Audio Developer Conference Powered by JUCE

Monday 13th - Wednesday 15th November 2017
Code Node, 10 South Place, London, EC2M 7EB


Following the success of the JUCE Summit 2015 and ADC 2016 we are announcing the Audio Developer Conference 2017!

This year will continue to provide the leading coverage of audio development while setting the stage for the evolution of audio technology.

We’re launching this year a new day of workshops , which will take place on Monday 13th November.

The event will be hosted at CodeNode in central London.

Programme - Day 1: Monday 13 November 2017

Please note that workshops require a separate registration, click here to register

Programme - Day 2: Tuesday 14 November 2017

Track 1:
Track 2:
Track 3:
Track 4:
8:00Registration and refreshments
9:00Welcome address:
Jean-Baptiste Thiebaut, Director of Developer Products, ROLI
Keynote: Does your code actually matter?

Countless conference talks have been given about how to write "better" code. This talk is not about how good or bad your code is - instead it's a discussion of how *significant* it is.

Julian Storer, Principal Software Engineer, JUCE
10:15Break for refreshments & networking
Modern audio development on Apple platforms

Béla Balázs, Software Engineer, Apple
Doug Wyatt, Software Engineer, Apple
John Danty, Senior Product Manager, GarageBand
Using JUCE ValueTrees and modern C++ to build large-scale applications

David Rowland, Lead Software Developer, Tracktion
C++, JUCE, UIs
The future is wide: SIMD, vector classes and branchless algorithms for audio synthesis

Angus Hewlett, VP Engineering, Research & Design, ROLI
C++, Performance, DSP
To be announced
11:30 Transition
AirPlay audio, latency, and AirPlay 2

David Saracino, Software Engineer, Apple
VST3 history, advantages and best practices

Yvan Grabit, Technical Lead VST,
Michael Spork, Senior Developer, Steinberg Media Technologies
Plugins and DAWs
Exploring time-frequency space with the Gaborator

Andreas Gustafsson, Lead Developer, Waxing Wave
DSP, Web
Making Computer Music Creation Accessible to a Wider Audience

Tim Adnitt, Product Manager,
Carl Bussey, Software Developer, Native Instruments
12:05 Lunch
The development of Ableton Live

Friedemann Schautz, Head of Development, Ableton
Learning the pulse: statistical and ML analysis of real-time audio performance logs

Glenn Kasten, Software Engineer Google,
Sanna Wager, PhD Candidate, Music Informatics, Indiana University Bloomington & Intern, Google
Machine Learning, Performance
Physical Modelling of Guitar Strings

Martin Schuppius, Independent Software Developer
Tools from the C++ ecosystem to save a leg

Anastasia Kazakova, Product Marketing Manager CLion, JetBrains
C++, Dev tools
14:50 Transition
Code-Generating Littlefoot

David Zicarelli, CEO, Cycling’74
Harmonisation in modern rhythmic music using Hidden Markov Models

Nikolas Borrel, Founder, Livetake
Statistics and Music
The amazing usefulness of band limited impulse trains, shown for oscillator banks, additive synthesis, and modeling old stuff.

Stefan Stenzel, CTO, Waldorf Music GmbH
Developing audio applications with JavaScript

Dave Ramirez, Senior Software Engineer, Inspire
15:25Afternoon break for refreshments & networking
Decoding Law: All that legal stuff demystified

Moderator: Heather D. Rafter, Attorney, RafterMarsh US
Panellists: Mike Warriner, General Counsel, Focusrite,
Iris Brandis, Legal Counsel, Ableton
Jemilla Olufeko, Legal Counsel, ROLI
Spatial Audio At Facebook

Varun Nair, Engineering Manager,
Hans Fugal, Software Engineer, Audio 360, Facebook
Dev tools, Performance
Techniques for debugging realtime audio issues

Devendra Parakh, CEO, Waves Audio India
Some interesting phenomena in nonlinear oscillators

André Bergner, Development Team Leader, Native Instruments
16:50Transition/Comfort break
Keynote: Music as Experience, Music as Product, Music as People

We are surrounded by music in our lives which people intrinsically connect through: they share songs, sing together, go to at concerts, and gather around campfires. Our mission is to enable these musical experiences everywhere amongst millions of people around the world, creating and sharing songs with each other every day. Much like music creation itself, there is no secret, but there is a lot of trials with failures and successes. In this keynote, Jeannie will share learnings from these trials—through Smule’s growth—and how to not lose sight of the experiences and people you’re building the products for in the first place.

