Archive for the Uncategorized Category

Squeak turns: 25. We celebrate!

Posted in Uncategorized with tags , , on 5 September 2021 by Craig Latta

Squeak turns 25 on Friday, 24 September 2021. Let’s celebrate! We’ll begin with an informal online gathering, at https://8×8.vc/3plus4/cast. It will start at 11am pacific time (18.00 UTC), and last all weekend, so that folks from all timezones may attend. To increase the chance of crossing paths, let’s aim for peaks at each noon and midnight UTC. We’ll also use https://squeak.slack.com as a text backchannel, starting now.

Proceed for Truth!

things that may happen…

  • 12:01 am Sunday UTC: a virtual tour of Jecel Assumpção Jr’s workshop, filled with exotic hardware delights…

Send a direct message if you’d like to schedule something

realtime vocal harmonization with Caffeine

Posted in Uncategorized with tags , , , , , , , , on 14 July 2021 by Craig Latta

I’ve written a Caffeine class which, in real time, takes detected pitches from a melody and chords, and sends re-voiced versions of the chords to a harmonizer, which renders them using shifted copies of the melody. It’s an example of an aggregate audio plugin, which builds a new feature from other plugins running in Ableton Live.

re-creating a classic

Way way back in 1991, before the Auto-Tune algorithm popularized in 1998, a Canadian company called IVL Technologies developed a hardware harmonizer, the Vocalist VHM5. It generated five-part vocal harmonies, live from sung melodies and chords played via MIDI. It had a simple but effective model of vocal formants, which enabled it to shift the pitch of a sung note to natural-sounding new pitches, including correcting the pitch of the sung note. It also had very fast pitch detection.

My favorite feature, though, was how it combined those features when voicing chords. In what was called “vocoder mode”, it would adjust the pitches of incoming MIDI chords to be as close as possible to the current pitch of a sung melody, or closed voicing. If the melody moved more than half an octave away from a chord voice, the rendered chord voice would adjust by some number of octaves up or down, so as to be within half an octave of the melody. With kinetic melodies and dense chords, this becomes a simple but compelling voice-leading technique. It’s even more compelling when the voices are spatialized in a stereo or 3D audio field, with reverb, reflections, and other post-processing.

It’s also computationally inexpensive. The IVL pitch-detection and shifting algorithms were straightforward for off-the-shelf digital signal processing chips to perform, and the Auto-Tune algorithm is orders of magnitude cheaper. One of the audio plugins I use in the Ableton Live audio environment, Harmony Engine by Antares, implements Auto-Tune’s pitch shifting. Another, MIDI Guitar by Jam Origin, does polyphonic pitch detection. With these plugins, I have all the live MIDI information necessary to implement closed re-voicing, and the pitch shifting for rendering it. I suppose I would call this “automated closed-voice harmonization”.

implementation

Caffeine runs in a web browser, which, along with Live, has access to all the MIDI interfaces provided by the host operating system. Using the WebMIDI API, I can receive and schedule MIDI events in Smalltalk, exchanging music information with Live and its plugins. With MIDI as one possible transport layer, I’ve developed a Smalltalk model of music events based upon sequences and simultaneities. One kind of simultaneity is the chord, a collection of notes sounded at the same time. In my implementation, a chord performs its own re-voicing, while also taking care to send a minimum of MIDI messages to Live. For example, only the notes which were adjusted in response to a melodic change are rescheduled. The other notes simply remain on, requiring no sent messages. Caffeine also knows how many pitch-shifted copies of the melody can be created by the pitch-shifting plugin, and culls the least-recently-activated voices from chords, to remain within that number.

All told, I now have a perfect re-creation of the original Vocalist closed-voicing sound, enhanced by all the audio post-processing that Live can do.

the setup

a GK-3 hex pickup through a breakout box

Back in the day, I played chords to the VHM5 from an exotic MIDI electric guitar controller, the Zeta Mirror 6. This guitar has a hex (six-channel) pickup, and can send a separate data stream for each string. While I still have that guitar, I also have a Roland GK-3 hex pickup, which is still in production and can be moved between guitars without modifying them. Another thing I like about hex pickups is having access to the original analog signal for each string. These days I run the GK-3 through a SynQuaNon breakout module, which makes the signals available at modular levels. The main benefit of this is that I can connect the analog signals directly to my audio interface, without software drivers that may become unsupported. I have a USB GK-3 interface, but the manufacturer never updated the original 32-bit driver for it.

