Linux-audio-announce

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[linux-audio-announce] wcnt-1.1z is released!

by James W. Morris

Hello Everyone! Announcing for the last time this year the new release of Wav Composer Not Toilet. Wcnt is of course, the not-real-time modular synth, sequencer, sampler, wav file generator. Get it from wcnt.sourceforge.net. This release is wcnt-1.1z (read wcnt-1.1260) and here are the new features and changes: ~~~~~~~~~~~~~~~ BIG CHANGES: ~~~~~~~~~~~~~~~ *** Updated website to be more helpful + online example. *** Sets of data which are not module parameters or module inputs (shape of an adsr, notes in a riff, riffs in a sequencer, etc) have now been generalised into a base class. Specialised data reading routines have been replaced, which make it easier to program new data sets. This also means that data definitions are now more tappy tappy on your keyboard, my justification for this extra user effort is readability. *** Riffs inserted into sequencer can be transposed at point of insertion, and the note lengths can be modified. ~~~~~~~~~~~~~~~ COMMAND LINE: ~~~~~~~~~~~~~~~ *** Now has short options too. *** two conversion options to convert a note name to a frequency, and a frequency to degrees per sample and samples per cycle. ~~~~~~~~~~~~~~~ NEW MODULES: ~~~~~~~~~~~~~~~ *** dynamic Maps amplitudes of input signal to a set of output amplitudes/ratios. Of course it has two sets of which the output can be modulated between. *** spreader Spreads the output of a number of wcnt_signal modules along an imaginary line and outputs that which the modulation input lands upon. *** note_tran Translates notes into values. The note range used depends on being triggered by a note_on, or note_slide. Four output triggers so you can tell if the note was in one of the two note ranges or not. (see online example: wcnt.sourceforge.net/drumex01.wc ) ~~~~~~~~~~~~~~~ MINOR CHANGES: ~~~~~~~~~~~~~~~ *** adsr got a couple new params regarding shape modulation *** logic trigger's xor mode definately works now (dunno if it did before) *** trigger now behaves in a note_on/note_off type operation gleaned from the input signal. *** wcnt_signal has a level param That's All Folks, same time next year, see ya! see ya! see ya. see ya, see ya see yaseeyacyacyacycaaa... James. ~(sirromseventyfive)~ _________________________________________________________________ Tired of 56k? Get a FREE BT Broadband connection http://www.msn.co.uk/specials/btbroadband

20 years, 7 months

[linux-audio-announce] [ANN] JACK Bitscope 1.1 and the GL Mixer

by Nick Lamb

http://www.ecs.soton.ac.uk/~njl98r/code/ladspa/ The JACK bitscope is a diagnosis tool for JACK audio software on Linux (and perhaps other systems which have JACK and GTK+ 2.x). As its name might suggest, the bitscope operates at the bare metal of JACK's I/O layer, looking at the 32 binary digits in each individual sample. It's basically functional, and its release and subsequent announcement were delayed most by the need to provide some adequate examples in the documentation. JACK bitscope can be downloaded from the URL above, and is documented here... http://www.ecs.soton.ac.uk/~njl98r/code/ladspa/bitscope/ The GL Mixer is a 3D widget for mixing up to eight JACK audio streams down to stereo, providing a somewhat intuitive interface to level & pan controls through the ability to move sources (represented as columns) on a 2D plane. No points for identifying the inspiration for this toy, and no bug reports yet please unless accompanied by a patch; screenshot at.. http://www.ecs.soton.ac.uk/~njl98r/code/ladspa/glmix.png

20 years, 7 months

[linux-audio-announce] [ANN] XMMS LADSPA 1.0

by Nick Lamb

http://www.ecs.soton.ac.uk/~njl98r/code/ladspa/ XMMS LADSPA is an Effect plugin for XMMS that provides (some of) the power of the Linux Audio Developer's Simple Plugin API to your everyday MP3 and all-around media player. This version adds save & restore functionality so that if you use XMMS LADSPA with the same plugins all the time you don't need to laboriously re-start those settings when you restart XMMS, they will be remembered as will all their parameters. Nick.