Jeannie Yang, Product Leader & Innovator, Smule
19:00Social Gathering (until 21:30) including Awards

Programme - Day 3: Wednesday 15 November 2017

Track 1:
Track 2:
Track 3:
Track 4:
Keynote: The human in the musical loop

Music we hear is most often made by humans, directly or indirectly, for consumption by humans. In a series of anecdotes, we consider the imagination and sensory constraints of the human mind when creating and apprehending music. From the architecting of large-scale forms and structures in human-computer improvisation to the limits of ensemble interaction in distributed immersive performance, experiments reveal the workings of the musician’s mind in motion. The art of crafting musical experiences has been described as the choreography of expectation. Evidence of this work is made visual in expectation violations that generate musical humour, time delays that heighten anticipation, and tension modulations that create narrative interest. Finally, together with the modulation of tension, we examine how and if repetition structure imbues coherence in computer composition.

Elaine Chew, Professor of Digital Media, Queen Mary University of London
10:00Morning break for refreshments & networking
The new C++17, and why it is good for you

Timur Doumler, Senior Software Developer, JetBrains
Introduction to cross-platform voice applications for Amazon Alexa and Google Assistant

Jan König, Co-Founder, Jovo
AI & Machine Learning, Home assistants
Fifty shades of distortion

Ivan Cohen, Freelance Software Developer & Owner, Musical Entropy
Present and future improvements to MIDI

Ben Supper, Technical Programme Manager, ROLI & Chair, MPE Working Group, MIDI Manufacturing Association,
Amos Gaynes, Product Design Engineer, Moog Music
Back to the future. On hardware emulations and beyond

Steinunn Arnardottir, Head of Software Development & Collaborations, Native Instruments
AI & Machine Learning
Machine Learning & Embodied Interface: latest developments to the RAPID-MIX API

Michael Zbyszyński, Research Associate, Dept of Computing, Goldsmiths, University of London
AI & Machine Learning
Sound and Signalling: A Whistle-stop tour

Daniel Jones, Chief Science Officer, Chirp
Modeling and optimizing a distortion circuit

Matthieu Brucher, Lead Developer, Audio Toolkit
11:55 Lunch break
Panel: Music making on mobile

Moderator: Matthias Krebs, Appmusik
Panellists: Jeannie Yang, Product Leader & Innovator, Smule
Matt Derbyshire, Head of Product, Ampify (part of Focusrite/Novation)
Ashley Elsdon, Founder, Palmsounds & Journalist, Create Digital Media
JUCE Clinic

Julian Storer, Principal Software Engineer, Tom Poole, Senior Software Engineer,
Fabian Renn-Giles, Lead Engineer, Ed Davies, Projucer Developer,
Lukasz Kozakiewicz, Senior Software Engineer, Noah Dayan, Software Engineer Intern
The use of std::variant in realtime DSP

Ian Hobson, Application Developer & Software Engineer, Ableton
C++, DSP
Opening the Box - Whitebox Testing of Audio Software

Christof Mathies, Computer Scientist,
Nico Becherer, Senior Computer Scientist, Adobe Audio Team
Testing, Audio plugins, Performance, DSP
14:50 Transition
Why and how to build a real-time collaborative musical application

Raphael Dinge, Head of Software Architecture, Ohm Force
BFDLAC: A fast lossless audio compression - An Update: ARM Port, Middle Out, and more...

