A track from my most recent Bandcamp album, Melding Principle, has been released on YouTube -- in a slightly unconventional way.
A streaming version of the track appears here. As usual, YouTube converts the audio into a low-quality mp3 when it's uploaded (in this case by user news.coffee -- thanks for that!) However, a full, uncompressed version of the release can be downloaded along with the video if you have a Linux or Windows PC and a bit of time to install some software.
The video portion of the YouTube, a constantly changing field of random pixels, operates like a QR code and contains all the data from the high-resolution audio file.
The Pitahaya program, created by John Romero, encodes and decodes the video. In order for it to work a handful of other open-source programs need to be installed.
As a non-expert, I was able to install everything and get it working with Linux Mint. It can be run on Windows with a program that translates Linux-type commands to Bill Gates World. The only thing I couldn't do was upload the mp4 video to YouTube, since I don't have an account. Thanks again to news.coffee!
Pitahaya has two modes, Archival and Privacy. I used the Archival mode to encode the file; Privacy has a somewhat different goal, which is encoding lower-res audio streams into videos that are silent, or running some other audio, such as Kenny G sax solos. (Your own videos, of course, not other people's.) As far as I can tell neither mode challenges YouTube's terms of service. I'm the copyrightholder and gave permission to have a video version of my song uploaded. The work exists as video (abstract art) and just happens to contain a better version of the song than is normally offered!
Some of Romero's thinking behind Pitahaya can be found here. Short version, yes, there are scads of places on the web to store stuff, but as we are warned ad nauseum, "the internet" is narrowing to a handful of gateway platforms. Many, such as YouTube, are quite profligate with their bandwidth in order to show every hair of your cat's fur with aching clarity. Pitahaya repurposes some of that waste in the service of loftier goals (e.g., starving artist product distribution).

(These thumbnails aren't click- or tap-able; please read on.)

Finally getting around to learning to make PDFs with LibreOffice.
I started with the .tif scans I used for this "poor man's PDF" a while back.
The scans were of pages from a 1995 Art in America article on abstract painting in Texas, featuring David Szafranski, John Pomara, Jeff Elrod, yours truly and others.
The .tifs were huge -- like 24 MB per page, at 300 dpi. I loaded them in the "Draw" portion of LibreOffice and exported them as a PDF, reducing the dpi to 150 and choosing jpeg compression at 85%. Voila, a legible PDF at only 2.6 MB. Feedback/comments on this would be appreciated, since I plan to do more of these.

Tue, 2018-03-27 10:24, paul: MIDI looping will be an area of intense focus for the 6.0 release. It is known to work incorrectly in all existing releases, at least in cases where note boundaries coincide with the loop boundaries (it does work in other situations).

But some people are never happy:

Thu, 2018-03-29 11:44, ccaudle: All these kids and their new fangled loopty loops. In my day we had to play a song all the way from beginning to end, and we liked it that way. :)

Individual sample; some light processing with filters, envelopes and LFOs is possible:

Sample being sliced in the "Record" pane:

Keyboard "zone" assignments:

The zones in the third screenshot show a Soundfont file (.sf2) version of a 1990s E-Mu synth module, Orbit 9090 v. 2. This is a kit of electro-style drum hits.

Screenshots, top and middle, were found "on the internet." The bottom screenshot is mine.

This Linux audio plugin (I'm using it in Ardour) works as a simple vocoder for speech samples (or any sample). The chosen clip in the demo is "Hello, this is Linus Torvalds and I pronounce 'Linux' as 'Linux.'" Prepare to hear it in a zillion metallic renderings.
Thanks to hooktube -- while it lasts -- for allowing users not to have to link directly to [Eric Schmidt's company] should they so choose.

Some drum and bass type beats I made years ago with Native Instruments' short-lived Intakt plugin were used here, along with some newer "library" DnB beats. The synths used were Zyn-Fusion, formerly ZynAddSubFX (software) and Doepfer A-111-5 (hardware).
After my last post on Tracktion-on-Linux, the company revamped its T7 DAW and it's now called Waveform. The main change is adding a mixer (needed) but unfortunately some stuff broke that was working OK in T7, such as track automation and clip effects. I've submitted a support ticket. In the meantime, this short tune was done using Waveform in its current state of mixed functionality.

As noted previously, I've been working with the Tracktion digital audio workstation, which, amazingly for a commercial DAW, offers a Linux version in addition to the standard Mac & Cheese alternatives. My understanding is its JUCE code is designed to work with any OS, and, on Linux, integrates very well with the JACK audio standard.

I use looping MIDI files quite a bit in my autodidact-ish form of composing -- that is, listening to C2-F3-F2-A2-D3-A3-F3-D#3-C#3 (or whatever) over and over as I write the next part that plays in harmony or counterpoint to that. If I have to keep adjusting the loop markers to keep notes from disappearing -- as happens constantly with Ardour, I get frustrated and go read an e-book or something instead of working on music. Several people on the Linuxmusicians forum noted that Tracktion and Bitwig are "stable" in that regard, so I'm checking out the alternatives.

The good news is Tracktion-on-Linux is incredibly stable for long term editing work with MIDI and audio. It's superior to Cubase and Ableton in its ability to render loops "on the fly" (as they say) and place them in the timeline as you are working. It also has a better browser that allows you to quickly find and move samples from your PC into an open project window, or individual sample players.