20 years, 7 months

[linux-audio-announce] Announcing ClearScale: Open Source Commercial-Grade Time Stretching/Pitch Shifting Project

by Stephan M. Bernsee

Announcing ClearScale: Open Source Commercial-Grade Time Stretching/Pitch Shifting Project ClearScale is an open source GPL-based project to bring high quality time stretching and pitch shifting to the Linux platform. The goal is to create an open standard for a commercial grade algorithm that allows changing the pitch and speed of music and sound independently of each other. It should achieve this in an artifact-free, sonically pleasing manner, comparable to commercial algorithms on the MacOS and Windows platform available today. The algorithm should work equally well with musically monophonic and polyphonic material over a wide range of scaling ratios, and it should encompass a way to compensate for the formant shifts ("Mickey-Mouse effect") that occur during pitch shifting. It is hoped that an open standard for such an immensely important integral part of audio processing will make Linux-based audio processing both easier and more popular. The algorithm should be designed to serve as a quality reference for other algorithms in the field, and a suite of audio files and test signals will be provided with it to serve as a testbed for other future algorithm designs. The project is initiated by Stephan M. Bernsee (formerly Stephan M. Sprenger) who maintains a highly popular educational web site about time stretching and pitch shifting and related topics at http://www.dspdimension.com. He has authored several commercial solutions on the MacOS and Windows platform and his papers and algorithms are part of lectures on DSP at several universities and online courses. The project has initially been funded by a private research grant and its running costs will be financed through PayPal donations to its maintainer. More information on its current status, design goals and a FAQ can be found on the project web site, http://www.clearscale.org

20 years, 7 months

[linux-audio-announce] New AGNULA/DeMuDi laboratory at KTH

by The AGNULA Team

+-----------------------------------------------------------------+ | ______ ______ _ _ _ | | /\ / _____) ___ \| | | | | /\ | | / \ | / ___| | | | | | | | / \ | | / /\ \| | (___) | | | | | | | / /\ \ | | | |__| | \____/| | | | |___| | |_____| |__| | | | |______|\_____/|_| |_|\______|_______)______| | | | +-----------------------------------------------------------------+ [Sorry for cross-posting. Feel free to forward around] Stockholm, 4 April 2004 +++ New AGNULA/DeMuDi laboratory at KTH Four new AGNULA/DeMuDi machines have been set up in the SMH (Speech. Music and Hearing) department at KTH. +++ Four new AGNULA/DeMuDi machines have been set up in the SMH [0] (Speech. Music and Hearing) department at KTH [1]. This setup marks the birth of a GNU/Linux and Libre Software based laboratory for KTH students who will be able to turn the theory taught at the SMH courses into reality, without having to resort to proprietary software. The machines are running AGNULA/DeMuDi 1.1.0 [2] and have been carefully tuned to suit the hardware commonly used at SMH, including the various external sensors - to be interfaced with Pure Data - that are used in the Music Acoustics research area at SMH. These machines will also be a precious help for testing and debugging AGNULA/DeMuDi in a live (and quite heterogeneous) environment. Last, not least, we all know that if an operating system can resist students' attacks, it's ready for prime time. A big thank you goes to Roberto Bresin, Kjetil Hansen, and Damien Cirotteau who made this achievement possible with their help and work. +++ About AGNULA: Agnula (acronym for A GNU/Linux Audio distribution, pronounced with a strong g) is the name of a project funded until April 2004 by the European Commission (number of contract: IST-2001-34879; key action IV.3.3, Free Software: towards the critical mass). After the end of the funded period, AGNULA is continuing as a volunteer based project, aiming to spread Libre Software in the professional audio/video arena. Best regards, -- The AGNULA Team info(a)agnula.org Our mailing lists: http://lists.agnula.org/ Our web site: http://www.agnula.org/ "There's no free expression without control on the tools you use" [0] http://www.speech.kth.se/ [1] http://www.kth.se/ [2] http://www.agnula.org/download/demudi/demudi_1_1_0_apt

