Dear music enthousiasts,
LilyPond version 2.0 was released today. LilyPond is an automated
music notation system: it is used to make gorgeous sheet music. It is
libre software ("open source"), and available for most Unix flavors,
including Linux and MacOS X, and MS Windows.
Use it for your music too!
For this version, we have dramatically simplified many parts of the
syntax, making it easier to use than ever before. Other improvements
include quarter-tone accidentals, and conditional inclusion of music
fragments. With version 2.0, we have a solid platform for working on
notation and typography features for coming versions.
Downloads, examples and documentation are available from the website,
http://lilypond.org
A big thank-you goes out to our hackers and bughunters: Mats
Bengtsson, Heikki Junes, Juergen Reuter, Antonio Palama, Benjamin
Milde, Daniel Berjon Diez, David Bobroff, David Rayleigh Arnold, Erik
Ronstroem, Fabio dos Santos, Fodor Bertalan, Frederic Bron, Graham
Parcival, Ian Bailey-Mortimer, John Williams, Josza Marton, Marco
Caliari, Matthieu Amiguet, Michael Welsh Duggan, Patrick Atamaniuk,
Paul Scott, Pedro Kroeger, Peter Lutek, Richard Schoeller, Thorkil
Wolvendans, and Werner Trobin
Happy music printing,
Han-Wen Nienhuys & Jan Nieuwenhuizen
(core development team)
New features in 2.0 since 1.8
*****************************
* Crescendos can now be drawn dotted or dashed.
* Quarter tones are now supported. They are entered by suffixing
`ih' for a half-sharp and `eh' for a half-flat. Hence, the
following is an ascending list of pitches:
ceses ceseh ces ceh c cih cis cisih cisis
* The following constructs have been removed from the syntax:
\duration #SCHEME-DURATION
\pitch #SCHEME-PITCH
\outputproperty FUNC SYMBOL = VALUE
For `\outputproperty', the following may be substituted:
\applyoutput #(outputproperty-compatibility FUNC
SYMBOL VALUE)
* Clefs may now be transposed arbitrarily, for example
\clef "G_8"
\clef "G_15"
\clef "G_9"
* The syntax for chords and simultaneous music have changed. Chords
are entered as
<PITCHES>
while simultaneous music is entered as
<<..MUSIC LIST..>>
In effect, the meanings of both have been swapped relative to
their 1.8 definition. The syntax for lists in `\markup' has
changed alongside, but figured bass mode was not changed, i.e.:
\markup { \center <..LIST OF MARKUPS..> }
\figure { <FIGURES> }
As chords the more often used than simultaneous music, this change
will save keystrokes.
* Each music expression can now be tagged, to make different printed
versions from the same music expression. In the following example,
we see two versions of a piece of music, one for the full score,
and one with cue notes for the instrumental part:
<< \tag #'part <<
{ c4 f2 g4 } % in the part, we have cue-notes
\\ R1 >>
\tag #'score R1 % in the score: only a rest
>>
The same can be applied to articulations, texts, etc.: they are
made by prepending
-\tag #YOUR-TAGS
to an articulation, for example,
c4-\tag #'with-fingerings -4 -\tag #'with-strings \6
This defines a note, which has a conditional fingering and a
string-number indication.
* The settings for chord-fingering are more flexible. You can
specify a list where fingerings may be placed, eg.
\property Voice.fingeringOrientations = #'(left down)
This will put the fingering for the lowest note below the chord,
and the rest to the left.
* The script previously known as `ly2dvi' has been renamed to
`lilypond'. The binary itself is now installed as `lilypond-bin'.
* Markup text (ie. general text formatting) may now be used for
lyrics too.
* Two new commands for grace notes have been added, `\acciaccatura'
and `\appoggiatura',
\appoggiatura f8 e4
\acciaccatura g8 f4
Both reflect the traditional meanings of acciaccatura and
appogiatura, and both insert insert a slur from the first grace
note to the main note.
* Layout options for grace notes are now stored in a context
property, and may now be set separately from musical content.