The bad news, on Linux at least, is it doesn't handle third party plugins well. They tend to crash, or not have save-able presets. This forces you to use Tracktion plugins -- which are perfectly fine for most effects such as delay, reverb, compressor, limiter, but somewhat lacking for software synthesizer choices. Tracktion has a ROMpler-type sampler, that you can arrange in racks of multiple samplers, and that's what I used to make this track, pulling from my burgeoning, motley sample archive. (Many of these sound files originate "on the internet," including 808 kits, the Legowelt synth collection, and some truly gritty 8-bit "Streets of Rage" samples -- hat tip to kiptok for that last one, I think). The one softsynth used here, Helm (that chirping sound at the beginning and end) is pretty reliable as a plugin as long as you don't care about saving presets -- Tracktion remembers the settings for project, however.

So, for the moment, at least, am treating Tracktion as a self-contained instrument sitting on the PC -- like a virtual Octatrack -- until I get a better handle on the "plugin situation."

Original title: "Softsynth Interaction." Have been learning the Tracktion digital audio workstation, which has a Linux version. Looping MIDI works there, where it's still buggy on Ardour. Tracktion-on-Linux is incredibly stable as long as you use their house plugins. Instead of an unfortunate limitation, am trying to think of it as fact of life and treat Tracktion as a self-contained instrument sitting on the PC -- like a virtual Octatrack -- that can do some interesting things.

Have not yet gone full-on Tracktion; most of this tune is made in Ardour with a combination of Ardour- and Tracktion-made loops.

The basic beat was done in Ardour with the LSP Plugins sampler instrument. The first two synth voices are also Ardour-made, employing (i) the Calf Monosynth and Harrison reverb running inside the Carla plugin host (which works fine except for the audible pop at the loop point -- the developer hasn't coded for that yet and it only affects monitoring, not the exported audio loop, but it's still annoying) and (ii) Loomer Aspect.

The other synth voices and beats are all sequenced in Tracktion using non-Tracktion plugins, then imported back into Ardour for a final mix. The synths are Loomer Aspect (a different patch), Helm and ZynAddSubFX. I got these working at about the 90% level -- I couldn't save presets or they might crash but it was enough to get some audio saved.

The challenge here was mastering. That beat has a very heavy bass kick that interacts badly with other tracks when you boost the gain for a "CD mix." To get it up to the same volume level as my other tracks without obvious distortion, I had to use the PSP Vintage Warmer on (sigh) Windows, which I was hoping to move away from. None of the Linux limiters I tried (including Tracktion's) could handle the job. If I was a pro mixing engineer I would fix this in the mix but it's beyond my skill set ATM. [/linux diary]

In the world of audio-for-Linux, a schism is brewing because some commercial DAW developers are suddenly making workstations that run on Linux, using its super-flexible JACK protocol. Tracktion and Bitwig both offer these, in addition to Apple and MS versions. The problem is plugins. Linux users have developed a range of interesting products using the LV2 standard, regarded by many as superior to the VST protocol developed by Steinberg (of Cubase fame), that serves as the audio industry standard, for better or worse. Neither Tracktion nor Bitwig load LV2 plugins, only VSTs. There are various bridges that no one seems ecstatic about. To take advantage of LV2, you must use Linux-centric DAWs such as Ardour or Qtractor. Unfortunately the Linux DAWs are clunky and crude compared to the commercial ones -- I've had ongoing issues with Ardour's MIDI tracks in Loop mode, and crashing from various plugins. Either Tracktion/Bitwig need to embrace the house standard (not going to happen, it appears) or Ardour needs to get a whole lot tighter (might happen, given time and competition).

Angelo Romeo: What does the Internet mean to you today?

Geert Lovink: I got to know computers and computer networks in the late 1980s in my late 20s so I can’t say I grew up with them, even though their arrival was announced in films, magazines and science fiction was announced well before I was born. As an undergrad I was still using IBM punch cards. I would not describe my generation as pioneers. We grew up in the shadow of the Cold War, in the ruins of the industrial revolution. It was not a period of prosperity but one of crisis, decay and unemployment. Doom and gloom: no gentrification but squats. In that environment the internet offered an alternative future that first came to us through cyberpunk sci-fi literature. The 1968 generation had nothing to offer to us, and we became cynical because of their failed idealism and double standards. Armed struggle was bankrupt. It is with a certain ironic ambivalence that we entered the internet realm. Some of my friends did not enter the game, while others did. Younger people jumped on it. Internet indeed offered us an opportunity, to get out of the margins, claim a strategic terrain and move into the unknown, cyberspace. This is pretty much the same, 30 years later. The younger you are, the better. The internet never disappointed me. It is society that steers it architectures and applications. Turned into platform capitalism, filtered by authoritarian regimes, pushed by neo-liberal design of the precarious self, that’s what the internet means to us today. This doesn’t say anything about tomorrow. Luckily, we can still speculate about ‘network plasticity’. Platform is not our destiny.

Am a bit more pessimistic about the resilience of "the network," as in, a world wide web, in view of monopolist challenges to neutrality, on the one hand, and the sheeplike migration of citizens to "platforms," on the other. Even smaller networks that are parasitic to the global Internet will be affected by Balkanization. A small case in point, I've been learning to use a Linux system, and while some of the how-to is handled over IRC chat, much is still dependent on Googling. The Ardour forum moderators tell newbies, in so many words, "don't rely on our in-house search to find if your topic has been covered, use Google, it's much more thorough." If Google searching (or DuckDuckGo, or Bing) becomes deprecated because of post-neutrality slow lanes or "platform" dominance of search, Linux mavericks are screwed.