20 years, 7 months

[linux-audio-announce] AGNULA @ 2nd LINUX AUDIO CONFERENCE

by The AGNULA Team

+-----------------------------------------------------------------+ | ______ ______ _ _ _ | | /\ / _____) ___ \| | | | | /\ | | / \ | / ___| | | | | | | | / \ | | / /\ \| | (___) | | | | | | | / /\ \ | | | |__| | \____/| | | | |___| | |_____| |__| | | | |______|\_____/|_| |_|\______|_______)______| | | | +-----------------------------------------------------------------+ [Sorry for cross-posting. Feel free to forward around] Florence, 4 April 2004 +++ AGNULA @ 2nd LINUX AUDIO CONFERENCE The AGNULA project will be at the second Linux Audio Conference [0] (Karlsruhe, 29 April-2 May 2004). +++ The AGNULA project will be at the second Linux Audio Conference, to be held at ZKM [1] (Karlsruhe, Germany, 29 April-2 May 2004). AGNULA was born in 2002 as the first totally Libre Software project funded by the European Commission, under the 5th Framework Programme. Initially focused on building two reference GNU/Linux distributions for audio & video (DeMuDi and RehMuDi) the project has slowly extended its goal towards educating users on the topics of Libre Software, with specific attention paid to audio/video applications and content distribution. The funded lifetime of AGNULA has now finished - but the project will continue its work on a partly volunteers/partly funded basis. In his talk [2] Andrea Glorioso, former AGNULA technical manager, will provide a brief history of the project, a bird's eye on the current situation, and the plans for the future - near, medium and long term (i.e. world domination). +++ About AGNULA: Agnula (acronym for A GNU/Linux Audio distribution, pronounced with a strong g) is the name of a project funded until March 2004 by the European Commission (number of contract: IST-2001-34879; key action IV.3.3, Free Software: towards the critical mass). The project aims to spread Free Software in the professional audio/video arena. Best regards, -- The AGNULA Team info(a)agnula.org Our mailing lists: http://lists.agnula.org/ Our web site: http://www.agnula.org/ "There's no free expression without control on the tools you use" [0] http://www.zkm.de/lad [1] http://www.zkm.de/ [2] http://on1.zkm.de/zkm/stories/storyReader$3625#abstract_glorioso

20 years, 7 months

[linux-audio-announce] Announce: Gnomoradio 0.11

by Jim Garrison

Hello, Gnomoradio is a peer-to-peer music playing system that can read and understand Creative Commons licenses. In addition to playing local files, it has the ability to recommend, download, and play free music (mp3s and oggs) in a user-friendly way. Version 0.11 improves stability, fixes several minor bugs, and improves the UI. It is recommended that all users upgrade. Download URL: http://gnomoradio.org/download.php Screenshot URL: http://gnomoradio.org/screenshots/ We should have a Debian package of 0.11 available soon, and we encourage anyone who is interested to make packages for other distributions. Jim Garrison http://gnomoradio.org/

20 years, 7 months

[linux-audio-announce] [ANN] liblrdf 0.3.7

by Steve Harris

http://plugin.org.uk/lrdf/ Liblrdf is a library for handling RDF descirption of plugins and presets. Version 0.3.7 adds bugfixes to the scale reading convienience function and adds helpful return values from the preset creation and rdf fragment saving functions, thanks to Taybin Rutkin. - Steve

