Table Of Content

SPRINGER BRIEFS IN ELECTRICAL AND COMPUTER ENGINEERING Leonardo Gabrielli Stefano Squartini Wireless Networked Music Performance 123 SpringerBriefs in Electrical and Computer Engineering More information about this series at http://www.springer.com/series/10059 Leonardo Gabrielli Stefano Squartini (cid:129) Wireless Networked Music Performance 123 Leonardo Gabrielli StefanoSquartini A3Lab Ancona University UniversitàPolitecnica delle Marche Ancona Ancona Italy Italy ISSN 2191-8112 ISSN 2191-8120 (electronic) SpringerBriefs inElectrical andComputer Engineering ISBN978-981-10-0334-9 ISBN978-981-10-0335-6 (eBook) DOI 10.1007/978-981-10-0335-6 LibraryofCongressControlNumber:2015958535 ©SpringerScience+BusinessMediaSingapore2016 Thisworkissubjecttocopyright.AllrightsarereservedbythePublisher,whetherthewholeorpart of the material is concerned, specifically the rights of translation, reprinting, reuse of illustrations, recitation, broadcasting, reproduction on microfilms or in any other physical way, and transmission orinformationstorageandretrieval,electronicadaptation,computersoftware,orbysimilarordissimilar methodologynowknownorhereafterdeveloped. The use of general descriptive names, registered names, trademarks, service marks, etc. in this publicationdoesnotimply,evenintheabsenceofaspecificstatement,thatsuchnamesareexemptfrom therelevantprotectivelawsandregulationsandthereforefreeforgeneraluse. The publisher, the authors and the editors are safe to assume that the advice and information in this book are believed to be true and accurate at the date of publication. Neither the publisher nor the authorsortheeditorsgiveawarranty,expressorimplied,withrespecttothematerialcontainedhereinor foranyerrorsoromissionsthatmayhavebeenmade. Printedonacid-freepaper ThisSpringerimprintispublishedbySpringerNature TheregisteredcompanyisSpringerScience+BusinessMediaSingaporePteLtd. Preface Networked music performance is often intended as a practice of remote performance, with musicians displaced far away at distant locations. Networking, however,doesnotonlyhavethepotentialofgettingremoteperformerscloser,butalso allows local performers to get farther, explore larger spaces, move to outdoor venues, yet feel as close as they need to perform well. Furthermore in computer music and electroacoustic practice, live electronics can be digitally interconnected in unprecedented ways, thanks to networking. The laptop performance paradigm already exploits networking for control data exchange. However, with the steady switch from analog links to digital connections, possibledue toimprovements and adoption of digital audio networking technologies, creative possibilities for performers are open to explore and the exploitation of wireless links is the necessary step to really make this possibilities of convenient adoption. Acomprehensivestateoftheartinnetworkedmusicperformance(NMP)anda historical survey of computer music networking is reported to later introduce current technical trends in NMP and technical issues are yet to address. Wireless communication protocols are listed and compared to the requirements of NMP. Two chapters are, then, dedicated to works related to wireless NMP, espe- ciallythosefromtheauthors,whohavedevotedtheirlast3yearsonwirelessmusic networking research. The current outcomes of the WeMUST project are reported with practical results and application reports. The last chapter closes the book, with future issue to investigate. Lastly, an appendix providing a short addendum on wired Audio over IP standards is given. Ancona Leonardo Gabrielli June 2015 Stefano Squartini v Acknowledgments TheauthorswouldliketoacknowledgeAdelmoDeSantis,MicheleBussolotto,and Fons Adriaensen for providing useful support in audio and wireless networking development. The authors would also like to acknowledge the role and vision of Paolo Bragaglia in providing a direction for the development of WeMUST and supporting its live performance use during festival Acusmatiq. Many thanks to the first performers who employed the WeMUST system and provided feedback, Giampaolo Antongirolami, Laura Muncaciu, and Enrico Francioni. vii Contents 1 Introduction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1 2 Networked Music Performance. . . . . . . . . . . . . . . . . . . . . . . . . . . . 3 2.1 Definition and Taxonomy. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3 2.2 A Brief Timeline. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6 2.2.1 Early Computer Network Experiments. . . . . . . . . . . . . . . 8 2.2.2 Current Networked Computer Music Performance Trends. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11 2.2.3 Current Acoustic Networked Music Performance Experiences . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13 References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18 3 Technical and Perceptual Issues in Networked Music Performance . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21 3.1 Dropout . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21 3.2 Latency and Interaction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23 3.3 Audio Blocking Delay . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25 3.4 Algorithmic Delay of Audio Compression . . . . . . . . . . . . . . . . . 27 3.5 Network Delay . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29 3.6 Delay Jitter. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32 3.7 A/D and D/A Clock Synchronization. . . . . . . . . . . . . . . . . . . . . 36 3.8 Audio and Video Synchronization . . . . . . . . . . . . . . . . . . . . . . . 38 References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 40 4 Wireless Communication Standards for Multimedia Applications. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 43 4.1 Bluetooth . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 43 4.2 Proprietary Audio-Specific 2.4 GHz ISM Band Solutions . . . . . . . 44 4.3 Sub-1 GHz Large Bandwidth Solutions . . . . . . . . . . . . . . . . . . . 45 ix x Contents 4.4 IEEE 802.11 ISM Band Protocols . . . . . . . . . . . . . . . . . . . . . . . 46 4.5 Millimeter Wave Band Multimedia Transmission Protocols. . . . . . 48 4.6 Wireless Transmission of Control Signals. . . . . . . . . . . . . . . . . . 50 References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 50 5 Wireless Networked Music Performance. . . . . . . . . . . . . . . . . . . . . 53 5.1 The Wireless Music Studio Project . . . . . . . . . . . . . . . . . . . . . . 53 5.1.1 Application Scenarios . . . . . . . . . . . . . . . . . . . . . . . . . . 54 5.1.2 System Topology . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 55 5.2 Automating Connections and Audio Networking. . . . . . . . . . . . . 57 5.2.1 Automatic Network Configuration. . . . . . . . . . . . . . . . . . 58 5.2.2 DNS-SD and SSDP. . . . . . . . . . . . . . . . . . . . . . . . . . . . 59 5.2.3 Open Sound Control . . . . . . . . . . . . . . . . . . . . . . . . . . . 60 5.2.4 Open Control Architecture . . . . . . . . . . . . . . . . . . . . . . . 60 5.2.5 Simple Autonomous Buddying . . . . . . . . . . . . . . . . . . . . 61 5.3 Clock Synchronization . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 67 5.3.1 Absolute Time Approaches. . . . . . . . . . . . . . . . . . . . . . . 67 5.3.2 Delay-Locked Loop. . . . . . . . . . . . . . . . . . . . . . . . . . . . 69 5.3.3 Unsupervised Resampling Strategy . . . . . . . . . . . . . . . . . 72 5.3.4 Evaluation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 74 5.3.5 Feedback Loop Resampling Strategy. . . . . . . . . . . . . . . . 74 5.4 Real-Time Audio in WeMUST . . . . . . . . . . . . . . . . . . . . . . . . . 77 5.5 Audio Networking Software in WeMUST. . . . . . . . . . . . . . . . . . 82 5.6 ARM Platforms for Wireless Audio Networking . . . . . . . . . . . . . 83 5.6.1 Power Management. . . . . . . . . . . . . . . . . . . . . . . . . . . . 85 5.6.2 On-Board Audio. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 85 5.6.3 A/D and D/A Latency and CPU Overhead . . . . . . . . . . . . 86 5.6.4 Wireless Transceivers. . . . . . . . . . . . . . . . . . . . . . . . . . . 87 5.7 Enabling Wireless Transmission in Critical Contexts . . . . . . . . . . 88 References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 91 6 Applications. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 93 6.1 Waterfront: A Networked Music Performance Experience. . . . . . . 93 6.1.1 Energy Supply . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 95 6.1.2 Audio Signal Routing and Monitoring . . . . . . . . . . . . . . . 96 6.2 Other Live Performance Use Cases . . . . . . . . . . . . . . . . . . . . . . 98 6.3 Installations. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 98 References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 100 7 Conclusions and Future Directions. . . . . . . . . . . . . . . . . . . . . . . . . 101 7.1 Software and Interoperability in NMP . . . . . . . . . . . . . . . . . . . . 101 7.2 Wireless Technologies . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 103 Contents xi 7.3 Joint Development with Wireless Acoustic Sensor Networks. . . . . 103 7.4 Psychoacoustic Research Issues in NMP. . . . . . . . . . . . . . . . . . . 104 References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 105 Appendix: Audio Networking Standards . . . . . . . . . . . . . . . . . . . . . . . 107