* The `\new' command will create a context with a unique name
automatically. Hence, for multi-staff scores, it is no longer
necessary to invent arbitrary context names. For example, a
two-staff score may be created by
\simultaneous {
\new Staff { NOTES FOR 1ST STAFF }
\new Staff { NOTES FOR 2ND STAFF }
}
* Octave checks make octave errors easier to correct. The syntax is
\octave PITCH
This checks that PITCH (without octave) yields PITCH (with octave)
in \relative mode. If not, a warning is printed, and the octave is
corrected.
* All articulations must now be entered postfix. For example,
c8[( d8])
is a pair of beamed slurred eighth notes.
* The definition of `\relative' has been simplified. Octaves are
now always propagated in the order that music is entered. In the
following example,
PRE
\repeat "unfold" 3 BODY \alternative { ALT1 ALT2 }
POST
the octave of BODY is based on PRE, the starting octave of ALT1 on
BODY, the starting octave of ALT2 on ALT1, and the starting octave
of POST on ALT2.
The same mechanism is used for all other music expressions, except
the chord. Backwards compatibility is retained through a special
program option, which is set through
#(ly:set-option 'old-relative)
* Windows users can double click a `.ly' file to process and view it
automagically through the new `lily-wins' frontend.
New features in 1.8 since 1.6
*****************************
* The chord entry code has been completely rewritten. It is now
cleaner and more flexible.
* A new syntax has been added for text entry. This syntax is more
friendly than the old mechanism, and it is implemented in a more
robust and modular way. For more information, refer to the section
on "Text markup" in the notation manual.
* The integration of the input language and Scheme has been made
deeper: you can now use LilyPond identifiers in Scheme, and use
Scheme expressions instead of LilyPond identifiers.
* The internal representation of music has been cleaned up completely
and converted to Scheme data structures. The representation may be
exported as XML.
* A new uniform postfix syntax for articulation has been introduced.
A beamed slurred pair of eighth notes can be entered as
c8-[-( d8-]-)
In version 2.0, postfix syntax will be the only syntax available,
and the dashes will become optional.
This will simplify the language: all articulations can be entered
as postfix, in any order.
* A new syntax has been added for chords:
<< PITCHES >>
It is not necessary to update files to this syntax, but it will be
for using LilyPond version 2.0. In version 2.0, this syntax will
be changed to
< PITCHES >
for chords, and
\simultaneous { .. }
for simultaneous music.
To convert your files from <PITCHES> to <<PITCHES>>, use the script
included in buildscripts/convert-new-chords.py
This change was introduced for the following reasons
* It solves the "start score with chord" problem, where you
have to state \context Voice explicitly when a chord was
the start of a Staff or Score.
* With the new syntax, it is possible to distinguish between
articulations (or fingerings) which are for a single chord
note, and which are for the entire chord. This allows for
per-note fingerings, and is more logical on the whole.
* User code may now be executed during interpreting. The syntax for
this code is
\applycontext #SCHEME-FUNCTION
* User code may now be executed on arbitrary grobs during
interpreting. The syntax for this feature is
\applyoutput #SCHEME-FUNCTION
SCHEME-FUNCTION takes a single argument, and is called for every
grob that is created in the current context.
* New algorithms for chord-name formatting have been installed. They
can be tuned and have ergonomic syntax for entering exceptions.
* Texts may now be put on multimeasure rests, e.g.
R1*20^\markup { "GP" }
* Ancient notation now prints ligatures in Gregorian square neumes
notation, roughly following the typographical style of the Liber
hymnarius of Solesmes, published in 1983. Ligatures are still
printed without the proper line breaking and horizontal spacing.
* Glissandi can now be printed using the zigzag style.
* LilyPond can now print clusters. The syntax is
\apply #notes-to-clusters { NOTE NOTE .. }
* For irregular meters, beat grouping marks can be printed. The
syntax for this is
#(set-time-signature 7 8 '(3 2 2))
* Nested horizontal brackets for music analysis can now be printed:
NOTE-\startGroup
..
NOTE-\stopGroup
* Ottava brackets are now fully supported as a feature. The syntax
is
#(set-octavation 1)
* Metronome markings are printed when a \tempo command is processed.
* Fingerings can be put on chords horizontally.
