Saturday, October 18, 2014

Who Are "Anybody" and "Everybody?" Diverse Inclusive Open Source 2014 Talk

Here are some notes and examples for Who Are "Anybody" and "Everybody?" my mini-talk for the Diverse Inclusive Open Source workshop at Ohio Linux Fest next week.

I. Intro: Human language is full of imprecisions and generalizations. Some words
I think that we use incorrectly when talking about people are those that start
with "any" an "every." That's true of lots of superlatives and absolutes, but I
think these have a special significance to technology and Free Software.

They communicate something we want to believe about technology and technology
communities. We want to believe everybody benefits and everybody is included.

II. Examples
1. "any user can study the source code of a free program, modify it, and share it."
...later in the same essay...
2. " software tools that everyone can use to make the NSA's job harder."

3. Very well intended, but the literal truth of these statements is debatable. The
sense in which these statements are true is that no one is legally or financially prohibited by a software license from doing these things.  What about all of the people who are prevented from doing these things for other reasons?

4. As users
money, geography, other circumstances prevent access to technology

B. Developers, Contributors
"This permits the kernel to become very popular because anyone may download it for free. Now that anyone can make their own kernel, it may be helpful to know how to obtain, edit, configure, compile, and install the Linux kernel."
        2.  "Trelby is free software, that you can contribute to."

    3.  Anyone Can Play Guitar Or Hack The Linux Kernel


    4. OReilly:  Who?  Everyone.

    5.  Ardour     You need to know C++ and use IRC
        Meyer and Cukier, 2006:  Female sounding IRC IDs attacked 25X.

Saturday, September 6, 2014

Luppp as an Oscillator: Creating New Sounds With Luppp And Resonant Filters

This video documents a technique I used on this track,  The "bubbling" sounds on Barbelo and the Three Steles Of Seth are the result of playing a drum loop in Luppp at various speeds through multiple resonant filters and gates (hosted in JACK Rack).  The implementation in the video is a little simpler than what I used on the track and I do not manipulate the filters while recording, but the principles are the same.  This video is meant to highlight Luppp's role in the process.

At the beginning of the video you can hear me turn one of the filters off and back on.  This is just to illustrate what the filters are doing.  In this case, removing a lot of sound but also adding sound at the resonant frequency.

At the end you can hear the activity of the gate after the filters.  When one of the loops stops you can hear the gate cutting off the remaining loop, which no longer has the first loop's "help" keeping the gate open.

You never hear the original, unfiltered loops in this video.  They are the same loops used in this one,

Luppp allows you to multiply and divide tempo by multiples of 2, instantly.  You do this by telling Luppp to treat the loop as having a certain number of beats (powers of 2 from 1 to 64).  For example, in two clicks you can tell Luppp to play an 8 bar loop at 1/8 the current tempo by setting its length to 64.  This allows Luppp to feed radically different textures into a series of filters or other effects, making it a very flexible sound source for, essentially, sample-based synthesis.  Unlike developing a new virtual instrument in a conventional sampler, Luppp will keep playing until to tell it to stop, creating space for all kinds of real-time experimentation.  Record what you are doing and you can go back and reuse the best bits, even if you don't remember how to recreate them.