to Pd announce;
pureVST version 0.4 is out... mostly fixing problems with earlier
versions, in particular, trouble with reaper.
Also the VST-style GUI is a bit more helpful.
It's available as a compiled mac ("apple silicon") binary or as source.
msp.ucsd.edu/tools/purevst .
cheers
Miller
(sorry for x-posting; please >> as approrpiate)
Dear all,
We are excited to announce the SMC Summer School, taking place from July
7 to 9, 2025, in Graz, Austria:
The auditory gardener : creating Ambisonic landscapes
Join us for a three-day summer school that introduces you to Ambisonics
in both theory and practice, and allows you to realize a 3D audio
project in one of the following fields: electronic music, sound design
in the context of sleep research, sonification of particle compositions
of Graz’ air, storytelling for audio stories, or spatial music production.
You will work in teams, and present your project at Dom im Berg. The
program includes theoretical lessons, hands-on exercises using free
software, DIY hardware presentation, feedback and support of your
project, the presentation, as well as three lunches and five coffee breaks.
Registration fees are €100 for early bird registration and €120 after
June 5th.
The summer school is organized by the Institute of Electronic Music and
Acoustics (IEM) at the University of Music and Performing Arts Graz. For
more details, please visit:
<https://smc25.iem.at/summer-school/>
We look forward to supporting you with your Ambisonics project!
mgfdsar
IOhannes (on behalf of Matthias Frank, Katharina Groß-Vogt, Lukas
Gölles, and Stefan Riedel)
Hi, I uploaded binaries to deken for mac (intel/arm) and Windows/Linux for
Pd 64 bits - no double precision as I haven't committed to that yet and I
hope it's 100% officially provided and supported soon by the way (and I'm
using that as an excuse not to get to it just yet). This has been tested on
mac (intel/arm) and I got confirmation that a windows user got it running
just fine. I don't believe Linux will be a problem, but hey, let me know. I
just grabbed Windows/Linux from github actions and I don't have a VM
anymore to test them.
Someone compiled binaries for the raspberry pi, and it's been uploaded with
the others. Apparently, they're not working 100% and we'll still look into
that. *Hopefully someone from the list could help me/us with it.* I
might make another upload just for the pi later on if we figure it out.
Find release notes below and a link to the repository at the end with more
details.
If you see something funny, write me back to the list (hey, I'm getting
back to the list by the way), contact me personally or file a report at
https://github.com/porres/pd-else/issues
*--------------------------------------RELEASE
NOTES:--------------------------------------*
Please support me on Patreon https://www.patreon.com/porres I'll now try
to add special content for subscribers. You can follow me on instagram as
well if you like... I'm always posting Pd development stuff over there
https://www.instagram.com/alexandre.torres.porres/
It's been a little bit over 7 months since the last update and I almost
broke the record for taking too long to release an update (which had
happened in my previous update). So yeah, there's just too much to talk
about! I guess the delays in releasing updates is because it's been a
little tricky and hard to sync the release cycles of ELSE with PlugData,
which includes ELSE in its download.
Plugdata 0.9.2 should come out soon with ELSE RC13 and it's supposedly the
last update before 1.0.0, so I've heard. And the plans was to get to that
still in 2025! This means ELSE could be at its last "Release Candidate"
phase as I'm aiming to sync the final release with PlugData. Until then,
I'll still make breaking changes and I can't wait until I can't do that
anymore as I really feel bad. On the other hand, it's kind of inevitable
when I'm always adding new stuff and redesigning and reconfiguring objects
to include more functionalities. And I always got a lot of new stuff! So
I'm thinking that I will eventually try some mechanism like Pd's
compatibility flag or something. I'll try to come up with something like
that in the next update.
This update has 22 new objects for a total of 573 and 26 new examples in my
tutorial for a total of 554 examples. Let's dive into the highlights (see
full changelog below after the release notes).
- Multichannel Support: Last release had 92 MC aware objects, now it's 139!
Over a 50% increase that include old and new objects (all the new ones have
been coming with MC support). Virtually all oscillators and envelope
generators now have MC support, plus some other random ones. Let me
highlight the new [lace~]/[delace~] objects that are 'MC' tools that
perform interleave/deinterleave in Multichannel connections. My bare
minimum number of objects "to start with" would be at least a bit over half
the number of signal objects. That was my target for 1.0! ELSE right now
has 319 signal objects, so that'd be at least 160. I will definitely pass
this milestone in the next update. I guess a good number of MC objects
would be around 75% of the signal objects. I will aim for that as soon as I
can. Some objects simply can't be MC at all, so 100% will never be the
case, but maybe an ideal 90% eventually? We'll see... I am just proud and
happy that ELSE is taking such a big jump on MC awareness in less than a
couple years.
