The MP3 file type has been around for so long, and is supported by essentially all modern media software and hardware, that it might be surprising to some to learn that it’s actually a proprietary format. Developed in the late 80s and early 90s, it rose to prominence during the Napster/Limewire era of the early 00s and became the de facto standard for digital music, but not all computers in these eras could play this filetype. This includes the Amigas of the early 90s, with one rare exception: this unreleased successor to the A3000 with a DSP chip, which now also has the software to play back these digital tunes.

The AA3000, developed as a prototype by Amiga, was never released to the general public. Unlike the original A3000 this one would have included a digital signal processing chip from AT&T called the DSP3210 which would have greatly enhanced its audio capabilities. A few prototype boards did make it out into the hands of the public, and the retrocomputing scene has used them to develop replicas of these rare machines. [Wrangler] used one to then develop the software needed for the MPEG layer 2 and 3 decoder using this extra hardware, since the original Amiga 3000 was not powerful enough on its own to play these files back.

If you want to follow along with the community still developing for this platform there’s a form post with some more detail for this specific build (although you may need to translate from German). [Wrangler] additionally points out that there are some limitations with this implementation as well, so you likely won’t get Winamp-level performance with this system, but for the Amiga fans out there it’s an excellent expansion of this computer’s capabilities nonetheless.

Thanks to [Andy] for the tip!

As any Linux chat room or forum will tell you, the most powerful tool to any Linux user is a terminal emulator. Just about every program under the sun has a command line alternative, be it CAD, note taking, or web browsing. Likewise, the digital audio workstation (DAW) is the single most important tool to anyone making music. Therefore, [unspeaker] decided the two should, at last, be combined with a terminal based DAW called Tek.

Tek functions similarly to other DAWs, albeit with keyboard only input. For anyone used to working in Vim or Emacs (we ask you keep the inevitable text editor comment war civil), Tek will be very intuitive. Currently, the feature set is fairly spartan, but plans exist to add keybinds for save/load, help, and more. The program features several modes including a multi-track sequencer/sampler called the “arranger.” Each track in the arranger is color coded with a gradient of colors generated randomly at start for a fresh look every time.

Modern audio workflows often span across numerous programs, and Tek was built with this in mind. It can take MIDI input and output from the JACK Audio Connection Kit, and plans also exist to create a plugin server so Tek could be used with other DAWs like Ardor or Zrythm. Moreover, being a terminal program opens possibilities for complicated shell scripting and other such Linux-fu.

Maybe a terminal DAW is not your thing, so make sure to check out this physical one instead!

Modern micro-controllers are absolute marvels, but it isn’t too many projects use one and nothing else. For an example of such simplicity, take a look at [oyama]’s Pi Pico MIDI looper.

It uses the PicoW to interface with a synth via MIDI-BLE, which can be anything from pro equipment to an app on your smartphone. The single control button is already provided by the Pico W– the bootsel button is wearing a lot of hats here, allowing one to select betwixt 4 tracks (all different drums), set the tempo, and input notes on the selected track.

The action is simple: pound out the rhythm for each track, and it will repeat forever, or at least until you press the single button again to change it. There’s also a nice serial interface so you can see what’s going on via UART or USB. For what it does, it is amazingly simple: the BOM is one item, the Pi Pico W. To see it in action, check out the demo video below.

Given the ADC chops on the Pico, it would probably be easy to extend this build with a speaker to make a tiny stand-alone, one-button synth. Or you could add more buttons buttons, but then it’s no longer the beautifully simple single-line BOM project that [oyama] showed us.

Of course, everything is open-source on GitHub, under the BSD license, and forking is encouraged, so [oyama] would doubtless be more than happy to see you go nuts hacking and extending this tiny MIDI looper.

We’ve actually seen the MIDI-BLE standard used before, like this hack adding it to a Eurorack. If you like synths, you may be interested to see what it takes to design one from scratch, sans microcontroller.

