Recent Changes

Tuesday, November 22

  1. page ESP studio edited ... Use only headphones for live monitoring during recording sessions (turn studio monitors/speake…
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    Use only headphones for live monitoring during recording sessions (turn studio monitors/speakers OFF)
    Be very careful at all times not to bump into studio monitors/speakers on stands: if you are using the isolation booth, carefully make sure studio monitors/speakers are moved out of the way of the booth door
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    studio users. If you suspect a problem with the patching of connections from/between the backs of the audio devices, ask an instructor to look at that problem.
    Booking Sessions
    To book your studio session: use the online booking system here
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Wednesday, November 2

  1. page ESP studio edited ... Note: Please only use condenser microphones in the ESP studio in order to reduce the risk of p…
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    Note: Please only use condenser microphones in the ESP studio in order to reduce the risk of preamps being damaged by accidental application of phantom power to dynamic microphones.
    Other, General Recommendations
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    to come 3020 minutes into
    Leave the computer and Presonus interface ON unless you are the last booked studio session for the day(this helps other studio users).
    Work directly off your external hard drive always - this helps ensure that you get your files out of the studio. If you like and have time, when you are finished your session, make a backup of your complete session folder onto the desktop of the ESP studio computer (just don't rely on it being there when you need it - the primary files need to be on your own hard drive!).
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  2. page ESP studio edited ... Turn phantom power ON for channels #1-4 or #5-8 of the Presonus audio interface (phantom power…
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    Turn phantom power ON for channels #1-4 or #5-8 of the Presonus audio interface (phantom power buttons are on far left of the Presonus audio interface where it says "48V")
    Verify the connection by turning the preamp gain for that input all the way up and tapping the microphone. You should see the red "clipping" light on front of the Presonus interface flash a bit. This is important information! It verifies that you have a working analog connection between the microphone and the microphone preamplifier. Now turn the preamp gain all the way down - ready to later set an appropriate level of gain for the particular material you are recording.
    While step #4 above verifies that there _is_ an analog audio connection, it doesn't guarantee that there is a _solid_ analog connection. If, when you listen on headphones (further down in these instructions), there is a lot of hiss/electrical interference in what you hear, this tends to suggest that one of the analog connections is dodgy. Try different cables, routes, combinations of analog connections in order to figure out where any problem might be.
    Note #1: don't use anything other than standard XLR microphone cables for these connections. If you use other cables, you may break the phantom power connection.
    Note #2: Make sure you are following the studio rules and only using condenser microphones that require phantom power (including Rode NT 1000, AT 2050, Apex 185 or AT 4051). Connecting dynamic microphones with phantom power could severely damage the audio interface and/or microphones.
    Note #3: While step #4 above verifies that there _is_ an analog audio connection, it doesn't guarantee that there is a _solid_ analog connection. If, when you listen on headphones (further down in these instructions), there is a lot of hiss/electrical interference in what you hear, this tends to suggest that one of the analog connections is dodgy. Try different cables, routes, combinations of analog connections in order to figure out where any problem might be.
    B. Connecting the Presonus Firestudio to Reaper [a general digital connection]
    Reaper: Preferences: Audio: Device: Audio Device = Presonus Firestudio
    Reaper: Preferences: Audio: Device: Request Sample rate is checked and matches your intended project sample rate (i.e. 48000 Hz, or maybe 96000 Hz)
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    red and blue)blue).
    C. Prepare a specific track for recording [a specific digital connection]
    In Reaper, create and save a new project on your external hard drive if you don't already have one, or open an existing project on your external hard drive.
    Create a new track in your Reaper project, if you don't already have one you would like to record to.
    Set the record behaviour of the track to "Record: input". There is a button that combines the control of record monitoring with this. Click on the right side of the button where it says "in out" (on the left it will be an arrow icon that sets diferent record monitoring). This will bring up a menu from which "Record: input (audio or MIDI)" should be selected.
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    connected your microphone signal.
    Arm the
    ...
    to indicate that the track is record armed. Normally at this point,
    D. Monitoring through headphones
    Plug your headphones into the 1/4" headphones connection on the front of the Presonus interface
    (view changes)
  3. page ESP studio edited ... A. Connecting a microphone to the microphone preamplifiers in the Presonus Firestudio [a speci…
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    A. Connecting a microphone to the microphone preamplifiers in the Presonus Firestudio [a specific analog connection]
    Place the microphone clip on a stand in the booth, attach the microphone to the clip, and attach a pop filter (if using one) to the stand).
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    the Presonus interface.interface (for example: connect the microphone to channel 1 in the stage box on the floor of the isolation booth. From the patchbay at the top of the rack of equipment there should be a cable then taking that signal from the top left XLR connection to channel 1 on the Presonus interface.)
    Turn phantom
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    Presonus audio interface)interface where it says "48V")
    Verify the connection by turning the preamp gain for that input all the way up and tapping the microphone. You should see the red "clipping" light on front of the Presonus interface flash a bit. This is important information! It verifies that you have a working analog connection between the microphone and the microphone preamplifier. Now turn the preamp gain all the way down - ready to later set an appropriate level of gain for the particular material you are recording.
    ...
    listen on headphones,headphones (further down in these instructions), there is
    Note #1: don't use anything other than standard XLR microphone cables for these connections. If you use other cables, you may break the phantom power connection.
    Note #2: problems have been reported with microphone inputs 1 and 2 on the Presonus Interface - make connections to input #3 or higher on the interface.
    Note #3: as of Nov 2013, the pass-through lines on the wall of the isolation booth are broken (and will be replaced at the earliest possible window of opportunity). In the meantime, make connections between microphones in the booth and the audio interface by connecting multiple XLR cables to each other, and connecting these extended cables between the microphone and the Presonus interface.
    Note #4:
    Make sure
    B. Connecting the Presonus Firestudio to Reaper [a general digital connection]
    Reaper: Preferences: Audio: Device: Audio Device = Presonus Firestudio
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    D. Monitoring through headphones
    Plug your headphones into the 1/4" headphones connection on the front of the Presonus interface
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    "Record Monitoring: on".)on"; in the default configuration of Reaper 4, the record monitoring button is a little arrow pointing to the right - it is grey when disactivated and green when activated.)
    Slowly turn up the headphones gain control on the front right of the Presonus interface
    Keep the loudspeakers turned off anytime record monitoring is on (for example, during a recording session) to avoid dangerous feedback situations between microphones in the isolation booth and the loudspeakers.
    Common “Problems”
    The light on the far right of the Presonus audio interface is flashing alternately red then blue: This is usually a problem with the clock source setting. In the application “Universal Control” (which controls the Presonus audio driver), check that Clock Source = FireStudio-Master.
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    after that, try this first:
    Open Reaper Preferences and navigate to Audio: Device. Unselect the tick mark for apply a sample rate and click apply AND THEN reselect the tick mark for apply a sample rate and click apply. This changes nothing in the configuration but does seem to "wake up" the connection between the software and the audio interface driver.
    If the above driver reset doesn't work,
    try closing
    Multichannel Routing in the ESP studio (for students in 3rd year audio courses)
    The following chart shows the normal configuration of the ESP studio for multichannel (surround) work. This is a consequence of the normal settings in the Outputs/Routing matrix of Universal Control, together with the actual physical connections running from the Presonus Firestudio's outputs to the speakers:
    (view changes)

