What’s New in Core Audio 

Session 507 WWDC 2015

See what’s new in Core Audio. Learn about enhancements to AVAudioEngine such as Compressed audio format support, more flexible node connections and new Sequencer functionality. Learn how to take advantage of digital audio between your OS X and iOS devices via Lightning. Learn best practices and what’s new in AVAudioSession.

[ Applause ]


Good afternoon everyone, welcome to the session What’s New in Code Audio.

I am Akshatha Nagesh, and I will be the first speaker in this session.

I will be talking about [unintelligible] AVAudioEngine and its new features for this year’s iOS and OS X releases.

Later, my colleague Torrey will be talking about other exciting new features we have for you this year like inter-device audio and what’s new in our good old AVAudioSession.

Tomorrow morning we have another Core Audio presentation called Audio Unit Extensions and it’s about a whole new set of APIs which I am sure you will find very interesting, so do catch that session as well.

All right.

Let’s begin with a recap of AVAudioEngine.

If you know about Core Audio, you may be aware that we offer a wide variety of APIs for implementing powerful audio features.

Last year, in iOS 8 and OS X Yosemite, we introduced a new set of Objective-C APIs called AVAudioEngine as a part of AVFoundation framework.

If you are not very familiar with AVAudioEngine, I would highly encourage you to check out our last year’s WWDC session AVAudioEngine In Practice.

Let’s look at some of the goals behind this effort.

There were three important goals.

First, to provide a powerful and a feature-rich API set.

AVAudioEngine is built on top of our C frameworks; hence, it supports most of the powerful features that our C frameworks already do.

The second goal was to enable you to achieve simple, as well as complex tasks with only a fraction of the amount of code that you would write if using our C frameworks directly.

Now, the task can be as simple as a playback of an audio file to as complex as, say, implementing an entire audio engine for a game.

The third important goal was to simplify real-time audio.

AVAudioEngine is a real-time audio system, but yet it offers a non-real-time interface for you to interact with and, hence, hides most of the complexities in dealing with real-time audio underneath.

This, again, enhances the ease of usability of AVAudioEngine.

On to some of the features.

It is an Objective-C API set and, hence, accessible from Swift as well.

It supports low latency real-time audio.

Using AVAudioEngine, you will be able to perform a variety of audio tasks, like play and record audio, connect various audio processing blocks together to form your processing chain.

You could capture audio at any point in this processing chain, say for your analysis or debugging.

And also, you could implement 3D audio for games.

Now, what is the engine comprised of?

A node is a basic building block of the engine.

The engine itself manages a graph of nodes that you connect together.

A node can be one of three types, source nodes that provide data for entering, processing nodes that process this data, and the destination node, which is usually the terminating node in your processing graph and refers to the output node connected to the output hardware.

Now, let’s look at a sample engine setup.

This could represent a simple karaoke app.

You could be capturing users voice through the microphone implicitly connected to the input node, processing it through an effect node, which could be a simple delay.

You could also be tapping the users voice through a node tap block, and analyzing it say to determine how the user is performing and based on that, you could be playing some sound effects through the player node, and you could have another player node that’s playing a backing track in your app.

And all these signals can be mixed together using a mixer node and finally played through the speaker connected to the output node.

Now, in this setup, your input and the players form the source nodes.

The effect and the mixer are your processing nodes input and the output node is the destination node.

Now let’s look at these mixer nodes in a little bit of detail.

There are two kinds of mixer nodes in the engine.

First is the AV audio mixer node that we just saw in the previous example, and this is mainly used for sample rate conversion, up or down mixing of channels, it supports mono, stereo, and multichannel inputs.

And the second type of mixer is called the environment node, which is mainly used in gaming applications.

It simulates a 3D space in which the sources that are connected to the environment node are specialized with respect to an implicit listener.

And environment node supports mono and stereo inputs and spatializes mono inputs.

Now, associated with the mixer nodes and the source nodes, there is something called AVAudioMixing protocol.

