends I have created over the years helped as well.

Biography
Master Degrees in Electronic Engineering (Faculty of Engineering, University of Buenos Aires, Argentina) and Music (Carlos Lopez Buchardo National Conservatory, Buenos Aires). He has been working in the field of electroacoustic music since 1976 (instrument design, composition, performance). Has also worked in industry for almost 10 years as a microprocessor hardware and software design engineer for embedded real-time systems, and taught computer music at Keio Universiy, Japan. He created and maintains the Planet CCRMA at Home Open Source package collection of music and sound applications for Linux systems. Currently keeps computers and users at CCRMA happy (most of the time), teaches courses at CCRMA, makes music when time allows, and enjoys the company of good friends. His music has been released on CD and played in the Americas, Europe, and East Asia.

When: Friday: 22h00, Concert I at Tesla

schnitt//stelle
Orm Finnendahl

Version 2.0 In the cooperation with the ensemble Mosaik a composition for flute, oboe and piano will be created. This cycle explores the possibilities of improvisation and composition in the context of the current state of the art of computer technology. The sound material from the musicians is automatically transformed in various ways by the computer. These transformations are realised in realtime, so the musicians can react to these transformations and influence them.
An important aspect of the collaboration with the ensemble is the procedural creation process, in which the musicians can experiment on their own with the programs that have been developed and optimised for them. The results of these experiments then influence the computer programs during the various stages of the rehearsals, so that the end result is developed in a process of getting closer to each other. This way of working is prompted by the way of development of open source, as seen in the creation of software, as well as in projects like the online lexicon Wikipedia.

Biograpy Born in Düsseldorf in 1963, Orm Finnendahl studied Composition, Musicology and Computer Music in Berlin after some involvement in the Berlin experimental music scene. 1988/89 scholarship at the California Institute of the Arts in Los Angeles. 1995-98 continuing studies with Helmut Lachenmann in Stuttgart. Collaborations with ensembles specializing on contemporary music (Ensemble Modern, recherche, Mosaik, Champ d'action, etc.) as well as with video and multi media artists, dancers and soloists (Palindrome, AlienNation, Burkhard Beins, etc.). Numerous awards and prizes, among them Kompositionspreis Stuttgart, Busoni Prize Berlin, CYNETart Award Dresden and Prix Ars Electronica Linz. A portrait CD for the "Edition Zeitgenössische Musik" of WERGO Records is in preparation. Currently Orm Finnendahl is Professor of Electronic Composition and Head of the Electronic Studio at the Musikhochschule Freiburg.

When: Friday: 22h00, Concert I at Tesla

Strahlung (2006) 9:54
Hanns Holger Rutz

Strahlung (german for radiation) is a kind of atmospheric landscape that - albeit not conceived as program music - borrows from the uncanny immateriality of radiation. It picks up the occasional but recurring dream motif of radioactive contamination. The Czernobyl catastrophe twenty years ago is stuck in my mind as a psychic object, a lucid mnemonic island, and is connected to a paradoxical simultaneity of both attraction by and fear of an invisible nature - or a kind of animism as is described for example by the Strugatzki Brothers and in Tarkowskij's ''Stalker``.
Tape music 8-channels, studio: SeaM, Weimar.

See the installation ''Command Control Communication`` for a biography

When: Friday: 22h00, Concert I at Tesla

North (from Atlas) (2006) 15:00
Christian Calon

The first part of Atlas, North is presented today in a concert version. The music is based on the sounds of traditional music instruments from the north-western regions of the Earth, pre-dominantly Europe, the Arctic, North America and the Near-East. The realization of North was made possible with a commission from Sonic Arts Network and a residency at SARC. I am very grateful to both organizations whom I warmly thank for triggering and supporting the first stage of this large project.
See also ''East`` in the WFS-Loop

When: Friday: 22h00, Concert I at Tesla

''Expression`` for 8 loudspeakers (2006) 11:30
André Bartetzki

''Expression`` is the title of the last piece on the last record of the same name that John Coltrane has recorded together with his quartet shortly before he died in 1967. This title was chosen by himself. When he was asked to add explanatory texts about the pieces on that album he answered: ''with absolutely no notes. (...) By this point I don't know what else can be said in words about what I'm doing. Let the music speak for itself."
See ''Reale Existenz!`` in the WFS-Loop for a biography