Contemporary computers can do polyphonic pitch detection on any audio stream, without the use of special controller hardware. While the resulting MIDI stream uses only a single channel, with no distinction between strings, it’s very convenient. The Jam Origin plugin is my favorite way to produce a polyphonic chord stream from audio.

the ROLI Lightpad

My favorite new controller for generating multi-channel chord streams is the ROLI Lightpad. It’s a MIDI Polyphonic Expression (MPE) device, using an entire 16-channel MIDI port for each instrument, and a separate MIDI channel for each note. This enables very expressive use of MIDI channel messages for representing the way a note changes after it starts. The Lightpad sends messages that track the velocity with which each finger strikes the surface, how it moves in X, Y, and Z while on the surface, and the velocity with which it leaves the surface. The surface is also a display; I use it as a five-by-five grid, which presents musical intervals in a way I find much more accessible than that of a traditional piano keyboard. There are several MPE instruments that use this grid, including the Linnstrument and the GeoShred iPad app. The Lightpad is also very portable, and modular; many of them can be connected together magnetically.

The main advantage of using MPE for vocal harmonization is associating various audio processing state with each chord voice’s separate channel. For example, the bass voice of a chord progression can have its own spatialization and equalization settings.

My chord signal path starts with an instrument, a hex or normal guitar or Lightpad. Audio and MIDI data goes from the instrument, through a host operating system MIDI interface, through Live where I can detect pitches and record, through another MIDI interface to Caffeine in a web browser, then back to Live and the pitch-shifting plugin. My melody signal path starts with a vocal performance using a microphone, through Live and pitch detection, then through pitch shifting as controlled by the chords.

Let’s Play!

Between this vocal harmonization, control of the Ableton Live API, and the Beatshifting protocol, there is great potential for communal livecoded music performance. If you’re a livecoder interested in music, I’d love to hear from you!

Ableton Livecoding with Caffeine

Posted in Uncategorized with tags , , , , , , on 5 June 2021 by Craig Latta
Livecoding access can tame the complexity of Ableton Live.

I’ve written a proxy system to communicate with Ableton Live from Caffeine, for interactive music composition and performance. Live includes Max for Live (M4L), an embedded version of the Max media programming system. M4L has, in turn, access to both Node.JS, a server-side JavaScript engine embedded as a separate process, and to an internal JS engine extension of its own object system. Caffeine can connect to Node.JS through a websocket, Node.JS can send messages to Max, Max can call user-written JS functions, and those JS functions can invoke the Live Object Model, an API for manipulating Live. This stack of APIs also supports returning results back over the websocket, and for establishing callbacks.

getting connected

Caffeine creates a websocket connection to a server running in M4L’s Node.JS, using the JS WebSocket function provided by the web browser. A Caffeine object can use this connection to send a JSON string describing a Live function it would like to invoke. Node.JS passes the JSON string to Max, through an output of a Max object in a Max program, or patcher:

connecting the Node.JS server with JS Live API function invocation

Max is a visual dataflow system, in which objects inputs and outputs are connected, and their functions are run by a real-time scheduler. There are two special objects in the patcher above. The first is node.script, which controls the operation of a Node.JS script. It’s running the Node.JS script “caffeine-server.js”, which creates a websocket server. That script has access to a Max API, which it uses to send data through the output of the node.script object.

The second special object is js, which runs “caffeine-max.js”. That script parses the JSON function invocation request sent by Caffeine, invokes the desired Live API function, and sends the result back to Caffeine through the Node.JS server.

proxying

With this infrastructure in place, we can create a proxy object system in Caffeine. In class Live, we can write a method which invokes Live functions:

invoking a Live function from Caffeine

This method uses a SharedQueue for each remote message sent; the JS bridge callback process delivers results to them. This lets us nest remote message sends among multiple processes. The JSON data identifies the function and argument of the invocation, the identifier of receiving Live object, and the desired Smalltalk class of the result.