This protocol defines a set of properties that are applicable at the input bus of a mixer node.

And the source nodes conform to this protocol and, in turn, control the properties on the mixers that they are connected to.

Now, if you set these properties before making a connection from the source to the mixer node, the properties are cached at the source node level.

And when you actually make a connection between the source and the mixer, the properties take effect on the mixer.

Let’s look at some of the examples for these properties.

There are mainly three types common mixing properties that are applicable on all the mixer nodes.

The example is volume.

Stereo mixing properties like pan that’s applicable only on the AV audio mixer node.

And 3D mixing properties like position, obstruction, occlusion, which is mainly used in the gaming use case, and those are applicable on the environment node.

Now let’s look at a sample setup.

Suppose you have a player node and both these mixers, mixer node and the environment node in your engine, and suppose you set a bunch of mixing properties on the player node.

Now, at this point, since the player is not connected to either of the mixers, the properties remain cached at the player level.

Now suppose you make a connection to the mixer node.

Now the properties like volume and pan take effect on the mixer node, while the 3D mixing property, like position, does not affect the mixer node.

Now, if you disconnect from the mixer and connect to the environment node, volume and position take effect while pan has no effect on the environment node.

So this way you could have a bunch of mixing properties set on a player and move the player from one mixer to the other mixer in your application with the mixing settings intact.

We will revisit this AVAudioMixing protocol when we discuss one of our new features for this year in a few minutes.

Now, I would like to review another important aspect that is how to handle multichannel audio with AVAudioEngine.

There are two parts to the setup involved here.

First is configuring your hardware to be able to receive multichannel audio.

Now, the hardware could be HDMI device or a USB device and so on.

And the second part is actually setting the engine itself to be able to render multichannel audio to this hardware.

We will look at these one by one.

First, hardware setup on OS X.

On OS X, there is a built-in system tool called audio MIDI setup, using which the user can configure his multichannel hardware.

So he could use this tool to, say, set up the speaker configuration, channel layout, et cetera.

And then the app can set up AVAudioEngine to use this hardware for multichannel rendering.

But on iOS, in order to enable multichannel on the hardware, the app needs to configure its AVAudioSession.

We will assume a playback use case and see what are the steps involved.

The first thing to do would be to activate your audio session.

Next you need to check for the maximum number of open channels that are available for your session.

Then you set your preferred number of channels, and as a final step, you query back the actual number of output channels to verify whether the request that you just made went through or not.

Now, note that whenever you make a request for a certain number of channels, it does not guarantee that the request is always accepted.

Hence, the final step of verifying the actual output number of channels is necessary.

Now, in code, it looks like this.

We will assume an audio playback use case and assume you want a 5.1 rendering.

So the first thing to do would be to get a shared instance of the audio session, set your category and make the session active.

Next, check the maximum number of output channels that are available in your session.

And based on that, you set your preferred number of channels on the session.

And as a final step, you query back the actual number of output channels and then adapt to the corresponding channel count.

Okay. So this was all the hardware setup part.

Now we’ll see how to set up the engine to be able to render multichannel audio.

Again here there are two use cases.

First, say you have a multichannel audio content available that needs to be played back through the multichannel hardware.

And in this case, you would use an AV audio mixer node.

And in the second case, as a gaming scenario where you want your content to be spatialized and then played through the multichannel hardware.

And here you would use an environment node.

Case one, you have a multichannel audio content and a multichannel hardware that’s just been set up as we discussed a few minutes back.

Now, note that although the format of the content and the hardware are shown to be identical here, they could very well differ.

And the mixer node here will take care of channel mapping between the content and the hardware format.

So the first thing you need to do is propagate the hardware format to the connection between the mixer and the output node.

So in code, it looks like this.

You would query the output format of the output node, which is the hardware format, and then use that format to make the connection between the mixer node and the output node.

The next thing is similar on the content side.

You propagate the content format to the connection between the player and the mixer node.