* The appearance of various glyphs has been fine-tuned.
* Different types of percent style repeats may now be nested.
* The emacs support has been extended.
* The manual has been completely revised and extended.
New features in 1.6 since 1.4
*****************************
* Support for figured bass and tablature.
* Completely rewritten beam formatting: provides much better output
now.
* Completely revised and improved music font.
* Completely rewritten MIDI import support.
* Completely rewritten grace note support. Practically speaking this
means that grace notes can be slurred to normal normal notes.
* Improved accidental handling and formatting: styles for producing
cautionaries may vary, and complex collisions between accidentals
of a chord are handled much better.
* Better spacing: both globally and locally. This includes subtle
details like optical stem spacing.
* More support for ancient notation: mensural ligatures, ambitus
(pitch range) of voices, more shapes, etc.
* More support for piano notation: bracket pedals, directed
arpeggios, arpeggio brackets.
* Easier music polyphonic music entry.
* More extensibility, many speedups and bugfixes
* The manual has been thoroughly revised.
* Development is now hosted at http://savannah.gnu.org, and sources
can be downloaded through anonymous CVS.
* Support for windows: LilyPond is part of the cygwin distribution,
which comes with a user-friendly installer.
--
Han-Wen Nienhuys | hanwen(a)cs.uu.nl | http://www.xs4all.nl/~hanwen
Subject: LilyPond 2.0 prerelease available
X-Mailer: VM 7.14 under Emacs 21.2.1
Reply-To: hanwen(a)cs.uu.nl
FCC: ~/persoonlijk/Mail/sent
I have just released Lilypond 1.9.8. Relative to 1.9.7, it has a
number of small bugfixes and sports dotted hairpin crescendos.
However, this release also marks the end of my 2.0 release TODO
list. In other words, 1.9.8 is the first (and hopefully only) LilyPond
2.0 release candidate.
Please download and test it as widely as possible, before it is
released some time next week.
Enjoy!
Han-Wen
New features in 2.0 since 1.8
*****************************
* Crescendos can now be drawn dotted or stippled.
* Quarter tones are now supported. They are entered by suffixing
`ih' for a half-sharp and `eh' for a half-flat. Hence, the
following is an ascending list of pitches:
ceses ceseh ces ceh c cih cis cisih cisis
* The following constructs have been removed from the syntax:
\duration #SCHEME-DURATION
\pitch #SCHEME-PITCH
\outputproperty FUNC SYMBOL = VALUE
For `\outputproperty', the following may be substituted:
\applyoutput #(outputproperty-compatibility FUNC
SYMBOL VALUE)
* Clefs may now be transposed arbitrarily, for example
\clef "G_8"
\clef "G_15"
\clef "G_9"
* The syntax for chords and simultaneous music have changed. Chords
are entered as
<PITCHES>
while simultaneous music is entered as
<<..MUSIC LIST..>>
In effect, the meanings of both have been swapped relative to
their 1.8 definition. The syntax for lists in `\markup' has
changed alongside, but figured bass mode was not changed, i.e.:
\markup { \center <..LIST OF MARKUPS..> }
\figure { <figures> }
As chords the more often used than simultaneous music, this change
will save keystrokes.
* Each music expression can now be tagged, to make different printed
versions from the same music expression. In the following example,
we see two versions of a piece of music, one for the full score,
and one with cue notes for the instrumental part:
< \tag #'part <
{ c4 f2 g } % in the part, we have cue-notes
\\ R1 >
\tag #'score R1 % in the score: only a rest
>
The same can be applied to articulations, texts, etc.: they are
made by prepending
-\tag #YOUR-TAGS
to an articulation, for example,
c4-\tag #'with-fingerings -4 -\tag #'with-strings \6
This defines a note, which has a conditional fingering and a
string-number indication.
* The settings for chord-fingering are more flexible. You can
specify a list where fingerings may be placed, eg.
\property Voice.fingeringOrientations = #'(left down)
This will put the fingering for the lowest note below the chord,
and the rest to the left.
* The script previously known as `ly2dvi' has been renamed to
`lilypond'. The binary itself is now installed as `lilypond-bin'.
