Windows: A Virtualized Sound Mess

I prefer the Mac for almost every task, but my main audio editing tools are Sony Sound Forge and Vegas, which are Windows-only. I’ve tried some Mac-based tools, but haven’t been happy with them, and a heavy monetary investment in the Forge/Vegas solution makes switching to the Mac products which do look promising.

I use both Boot Camp and VMWare Fusion to run Windows on my Macs. On my laptop, however, I decided to go with a full virtual solution. I have Vista Ultimate 64 bit installed as a VMWare virtual machine.

VMWare presents a virtualized sound driver to Windows, and audio is then passed to the native Mac hardware. This causes a slight delay, and tha start of audio playback can be a bit rough. It also limits sampling rate to 44,100 kHz, which is a problem when trying to work with a high-resolution workflow.

To make matters worse, the headphone jack on my laptop is not outputting the left channel for some reason I can’t figure out.

I’ve been weighing ideas for my RPM 2010 project, but will probably have to do most of the work on my laptop while at a conference in Palm Springs the week after next. So I had to work out a solution. I began to look for a USB sound card that I could install on the Windows virtual machine and bypass the virtualized sound card.

After a bit of research, I realized that the M-Audio Transit, which I got to use as an optical digital input device, should actually work.

Then the difficulties began.

I downloaded the drivers from Avid (who bought M-Audio) and installed them. But every time I inserted the device, Windows would complain that the device had “malfunctioned”. The Device Manager would indicate that no driver was installed, but when attempting to “update” the driver, it would say that the “best” driver was already installed. (This drivers mess is one of the most significant reasons that I prefer the Mac over Windows.)

Searches on Google failed to turn up any hints or solutions. The VMware help files indicated that only one virtual sound driver could be installed at a time. It appears that VMware was somehow recognizing the Transit as a sound device and was blocking it.

The solution I found was to to uninstall the Transit drivers on the Windows virtual machine, install them on the Mac, and switch the default sound device to the Transit on the mac. The Windows virtual machine then uses the Transit device, and appears to work quite well. In Sound Forge, I had to increase the sound buffering/latency to avoid choppy beginnings, but Vegas does very well with default settings.

VMware allows you to disable the virtual sound device altogether. I suspect that the Transit would then install properly in the Windows virtual machine. But I have not tested this approach.

***

What of the RPM project? I have many new audio toys, and I expect to make use of them.

I have been having lots of fun playing with the Thingamagoop 2. It has so many sounds in it. The brighter the light that falls on its photocell, the more intense the sounds it create, so I wondered how it would respond to a laser. I was concerned about damaging it, but Dr. Bleep assured me it would be fine, and told me about this video:

brainwaves from ZF FILMS on Vimeo.

The Koan Of Fail

When I set up to record the Thingamagoop 2 sample, there was a small problem.

It has a phono jack on top for plugging in headphones, or for connecting to an amp, mixer or digital recorder. When you plug a 1/4″ plug into it, the speaker is disconnected, which is handy when you don’t want to wake the neighbors.

When I plugged my digital recorder in, the speaker shut off as expected, but the recorder didn’t hear anything either.

Hurm.

It’s nice when everything works the first time, but you don’t necessarily learn much when that happens. There is a certain value to failure.

This is a growing theme in the maker community. And I’ve only recently come to accept it. Because I really hate to fail at the things I do.

I had a Radio Shack 150-in-1 project electronics kit as a kid, and I spent hours putting wires into little springs and making blinking lights and siren sounds. I had books on electronics and built projects from them. I knew what the individual components (resistors, capacitors, etc) did, but I had no idea how to combine them to do useful things.

Years ago, I built an analog synthesizer from a kit. The goal was to get a synth with lots of knobs and controls (I used it to make Happenstance), but I talked myself into buying it by telling myself that I would learn a lot by building it myself. I got a lot of soldering practice, but I didn’t learn too much about synthesizer design. Partly because I put it together correctly.

