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Jamming Online: a Wikiversity practicum Jamming Online
Low-cost technology for working musicians, lonesome songwriters and starving artists School of Media studies Internet Audio Department
Modul e: Jammi ng Online
The idea of Jamming Online has been around for a while. Todd Rundgren envisioned the online jam session as far back as the late seventies, when the Internet was just a set of ragged protocols. For those who remember, Resrocket (a.k.a Rocket Network) was a bold attempt to create an ad hoc network of musicians working with simple Digital Audio Workstations in a planet-wide virtual studio environment. It was a start...
[hide] 1 Free Music 2 The Workst ation 3 Group Dynam ics 4 Sessio n Logic 5 Tab Sheets 6 Collab orative Musici anship 7 Resour ces 8 Free (as in freedo m) tools
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Though Rocket Networks fell into proprietary hands, it established an important precedent for overcoming geospatial limitations on musicians, allowing the creation of such organizations as the MIDI Jazz Network, Kolabora and many other projects. One focus of this Wikiversity learning project is to extend the online jamming paradigm to the open source/content world of Software freedom using things like LADSPA, JACK, open source VST, Audacity, and an array of other free audio tools.
The Workstation  NOTE: Money talks ...NOT! Each participant in an online jam session needs some sort of Digital Audio Workstation. These can vary in complexity from the sublime to the ridiculous and can be built on anywhere from a shoestring budget to a King's Ransom. But before you jump into the bottomless pit of high finance, you might consider carefully those with whom you will cast your lot. If you wish to help produce audio resources of the .ogg (versus MP3) variety, you should probably consider the most primitive need – a connection to other musicians. The audio workstations used in this course will be built on that shoestring budget mentioned above. We might have to move forward as a group quite slowly at first, according to the emerging Wikiversity tradition of consensus desision-making as it relates to developing network standards for this harbinger of innovation.
CAUTION: Not for the faint of heart The Blues and Rock Garage is a "place" at Wikiversity where jammers can meet to get started in a simple and basic hands-on experiential genre. Even if you are interested in pursuing higher musical goals like Jazz, you'll appreciate the hard hat area mentality we hope to work from to create the pioneering Sonic user interface – a Wikiversity exclusive. To "get on the same page", you might get a handle on Getting started with sound recording, MIDI basics, Audio Engineering, Internet Audio and Video while keeping an eye on Wikiversity the Movie/music. It's not about you any more. Get over it. Need more Suggestions?
WARNING: hard hat area The biggest problem to overcome in online jamming is latency produced within your local machine and across the planet-wide network. The open source JACK system (JACK Audio Connection Kit) fills the bill for a low-cost, low-latency, real-time audio hardware abstraction layer for your workstation. This component allows your local session a means by which to synchronize with the networked session. The goal is to bring the group of collaborators into a closer-to-realtime environment. But that's a long-term strategy for building our own open source approach to the session. Let's slow down a minute...
Tab Sheets  Getting on the same page Tab sheets can be developed far in advance of a scheduled session. Like a musical score for an orchestra, a tab sheet provides that means of "getting on the same page" that we mentioned earlier. Collaboration at this level must be formed through standards and protocols, just like the Internet itself. We start with Basic Blues & Rock using the ubiquitous 12-bar blues in the key of E simply for good measure. I don't think we'll even need a tab sheet for this. Just make sure you agree that we shouldn't be doing anything too fancy while getting this bird off the ground. CQ
Let's get personal Jamming Online is an ambition. If you are not prepared emotionally to work with others, you may meet with the same hardships, heartbreaks and perceived failures experienced in the 落書きノート - 2 ページ
may meet with the same hardships, heartbreaks and perceived failures experienced in the enigmatic music business out in the so-called "real world". This learning project is as simple and basic as it gets, but presents enormous potential. We start by sweeping out the garage, getting on the same page and moving forward together. Doing this as a band should be fun, challenging and exciting – but not quick and easy in terms of the typical wiki-based workgroup. This project purports to be much more, involving emotional sensitivities, channeling creative urges, accomodating massive egos, meeting technical challenges, overcoming socio-economic obstacles, developing complex social relationships, competing with proprietary paradigms... all the while building a culture of musical awareness. Chances are, you found this page by looking around at Wikiversity with certain personal goals in mind. You probably also have a set of life experiences that have introduced you to the prospects and problems of musical collaboration. As for me, I've had it with naysayers and unbelievers and frankly, I'm sick of my own lack of knowlege, drive and discipline – the true essentials. I do OK "down here" in the real world, but...