When: Saturday: 19h00, Concert II at Tesla

''Gebrochene Klanggestalten`` for 4-channel tape (2004) 4:20
Weiwei Lan

The German title ''gebrochene Klanggestalten`` means ''broken sound -figure``.
This composition processes sound materials from the everyday life: sound of a slamming door, howling vacuum cleaner, rubbing sounds generated with a tea-ball on a cooking pot. Using transformation and montage-technical sounds become sound-figures, which are fractured in multiple ways, for example jumping movements in spacing into small grains.
The synthetic sounds are generated by granular synthesis and phase vocoding. The sound synthesis is implemented by the programming language Csound. The Csound score is generated with the language Scheme.

Biography Weiwei Lan was born in 1977 in Dandong, China
She started learning the piano at the age of 9. From 1996 until 2001 she studied composition in Peking (graduated from the China Conservatory of Music in composition with a Bachelor's degree). Her teachers include Wanchun Shi, Kunshen Ruan, Weijie Gao, Yibing Cheng.
Since 2002 she has studied electronic composition at the Institut föur Computermusik und Elektronische Medien (ICEM) at the Folkwang-Hochschule in Essen (Germany) with Prof. Dirk Reith. Since 2005 her compositions and performances have been heard in Europe.
In 2006, Lan was awarded first prize at the China III Electronic Music composition competition ''MUSICACOUSTICA-Beijing 2006``.
Currently she concerns herself with Live-Electronics, Live-Performance and Sound-Poetry in speech-composition.

When: Saturday: 19h00, Concert II at Tesla

The Electronic Unicorn - "das elektronische einhorn" (2006)
Georg Holzmann

audio performance with the unicorn interface
The unicorn is the only fabulous beast that does not seem to have been conceived out of human fears. In even the earliest references he is fierce yet good, selfless yet solitary, but always mysteriously beautiful. He could be captured only by unfair means, and his single horn was said to neutralize poison. (Marianna Mayer)
An unicorn skeleton found at Einhornhöhle ("Unicorn Cave") in Germany's Harz Mountains in 1663 proves that the so-called unicorn had only two legs, one white "magic" hand and four mysterious plates out of metal. The skeleton was examined by Leibniz, who had previously doubted the existence of the unicorn, but was convinced thereby.
the interface
The unicorn interface consists of 3 main parts: a glove with contacts on the fingertips, a board with 4 contact plates and a potentiometer on the forehead, the unicorn. The goal of the interface is, to be able to control various parameters at the same time.
If you touch one of the four contact plates, you can control a specific parameter with the unicorn, relative to it's current value. Here it is important, with which finger you touch a plate, because each finger corresponds to one (musical) voice. For instance plate1 controls volume and plate2 pitch. If you have now finger1 on plate1 and finger2 on plate2 and turn the unicorn, you will change the volume of voice1 and the pitch of voice2.
Additionally there are two buttons on the board to change between presets.
technical realization
A microcontroller (arduino board - an open-source physical computing platform) is used to communicate with the computer and all sound synthesis is implemented in Pure Data under Linux.

Biography
Georg Holzmann, geboren 1982 in Graz, Austria
since 2002 study of audio engineering (focus in computer music and signal processing) at the institute of electronic music (IEM), Graz
development of audio and video open source software (mainly for Pure Data)
various audio-visual performances and installations at various places, e.g.: Logos Foundation (Gent, Belgium), NIME06 (IRCAM Paris, France), Museumsquartier (Vienna, Austria), pixxelpoint Festival (Nova Gorica, Italy/Slovenia), art@radio (Baltimore, USA), piksel (Bergen, Norway), Radio OE1 (Vienna, Austria), Musikprotokoll (Graz, Austria), ZKM Karlsruhe (Germany), KIBLA (Maribor, Slovenia), Kunsthaus Graz (Graz, Austria), Porgy & Bess (Vienna, Austria).
more information: http://grh.mur.at