- Envelope generators ([adsr~]/[asr~]/[envgen~]/[function~]) now have more
curve options. For [adsr~]/[asr~] the default is now a new log curve that
you can set the curve parameter (and was 'stolen' from SuperCollider). A
new [smooth~] family of objects perform the same kind of curved smoothening
for alternating inputs - [envgen~] and [function~] also have that but also
'1-pole' filtering, 'sine' and 'hann' curves. You can now trigger [adsr~]
and [asr~] with impulses.
- The [play.file~] object now supports even more file formats besides MP3
and stuff. Hey, you can even stream the supported formats from weblinks!
The [sfload] object (which loads files into arrays) also gained support for
more formats and can download from weblinks as well! It also has a new
threaded mode, so loading big files won't choke Pd. It now also outputs the
file information, which is a way to tell you when loading finished in
threaded mode. The [sample~], [player~], [gran.player~] and [pvoc.player~]
objects are now also based on [sfload], so they support all these file
formats!!! Now [sample~] and [tabplayer~] are integrated in a way that
[tabplayer~] is always aware of the sample rate of the file loaded in
[sample~] (so it reads in the "correct speed"). A new [sfinfo] object is
able to extract looping regions and instrument metadata information from
AIFF files (which is something I wanted for ages) - it should do more stuff
in the future.
- [knob] has become the ultimate featured bloated creep GUI I always feared
and avoided. MAX is envy! but I'm happy with this structure and I want to
replicate in other GUIs in the future (yeah, I got plans to offer
alternatives to all iemguis). I wanna highlight a new 'param' symbol I
added that allows you to remotely set a particular method in an object, so
you don't to connect to a "method $1" message and you can even do this
wirelessly with a send symbol. [knob] now also acts like a number box,
where you can type in the value, which may also be displayed in different
ways or the value can be sent elsewhere via another send symbol so you can
temper with it using [makefilename] or [else/format]. I've been using this
for the MERDA modules and it's really cool.
- We finally have a [popmenu] GUI object! This was in my to do list forever
and was crucial to improve the MERDA modules to set waveforms, instruments
and whatnot.
- Let's about MERDA, the "Modular Euroracks Dancing Along" subset of
abstractions in ELSE. It was first released in the last update and it's
been driving lots of the development in ELSE as you can see. I now added a
MIDI Learn feature for all knobs that feels great and quite handy! There
are many fixes and improvements in general and some new modules. I wanna
highlight the new [sfont.m~] module, which loads "sound font" banks and you
can just click on a [popmenu] to choose the instrument you want. The
default bank has numerous (hundreds) options and also comes with PlugData.
The sequencer module [seq8.m~] was rather worthless but it's now a whole
new cool thingie. It allows you to set pitches with symbols and even has
quarter tone resolution. I added a right outlet to send impulses to trigger
envelopes and stuff (there's still more stuff of course, see full changelog
below).
- There are newly designed/renamed/recreated [resonbank~]/[resonbank2~]
objects that are well suited for Modal Synthesis.
- What actually drives my development is my Live Electronics tutorial,
which got a fair upgrade with a new chapter on Modal Synthesis amongst
other things, such as new subtractive synthesis examples and a revision of
envelope generators with examples on AHDSR and DAHDSR - by the way, there
are new gaterelease~/gatedelay~ objects for handling envelopes (and other
processes).
- I have to thank some people. Tim added 'zoom' to the [pic] object, as
well as an image offset. Tim also implemented a new and better technique
for bandlimited oscillators. Ben Wesh gave me a new [scope3d~] GUI object,
pretty cool, that plots an oscilloscope in 3 dimensions, which is coded in
LUA - and ELSE has been carrying a modified version of [pdlua] because it
now depends on it for a couple of GUIs. Tim and Ben made many improvements
to [pdlua] (as well as Albert Graef, of course).
- For more noew objects, let me also tell you about the simple and
cool [float2imp~], that is based on [vline~] and can convert floats to
impulses with sample accuracy (don't know why I didn't think of that
earlier). A new [tanh~] object has Multichannel support. A bit earlier I
made an update to Cyclone that actually "borrows" and includes this one
from ELSE instead of its original one (which does not have Multichannel
support). PlugData users will load the one from ELSE. This is another tiny
step that sort of integrates ELSE and Cyclone, specially for PlugData users.
cheers
------------------------------------------------------
Here's the link to the github release with the same release notes and a
full blown changelog with all the humongous details of what I've been up to
==> https://github.com/porres/pd-else/releases/tag/v.1.0-rc13
cheers again
Quick reminder:
May 16 is the deadline for submissions to PdMaxCon25~
That’s 11 days away!
We are accepting in four tracks: papers, music, installations, and demos/workshops
Please follow the paper template (LaTex or Word) for the research track. And please review the tech rider guidelines before making your submission in music, installations or demos/workshops.