EQ Magazine Columns authored by Roger Nichols w:Category:Free audio software (Wikipedia) Linux Audio Developer's Simple Plugin API (LADSPA) WhatTheHell - a group with mchua that is planning on Jamming Online ...this list goes on and on...
Free (as in freedom) tools 
JACK Ninjam cocompose.com
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Online Music Collaboration: Real-Time Web Jamming Is Here
As I was driving back home with my car, after a long day at the office, I drifted off into a visualizing a creative idea I had never thought of. What I was suddenly picturing in my mind was a technological option, that not only allowed me to stay connected to the net from my little car stuck in the peak hour Rome traffic jam, but to be able to use that connection to creatively collaborate to other people. How?
Photo credit: Phil McCracken As some of you may know, I have a long past as a DJ, radio personality and even as a buddying amateur percussionist. So when I am in my car, I can't avoid tuning in to music stations and contribute my own solitary vocal overdubs and drumming solos, as I am literally stuck into traffic jams that move at a snail pace. But for me, the real joy is when you can share and join with others to ride the pleasure of creating music together. So, I said to myself, wouldn't it be great if I could hook up myself to the Internet, find some other buddying and available music jammers and dive into a live jamming or remixing session with a few others from the world around? As I later found out my desire was not unique. The desire to collaborate and creatively participate in the creation of live music was already on the drafting board of a few geeky music enthusiasts, which just released their first realtime online jamming technology software to the public. Ninjam, which stands for Novel Interval-based Network Jamming Architecture for Music[ians], is a new software which allows individual musicians to collaboratively create and perform real music via the Internet. Every live participant can hear every other connected musician. Each one can also tweak their personal mix to his liking. Ninjam uses compressed audio which allows it to work with any instrument or combination of instruments.
You can sing, play a real piano, play a real saxophone, play a real guitar with whatever effects effects and guitar amplifier you want. If your computer can record it, then you are in for doing a full session with remote musicians from around the world. Since the issue of inherent latency (audio delay) that the Internet naturally imposes prevents true real-time synchronization of all the musicians getting into a jam, and playing music with 落書きノート - 4 ページ
true real-time synchronization of all the musicians getting into a jam, and playing music with a significant latency is nothing enjoyable (if not altogether uncomfortable), Ninjam has come up with a unique solution to circumvent this issue. Ninjam leverages the problem itself to turn it to its own favor. By making latency much longer than it really is, NINJAM creates the opportunity to create something that would have appeared otherwise impossible. The latency in Ninjam is measured in measures, and the Ninjam client records and streams synchronized intervals of music between participants. Just as the interval finishes recording, it begins playing on everyone else's client. So when you play through an interval, you're playing along with the previous interval of everybody else, and they're playing along with your previous interval. If this sounds pretty bizarre, it sort of is, until you get used to it, then it becomes pretty natural. And yes, you guessed it right: although it has many flexible and powerful features, Ninjam is designed with an emphasis on musical experimentation, rather than traditional production. How does NINJAM work? Ninjam uses OGG Vorbis audio compression for audio, then streams it to a Ninjam server, which can then stream it to the other people in your jam. This architecture requires a server with adequate bandwidth, but has no firewall or NAT issues. OGG Vorbis is utilized for its great low bit rate characteristics and performance. Ninjam can also save all of the original uncompressed source material, for doing full quality remixes after the fact. To get a good idea of what a music session recorded with Ninjam may sound like, here is a good sample: http://www.ninjam.com/samples... You will be impressed at how effective the online collaboration can get. Here is a full set of other sample recordings recently done with Ninjam. To find out