SKoT McDonald, Lead Software Engineer & Head of Sound R&D, ROLI
Audio Effects 2.0: Rethinking the music production workflow

Brecht De Man, Researcher, Centre for Digital Music, QMUL
AI & Machine Learning, Plugins and DAWs, Audio Industry in general
Reactive Extensions (Rx) in JUCE

Martin Finke, Freelance Software Developer
15:25Afternoon break for refreshments & networking
Build a synth for Android

Don Turner, Senior Developer Advocate, Google

Test-driven development for audio plugins

Ryan Avery, Senior Engineer, Dolby Laboratories
Testing, Plugins and DAWs
Designing and implementing embedded synthesizer UIs with JUCE

Geert Bevin, Senior Software Engineer, Moog Music
Embedded, JUCE, UIs
Assessing the suitability of audio code for real-time, low-latency embedded processing with (or without) Xenomai

Giulio Moro, PhD Student, Centre for Digital Music, QMUL
Embedded, Performance
16:50Transition/Comfort break
Keynote: How can physical play give people a stronger sense of human connection?

How can physical play give people a stronger sense of human connection? This talk proposes collective play as a meditative practice to reconnect us with each other and our environment.

Phoenix Perry
19:30Open Mic Night (until 21:30) Submit a talk here

Keynote Speakers

Julian Storer

Julian Storer is the Head of Software Architecture at ROLI. An experienced C++ developer and consultant, Jules is the author of the JUCE framework, which powers the apps and plugins made by hundreds of audio tech companies. He also created the Tracktion DAW, used by thousands of musicians for over a decade.

Elaine Chew

Elaine Chew is Professor of Digital Media at Queen Mary University of London, where she is affiliated with the Centre for Digital Music and co-Leads its Cognition, Creativity & Expression research theme. An operations researcher and classically trained pianist, she uses mathematical and computational models and scientific visualisation to represent, analyse, and explain aspects of musicianship, including musical prosody and structure, cognition, and interaction. She also works with composers to create and premiere new compositions, and designs and performs in concert-conversations that probe the nature of music making and listening.

Phoenix Perry

Phoenix Perry creates physical games and user experiences. As an advocate for women in game development, she founded Code Liberation Foundation. In her role at Goldsmiths, University of London, she lectures on Physical Computing and games and is starting a new MA in Independent Games and Experience Design.

Jeannie Yang

Jeannie Yang led product strategy at Smule, where she scaled the platform from 50K users to a community of 50M people who play and sing 20 million songs a day, bringing art and music to the lives of millions of people across the globe. She has been creating successful products at the forefront of social, mobile and media for the last 20 years, from interactive television to social networking to music. Jeannie holds a M.S. in Information Management and Science from University of California, Berkeley

Poster Area

Playhead-aware rhythm modification in real-time
The playhead is an essential component of most digital audio workstations, yet the majority of audio effects remain blissfully unaware of it. The Groovinator, an audio plugin available in VST and AU format, presents several related methods of utilizing the playhead as a tool for modifying rhythmic aspects of an audio track in real-time. By using playhead position data in addition to attributes of the rhythms (i.e. the number of pulses and steps in the original and target rhythms), the Groovinator is able to automatically adjust a track’s rhythm in ways that would otherwise be painstakingly time-consuming. As such, it demonstrates the capacity for audio effects to take advantage of the playhead as a tool for enhancing real-time production and composition.
David Su, Research Assistant, MIT Media Lab

Estimating pickup and plucking positions of an electric guitar
The motivation for this work is to understand the factors that influence the sound of popular guitarists, in order to be able to replicate their sound by extracting relevant parameters from their recordings. Electric guitar synthesis requires parameters such as the electric guitar's pickup position and where the string is plucked. The positioning of pickups of popular electric guitar models contributes to their unique sound. Thus, estimating the location of the magnetic pickup of an electric guitar could possibly help distinguish which pickup configuration is selected (for a known guitar) and which electric guitar model is played (for an unknown guitar). We proposed an approach to simultaneously estimate the pickup and plucking locations of an electric guitar from audio recordings. In this poster, we discuss the results from our published papers, where the accuracy of our method is evaluated for various notes, plucking dynamics, chords and audio effects. Also, we include some tests on real-world signals such as the guitar tracks from The Beatles' "Day Tripper" and The Doors' "Love Me Two Times".
Zulfadhli Mohamad, PhD Researcher, QMUL