* Markup text (ie. general text formatting) may now be used for
lyrics too.
* Two new commands for grace notes have been added, `\acciaccatura'
and `\appoggiatura',
\appoggiatura f8 e4
\acciaccatura g8 f4
Both reflect the traditional meanings of acciaccatura and
appogiatura, and both insert insert a slur from the first grace
note to the main note.
* Layout options for grace notes are now stored in a context
property, and may now be set separately from musical content.
* The `\new' command will create a context with a unique name
automatically. Hence, for multi-staff scores, it is no longer
necessary to invent arbitrary context names. For example, a
two-staff score may be created by
\simultaneous {
\new Staff { NOTES FOR 1ST STAFF }
\new Staff { NOTES FOR 2ND STAFF }
}
* Octave checks make octave errors easier to correct. The syntax is
\octave PITCH
This checks that PITCH (without octave) yields PITCH (with octave)
in \relative mode. If not, a warning is printed, and the octave is
corrected.
* All articulations must now be entered postfix. For example,
c8[( d8])
is a pair of beamed slurred eighth notes.
* The definition of `\relative' has been simplified. Octaves are
now always propagated in the order that music is entered. In the
following example,
PRE
\repeat "unfold" 3 BODY \alternative { ALT1 ALT2 }
POST
the octave of BODY is based on PRE, the starting octave of ALT1 on
BODY, the starting octave of ALT2 on ALT1, and the starting octave
of POST on ALT2.
The same mechanism is used for all other music expressions, except
the chord. Backwards compatibility is retained through a special
program option, which is set through
#(ly:set-option 'old-relative)
--
Han-Wen Nienhuys | hanwen(a)cs.uu.nl | http://www.xs4all.nl/~hanwen
Lemux is a collection of (GPL) LADSPA instruments based on devices from the
openMSX emulator and other sources (e.g. sidplay2).
Changes against 0.1:
- all instruments are working, currently:
- SCCChannel (e.g. from Konami games)
(a 32 byte 8bit looped samples instrument)
- PSGChannel (the standard sound chip from MSX)
(a 1/2 square wave with noise and AM)
- MUSICChannel (the FM OPLL chip from MSX-MUSIC)
(a 2 operator FM chip, with 15 standard instruments and
1 custom FM instrument that is fully configurable)
- MUSICDrum (FM OPLL Drums)
(5 standard drum sounds from OPLL)
- SID (The full C64 audio chip)
- instrument volumes are now normalized
More info (and audio samples) can be found at the website:
http://lumatec.be/joost/lemux/
Greetings, Joost Damad
http://jackeq.sf.net. (only cvs, gtk+-2.0).
For those of you who are interested in DJ/CJ tools, tools for live
performance, and LADSPA plugin guis, you may be interested in a new app
we are creating based on the code from JAMin. It's called jackEQ. The
core is a new plugin Steve Harris released recently called DJ EQ which
is a three band EQ commonly found on dj mixing consoles. It's currently
only available in the swh-snapshots directory.
jackEQ is in its infancy but we now have 4 stereo (8 mono) i/o channels
with eq, meters and independant gain control. All channels are routed to
a master and monitor output or you can take them direct out too.
I would like it to be able to do all these things eventually:
2 x cross faders (all channels and combinations)
unlimited channels.
jack port connection ala freq tweak style
Beat counting support
controlled via keyboard or other dj console.
With the above I can now use my four channel (USB) card as a complete
djing tool. You could also use a two channel card in a similar (mono) way.
The monitor is assignable to seperate output channels than the master
outs for simple previewing of tracks. All the channels are routed
through it with a simple button press if needed. The eq's are adjusted
before the signal arrives at the monitor.
This is how I intend to use it:
mon ch1 ch2 ch3 ch4 echo
|-------|------------|---|---->internal---->ardour
out1&2 out3&4
external--------->sound system
------------
I have been wanting this functionality for the past 4 years. Now I can
start mixing demos/albums from the comfort of home.
Big ups to Steve for providing the bulk of the knowledge base, the JAMin
crew for making the gui happen and the LADs for keeping it real with da
open source flavah.