 

Classic demos from the demoscene are all about showing off one’s technical prowess, with a common side order of a slick banging soundtrack. That’s precisely what [BUS ERROR Collective] members [DJ_Level_3] and [Marv1994] delivered with their prize-winning Primer demo this week.

This demo is a grand example of so-called “oscilloscope music”—where two channels of audio are used to control an oscilloscope in X-Y mode. The sounds played determine the graphics on the screen, as we’ve explored previously.

The real magic is when you create very cool sounds that also draw very cool graphics on the oscilloscope. The Primer demo achieves this goal perfectly. Indeed, it’s intended as a “primer” on the very artform itself, starting out with some simple waveforms and quickly spiraling into a graphical wonderland of spinning shapes and morphing patterns, all to a sweet electronic soundtrack. It was created with a range of tools, including Osci-Render and apparently Ableton 11, and the recording performed on a gorgeous BK Precision Model 2120 oscilloscope in a nice shade of green.

If you think this demo is fully sick, you’re not alone. It took out first place in the Wild category at the Revision 2025 demo party, as well as the Crowd Favorite award. High praise indeed.

We love a good bit of demoscene magic around these parts.

Thanks to [STrRedWolf] for the tip!

Alvin Lucier was an American experimental composer whose compositions were arguably as much science experiments as they were music. The piece he is best known for, I Am Sitting in a Room, explored the acoustics of a room and what happens when you amplify the characteristics that are imparted on sound in that space by repeatedly recording and playing back the sound from one tape machine to another. Other works have employed galvanic skin response sensors, electromagnetically activated piano strings and other components that are not conventionally used in music composition.

Undoubtedly the most unconventional thing he’s done (so far) is to perform in an exhibit at The Art Gallery of Western Australia in Perth which opened earlier this month. That in itself would not be so unconventional if it weren’t for the fact that he passed away in 2021. Let us explain.

While he was still alive, Lucier entered into a collaboration with a team of artists and biologists to create an exhibit that would push art, science and our notions of what it means to live beyond one’s death into new ground.

The resulting exhibit, titled Revivication, is a room filled with gong-like cymbals being played via actuators by Lucier’s brain…sort of. It is a brain organoid, a bundle of neurons derived from a sample of his blood which had been induced into pluripotent stem cells. The organoid sits on a mesh of electrodes, providing an interface for triggering the cymbals.

“But the organoid isn’t aware of what’s happening, it’s not performing” we hear you say. While it is true that the bundle of neurons isn’t likely to have intuited hundreds of years of music theory or its subversion by experimental methodology, it is part of a feedback loop that potentially allows it to “perceive” in some way the result of its “actions”.

Microphones mounted at each cymbal feed electrical stimulus back to the organoid, presumably providing it with something to respond to. Whether it does so in any meaningful way is hard to say.

The exhibit asks us to think about where creativity comes from. Is it innate? Is it “in our blood” so to speak? Do we have agency or are we being conducted? Can we live on beyond our own deaths through some creative act? What, if anything, do brain organoids experience?

This makes us think about some of the interesting mind-controlled musical interfaces we’ve seen, the promise of pluripotent stem cell research, and of course those brain computer interfaces. Oh, and there was that time the Hackaday Podcast featured Alvin Lucier’s I Am Sitting in a Room on What’s that Sound.

Kits AI is an AI voice platform designed for musicians to enhance their music production. It offers the ability to modify voices using a wide range of pre-trained AI voices, featuring both licensed artist voices and royalty-free options. You can also use this tool to train, create, and share your own custom AI voices. Training […]

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StockmusicGPT is an AI-powered web app that can generate customizable, copyright and royalty-free stock music tracks. It also features a library of free AI stock music that you can listen to and download. When creating your own track, simply choose a genre like ambient or classical from the dropdown menus, customize options like instruments, theme […]

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RoEx Automix lets you mix and master your audio tracks using AI. Users can use Automix for free but the tool runs on a credit system, and you only get 1 credit per month as a free user. In my opinion the pricing is a little expensive for what they offer, however you can always […]

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