The templates and requirements for papers and tech riders can be found here: https://music.illinois.edu/pd-max-con/
The submission link is: https://easychair.org/conferences/?conf=pdmaxcon25
Dear Pd enthusiasts,
Announcing the latest stable release of Pd-L2Ork (version 20250501), L2Ork Tweeter (version 0.86), and the WebPdL2Ork. For additional info please see links below:
Pd-L2Ork (includes L2Ork Tweeter): https://bit.ly/pd-l2ork
Latest Pd-L2Ork release offers critical bug-fixes, L2Ork Tweeter version 0.86 (now with up to 14 concurrent parts), new window list feature, improved string handling (see sprintf), and many more. If you already have your preferences saved from a previous version of Pd-L2Ork, don’t forget to enable save zoom option in the Preferences > GUI. It is now enabled by default and already used by the latest version of L2Ork Tweeter.
WebPdL2Ork: https://l2ork.music.vt.edu/main/pd-l2ork-invades-the-web/
Linux flatpak Pd-L2Ork: http://flathub.org/apps/details/io.github.pd_l2ork.Pd_L2Ork
As always, your feedback and bug reports (beyond ones already on our github page) are appreciated.
Best,
Ico
--
Ivica Ico Bukvic, D.M.A.
Director, Human-Centered Design iPhD
Virginia Tech
Creative Technologies in Music
School of Performing Arts – 0141
Blacksburg, VA 24061
(540) 231-6139
ico(a)vt.edu<mailto:ico@vt.edu>
hcd.icat.vt.edu<https://hcd.icat.vt.edu>
l2ork.icat.vt.edu<https://l2ork.music.vt.edu>
ico.bukvic.net<http://ico.bukvic.net>
Hi, Cyclone 0.9-2 is out. Not much new really going on here, check the
changelog at https://github.com/porres/pd-cyclone/releases/tag/cyclone_0.9-2
I prepared this release over a month ago, but was lazy to compile and
upload and announce and stuff. I did just upload to deken for the most used
systems (that is linux/windows/mac for 64 bits Pd, and a couple of
raspberry pi binaries). I did also compile for Pd64, but only for macOS. If
you're able to compile for other platforms, please let me know so we can
upload them too... (write to me privately please).
cheers
ps. stay tuned for an ELSE update soon
Please forgive the cross-posting. But also, please distribute freely.
TLDR:
A quick, short reminder about the PdMaxCon25~ call for works:
• There is a CFP on EasyChair that explains the submission requirements and author instructions, including paper templates and tech rider requirements: https://easychair.org/cfp/PdMaxCon25
• The EasyChair portal is open and accepting submissions for music, installations, research and demo/workshops. https://easychair.org/conferences/?conf=pdmaxcon25
• The deadline is May 16, 2025.
Also - we’re still looking for reviewers! You can be both an author and a reviewer. Just drop me an email (kerry(a)illinois.edu <mailto:kerry@illinois.edu>) and tell me what you want to review (music, papers, etc.) and whether you’re a Max or Pd person (or both).
Long version:
• Call For Submissions
The PdMaxCon25 is soliciting submissions in the tracks of Music, Installations, Research, and Demos/Workshops. All submissions must rely on Max or Pd software in some way.
• Submission Guidelines
There will be four tracks: Music, Installations, Research, Demos/Workshops
Please follow the paper template (LaTex or Word) for the research track. And please review the tech rider guidelines before making your submission in music, installations or demos/workshops.
Music submissions must be appropriate for either our concert hall presentations or late-night informal venue. You will be able to indicate which of these two options in the submission form. We will require title, name, duration, year, program note (250 words), a description of how Pd or Max is used (250 words), a link to a recording or video of the work or equivalent documentation, and a complete tech rider.
Installation submissions will be selected on merit, but we cannot guarantee that we can honor all space or equipment requests. We will require title, name, year, artist statement (250 words), a description of how Pd or Max is used (250 words), a link to a recording or video of the work or equivalent documentation, and a complete tech rider.
Research submissions can fall under a short paper (2000 words) or long paper format (4000 words). We will provide a paper template when the submission portal opens. We will require a title, length (short or long), abstract, and a PDF of the paper.
The demo/workshop track is designated for projects or research that are interactive, classroom- or lab-based, or require more technology than research presentations. We will require title, duration, abstract, short description of how Pd or Max is used (250 words), a complete description of the demo or workshop with links to any documentation, and a full tech rider.
In all tracks, a work may be ‘accepted’ based on the double-blind peer review process. However, we reserve the right not to program or host a work that we cannot support with the resources available to us.