more about tips, tricks, and information on how to help and support further development and testing of Ninjam here is a good reference document. This is a good source of up-to-date information on how to use the software and what are good practices to adopt when playing live online with others. Also accessible online is now a full public support Forum providing the opportunity to ask direct questions to the developers or to other Ninjam users. Last, but not least, Ninjam offers also a Jam Farm (essentially public jamming rooms) for those who want to experiment with this new technology, without having to set up their own Ninjam server. There are a few rules, but essentially, everyone can get one hour per day of online collaborative music jamming at no extra cost. Here is everything about you need to know about the Jam Farm. System Requirements The Ninjam software client requires a fair amount of CPU power, a moderate amount of inbound bandwidth (192kbps for a typical 4 person jam, 512kbps for an 8 person jam) and less outbound bandwidth (64kbps typical). Windows version + Requires Windows 2000 or later, 2GHZ P4 (or Athlon 2000+) or faster recommended. + Requires sound hardware with ASIO drivers (works well with asio4all) + GUI and ncurses versions Mac OSX version + Requires OS X 10.3 or later, G4 (1GHZ or faster recommended) + Terminal ncurses application Linux version (eventually) Ninjam Server: 落書きノート - 5 ページ
Ninjam Server: Other requirements: The main requirement for running the server is outbound bandwidth. For example, a 4 person jam needs approximately 768kbps of outbound (and only 240kbps inbound) bandwidth, and a 8 person jam requires approximately 3mbps of outbound (and 600kbps inbound) bandwidth. We are planning on updating the architecture to support a more distributed model, but this is just an alpha release. Download software for Windows, MacOS and Linux. Other interesting projects in this direction:
Collaborative Music Jamming Jam2Jam Tonos
Virtual Band RiffTrader.com
Ninjam is the work of love of cockos and Jesusonic/Brennan Underwood. Conversation Tags: music creation, virtual band, jamming
2009-0 CQ 6-26 04:54:4 5
Learn & teach Jamming online at Wikiversity.
2008-1 luke 0-23 19:10:4 9
Check out Tunerooms.com by far the best place for online music collaboration
2008-1 C.S.As 0-12 gari 06:34:0 4
Check out this new online music collaboration site: http:www.cocompose.com At this community you can post your music tracks no matter if they are ready or not. Enhance them in collaboration with others, ad a video, if you like, discuss your lyrics or tracks with other songwriters. On top you can market your work as well.
2008-0 Michell 7-25 e 19:10:3 4
RiffWorks T4 free guitar recording and online collaboration software. Record riffs and songs 落書きノート - 6 ページ
RiffWorks T4 free guitar recording and online collaboration software. Record riffs and songs with drums and effects, collaborate online with musicians worldwide, and post songs to RiffWorld.com - all for free.
2007-1 Sharkb 2-19 oy 01:41:3 6
Check out myonlineband.com By far the easiest site to use so far and the community is great!
2007-1 Michell 0-12 e 03:53:3 5
RiffWorks recording software features RiffLink online collaboration with users from around the world - no issues with latency or distance between users. Getting great results! http://www.sonomawireworks.com/riffcaster/?search=rifflink
2007-0 The 7-29 NetStu 16:49:4 dio 7
The Virtual Recording Studio at http://TheNetStudio.com is another free Internet Music Collaboration website. Stop by anytime.
2007-0 Music 6-06 Collab 17:20:0 oration 6
Don't forget Kompoz.com!
2006-1 Mark 1-21 20:38:5 3
Theres a new online jamming site www.jammingspace.com
2005-1 Alex 1-04 Buck 12:49:3 5
also see www.digitalmusician.net. features free VST plugin with video for recording over internet (not 落書きノート - 7 ページ
www.digitalmusician.net. features free VST plugin with video for recording over internet (not so much for realtime jamming but for project work).
2005-1 Jerem 0-01 y 16:46:4 Coope 1
You may want to take a look at our own (continuing) work on real-time, low-latency musical collaboration... we have supported truly synchronized violin duets in the same city and a reasonably synchronized jazz jam across the North American continent (in collaboration with partners at Stanford). If you require any further information please feel free to contact me by email or telephone at +1-514-398-5992. Note that my email is filtered by a whitelist-based SPAM blocker.
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