Don’t get me wrong – it didn’t work. I followed all of the troubleshooting steps in the instructions and all of the measurements were right. The wonderful support people at PAiA Electronics offered to troubleshoot it for me. It turned out that the one microchip in the circuit was bad. And that was the one part I didn’t really have a way to check. They replaced the chip and returned the working synthesizer to me. They even included a note saying that it was the neatest non-working assembly job they had ever seen.

If some of those measurements had been wrong – if I had put parts in the wrong place, I might have had to figured out a little more about the circuit to determine what was wrong. I might have figured out where each section of the circuit was.

The Thingamagoop circuit board is very clearly labeled. All the ground connections are clearly indicated. There are schematics on the web site, and Dr. Bleep seems happy to answer questions and dispense help via e-mail.

The Thingamagoop 2 worked fine until I plugged something into the audio jack. The audio out passes through the jack on the way to the speaker, and that connection is broken when a plug is inserted into the jack. With no plug, the signal makes it all the way to the speaker, so all the wires were connected.

Using a cut-off audio cable and a multimeter, I realized that I had connected the speaker to the output. I had connected the audio out to the wrong side of the jack.

Because I didn’t leave a lot of slack on the wires, it was a bit of a pain to desolder and reconnect the audio jack. But once I got done, everything worked perfectly.

So what did I learn? Mostly about the audio output and how this particular jack works. It’s a small thing, but when I build something that needs a switched audio jack, I’ll think about the Thingamagoop 2 and know what to get and how to use it.

But more importantly, having broken and fixed my Thingamagoop 2, I feel a sense of ownership of it than I would if I had just purchased a finished anthropomorphic synthesizer from a store.

The irony of our consumer culture is that despite the fact that we buy so much, we own so little of it. We have come to think of ownership to mean that we have paid for something, but the maker community tends to think of ownership in terms of being able to do things with stuff. If one is not able to tinker with, or repair something, despite having paid for it, then one is effectively leasing it on terms that limit its use. Make Magazine has a motto – “If you can’t open it, you don’t own it.”

This reminds me of John Locke’s view that ownership comes from the application of labor. Meaning you only own it if you’ve worked on it. And you can’t work on it if you can’t even open it.

I worked on the Thingamagoop 2 while building it. My failure to put it together correctly the first time gave me further opportunity to work on it. If I somehow manage to break it, I have the confidence to at least attempt a repair.

When designing from scratch, failure can be more instructive. Especially in creative tasks, where things going partly wrong can give you new ideas for things to try in the future. The best failures are accidental successes. Is that one of Brian Eno’s Oblique Strategies? If not, I propose it for a future edition.

Thomas Edison supposedly said of his efforts to invent a storage battery, “I have not failed. I’ve just found 10,000 ways that won’t work. “

RPM Challenge 2010

I have signed up to participate in the 2010 RPM Challenge.

And I have no idea what to do.

The RPM Challenge is a web site that challenges musicians to write, record, mix, and master an album – 10 songs or 35 minutes – in the month of February.

I’ve entered the last two years, and those entries can be heard for free in the RPM Challenge jukebox.

This year, over 1,600 artists from all around the world have signed up. Most of them will record collections of songs. But there are plenty of unusual, experimental, and avant garde entries.

If you’re a musician, consider participating. If you’re not, check out the jukebox – there’s a lot of free music to discover.

Store Is Back Up

Thanks to the helpful Hostmonster.com support folks, the Bangsplat Download Store is back online – with enhancements! You can now now name your own price on downloading the full album. Default price is the same $5.00, but you can pay any amount you like, including zero.

Thingamagoop 2 Sounds

Here’s a sample of what the Thingamagoop 2 sounds like:

Thingamagoop 2 Sample #2

This doesn’t show the whole range of sounds possible, but I was messing around last night and came up with this. It’s a Think Geek Bliptronic 5000 and the Thingamagoop 2 being played with a laser pointer from across the room. Zero production values, just messing around.

(Yes, I know the store is not working. Trying to figure it out what the problem is. E-mail bangsplat (at) bangsplatpresents.com if you are trying to buy Music For The Robots and we can work something out.)