If you don't know this you don't know JACK.
--
Patrick Shirkey - Boost Hardware Ltd.
Http://www.boosthardware.comHttp://www.djcj.org - The Linux Audio Users guide
========================================
Being on stage with the band in front of crowds shouting, "Get off! No!
We want normal music!", I think that was more like acting than anything
I've ever done.
Goldie, 8 Nov, 2002
The Scotsman
What is it?
Lemux is a collection of (GPL) LADSPA instruments based on devices from the
openMSX emulator and other sources (e.g. sidplay2).
It is long from finished, but some instruments are already very usable.
I only tested them with alsamodular, and I'd love to hear from people
who try them with another LADSPA host. Any other feedback is also
highly appreciated.
More info can be found at the website:
http://lumatec.be/joost/lemux/
Greetings, Joost
(I'm crossposting this to linux-audio-user since there so few
reading laa, for some strange reason, and that people often seems to
be surprised this program exist, even though it has existed for nearly
a year.)
Vstserver is a program that must be running when using programs
using vstlib.
Vstlib is a library that can be used by programs to run windows
vst audio plugins under i386linux/i386freebsd/i386solaris/i386etc.
(May require som modifications for other os-es than i386linux).
HISTORY
0.2.6 -> 0.2.7:
-The vstserver program does not refuse to load a plugin if the release
version number (Ie. 7 in 0.2.7) for the server differs from the library
release version number for the client contacting the server.
-Fixed a typo that made processing of blocks larger than 1024 produce
silence only. Bug reported by Dave Phillips.
-Latest version of wine from www.winehq.com still works fine with vstserver.
If it doesnt, this one should:
http://www.notam02.no/arkiv/src/vstserver-0.2.7-wine.tar.bz2
--
http://www.notam02.no/arkiv/src/
vst ladspa plugin v0.1.3 - stable
----------------------------------
-Hard RT safe mode. Enabled by setting the
"LADSPAVST_RT" environment variable to 1. Works quite
well. While typing this I'm at the same time running ardour
with a period of 128 processing five vst plugins. It may lower
the soundquality (clicks, silence and loops) though, so LADSPAVST_RT
should not be set by default. But realtime programs like Ardour
won't work very well without it. It also introduce a latency
on one period size for the processed data.
-Stop parameterthread temporarily when
accessing vst sockets from other threads.
-Set parameter directly after connecting
a port.
-Removed the run_adding code. It did not
behave correctly.
-Added a note to the lisense.
--
Doesn't add any features, but builds with raptor 1.0.0 and removes
a dependency on the LADSPA SDK.
Now requires raptor 0.9.11+ and pkg-config
http://plugin.org.uk/lrdf/liblrdf-0.3.2.tar.gz
liblrdf is a library for handling RDF desciptions of plugins. It allows
them to be categorised and thier metadata to be queried without
loading the .so files.
RDF is a W3C standard for metadata: http://www.w3.org/RDF/
A categorisation of the CMT library is available:
http://plugin.org.uk/lrdf/cmt.rdf
And swh-plugins comes with an RDF description of itsself.
- Steve
Hi,
Just a compilation fix:
* fixed a missing parameter that stopped compilation with recent GCC
versions
http://pkl.net/~node/alsa-patch-bay.html
Bob
--
Bob Ham <rah(a)bash.sh>
Can you say "death chambers at Guantanamo with no real trial"?
1. A short summary of changes
A set of severe bugs in audio mixing code have been fixed.
Pyecasound build process has been improved. Reporting chainsetup
parsing errors has been improved significantly. Support for
the JACK 0.80 transport interface has been added. Support for
reading and writing aiff, snd and au files has been fixed.
Changes have been made to ensure correct operation with
the NPTL package recently added to Linux kernel and glibc.
A serious bug in metronome timing was fixed. Minor bugs
in dynamic sample rate changes, MIDI-server initialization
and the ewf file format have been fixed.
---
2. What is Ecasound?
Ecasound is a software package designed for multitrack audio
processing. It can be used for simple tasks like audio playback,
recording and format conversions, as well as for multitrack effect
processing, mixing, recording and signal recycling. Ecasound supports
a wide range of audio inputs, outputs and effect algorithms.