Call for submissions: https://easychair.org/cfp/PdMaxCon25
Submission link: https://easychair.org/conferences/?conf=pdmaxcon25
Important Dates
Deadline for submissions: May 16
Reviews to be completed: June 20
Delegates announced: July 11
Registration/Confirmation of attendance: July 18 (Registration is free)
Final program released: August 1
To Pd announce:
A very preliminary version (0.1) of a VST3 plugin named PureVST is
available on msp.ucsd.edu/tools/purevst . As the name suggests, it runs
Pd within a VST host such as your favorite DAW.
I'm releasing it, so far, as source code and as a packaged VST3 plug-in
for MacOS (Apple silicon) . It compiles fine for linux and (I think)
for MacOS/Intel - somebody brave might want to see if it can work on
Microsoft Windows too :)
I'm sure there will be plenty of problems/questions/comments. Perhaps
for now it's appropriate to write these to the Pd mailing list, although
it might someday be worth setting up a different forum for that.
cheers
Miller
***Live Electronics and Sound and Music Computing Workshop 2025***
Faculty: Alvise Vidolin and Nicola Bernardini
Academic Coordinator: Julian Scordato
Application Deadline: April 30, 2025
The Chigiana Musical Academy presents its advanced ***Live Electronics and
Sound and Music Computing Workshop 2025***, designed for performers and
composers working in contemporary digital music. This year's program
honors *Pierre
Boulez* in the centenary of his birth.
**Curriculum includes:**
- Performance techniques for live electronics
- Electroacoustic composition with live processing
- Concert performances of historic masterpieces and world premieres using
real-time systems
- Practical workshops and masterclasses
- Final performance of works created during the program
- Guest lectures by leading figures: Giorgio Nottoli, Giuseppe Di Giugno,
and Andrew Gerzso
**Dates:** July 10-23, 2025
**Venue:** Chiesa di Sant'Agostino, Siena
Full program details and application:
https://www.chigiana.org/live-electronics-2025
<https://www.chigiana.org/live-electronics-2025>
Hi,
planifolia, library of vanilla abstractions, was updated today (v.0.32) and
is already in decken.
There are both bug fixes ([any.==], specially) and new tools (osc
ready-to-use abstractions, list manipulation functions, [symbol.v], etc).
The idea of planifolia is to have a good amount of vanilla
dependence/compilation free tools to make it easier to bring patches to
different PD-based systems.
https://github.com/zepadovani/planifolia
Hi all,
The submission page for PdMaxCon25 is now open. Please read the instructions carefully and use the guidelines/templates provided.
You can find it all here: https://music.illinois.edu/pd-max-con/
Please spread the word.
Some fun facts:
PdMaxCon25~ is September 5-7, 2025
The PdMaxCon will be open and free to the public.
We will require registration and attendance, but it will be free.
We have no funding to provide artists, so please budget accordingly.
Miller Puckette and David Zicarelli are the keynotes
The University of Illinois Urbana-Champaign is the historical origin of Lejaren Hiller’s ‘ILLIAC Suite’
Any questions, ping my work email: kerry(a)illinois.edu
Patch on, my friends,
Kerry
In case you have missed both the original deadline and our announcement
for extending it:
IEM (iem.at) and the SMC network (smcnetwork.org) extends its call for
paper contributions to SMC, which will be held in Graz, consisting of a
summer school between July 7th and 9th,
and the conference/concerts as main event between July 10th and 12th at
MUMUTH/Kunstuni Graz, 2025.
The new submission deadline for papers is **March 12th 2025**.
See <https://smc25.iem.at> for details; we chose "Auditory Landscapes"
as a theme.
IOhannes
(for the Graz SMC25 team)
Hi all,
The University of Illinois is hosting a special PdCon - the PdMaxCon - to celebrate Pd’s 30th and Max’s 40th year anniversaries.
This is a save-the-date email: September 5-7, 2025, at the University of Illinois Urbana-Champaign.
This is the page that will be updated with more information as it becomes available: https://music.illinois.edu/pd-max-con/
We already have Miller and David Zicarelli lined up as our keynote speakers.
This will be double-blind, peer-reviewed. So I am also looking for volunteers to review submissions. Please drop me an email at kerry(a)illinois.edu with your preferred email, and what you feel you can review competently (e.g., research? Music? Workshops? Demos? Installations? Topics? Pd or Max or both? Etc.)
You can be both a reviewer and a submitter.
Registration will be free, but we have no money to offer travel or accommodation support.
Regards,
Kerry
Hi list,
version 0.4.0 adds 2 new objects:
- [pqcrossover~]
- 4th order Linkwitz-Riley filters to be able to do multi-band
limiting (or other processing)
- [pqpeak~]
- reports maximum peak in dBFS from a 2048 sample buffer to be used
with Pd's [VU]
sources and bug reports:
https://github.com/Lucarda/pd-pulqui
get the bianries from Deken for many OSs and archs via menu "help/find
externals" or from
https://deken.puredata.info/results.html?name=pulqui
:)
--
Mensaje telepatico asistido por maquinas
Hey all
I just released another version of my pet project netpd. While not so
much has changed in netpd itself, this is the first release available
as AppImage for Linux. There are also apps for Windows and macOS (code-
signed and notarized). Those are meant to be user-friendly for people
not familiar with Pd. netpd still runs (and will forever) with regular
Pd and some externals.