20 years, 7 months

[linux-audio-announce] [alsa-announce] ALSA 1.0.4 release

by Jaroslav Kysela

Hello all, the 1.0.4 release is out. It contains mostly bug-fixes and cleanups for the 2.6 kernel driver code. alsa-driver - recoded the configuration system to use 2.6 Kconfig files as the dependency source - updated/simplifies Kconfig files and Make files - driver DMA API recoded - idea from Russell King - USB driver updates and cleanups - ICE1712 driver updated - num_total_adcs variable - cs8427_timeout - fixed event translating in the OSS sequencer emulation - AC97 codec driver updates - extended silence PCM API (silence only unused portiong of the ring buffer) - moved au88x0 drivers to alsa-kernel (2.6) - moved atiixp driver to alsa-kernel (2.6) - moved intel8x0m driver to alsa-kernel (2.6) - moved MPU401 ACPI code to alsa-kernel (2.6) - added USB 2.0 support to USB driver - no more oops in snd_pcm_timer_resolution_change() - tons of small fixes not listed here alsa-lib - dmix fixes (already released in 1.0.3+ versions) - direct plugin fixes (already released in 1.0.3+ versions) - pcm_rate plugin fixes alsa-utils - aplay/arecord - fixed timeout overflow - alsaconf - updated alsa-tools - updated envy24control - updated all tools to not use driver header files alsa-oss - various fixes (poll/select/mmap) Jaroslav ----- Jaroslav Kysela <perex(a)suse.cz> Linux Kernel Sound Maintainer ALSA Project, SuSE Labs ------------------------------------------------------- This SF.Net email is sponsored by: IBM Linux Tutorials Free Linux tutorial presented by Daniel Robbins, President and CEO of GenToo technologies. Learn everything from fundamentals to system administration.http://ads.osdn.com/?ad_id=1470&alloc_id=3638&op=click _______________________________________________ Alsa-announce mailing list Alsa-announce(a)lists.sourceforge.net https://lists.sourceforge.net/lists/listinfo/alsa-announce