So assume you have the multichannel audio content in the form of a file.

You can open the file for reading and use its processing format to make the connection from the player to the mixer node.

And then you schedule your file on the player, you start your engine and start the player, and the content will flow through your processing chain.

Now case two, where it’s typically a gaming scenario and you need your content to be spatialized and then played through the multichannel hardware.

So the steps here are very much similar, except a couple of subtle differences.

So the first thing is you get your hardware format and set the connection format between your environment node and the output node.

Now, since the environment node supports only specific channel layouts, you need to map the hardware format to a layout that the environment node supports.

So that’s the first difference.

So assuming we have a 5.1 hardware, we can choose audio unit 5.0 layout pack that is supported by the audio node.

We can create an AV audio channel layout using this layout tag.

And then an AV audio format using this layout.

And then you make a connection from the environment node to the output node using this format.

The second step is exactly the same, propagating your content format between the connection from player to the environment node.

So we open the file for reading and use its processing format to make a connection from the player to the environment.

And the next thing here is to set a rendering algorithm on the player to one which supports multichannel rendering.

This rendering algorithm is one of the 3D mixing protocol properties that we just saw a few minutes back, and this will tell the environment node that the corresponding source is requesting a multichannel rendering.

And then the usual stuff.

You schedule your file on the player, you start your engine and the player, and then your content will be spatialized by the environment node.

Okay. So this was AVAudioEngine as it existed in iOS 8 and OS X Yosemite.

Now on to the more exciting stuff.

What’s new for this year?

We have three main new features.

First is the splitting support, which I will be talking about in a minute.

Second is the audio format conversion support, and we have a couple of new classes here, the main one being AVAudioConverter.

And then finally, we have another new class called AVAudioSequencer, which supports play back of MIDI files.

Moving to the splitting support.

Now, let’s consider this sample setup, which by now I guess should be pretty familiar.

So in the API that existed as of last week, only one-to-one connections were supported in the engine.

That is the output of any node could only be connected to one other node in the engine.

But now, instead of this, we have added support to do this.

That is to be able to split output of a node into multiple paths in your processing chain.

So in this example, the output of the player is split into three different paths and then eventually connected to the mixer node.

Now, splitting is very useful in use cases like mixing where you need to blend in some amount of wet or process signals with a dry signal all driven by the same source.

In this example, the connection from the player to the mixer node forms your dry signal path while the other two paths going through the effect nodes forms your wet signal paths.

And all these three signals are mixed together using a mixer node to give you the mix.

Now, note that when you split the output of a node, the entire output is actually rendered through multiple paths, and there is no splitting of channels involved.

Now let’s see in code how to set these connections up.

As you can see, the player is connected to three different nodes.

We will call these as connection points represented by a very simple new class called AV audio connection point.

The first thing to do is to create an array of connection points that you want your player node to be connected to.

So in this example, we want connections to the input bus: 0 of the two effects and input bus: 1 of the mixer node.

Then you use the new connection API we have to connect the player to these connection points.

And that’s it, so you are set up for the split connections.

So you move on and make your other connections in the engine as you need.

Now let’s revisit the AVAudioMixing protocol that we discussed sometime back and see how it affects splitting use case.

Assume we have a player node whose output is split into two different paths, going through the effect nodes to a mixer node.

Now, suppose you set a property on the player node.

In this example, say you set volume.

Now, at this point, the property will take effect on all of its existing mixer connections, so in this example, both input bus: 0 and input bus: 1 of the mixer node get a volume of .5.

But if you wanted to overwrite any of the properties on a particular mixer connection, you could still do that.

And the way to do it is using our new class called AVAudioMixing destination.

So you query the player node to give you the destination object corresponding to the mixer that you want, and you then set a property on that object.

So in this example, we are overwriting the volume on mixer input bus: 0 to .8.

Now, okay, so similarly, you can also overwrite the properties on the other mixer connection as well.