Feedback is welcome!
There is a small, but committed user base regularly using netpd and
having jam sessions. While not flawless, netpd has matured in recent
years and might interest people that like creating electronic music (of
any kind). A handful of new instruments have been developed which are
hosted separately and thus not always mentioned in the netpd release
notes, but it's probably those that create the fun. Let me just mention
a few of the more recent ones:
untik - new versatile clock system supporting time patterns with
irregular intervals and polyrhythms
metaseq - a meta sequencer that slices timelines and re-arranges them
elorg - an organ emulation
mmmarimba - a marimba based on Mike Moser-Booth's marimba patch
filtlib - filter effect library
mx - added support for nesting effects in other effects
Of course, netpd users might develop their own instruments and use them
with their peers. A handful of such instruments is in circulation. The
documentation of the topic has recently been updated (see links below).
Download:
https://netpd.org/download/
Release notes:
https://github.com/reduzent/netpd/releases/tag/v2.3.5
Listen to netpd artefacts (sound made fully in Pd):
https://netpd.org/listen/
Write your own instruments:
https://netpd.org/docs/instrument-creation/
So.. I guess that's enough of shameless self-advertisement...
Enjoy!
Roman
hi list,
[hidraw] version 0.2.0 was released and the new features are:
- add optional 3th outlet via creation arg "-info" that outputs devices
listing as a Pd list
- add methods "open-path" and "list-vidpid"
- update hidapi submodule
the motivation for the update was that is was very hard to open 2 (or
more) same devices (same as in: same manufacturer/model). with this
version one can query devices and store them on a [text], do some logic
and finally open devices via "open-path"
it's up on Deken for Windows(i386 amd64), Linux(i386 amd64 arm arm64)
and macOS(amd64 arm64)
sources https://github.com/Lucarda/pd-hidraw
:)
--
Mensaje telepatico asistido por maquinas
Dear all,
Please pardon x-posting.
L2Ork is pleased to announce the latest Holiday release of Pd-L2Ork and WebPdL2Ork, version 20241217. Below is an update summary:
*Integrated rich text and vanilla 0.55 additions
*Improved indexing
*Initial clean-up of the cyclone library (active, mousefilter, and MouseState)
*Added neuralnet
*Reworked flite
*WebPdL2Ork bugfixes and improvements (Tweeter now loads in seconds)
*59 new L2Ork Tweeter instruments and a new piece, added MadMapper interfacing patches
You can grab your builds from the usual place https://bit.ly/pd-l2ork
Don't forget to follow us on Instagram: https://instagram.com/L2Ork
Wishing all Happy Holidays!
Best,
Ico
--
Ivica Ico Bukvic, D.M.A.
Director, Creativity + Innovation
Director, Human-Centered Design iPhD
Institute for Creativity, Arts, and Technology
Virginia Tech
Creative Technologies in Music
School of Performing Arts – 0141
Blacksburg, VA 24061
(540) 231-6139
ico(a)vt.edu<mailto:ico@vt.edu>
ci.icat.vt.edu<http://ci.icat.vt.edu>
l2ork.icat.vt.edu<http://l2ork.icat.vt.edu>
ico.bukvic.net<http://ico.bukvic.net>
Call for submissions: ECHO #7 - Speculative Sound Synthesis
Deadline: February 28 2025
The online journal ECHO invites submissions for its upcoming seventh issue on "Speculative Sound Synthesis," edited by David Pirrò, and Leonie Strecker. ECHO is the online publication of the Music, Thought and Technology research group at Orpheus Instituut, Ghent.
The artistic practice of sound synthesis has evolved in close relation to science and technology. This relationship has been fundamental, offering new means and methods for experimentation while simultaneously instilling a strong pull toward standardisation, closure, and control.
"Speculative Sound Synthesis" destabilises and recomposes the multilayered relationship between technology and artistic practice, seeking to unleash aesthetic potentials that would remain unseen or hidden by technological habits. Speculation, in this context, denotes a questioning attitude that emphasises hypothetical thinking, curiosity, and exploration. As an artistic practice, speculation functions as a situated oscillation between experience and imagination, generating new forms of knowledge and opening pathways to novel aesthetic thinking.
