OSC

This document regroups the data contained in version 1.01 of the OSC protocol for the X32 family of products released by Behringer in Oct. 2012, and a large number of additional OSC messages for communicating with the X32, their syntax and use, along with practical examples and explanations as to how and in which context they should be used.

Behringer is not associated to the redaction of this document and no support will be provided by the company.

In this work, the WGS performance of a conventional Ni/CeO2 bulk catalyst is compared to that of a carbon-supported Ni-CeO2 catalyst. The carbon-supported sample resulted to be much more active than the bulk one. The higher activity of the Ni-CeO2/C catalyst is associated to its oxygen storage capacity, a parameter that strongly influences the WGS behavior. The stability of the carbon-supported catalyst under realistic operation conditions is also a subject of this paper. In summary, our study represents an approach towards a new generation of Ni-ceria based catalyst for the pure hydrogen production via WGS. The dispersion of ceria nanoparticles on an activated carbon support drives to improved catalytic skills with a considerable reduction of the amount of ceria in the catalyst formulation.

The ixi software project started in 2000 with the intention to explore new interactive patterns and virtual interfaces in computer music software. The aim of this paper is not to describe these programs, as they have been described elsewhere [14][15], but rather explicate the theoretical background that underlies the design of these screen-based instruments. After an analysis of the similarities and differences in the design of acoustic and screen-based instruments, the paper describes how the creation of an interface is essentially the creation of a semiotic system that affects and influences the musician and the composer. Finally the terminology of this semiotics is explained as an interaction model.

High capacity of transmission lines (Ethernet in particular) is much higher than what imposed by MIDI today. So it is possible to use capturing interfaces with high-speed and high-resolution, thanks to the OSC protocol, for musical synthesis (either in realtime or non real-time). These new interfaces offer many advantages, not only in the area of musical composition with use of sensors but also in live and interactive performances. In this manner, the processes of calibration and signal processing are delocalized on a personal computer and augments possibilities of processing. In this demo, we present two hardware interfaces developed in La kitchen with corresponding processing to achieve a high-resolution, high-speed sensor processing for musical applications.

The Theremin was the first real electronic instrument to be used for 'classical' performance. Through its inception a new form of musical expression and physical interaction with sound synthesis was created. The Thereminator attempts to exploit the gestural aspects of the Theremin's design as a musical instrument, while simultaneously attempting to improve and expand upon its performance capabilities.