Now, let’s see what happens in a disconnection.

Suppose you disconnect the effect to mixer input bus: 1 connection.

Now, note that the settings that you may have overwritten on that particular mixer connection will not be preserved.

Hence, the state of mixing settings will look like this.

The player’s mixing settings remain intact, and the other connection that is active will also have its mixing settings intact.

Now, if you end up making the connection back again to mixer input bus: 1, since the earliest settings were not preserved, the base settings off the player node will now take effect in this new connection.

So hence, the volume of input bus: 1 will again be set to .5 based on the player’s mixing settings.

So to summarize, when a source node is connected to multiple mixers, the properties that you set on the source node will be applied to all of its existing mixer connections as well as any new mixer connection that you make.

And the properties on the individual mixer connections can be overwritten if you want to, but remember that they will not be preserved on any disconnections.

Final words on the splitting support.

The engine supports splitting of any node in the processing graph, provided you adhere to a couple of restrictions.

Now, starting from the node whose output is split till the mixer where all the parts terminate, you cannot have any of the time effect nodes.

That is you cannot have speed and time pitch.

Nor can you have any rate conversions.

So in other words, all the split parts from the base node should be rendering at the same rate until they reach a common mixer.

So if you stick to these restrictions, then you could split the output of any node in the engine into multiple parts.

Okay. So now moving on to the second new feature we have for this year, audio format conversion support.

So we have a couple of new classes here, AVAudioCompressedBuffer, and AV Audio Converter.

Now, in the API that existed as of last week, we have an AVAudioBuffer and one of its subclasses called AVAudioPCMBuffer, and as the name suggests, the PCM buffer holds uncompressed audio data, and the data flow through the engine is in the form of PCM buffers.

Now, starting this year, we have another subclass of AVAudioBuffer called AVAudioCompressedBuffer, and this holds compressed audio data.

And this can be used with the new class we have called AVAudioConverter that I will talk about next.

AVAudioConverter is a new utility class, and it’s a higher-level equivalent for our audio converter from the audio toolbox framework.

This supports all audio format conversion, so you could convert from PCM to PCM format while changing, say, integer to float, bit depth, sample rate, et cetera.

Or you could convert between PCM and compressed format that is you can use it for encoding and decoding purposes.

And AVAudioConverter can be used in conjunction with AVAudioEngine, as we will see in an example.

Okay. So suppose you have your engine set up for a playback.

So we have a player node connected to an effect node and an output node.

And suppose you have a compressed audio stream coming in.

Now, we know that the data flow through the engine is in the form of PCM buffers.

So now you could use an AVAudioConverter to convert your input compressed stream into PCM buffers, and then you can use these buffers to schedule on the player node, hence the playback can happen through the engine.

Now let’s consider a code example and see how to use AVAudioConverter for encoding purposes.

Now, here we want to convert from a PCM to an ASC compressed format.

So the first thing to do is define your input as well as output format.

So here I have an input format which is a PCM format, and I have an output format, which is a compressed ASC format.

Next you create an AVAudioConverter and asking it to convert from your input to the output format.

Then you create your audio buffers.

The input buffer in this case is a PCM buffer, and the output buffer is our new AVAudioCompressedBuffer in the ASC format.

The next thing to do is to define something called AVAudioConverter input block.

This is the block that the converter will call whenever it needs input data.

So there are a couple of things that you need to do here.

First, you need to inform the converter about the status of your input.

So suppose when the block gets called, you do not have any input data available.

So at that point, you can say no data now and return a nil buffer to the converter.

Now, suppose you have reached end of stream, so you can inform the converter saying it’s end of stream and again return a nil buffer.

Otherwise, in the normal cases, you can see that you do have data, and fill and return your input buffer to the converter.

Now, this is the main conversion loop.

In every operation of this loop, we are asking the converter to produce one output buffer of data, and we are providing the input block that we just defined to the converter so that it can be called by the converter as many times as it needs input.