This special issue welcomes contributions from practitioners who are committed to critical and speculative approaches at the intersection of art and technology. Within this hybrid space, synthesis is understood both as a means of producing new forms and, in a more abstract sense, the practice of bringing forth assemblages of materials and concepts. We seek contributors engaged in practices that question, challenge, criticise, deconstruct, recompose, reformulate, shift, dislocate, endanger, or reject established standards of sound synthesis, exploring aesthetic positions that offer alternative perspectives on thinking and creating sound.
For further details and submission instructions, please click:
https://echo.orpheusinstituut.be/current-call
This issue is edited by the Speculative Sound Synthesis research project team. The "Speculative Sound Synthesis" project is funded by the Austrian Science Fund (FWF) within the Programme for Arts-based Research (PEEK) – PEEK AR 713-G and is hosted by the Institute of Electronic Music and Acoustics (IEM) at the University of Music and Performing Arts Graz.
https://speculative.iem.at/
Dear List,
on Saturday the 14th of December at 14h CET there will be a online Click
Tracker workshop.
The workshop is free of charge, but participants must enroll at
https://bit.ly/workshop_click_AnT
You can also find all information in the facebook event
https://fb.me/e/4g3JEAfxN Feel free to share this information with
anyone insterested.
The goal of this workshop is to learn how to use the Click Tracker app,
developed by João Pais for the creation of click tracks. The Click
Tracker is a powerful tool that can help musicians either with the
creation process, the preparation and rehearsing or even performance of
musical works with a certain degree of metric complexity, or simply to
synchronise electronic means with instruments.
During this workshop, João Pais will present the Click Tracker features,
demonstrating how to create files for a number of different situations
(changing tempi, time signatures, etc).
Before the workshop, each participant will receive an email with the
details for the access to the online session.
You can find more information and tutorial, as well as download the
application at https://jmmmp.github.io/clicktracker/
Participants are strongly encouraged to previously send a PDF referring
to practical cases they might like to see discussed during the session.
Best,
João Pais
--
Click Tracker Mobile -https://bit.ly/click-tracker-mob
Click Tracker Website -http://j.mp/click-tracker
Click Tracker Library -https://bit.ly/ClickTrackerLibrary
Facebook -http://j.mp/clicktrackerfb
[ Apologies for cross-posting this message to multiple lists ]

Call for Music
https://icmc2025.sites.northeastern.edu/call-for-submissions/#music
Practitioners of Computer Music and Electroacoustic Music, including composers, sound artists, performers, and improvisers, are invited to submit proposals for works to be presented at ICMC BOSTON 2025 <https://icmc2025.sites.northeastern.edu/>. Submissions may be fixed or performative in nature. While submissions of works that align with this year’s conference theme of Curiosity, Play, Innovation are highly encouraged, we remain open to other themes and concepts and welcome submissions in the following broad categories:
Fixed media (stereo or multichannel)
Live electronics and/or fixed media with, or without, instruments/voice
Audiovisual (fixed or performative)
Interactive systems (sensor-based controllers, score following, gesture/motion tracking, etc.)
Improvised electronics with, or without, acoustic instrument(s)/voice
Networked performance
Live coding and algorithmic performance
CALL FOR MUSIC: SUBMISSION GUIDELINES
Composers and Sound Artists may submit fixed media or performative works, with or without visuals, up to twelve (12) minutes in length. Shorter works, eight (8) minutes, or less, are strongly encouraged.
For those submitting works combining electronics with instruments/voice, please indicate if you would like your work to be considered for performance by members of one of the ICMC 2025 ensembles-in-residence:
Hinge Quartet <http://hingequartet.com/>
saxophone (any, except bass), electric guitar, piano, and percussion
Callithumpian Consort <http://www.callithumpian.org/>
soprano voice, flute (doubling piccolo, alto), clarinet (doubling bass cl.), violin, cello, and piano.
If you will be providing your own performer to play your piece, please let us know.
Performers are invited to apply to perform a work involving digital technology. The performer-applicant does not need to be the composer of the work, and the composer is not required to attend the conference. This provides an opportunity for performers specializing in electroacoustic music to contribute to ICMC 2025 by presenting a work drawn from the rapidly growing repertoire in this field. Suggested duration is eight (8) minutes, or less.
Note: Performers must secure all required permissions for public presentation of proposed works.
Improvisers working with digital technology are invited to submit a proposal to perform an improvisation, with or without visuals, up to eight (8) minutes in length. The proposal must include an audio file demonstrating the nature of the improvisation and a written description of the technology/system utilized. Improvisations may be purely electronic, or may involve an acoustic instrument, voice, or amplified object(s) with electronics.
Piece + Paper
We also encourage Piece + Paper submissions, which combine musical work with research presentations. These submissions provide an opportunity to discuss a work’s technical and aesthetic aspects in depth. For Piece + Paper submissions please refer to the Call for Papers <https://icmc2025.sites.northeastern.edu/call-for-submissions/#papers> for additional guidelines.