Effects and audio objects can be combined in various ways, and their
parameters can be controlled by operator objects like oscillators
and MIDI-CCs. A versatile console mode user-interface is included
in the package.
Ecasound is licensed under the GPL. The Ecasound Control Interface
(ECI) is licensed under the LGPL.
---
3. Changes since last release
* Support for JACK 0.80 transport interface. The recently
released JACK 0.80.0 marks another milestone for Linux audio
development. The new transport interface allows concurrent use
of multiple independent audio applications with full
sample-accurate transport synchronization. This release of
Ecasound provides full support for the new transport API.
See the following links to ecasound-list postings that
give examples of how to use Ecasound with the new transport API:
http://eca.cx/ecasound-list/2003/08/0005.htmlhttp://eca.cx/ecasound-list/2003/08/0070.html
* Metronome timing bug. There was a subtle bug in the
pulse gate operator that is used to generate the
metronome signal. This bug caused a small (<0.5%) timing
error in metronome speed. The bug has been fixed, but the
change in speed might cause problems for working with
sessions recorded with previous versions of Ecasound.
Thanks to Carsten Bauer for finding the bug.
Full list of changes is available at
<http://www.wakkanet.fi/~kaiv/ecasound/history.html>.
---
4. Interface and configuration file changes
Libecasound interface version number was incremented to 11.
This release is backwards compatible with interface
versions 9 and 10. See 'ecasound/libecasound/ChangeLog'
for a detailed list of changes.
Libkvutils interface version number was incremented to 6.
This release is backwards compatible with versions 5 and 4.
See 'ecasound/kvutils/ChangeLog' for a detailed list of changes.
Note! Using libecasound and libkvutils outside Ecasound has
been discouraged since the release of 2.2.0 in Jan 2003. The
interface changes introduced in this 2.3.0 release should
only affect a small group of distributors and developers.
Apps such as Ecamegapedal need to be recompiled only if
you want to take advantage of the new features introduced
in the latest Ecasound release.
---
5. Contributors
Patches - Accepted code, documentation and build system changes
Kai Vehmanen (various)
Bug Hunting - Reports that led to bugfixes (items closed)
Jeremy Hall (3) -- non-default chainsetup srates, mixdown
signal leak bug, pyecasound install
Junichi Uekawa (3) -- non-default chainsetup srates,
pyecasound install, gcc-3.3 verification
Janne Halttunen (2) -- locale-settings broke map-* commands,
MIDI-server startup bug
Vegard Lima (2) -- feedback bug, ewf srate bug
Carsten Bauer (1) -- timing bug in metronome and pulse gate
Ismail Donmez (1) -- build errors with sys-readline option
Lars Henrik Mai (1) -- aiff/au/snd bug
Stephan Niemz (1) -- non-default chainsetup srates
Al Oemens (1) -- reporting chainsetup parsing errors
Oliver Thuns (1) -- -ei big shift-x values
Tommi Uimonen (1) -- problems with ecasignalview channel meter
layout
---
6. Links and files
Web sites:
http://www.eca.cxhttp://www.eca.cx/ecasound
Source packages:
http://ecasound.seul.org/downloadhttp://ecasound.seul.org/download/ecasound-2.3.0.tar.gz
Distributions with maintained Ecasound support:
Agnula - http://www.agnula.org
Debian - http://packages.debian.org/unstable/sound/ecasound2.2.html
DeMuDi - http://www.demudi.org
FreeBSD - http://www.freebsd.org/ports/audio.html
Gentoo Linux - http://www.gentoo.org
PLD Linux - http://www.pld.org.pl
PlanetCCRMA - http://www-ccrma.stanford.edu/planetccrma/software
SuSE Linux - http://www.suse.de/en
Contrib Packages for Distributions:
Mandrake - http://rpm.nyvalls.se/
Slackware - http://www.audioslack.com
Various distros - http://apps.kde.com/rf/2/info/id/2146
Note! Distributors do not necessarily provide packages for
the very latest Ecasound version.
--
http://www.eca.cx
Audio software for Linux!