Now, the converter will also return your status, which you can check to see the state of conversion.

So if the converter says it’s end of stream or if it says there was an error, you could handle it accordingly.

Otherwise, in the normal cases, every iteration will provide you one output buffer of data.

Okay. So coming to our final new class for this year, AVAudioSequencer.

This supports playback of MIDI files, and AVAudioSequencer is associated with an AVAudioEngine at the time of instantiation.

And the sequencer is responsible for sending MIDI events to the instrument nodes that you may have attached in the engine.

Now, the example for instrument nodes, audio samplers, MIDI events et cetera.

Now let’s look at a sample setup.

Suppose you have your AVAudioEngine set up with an instrument node connected to a mixer node and to the output node.

You can now create an AVAudioSequencer and associate it with this engine.

And then, when you start your sequencer and start your engine, the sequencer will automatically discover the first instrument node in the engine and start sending MIDI events to that instrument node.

And in code, it looks like this.

So the first part is your engine setup, which is outside of the sequencer.

So here we have an instrument node that is a sampler, so you make your required connections in the engine, and then you start your engine.

Now, at this point, there will be no audio playback because there isn’t anything that is driving the instrument node.

Then next you create your sequencer and associate it with the engine that you just configured.

You load your MIDI file onto the sequencer.

And then you can start your sequencer.

So at this point, the sequencer will implicitly discover your sampler node that you have attached in the engine and start sending MIDI events to the sampler node.

And hence, your audio playback will start.

Now, suppose you had multiple tracks in your MIDI file.

Now, the default behavior of the sequencer is to send all the tracks to the first instrument node that it finds in the engine.

But in case you wanted to direct your tracks to the individual instrument nodes, you can do that with just a few lines of code.

Now, the creation and setting up of the engine in the sequencer is the same as earlier.

The only additional thing that you need to do is you need to get the tracks from your sequencer and set the destination for each of your tracks to the instrument node that you want.

Final few words on the sequencer.

The sequencer has its own set of transport controls for the MIDI events, unlike the transport controls on the engine that control the flow of audio.

So here you can prepare the sequencer for playback, which basically does prerolling.

You can start/stop the MIDI events.

You can set the playback position of the MIDI events in terms of seconds or beats.

And also, you can set the playback rate of the MIDI events.

Okay. So with that, we have seen the new features in AVAudioEngine for this year’s iOS and OS X releases.

Now I would like to show you a quick demo to see these new features in action.

And for that, I would like to invite Torrey onto the stage to help me with the demo.

[ Applause ]


So in this demo, we have an AVAudioEngine and an AVAudioSequencer that is associated with this engine.

So in the engine, we have an instrument node that you can see at the top whose output is split into three different paths.

One of the paths is directly connected to the main mixer node in the engine, and two of the other paths are connected through two different effects, and then to the main mixer.

Now, using the AVAudioMixing protocol properties we discussed, there are volume controls on each of these mixer input buses.

So the slightest that you see for distortion volume, direct volume, and reverb volume are the volume controls and controls through mixing protocol.

Now, at the top, in the light gray box, you can see this transport controls for the sequencer.

You can see that we have a play stop control on the sequencer as well as sliders for setting the playback position and the playback rate of the MIDIs.

There is also a master volume on the main mixer to control the volume of your mix.

Now let’s go ahead and start the sequencer [music].

So at this point, the MIDI events are being sent to the instrument node that is in the engine.

You can dynamically change the position of playback of the MIDI events and the playback rate.

Using the volume controls, you can blend in the required amount of effects that you want in your mix.

You could increase the distortion volume.

Or the reverb volume.

So effectively, you can play around with these volumes and create the mix that you desire.

And finally, using the master volume on the mixer node, you could control the volume of the overall mix .

Okay. So that was a demo of the new features that we just discussed.

[ Applause ]

So the sample code for this demo should be available sometime later this year.

Now final words on what we saw today in AVAudioEngine.