20 years, 7 months

[linux-audio-announce] LilyPond 2.2.0 released

by Jan Nieuwenhuizen

Dear music enthousiasts, LilyPond is a program for making beautiful music notation. It is free/open source software, and is available for all popular operating systems. It runs on most Unix flavors --including Linux and MacOS X-- and MS Windows. Use it for your music too! LilyPond version 2.2 was released today! This release has completely revamped support for for orchestral score formatting, cue notes, font size management, lyric formatting, drum notation/playback and document integration. In addition, it has numerous syntax simplifications, proper support for 8va brackets, and a completely updated manual. Go and grab it at http://lilypond.org A big thank-you goes out to our contributors: David Bobroff, Edward Sanford Sutton, Heikki Junes, and Nicolas Sceaux. Also thanks to our bug-hunters: Alexandre Beneteau, Andrew McNabb, Atte Andre Jensen , Bertalan Fodor, Bruce McIntyre, Dave Symonds, David Bobroff, Darius, Delma Avers, Doug Linhardt, Eric Wurbel, Erik Sandberg, Ferenc Wagner, Hans Forbrich, John Williams, José Luis Cruz, Juergen Reuter, Kieren Richard MacMillan, Laurent Martelli, Mats Bengtsson, Matthias Kilian, Nancho Alvarez, Nick Busigin, Nicolas Sceaux , Olivier Guery, Patrick Atamaniuk, Paul Scott, Pawel D, Pedro Kroger, Ray McKinney, Reuben Thomas, Rob V, Stef Epardaud, Thomas Willhalm, Thomas Scharkowski, Tom Tom Bäckström, Werner Lemberg, and Will Oram. Happy music printing, Han-Wen Nienhuys & Jan Nieuwenhuizen (core development team) New features in 2.2 since 2.0 ***************************** * Setting `raggedlast = ##t' in the `\paper' block causes the last line to be set flush-left instead of justified. * The `Timing_engraver' now sets the `Timing' alias on its containing context automatically. * The code for font selection has been rewritten. In addition to existing font selection properties, the property `font-encoding' has been added, which makes the switch between normal `text' and other encodings like `braces', `music' and `math'. * The pmx2ly script has been removed from the distribution. * Pedal brackets will now run to the last bar of a piece if they are not explicitly ended. * Context definitions now use the word `\context' instead of `\translator'. * Property functions may be used as an argument to `set!', for example (set! (ly:grob-property grob 'beam) ... ) * In anticipation of Emacs 21.4 or 22.1, the info documentation contains images. * Cue notes can be quoted directly from the parts that contain them. This will take into account transposition of source and target instrument. For example, \addquote clarinet \notes\relative c' { \transposition bes fis4 fis fis fis } \score { \notes \relative c'' { c8 d8 \quote 2 oboe es8 gis } } * The transposition of an instrument can be specified using the `\transposition' command. An E-flat alto saxophone is specified as \transposition es' * The naming of exported Scheme functions now follows Scheme conventions. Changes be applied to Scheme files with convert-ly -e -n --from=2.1.24 --to=2.1.26 *.scm * Notes can be excluded from auto-beaming, by marking them with `\noBeam' c8 c \noBeam c c will print two separate eighth notes, and two beamed notes. * Translators and contexts have been split. The result of this internal cleanup is that `Score' no longer is the top context; `Score' is contained in the `Global' context. Consequently, it is possible to tweak `Score' as follows: \context Score \with { ... } * The number of staff lines in Tablature notation is now automatically deduced from the `stringTunings' property. * The program reference has been cleaned up and revised. * The syntax for setting properties has been simplified: the following table lists the differences: (old) (new) \property A.B = #C \set A.B = #C \property A.B \unset \unset A.B \property A.B \set #C = #D \override A.B #C = #D \property A.B \override #C = #D (removed) \property A.B \revert #C \revert A.B #C Furthermore, if `A' is left out, the bottommost context is used by default. In other words, it is no longer necessary to explicitly mention `Voice', `Lyrics' or `ChordNames'. Old: \property Voice.autoBeaming = ##f \property Staff.TimeSignature \set #'style = #'C New: \set autoBeaming = ##f \override Staff.TimeSignature #'style = #'C * Tweaks made with `\override' and `\revert' no longer hide tweaks at higher context levels. * Melismata in lyrics are also properly handled in the MIDI output. * The lilypond-book script has been rewritten. It is shorter, cleaner and faster. The special construct `mbinclude' has been removed, plain `@include' or `\input' can be used now. It now supports running convert-ly on the lilypond snippets, lilypond-book --filter='convert-ly --from=2.0.0' my-book.tely * The `LyricsVoice' context has been removed. Lyrics should only be constructed in `Lyrics'. * The `Thread' context has been removed. Note heads and rests are now constructed at `Voice' level. * Harmonic notes can now be entered as <c' g''\harmonic> * Drum notation is now supported as a regular feature: percussion may be entered in `\drums' mode, and printed or performed in a `DrumStaff' context: \score { \drums \new DrumStaff { hihat4 cowbell8 } } * The automatic staff changer was internally rewritten. As a result, the syntax has been simplified as well: \autochange THE-MUSIC * The ergonomic syntax of `\markup' now has an equivalent in Scheme. The `markup*' macro creates such objects; the following two markup commands are equivalent: f4^#(markup* #:raise 0.2 #:bold "hi") f4^\markup { \raise #0.2 \bold