Introducing Myo Mapper
Myo Mapper is a free and open source cross-platform application to map Myo data into OSC messages; written using JUCE. It represents a “quick and easy” solution for experimenting without requiring any programming knowledge. It features (i) easy-calibration to overcome yaw data drift (ii) mapping functions to facilitate the Myo use in musical applications, and (iii) data feature extraction. Myo Mapper is among the most downloaded apps in the Myo Market in the 'Connected Things' and 'Tools and Productivity' categories. It has facilitated the realisation of 7 musical and 3 dance performances worldwide, the development of interactive audiovisual systems for musical expression, sound design, and easy solutions for controlling robotic arms. Furthermore, it has been used in education to deliver workshops on Music Interaction Design at Berklee College of Music Valencia Campus (Spain), University of Southampton (UK), Conservatorio Giuseppe Martucci (Italy), Conservatorio Santa Cecilia (Italy).
Balandino Di Donato, PhD Student, Integra Lab, Birmingham Conservatoire & Jamie Bullock, Lead Audio Developer, Noiiz

IntaScale - A flexible API for musical scales
As a developer, have you ever wondered how to create a unified way for your users to use different tuning scales in your software? As a musician or music producer, have you ever wondered how to use the same microtonal scale across different instruments? IntaScale is a C++ module and accompanying REST API for audio developers to access a centralised store of tuning scales in their plugins and applications. The C++ module is based around a local database and will automatically synchronise with changes to the remote database. The API will allow registered users to share their own scales with other users, as well as allow an application to provide a subset of scales to its users. The data format is compatible with Scala.
Adam Wilson, Founder, Node Audio

Real-time animation with a Seaboard
Exploring how a digital music instrument, the Seaboard, can be used for real-time controlling of animations. Animating digital characters can be a very unintuitive and difficult process. It often requires extensive knowledge and complex software. To create animations in real-time, which would be interesting for interactive live performances, is even harder. We propose a setup to use the input of the Seaboard in the game engine Unity, look at different mappings, that could be used to animate a character and present the results of a small user feedback round. We explain how the Seaboard is a suitable device to control animations in real-time.
Simon Ringeisen, Computer Science Student, ETH Zurich

Coding using your voice
Programming day in and day out can leave you with sore hands and wrists, which may become a serious problem if you don't change your habits and take ergonomics into consideration. As we all know making audio software can be great fun, but if you are not careful, hours of programming without breaks can cause you real damage. Further to this, the manual dexterity required for programming can be a limiting factor and a barrier to entry for people with disabilities. Anyone who has tried using voice recognition knows that it can be quite error-prone, and whilst these days it's very usable for writing e-mails and text messages, it is generally too cumbersome to code with due to the special syntax, indentation, and capitalisation of words required for most programming languages. These challenges can be overcome with certain hardware and software, and there are many coders out there who have switched to using their voice for some or all of their computer use, in order to recover from injuries and continue to work. Several voice coding systems have been developed in the past, but most of those were for Windows only. is a relatively new piece of software that provides an extremely flexible system and language designed for coding using the voice and works on Mac. Windows support is planned. does much more than just coding and allows customisable voice control of the entire operating system, speeding up many tasks. Oli will discuss his experiences with different hardware and software for anyone who is curious and wants to try and avoid injury. Although is not his project, Oli has developed an Xcode extension that allows the software to interface with the Xcode text editor which he will demonstrate.
Oli Larkin, Audio Software Developer, Oli Larkin Plugins & PhD Researcher, Creative Coding Lab, University of Huddersfield