We saw a recap, and we reviewed how to handle multichannel audio with AVAudioEngine, and then we saw three new features for this year first, splitting support; second, audio format conversion support, the main class being AVAudioConverter; and finally, we saw another new class called AVAudioSequencer that supports playback of MIDI files.

I hope you will use these new features in your apps and provide us feedback.

Thank you.

Over to Torrey to take it from here.

Thanks, Torrey.

[ Applause ]

Thanks, Akshatha.

Good afternoon, everyone.

I’m Torrey, and let’s keep it rolling with Inter-Device Audio Mode for iOS.

It’s no secret that the iPad is one of the most versatile musical instruments on the planet, and that’s primarily thanks to all of you-all, with digital audio workstation apps, synthesizer apps, drum machine apps, sound toys.

There’s an endless amount of audio content that you can generate with the same device.

So how do you get that audio content from your iOS device into your project that you are working on on your Mac?

Well, you could plug in a cable into the headphone jack, run that into an audio breakout box that’s connected to your Mac, but that would be digital to analog and back again to digital.

I am sure that we can all agree that’s less than ideal.

So to record audio digitally from an iOS device, we attach a lightning-to-USB adapter.

We attach a USB audio class-compliant interface that’s capable of doing digital audio output; a digital audio cable; another interface that’s capable of receiving digital audio input; and we attach that to the Mac.

It works. But it’s a lot of hardware.

There’s also third-party software that attempts to solve this same problem, which is great if your app uses that or if your favorite app uses that.

But wouldn’t it be great if you didn’t have to use any extra hardware or install any extra software and you could just record audio digitally through the darn cable that came with the darn thing?

Well, drumroll, please.

Oh, great latency on that [laughter].

Introducing Inter-Device Audio Mode, or as we like to call it internally, IDAM.

IDAM allows you to record audio digitally through the USB to lightning cable that came with your device.

It records at a hardware audio stream format of two channel 24-bit at 48 kilohertz sample rate, and it is a USB 2.0 audio class-compliant implementation from end to end.

What that means is on the Mac side, you are using the class Mac USB audio driver.

You will get the same great performance and low latency that class-compliant USB audio devices currently get.

Also, on the iOS side, the implementation is USBISOCHRONOUS audio.

That means your bandwidth is reserved.

If you want to backup 120 gigabytes of data to your Mac while you are tapping out a drum beat and recording it, you can rest assured that your audio is not going to have any artifacts.

Next, my no slide.

No additional hardware required.

There’s no additional software required.

You don’t need to modify your OS X application to take advantage of this feature.

If your iOS application already properly adapts to a two-channel 24-bit 48-kilohertz audio stream format, you don’t have to modify your iOS application.

And if you get a calendar alert while you are in the middle of jamming out a sample baseline, that alert is not going to go out over the USB.

It goes out over the speaker like it’s supposed to.

[ Applause ]

Okay. So Inter-Device Audio Mode, your device can charge and sync in this mode; however, photo import, tethering, and QuickTime screen capture will be temporarily disabled.

You want those back, click a button or just unplug the device.

Torrey, how do I use it, you may ask?

So we built support directly into audio MIDI setup.

If you look under the window menu, you will see a new option, show iOS device browser, and if you click that, you get this fancy-pants view.

It shows you all your connected iOS devices.

You want to enter or exit the IDAM configuration, you click the button.

Now, you can actually embed this view into your OS X application if you choose to do so, and I am going to show you some code for how to do that, but before that, you’ve guessed it, it’s demo time.

I’ve got one of these fancy iPads up here.

All right.

Here on this iPad, I am running a synthesizer application called Nave.

I like this application because some of the patches you can actually get a nice touch interface for it.

You can potentially do aftertouch with it, which is something that’s not on every MIDI controller that you buy on the market.

It’s one reason why iPads are such great musical instruments.

So I selected a patch here that sounds like this.