The LiveObject proxy class can use this invoking function from its doesNotUnderstand method:

forwarding a message from a proxy

Now that we have message forwarding, we can represent the entire Live API as browsable Smalltalk classes. I always find this of huge benefit when doing mashups with external code libraries, but especially so with Live. The Live API is massive, and while the documentation is complete, it’s not very readable. It’s much more pleasant to learn about the API with the Smalltalk browsing tools. As usual, we can extend the API with composite methods of our own, aggregating multiple Live API calls into one. With this we can effectively extend the Live API with new features.

extending the Live API

One area of Live API extension where I’m working now is in song composition. Live has an Arrangement view, for a traditional recording studio workflow, and a Session view, for interactive performance. I find the “scenes” feature of the Session view very useful for sketching song sections, but Live’s support for playing them in different orders is minimal. With Caffeine objects representing scenes, I can compose larger structures from them, and play them however I like.

How would you extend the Live API? How would you simplify it?

The Node.JS server, JS proxying code, and the Max patcher that connects them are available as a self-contained M4L device, which can be applied to any Live track. Look for it in the devices folder of the Caffeine repository.

team livecoding features

Posted in Uncategorized with tags , , , , , , , , on 10 November 2019 by Craig Latta
What IDE information would you like to share with your teammates as you work?

Caffeine can now:

  • provide an IDE as a DOM element
  • provide an IDE as a Chrome DevTools panel
  • run headlessly in a web browser worker thread, NodeJS server worker thread, or NodeJS main thread.

We have all the components we need to connect teams of livecoders, sharing information from their IDEs as they work. What information would we like to share?

proactive conflict resolution

I’d like to share information that makes code integration easier, by spreading awareness of potential conflicts as soon as possible. Imagine, for example, that you’ve found a bug in a longstanding system method, and decide to start editing it. Before the commit of your change (which may still be days or weeks away), someone else on your team also happens to start editing that method. Wouldn’t it be nice to know that both of you are interested in changing the method?

If both of you are connected to a team network, your IDEs can notify each other when a potential conflict situation like this begins, and the two of you can resolve it through discussion. Such a feature could be vital in a team where responsibility for methods and classes is clearly and completely divided between authors.

The servers in this network can provide history services, too, acting as repositories of all the versions of methods and classes that have been committed by team members. This could aid in unit testing, sharing of works-in-progress, and deployment.

How would you use it?

How would you like to use such a system? How would your needs change when acting as a developer, or as a manager? I’m writing a specification now, and would love to hear your thoughts. Thanks!

Smalltalk Reflections episode 8: garbage collection

Posted in Uncategorized on 20 January 2015 by Craig Latta

Episode 8 of Smalltalk Reflections is out. The topic is “garbage collection”.

SqueakJS WebSocket test passes; Flow, Lightning, Naiad to follow

Posted in Uncategorized on 18 January 2015 by Craig Latta

Hoi–

Well, this is perverse fun. :) The JavaScript WebSocket client API works from SqueakJS, so I guess I’ll write a WebSocket server to proxy peer-to-peer traffic between SqueakJS clients. This will let me implement the Flow external streaming “primitive” interface, using only the JavaScript bridge and no actual primitives. That will enable the Lightning remote messaging protocol, and then Naiad. I’ll run the server on try.squeak.org and any other site that wants to be a Lightning node.

***

"Test the WebSocket API with an echo server."

| report websocket |

Transcript clear.

report := [:label :data |
   Transcript
   cr;
   nextPutAll: label;
   print: data;
   endEntry].

websocket := (
   (JS Object new)
      at: #newWebSocket
      put: (JS Function new: 'return new WebSocket("ws://echo.websocket.org");');
      newWebSocket).

websocket
   at: #onopen
   put: [:event |
      report value: 'opened: ' value: event.
      websocket send: 'hey there'];
   at: #onclose
   put: [:event | report value: 'closed: ' value: event];
   at: #onmessage
   put: [:event |
      report value: 'data: ' value: event data.
      websocket close];
   at: #onerror
   put: [:event | report value: 'error: ' value: event data]

***

Context 3 beta 5 released

Posted in Context, Uncategorized with tags , , , , , , , on 4 March 2014 by Craig Latta

Hi, Context 3 beta 5 is released. I’ve still got a bunch of changes pending, for a 3b6 release to follow shortly. This release is just to fix some startup problems on Windows, Linux, and Mac OS. You can also find the Spoon VM changes separated out, in the second “Resources” folder.

What I’d like is for you to just start the app and tell me the results, along with your host platform. Thanks!

This is the first message.

Posted in Uncategorized on 6 March 2009 by Craig Latta

Its only purpose is to show the appearance of this site. Thank you and good night.

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