FRUT – Build your JUCE projects using CMake instead of Projucer
CMake is a cross-platform build system generator: like JUCE’s Projucer, it can create Makefiles, Visual Studio solutions, Xcode projects. CMake has many more features than Projucer and using it will allow you to simplify and automate building, testing, and packaging your JUCE applications and audio plugins. However, due to the way JUCE projects are structured, it is not easy to use CMake for building them, especially when you are not an advanced CMake user. This is why FRUT was created. FRUT, previously known as JUCE.cmake, is a collection of tools dedicated to building JUCE projects using CMake. It currently includes: Reprojucer.cmake – a CMake module that provides high-level functions to reproduce how a JUCE project is defined in Projucer, Jucer2Reprojucer – a console application that converts .jucer project files into ready-to-use CMake project files, and several CMakeLists.txt files generated from existing .jucer files as examples. These tools make it very easy to convert an existing JUCE project and start leveraging the features of CMake right now.
Alain Martin, Software Engineer, Ableton

Talk proposal submission

The deadline for submitting a talk has now passed. Please come back next year to submit a proposal for a talk and/or a poster to be presented at ADC 2018. Presenting your work at the Audio Developer Conference is an excellent way to engage a wide range of C++ practitioners about your areas of interest and expertise, and gather useful feedback from experts. JUCE invites all attendees – from C++ gurus to indie developers to students – to contribute to the Audio Developer Conference.

Important dates

  1. 7th July: Notification of acceptance
  2. 14th July Program announcement

Format and proposal form

Talks range from audio research to professional practices, standards in audio development, and experimental projects are welcome to. We can accommodate talks that are 25 minutes long (half session) or 60 minutes long (full session), including Q&A.

Presenters are encouraged, but not required, to submit slides and source code for distribution to attendees and to agree to have their sessions recorded. Presenters must agree to grant a non-exclusive perpetual license to publish submitted and/or recorded materials, either electronically or in print, in any media related to JUCE.

Speaker fees

Speakers will benefit from a discounted price to attend the conference, at the flat fee of £200. For the speakers who already have purchased an early bird ticket, the price difference will be refunded.

If you are intending to submit a proposal and would like to discuss a lighter fare (if you're traveling from abroad, are a student, independent developer, etc), please get in touch with us by sending an e-mail to

Program committee

Chair: Timur Doumler, JetBrains

  1. Aaron Leese, Stagecraft Software
  2. Adam Wilson, Node Audio
  3. Anastasia Kazakova, JetBrains
  4. André Bergner, Native Instruments
  5. Andrew McPherson, Queen Mary University of London
  6. Astrid Bin, Queen Mary University of London
  7. Ben Supper, ROLI
  8. Costas Calamvokis, Evenharmonic
  9. David Rowland, Tracktion
  10. Don Turner, Google
  11. Fabian Renn-Giles, ROLI
  12. Felipe Tonello, ROLI
  13. Geert Bevin, Moog Music
  14. Ian Hobson, Ableton
  15. Ivan Cohen, Musical Entropy
  16. Julian Storer, ROLI
  17. Kevin Nelson, rknLA
  18. Mariana Lopez, University of York
  19. Martin Robinson, Spitfire Audio
  20. Michael Zbyszyński, Goldsmiths University of London
  21. Mick Grierson, Goldsmiths University of London
  22. Oliver Larkin, Oli Larkin Plug-ins
  23. Ray Chemo, Native Instruments
  24. Rebecca Stewart, Queen Mary University of London
  25. Richard Meyer, JazzMan Ltd
  26. Richard Powell, Apple
  27. Skot McDonald, FXpansion
  28. Stefan Gränitz, Freelance Developer and Compiler Engineer
  29. Steinunn Arnardottir, Native Instruments
  30. Stéphane Letz, Grame
  31. Steve Baker, FXpansion
  32. Thibaut Carpentier, Ircam
  33. Thomas Poole, ROLI
  34. Zsolt Garamvölgyi, ROLI



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