[ Music ]

I like those sounds, so I want to record them into a hip hop project that I am working on on the Mac.

So let’s move over to the Mac, okay here on the Mac I already have audio MIDI setup running.

I am going to go to the window menu, show iOS device browser, and I can see I currently have no connected iOS devices.

So I will plug in my iPad.

It shows up immediately.

Blink and you miss it, but click Enable, and now you’ve got an extra audio device right here.

Yes, Logic, we will get to you shortly.

You can see there’s a two-channel input audio device that’s been added here.

And we do want to use this in my Logic project, so I am going to go ahead and say Use Here.

Let’s bring Logic back up.

All right.

Here is the beat I have been working on.

[ Music ]

And I want to record in an audio track here, so I am going to create a new audio track.

Record monitor that and record enable.

Bring the volume down a little bit because it will be at unity.

And now [music] I can hear that coming directly into my track.

So let’s record a piece.

[ Music ]

And if I play back my performance [music] the audio’s captured exactly like I expect.

Sick beat, Bro.

[ Applause ]

Now, that concludes my demo, but I am not a professional.

Please try this at home.

It’s in your betas right now.

If you find any bugs with it whatsoever, just go to bugreport.apple.com, and file that bug for us.

Okay. So a few last words about IDAM.

It requires OS X El Capitan and iOS 9.

It will work on all iPhones with a lightning connector.

It works on all iPads with a lightning connector except our very first iPad mini.

And if you’ve got a home iPhone, a work iPhone, a home iPad, a work iPad, and an iPad for the kids and the power hubs to support it, you can plug all of those in at the same time, aggregate them together as a massive ten-channel input device if you want to, and record it.

And if you’ve got USB ports left over after that, please point your Safari browser at store.apple.com [laughter].

[ Applause ]

Okay. I said earlier that I would tell you how to embed the view controller into your OS X application if you choose to do that, and I am going to show you the code for that now.

This code is pretty boilerplate, so I took the liberty of highlighting the important part, if you will let your eyes slide down to the yellow text, and you will see CA Inter- Device Audio View Controller.

You just want to create one of those and then add the subview to your view container.

As long as I am talking about new view controllers that are in CoreAudioKit, I also wanted to tell you about a couple more you might be interested in.

We’ve also added CABTLEMIDI window controller.

This is the UI for configuring your Bluetooth Low Energy MIDI devices, it’s a feature that we debuted last year.

It’s an NS window controller subclass, and that view looks like this, so you can now embed this directly into your OS X application if you choose to do so.

One more for you.

We also have CA Network Browser Window Controller.

This is the UI for configuring your Audio Video Bridge audio devices.

Also an NS window controller subclass, and that view looks like this.

Okay. Let’s push in the clutch and switch gears as we talk about what’s new in AVAudioSession.

So how many of you listen to podcasts and audio books?

All right.

A lot of you.

How many of you also use your iPhone as your primary navigation device?

A lot of you too.

Okay. So you may have seen this problem before.

Let’s say you are going to a soul food restaurant that you’ve never been to.

You are navigating.

Then you are listening to a podcast.

This podcast is hosted by podcast personality X, and they are interviewing your favorite currently relevant celebrity Y, and in the middle of this interview, the conversation is getting really juicy when your navigation pipes up and says in 500 feet, keep to the right, followed by a keep to the right.

Then after that you hear raucous laughter.

Some great joke happened, and you just missed it.

So you back up the audio, and you start playing it again, and just as you get to the joke, “keep to the right.”

You pump your fist and say “I am having a bad user experience.”

Okay. So we have a solution for that [laughter].

I took some liberties with that one.

We have a solution for that for you in iOS 9.

So now podcasts and audio book apps can use a new AVAudioSession mode called AVAudioSession mode spoken audio, and for navigation and fitness apps or apps that issue vocal prompts that interrupt other applications’ audio, there’s a new AVAudioSession category option called Interrupt Spoken Audio and Mix with Others.