Monday, October 31

  1. page ESP studio edited ... D. Monitoring through headphones Plug your headphones into the 1/4" headphones connectio…
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    D. Monitoring through headphones
    Plug your headphones into the 1/4" headphones connection on the front of the Presonus interface
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    "Record Monitoring: on".on".)
    Slowly turn up the headphones gain control on the front right of the Presonus interface
    Keep the loudspeakers turned off anytime record monitoring is on (for example, during a recording session) to avoid dangerous feedback situations between microphones in the isolation booth and the loudspeakers.
    (view changes)
  2. page ESP studio edited ... D. Monitoring through headphones Plug your headphones into the 1/4" headphones connectio…
    ...
    D. Monitoring through headphones
    Plug your headphones into the 1/4" headphones connection on the front of the Presonus interface
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    able to hear (the normal mode forhear. (In the default configuration of Reaper 5, the record monitoring while recordingbutton is indicatedsecond from the bottom left of each track. If you hover over it, by a green arrow).default, you'll see "Record Monitoring: off". When you click on it it will change to look "active" and hovering over it will produce "Record Monitoring: on".
    Slowly turn up the headphones gain control on the front right of the Presonus interface
    Keep the loudspeakers turned off anytime record monitoring is on (for example, during a recording session) to avoid dangerous feedback situations between microphones in the isolation booth and the loudspeakers.
    (view changes)