When: Saturday: 19h00, Concert II at Tesla

ODD (2006) 10:35 Edgar Barroso

Commissioned by DAAD (Deutscher Akademischer Austauschdienst) to be premiered at the Inventionen Festival 2006.
ODD was conceived based on the SMS tools, which is a set of techniques and software implementations for the analysis, transformation and synthesis of musical sounds, developed by Xavier Serra an his team at MTG (Music Technology Group). One of the main processes the SMS offers is the separation of stable pitch components from the noise elements, naming them "residuals". The textures of the piece are made from this components, that after a process of constant transpositions creates very dense no-pitch sound masses. In a sense, ODD is a trio, having threes recognizable sound sources, a violin, a set of percussions and a female voice, which are surrounded and interrupted by this residual permanently moving textures. Also the morphing and transformation processes are constantly used to get "variations" ans "transitions" of this instruments. As a metaphor, the spazialization of sound was founded on the geometrical concept of odd functions that are symmetric with respect to the origin, meaning that its graph remains unchanged after rotation of 180 degrees about the origin. The idea was to create a permanent moving sonorous space in which the trajectories of sounds were applied equally to different sounds, but the resulting effect have totally different semanthic meanings. The meaning of space and distance is determine by a complex system of amplitude layers. The work's structure is based in four clear moments define mainly by its background sonic textures, in its internal construction it is also the result of selecting graphic information given by the SMS analysis and subjectively interpret it as a "score" of the incoming musical events. ODD used the SMS tools as a "prism" that can disperse a "light" (sound) wave.
See the Cervantes concert for a biography

When: Saturday: 19h00, Concert II at Tesla

Distance Liquide (2007) 13:00
Hans Tutschku

8-channel electroacoustic composition / commissioned by INA-GRM 2007 / studio : GRM Paris first performance : January 13, 2007, Maison de la Radio France Paris

To my mother

The picture of liquid, moving and fast dissolving forms became in this composition the metaphor for sound spatialisation in the electroacoustic space. Each musical gesture is bound to a specific space movement, which underlines its character. On the basis of recorded sequences with a gong and percussion instruments, trumpet, flute and vocal fragments, these rather distant sound elements develop a common musical discourse. Their very different spectra are reduced occasionally to the loudest harmonic components, keeping just pure pitches and melodies: their differences disappeared.
See ''Rituale`` in the WFS-Loop for a biography

When: Saturday: 19h00, Concert II at Tesla

Livecoding
Powerbooks Unplugged

PBUP Latento
The laptop is the next guitar, i.e. the new folk instrument
The laptop is a complete instrument as is
The laptop can also be the entire interface
The laptop in its current physicality is best used while it historically exists - now
Code and music belong to everyone

When: Sunday: 16h00, Lichthof

Open Hardware Jam
Recursive Dog

The musical results from the workshop on Thursday.

When: Sunday: 16h30, Lichthof

Livecode vs. Open Hardware

Starting with a jam between the livecoders and the Arduino based sensor driven music, everyone will be able to join into this unplugged jam.

When: Sunday: 17h00, Lichthof

Future of the LAC

Since the first LAD meeting in 2003 in Karlsruhe, the Linux Audio Conference has grown steadily over the past four years, and since 2005 has a paper review system, where fellow Linux Audio experts review the papers to be presented on the conference.

After 4 times being hosted by the ZKM in Karlsruhe, this year the conference has wandered to the Technical University of Berlin, after a proposal last year to the ZKM to take over the hosting of the conference for 2007.

Now that the conference has grown to its current size, it is time to discuss the future of the conference, and how we want to organise the conference in the future. It is the desire of the organisers of past conferences and the current one, to make the conference a wandering conference, as this gives an opportunity to both spread the work of organising it, as well as reaching new (local) audiences each year.

When: Sunday: 14h00 till 15h00, H0104

Conclusion

We will conclude the conference with some reflecting words on the last four days, and of course taking the - by now - traditional group photo, before moving on to the unplugged jam in the Lichthof

When: Sunday: 15h00 till 15h45, H0104