Each submission must include the following:
Work Description (1000 characters)
Technical Requirements and Setup Specifications
Program Note (3000 characters)
Biographical Note (Primary Author) (3000 characters)
Biographical Note(s) (Secondary Participants) (8000 characters)
File Uploads:
Please submit your main audio/video file that best represents your music submission. We accept wav, aif, aiff, m4a, mp3, and mp4 file formats.NOTE: max file sizes are 100MB (for each file) – if you have large video files, we encourage you to include links to anonymous, unpublished YouTube or Vimeo links in an accompanying PDF upload. (For multichannel works, please submit a stereo, binaural mix. If a multichannel submission is accepted to the conference, mono files corresponding to each channel will be requested.)
NOTE: Please do not submit links to videos of audio-only, performative works (instrument + electronics, for example) unless there is an interactive component involving relevant motion or some other theatrical component that is primary to the work.
Please submit a performance score (when applicable, for notated works)
Preferred Venue:
Applicants will be asked to specify if the work is intended for presentation in a concert venue, alternative nightclub environment, or a listening space. In cases where the preferred venue is a concert hall, please indicate if a nightclub or listening room will be acceptable as an alternative, if we are unable to program the work in a more traditional concert setting.
Submissions should be made through the ICMC BOSTON 2025 Conference Management Toolkit (CMT)
https://cmt3.research.microsoft.com/ICMCBOSTON2025
Available Systems:
For concerts, we are able to accommodate the following diffusion setups: stereo, quadrophonic, 5.1, 8-channel, and 8-channel augmented (additional channels/loudspeakers for materials to be spatialized in real-time with elevated, rear-facing, and upward facing monitors. Number of channels and loudspeakers TBD). Single screen video projection is possible in most of the available concert venues.
For listening rooms, we will have a selection of spaces available with stereo, quadrophonic, and 8-channel playback systems. Video projection or a display monitor will be possible in each of these spaces.
Call for Music Submission Deadline: February 1, 2025
For any questions regarding the Call for Music Submissions, please contact the ICMC BOSTON 2025 Music Chair: John Mallia (john.mallia(a)necmusic.edu <mailto:john.mallia@necmusic.edu>).

[ Apologies for cross-posting this message to multiple lists ]

Call for Papers
https://icmc2025.sites.northeastern.edu/call-for-submissions/#papers
ICMC Boston 2025 <https://icmc2025.sites.northeastern.edu/> invites submissions of full papers (up to 8 pages) and short papers (up to 4 pages) that resonate with the conference theme Curiosity, Play, Innovation. We welcome works in the following broader categories, including but not limited to:
Acoustics and Psychoacoustics
Algorithmic Composition
Artificial Intelligence, Machine Learning, and Data Analysis
Audio Analysis and Music Information Retrieval
Augmented and Virtual Reality in Music
Composition, Performance, and Interactive Systems
Computer-aided Music Education
Digital Audio Effects and Signal Processing
Digital Musical Instruments
Distributed and Networked Music Systems
Education, Historical Perspectives, and Infrastructure
Electronic and Digital Musical Instruments
Game Audio and Interactive Sound Design
Generative Music Systems
Historical Perspectives on Computer Music
Human-Computer Interaction in Music
Live Coding and Real-Time Systems
Mobile and Web Music Technology
Movement, Sensor, and Gesture-based Sound Actions
Music Cognition and Perception
Music Representation and Notation
Physical Modeling and Sound Synthesis
Piece + Paper
Robotics and Music
Sonification and Auditory Display
Sound and Signal Processing
Spatial and Immersive Audio
Studio Reports and Infrastructure
Virtual Reality, Gaming, and Networked Systems
We particularly encourage submissions that combine innovative approaches to music with groundbreaking technology and scientific insights. Both full and short papers will be included in the proceedings. Authors of the selected papers will have the opportunity to present their work orally during paper sessions and as live demos in the “Innovation Showcase”(see below). Winners of the Best Paper Award will be invited to publish an extended version of their paper in a special issue of the Computer Music Journal <https://direct.mit.edu/comj>.
Full papers should present completed research with comprehensive methodology and artist and/or technical results. Short papers are suitable for work-in-progress, preliminary findings, or focused technical solutions demonstrating clear potential impact. Papers will be reviewed based on their artistic/musical contribution, technical/scientific merits, originality and innovation, presentation quality, and relevance to the extended field of computer music.
Only original work not previously published or submitted for publication is considered for acceptance. Authors of accepted submissions who cannot physically attend the conference may present remotely.
CALL FOR PAPERS: SUBMISSION GUIDELINES
All submissions must be in English and use appropriate and inclusive language.