hi } * Voice names, for vocal lines, have been added. They are similar to instrument names. They can be set by defining `vocalName' and `vocNam'. * Safe mode has been reinstated for lilypond. When lilypond is invoked with `--safe-mode', TeX and PostScript file output is disallowed, and lilypond-bin is invoked with `--safe-mode', the user's Guile expressions are evaluated in a safe environment and file inclusion is not allowed. Warning: this does not protect against denial-of-service attacks using Guile, TeX or PostScript. (This feature is still experimental.) * There is now a Scheme macro for defining markup commands. Special mark-up commands can be defined in user-files too. * Many fixes for dimension scaling have been made, resulting in correct results for scores that mix staves in different sizes. * Improved robustness when layout properties are accidentally removed. * A more cleanly constructed part combiner has been installed. It is more robust and less buggy. The part-combiner can be used with \partcombine MUS1 MUS2 See `input/regression/new-part-combine.ly' for an example. * Formatting of rehearsal marks has been improved. The `\mark' command now only does automatic incrementing for marks specified as integer. For example, `\mark #1' will print an A in the default style. See `input/regression/rehearsal-mark-letter.ly', `input/regression/rehearsal-mark-number.ly'. * Formatting of ottava brackets has been much improved. * Objects in the output can now be documented: the following fragment boxes the note head, and adds the text "heads or tails?" three spaces below the box. \context Voice \applyoutput #(add-balloon-text 'NoteHead "heads, or tails?" '(0 . -3)) c8 * Default staff sizes are now scalable. There are two new mechanisms for setting staff sizes. Both are demonstrated in this fragment: #(set-global-staff-size 15) \paper { #(paper-set-staff-size (* 15 pt)) } Both have the same effect on the global layout of a piece. Similarly, the paper size may be changed as follows #(set-default-paper-size "a4") \paper { #(set-paper-size "a4") } * Warnings for bar check errors are more cleverly printed. This makes `barCheckSynchronize' superfluous, so it is now switched off by default. Warning: this will cause problems in scores that use bar checks to shorten measures. * The black note head was made a little rounder, which causes a less frantic graphic impression. * A more concise syntax for checking octaves was introduced. A note may be followed by `='QUOTES which indicates what its absolute octave should be. In the following example, \relative c'' { c='' b=' d,='' } the d will generate a warning, because a d" is expected, but a d' is found. * There is a new mechanism for putting lyrics to melodies. With this mechanism, `Lyrics' lines can be put melodies individually, allowing for different melismatic sections in every `Lyrics'. See `input/regression/lyric-combine-new.ly'. * Bar lines may now be dotted. * The documentation now has links to a wiki, where everyone can add personal comments to the manual. * Contexts may now be changed locally for an isolated music expression. For example, \new Voice \with { \consists "Pitch_squash_engraver" } { c'4 } * The syntax for changing staffs has changed. The keyword `\change' should now be used, e.g. \change Staff = up * Features of spanner contexts, like `Staff', can now be changed using `\set', eg. \new Staff { \override Staff.StaffSymbol #'line-count = #4 c'4 } puts a quarter note C on a staff with 4 lines. * Multi measure rests are now truly centered between the clefs/barlines of the staff, their position is independent of symbols on the other staffs. * Collision resolution for dots in chords has been improved greatly. * Spacing following barlines was improved for widely stretched lines. * Lyric hyphens and extenders now conform to standard typesetting practice. * Lyrics are now aligned under note heads conforming to engraving standards. The responsible code has been rewritten, and is drastically simpler from the previous version. To aid this rewrite, the syntactic function of the extender line ( __ ) has been changed: it is now attached to the lyric syllable. * When redefining a context, the associated identifier is also updated. For example, after reading the following snippet, \translator { \ScoreContext autoBeaming = ##f } the definition of `ScoreContext' is updated to include the changed setting. * The weight of the stafflines is now heavier at smaller staff sizes. The font has been modified to match this look: at smaller sizes, the font is heavier and the note heads are more rounded. * Processing scores is now done while parsing the file. New Scheme functions give more flexibility: for example, it is now possible interpret a score, collecting synchronized musical events in a list, and manipulate that information using inline Scheme. For an example, see `input/no-notation/recording.ly'. * Font sizes can now truly be scaled continuously: the `font-size' is similar to the old `font-relative-size', but may be set to fractional values; the closest design size will be scaled to achieve the desired size. As a side-effect, there are now no longer limitations in using smaller fonts (eg. grace notes) at small staff sizes. * Stem tips are now also engraved with rounded corners. * The placement of accidentals on chords and ledgered notes is improved. -- Jan Nieuwenhuizen <janneke(a)gnu.org> | GNU LilyPond - The music typesetter http://www.xs4all.nl/~jantien | http://www.lilypond.org

20 years, 7 months

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Linux-audio-announce