Sunday, December 20

  1. page Projectional Editing Features edited ... Text Editing Interfaces Atom has become a popular text editor and it has some useful projecti…
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    Text Editing Interfaces
    Atom has become a popular text editor and it has some useful projectional qualities. It helps fill in gaps for users by placing closing brackets, and connecting types together, just to name a few of its projectional features. Brackets, another free text editor also share similar features to Atom, including "filling in" code for the user by estimating what they intend (i.e. for example, connecting an HTML page to a CSS script based on the title of the page).
    ...
    Addressed by T. Green's Cognitive
    Maximus of Information - Green points out the psychology of programming interfaces and highlights two maxims of information representation: firstly, that “every notation highlights some kinds of information at the expense of obscuring other kinds” (6). Simply meaning, that not everything can be highlighted or observed at once in a program, things usually follow a set path of action, especially in a rule-based language. The second maxim contends that “when seeking information, there must be a cognitive fit between the mental representation and the external representation” (6). Simply meaning, that the mental representation of the programming language needs to relate to the actual physical representation of the language.
    Cognitive Fit - “One way to improve the ‘cognitive fit’ is to include cues to improve the accessibility of information. So textual languages may include perceptual cues, such as indenting or choice of typeface, or symbolic cues. Alternatively, the environment may offer comprehension aids, such as software visualization tools, which present their information in a structure that highlights what the programmer wants to know” (9).
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    Role-expressiveness - “In the folklore of programming it is widely agreed that some programming languages are hard to read; unfortunately, which ones are hard is not so widely agreed. The dimension of role-expressiveness is intended to describe how easy it is to answer the question ‘what is this bit for?’” (31).
    Sources of Reference
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    7(2): 131-174.
    Magnusson, T. (2014). “Improvising with Threnoscope: Integrating Code, Hardware, GUI, Network, and Graphic Scores.” In Proceedings of the International Conference on New Interfaces for Musical Expression 2014.
    Magnusson, T. (2013). "The Threnoscope: A Musical Work for Live Coding Performance." In Proceedings of the International Conference on Software Engineering 2013.
    (view changes)
  2. page Projectional Editing Features edited ... Text Editing Interfaces Atom has become a popular text editor and it has some useful projecti…
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    Text Editing Interfaces
    Atom has become a popular text editor and it has some useful projectional qualities. It helps fill in gaps for users by placing closing brackets, and connecting types together, just to name a few of its projectional features. Brackets, another free text editor also share similar features to Atom, including "filling in" code for the user by estimating what they intend (i.e. for example, connecting an HTML page to a CSS script based on the title of the page).
    Important Terminology (As Addressed by T. Green's Cognitive Dimensions)
    Maximus of Information - Green points out the psychology of programming interfaces and highlights two maxims of information representation: firstly, that “every notation highlights some kinds of information at the expense of obscuring other kinds” (6). Simply meaning, that not everything can be highlighted or observed at once in a program, things usually follow a set path of action, especially in a rule-based language. The second maxim contends that “when seeking information, there must be a cognitive fit between the mental representation and the external representation” (6). Simply meaning, that the mental representation of the programming language needs to relate to the actual physical representation of the language.
    Cognitive Fit - “One way to improve the ‘cognitive fit’ is to include cues to improve the accessibility of information. So textual languages may include perceptual cues, such as indenting or choice of typeface, or symbolic cues. Alternatively, the environment may offer comprehension aids, such as software visualization tools, which present their information in a structure that highlights what the programmer wants to know” (9).
    Error-proneness - “Textual programming languages contain a number of syntactic design features that help slips to occur or make them hard to find once they have occurred. Merely having to type long identifiers is a source of mistypings, obviously enough, and early language designs had no facilities for catching these; until the declaration was invented, new identifiers were declared by being used (as they still are in some languages). In consequence there are well-known war-stories recounting how a single mistyping in a Fortran, Basic or Prolog program caused untold disasters long after the program was thought to be fully debugged” (23).
    Role-expressiveness - “In the folklore of programming it is widely agreed that some programming languages are hard to read; unfortunately, which ones are hard is not so widely agreed. The dimension of role-expressiveness is intended to describe how easy it is to answer the question ‘what is this bit for?’” (31).

    Sources of Reference
    Green, T. R. G., and M. Petre. (1996). "Usability Analysis of Visual Programming Environments: a ‘cognitive dimensions’ framework." In Journals of Visual Languagesand Computing, 7(2): 131-174.
    Magnusson, T. (2014). “Improvising with Threnoscope: Integrating Code, Hardware, GUI, Network, and Graphic Scores.” In Proceedings of the International Conference on New Interfaces for Musical Expression 2014.
    Magnusson, T. (2013). "The Threnoscope: A Musical Work for Live Coding Performance." In Proceedings of the International Conference on Software Engineering 2013.
    (view changes)

Monday, November 23

  1. page Projectional Editing Features edited ... McLean, A. "Alex McLean: Making music with texture." http://yaxu.org/category/textur…
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    McLean, A. "Alex McLean: Making music with texture." http://yaxu.org/category/texture/
    Roberts, C. "Gibber: Creative Coding for JavaScript." http://charlie-roberts.com/gibber/about-gibber/
    Roberts, C., Juchera-Morin, J. (2012). "Gibber: Live Coding Audio in the Browser." In Proceedings the International Computer Music Conference 2012.
    Sanchez, J. (2013). "SLUB - Live coding." https://vimeo.com/62615513
    (view changes)

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