Now, Maps already uses Interrupt Spoken Audio and Mix with Others, and podcasts and iBooks are already using AVAudioSession mode spoken audio.

How can you use these in your application?

Well, let’s look at some code.

I am just going to go through these pieces of code line by line so you can see what we are doing.

First we will start with your audio session setup.

You will get the shared instance of the audio session, set your category to playback, and for your options, you will use the option duck others.

Now we are going to use something new in Swift 2, this new if # available.

If will allow you to deploy the same code in iOS 9 that you can deploy to earlier iOS’s.

So only if you are on iOS 9 or greater, you can or in this extra option, Interrupt Spoken Audio and Mix with Others.

Then you will set your audio session category.

Okay. Let’s actually look at the nav prompt.

Now you are going to play your navigation prompt that looks like this.

First get the shared instance of the audio session.

You will create an AV audio player using the URL that’s supplied in the function prototype.

You set the player’s delegate to self.

What this will do for you is it will allow the delegate method to be called on your behalf when your audio prompt is finished playing.

Set your audio session to active, and then play on, player.

Now, here we go.

Now we are your audio is done playing, so your delegate method is being called.

Audio player did finish playing.

The code looks like this.

Get the shared instance of the audio session.

Set your audio session to be inactive.

And use the option, option notify others on deactivation.

This means any other audio that was playing before you from another process can get notified that you are done interrupting them.

Now let’s look at the other side.

Let’s go to the podcast or spoken audio application.

Here’s the audio session setup for that.

Get the shared instance of the audio session, set your category to playback.

You let the mode be default for now, but if you were running in iOS 9 or later, you can use this new mode, AVAudioSession mode spoken audio, then set your category and your mode.

The next thing you’re going to want to do is to add an interruption handler.

We are going add an interruption handler called handle interruption and we want it to be called in response to AVAudioSession interruption notification.

This is also a good time to register for other notifications of interest; for example, if the media server died and you want to be notified about that so you can reset your audio state.

Okay. So now let’s look at the interruption handler.

The first thing we’ll do here is we will get the user info dictionary from the NS notification object that’s supplied in the function prototype and from that user info dictionary we will look at the key AVAudioSession interruption type key.

Now we are going to switch on that type.

The first part of this is going to be what happens when your audio session is beginning to be interrupted, and then the second part will be on the next slide, and that’s for the end.

So if this is a begin interruption, the first thing you will want to do is update your UI to indicate your playback has already been stopped.

Then if your internal state dictated that you were playing, then you will set was playing to true.

That will let you know later on when this interruption is over that you are okay to resume audio, if that’s appropriate.

Then, of course, update your internal state.

So now this is the end interruption, so in case this is the end interruption, you’ll get the flag from the user info dictionary at AVAudioSession interruption option key, and if that flag is option should resume and you were playing before when you were interrupted, rewind the audio just a little bit because your audio was ducked before it was stopped, and then you can play your player again, update your internal state, and then update the UI to reflect that the playback has resumed.

And that’s all the code I have for you.

Quick recap.

Today we have told you about some exciting new enhancements in AVAudioEngine.

We have introduced Inter-Device Audio Mode.

We’ve told you about some new CoreAudioKit view controllers that you can embed into your OS X applications for Inter-Device Audio Mode, Bluetooth Low Energy, MIDI, and Audio Video Bridge.

And we’ve also introduced AVAudioSession mode spoken audio and the new AVAudioSession category option Interrupt Spoken Audio and Mix with Others.

But that’s not all.

We have another session coming up tomorrow at 11 a.m.

on all the exciting changes to Audio Unit Extensions, so we hope to see you all there.

Also some related sessions that happened earlier today, if you want to go back and look at them, especially if you are coming in from the game audio side.

If we are not able to answer all your questions at the labs, these are some very useful websites that you can go to, and any general inquiries can be directed to Craig Keithley, whose contact information is at the bottom, and we out.

[ Applause ]

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