Paper submissions should be made using the provided templates and submitted through the ICMC BOSTON 2025 Conference Management Toolkit (CMT) <https://cmt3.research.microsoft.com/ICMCBOSTON2025>. Please remove any identifying information from your submission materials to ensure a double-blind peer review process. LaTeX, MS Word, and OpenDocument Text templates are available here:
Download Paper Templates <https://icmc2025.sites.northeastern.edu/files/2024/11/ICMC_2025_Paper_Templ…>
Note that page limits include references. To have your paper considered for the demo session, please check the “available for demo” box in the CMT and upload relevant technical documents during submission.
The submission deadline for the paper track: January 15, 2025, AoE [Anywhere on Earth]
NOTE: The submission portal will be closing for new paper submissions on January 15, 2025 at 11:59pm (AoE). However, you will be able to update your submission until January 22 at 11:59pm (AoE). No extensions will be granted.
For any questions regarding submissions, please contact the ICMC BOSTON 2025 Paper Chairs: Victor Zappi <mailto:v.zappi@northeastern.edu> or Akito van Troyer <mailto:avantroyer@berklee.edu>.
We look forward to your contributions and celebrating 50 years of creativity and innovation in computer music at ICMC Boston 2025!
*****
Call for Innovation Showcase (Posters and Demos)
https://icmc2025.sites.northeastern.edu/call-for-submissions/#innovation
ICMC Boston 2025 <https://icmc2025.sites.northeastern.edu/> invites submissions for the Innovation Showcase, which combines poster presentations and live demonstrations. Submissions in this category should be short papers (up to 2 pages) that resonate with the theme of Curiosity, Play, Innovation. We welcome works in the following broader categories, including but not limited to:
Acoustics and Psychoacoustics
Algorithmic Composition
Artificial Intelligence, Machine Learning, and Data Analysis
Audio Analysis and Music Information Retrieval
Augmented and Virtual Reality in Music
Composition, Performance, and Interactive Systems
Computer-aided Music Education
Digital Audio Effects and Signal Processing
Digital Musical Instruments
Distributed and Networked Music Systems
Education, Historical Perspectives, and Infrastructure
Electronic and Digital Musical Instruments
Game Audio and Interactive Sound Design
Generative Music Systems
Historical Perspectives on Computer Music
Human-Computer Interaction in Music
Live Coding and Real-Time Systems
Mobile and Web Music Technology
Movement, Sensor, and Gesture-based Sound Actions
Music Cognition and Perception
Music Representation and Notation
Physical Modeling and Sound Synthesis
Piece + Paper
Robotics and Music
Sonification and Auditory Display
Sound and Signal Processing
Spatial and Immersive Audio
Studio Reports and Infrastructure
Virtual Reality, Gaming, and Networked Systems
We encourage submissions of all stages, including works-in-progress, preliminary research findings, focused technical solutions, brief case studies, and fully developed projects. The crucial aspect is that the work lends itself to engaging presentations through posters or hands-on demonstrations. Submissions should offer interactive experiences that allow conference attendees to directly engage with the work/technology, comprehend its musical applications, and appreciate its innovative elements. Each submission will be evaluated based on its creative and intellectual merit, practical functionality, suitability for interactive presentation, and potential impact on the field of computer music. Selected submissions will be included in the proceedings.
CALL FOR INNOVATION SHOWCASE: SUBMISSION GUIDELINES
All submissions must be in English and must use appropriate and inclusive language.
Submissions should be made using the provided templates and submitted through ICMC BOSTON 2025 Conference Management Toolkit (CMT) <https://cmt3.research.microsoft.com/ICMCBOSTON2025>. Alongside the 2-page paper, submissions conceived for live demonstration must include a technical rider and video documentation (max 5 minutes). Please remove any identifying information from all submitted materials to ensure a double-blind peer review process.
LaTeX, MS Word, and OpenDocument Text templates are available here:
Download Paper Templates <https://icmc2025.sites.northeastern.edu/files/2024/11/ICMC_2025_Paper_Templ…>
Note that page limit includes references.
The submission deadline for the paper track: January 15, 2025, AoE [Anywhere on Earth]
NOTE: The submission portal will be closing for new paper submissions on January 15, 2025 at 11:59pm (AoE). However, you will be able to update your submission until January 22 at 11:59pm (AoE). No extensions will be granted.
For any questions regarding submissions, please contact the ICMC BOSTON 2025 Paper Chairs: Victor Zappi <mailto:v.zappi@northeastern.edu> or Akito van Troyer <mailto:avantroyer@berklee.edu>.
We look forward to your contributions and celebrating 50 years of creativity and innovation in computer music at ICMC Boston 2025!
**************************************
Anthony Paul De Ritis, MBA, PhD
Professor, Music Department
Northeastern University, Boston, MA 02115 USA
www.deritis.com <http://www.deritis.com/>