Hi,
I don't know whether this is old news but interesting anyway: a mixing
interface in which you handle the pan and gain settings by placing
"balls" that represent the instruments (or tracks from a recorder) in a
3D space.
Here is the site with samples:
http://www.globerecording.com/book/mixes/index.html
I think this is interesting as you always do that when mixing - usually
just inside your hear.
Having something like this for Linux would be great. Either as a
stand-alone Jack aware mixing interface or as an alternate mixing UI for
Ardour for example.
In the first version you'd just assign instrument names for incoming
Jack ports or combinations of them and place them in the 3D space. The
output would be summed as a stereo (or 5.1 or...) stream into the
outputs of this application.
The second version would just be an alternate UI for adjusting the gain,
pan and plugin automation parameters in Ardour.
When placing instruments in the 3D space you'd probably need to do some
EQ, multi-band compression and phase changes. Anyway - this should be
rather trivial to do given that there are good LADSPA plugins for the
job already.
Has anyone thought of or planned creating something like this?
I thought I could do it myself - I just need to learn programming in
general (starting from zero) and audio + 3D in particular. :)
Br,
-Jorma
__
Sano ei kuukausimaksuille. Hanki Suomen ainoa aidosti
kuukausimaksuton GSM-liittymä osoitteesta http://www.saunalahti.fi
> A bit like this you mean:
> http://www.ecs.soton.ac.uk/~njl98r/code/ladspa/glmix.png
> http://www.ecs.soton.ac.uk/~njl98r/code/ladspa/
> (its actually a jack program, ignore the URL).
>
> I'm CCing the author 'cos he's nearly as bad as Conrad for actually
> announcing his software ;)
>
> - Steve
Whoa!
I definately need to have a look a that...
Thanks.
Sorry for triple posting the initial message.
-Jorma
__
Sano ei kuukausimaksuille. Hanki Suomen ainoa aidosti
kuukausimaksuton GSM-liittymä osoitteesta http://www.saunalahti.fi
Hi,
I don't know whether this is old news but interesting anyway: a mixing
interface in which you handle the pan and gain settings by placing
"balls" that represent the instruments (or tracks from a recorder) in a
3D space.
Here is the site with samples:
http://www.globerecording.com/book/mixes/index.html
I think this is interesting as you always do that when mixing - usually
just inside your hear.
Having something like this for Linux would be great. Either as a
stand-alone Jack aware mixing interface or as an alternate mixing UI for
Ardour for example.
In the first version you'd just assign instrument names for incoming
Jack ports or combinations of them and place them in the 3D space. The
output would be summed as a stereo (or 5.1 or...) stream into the
outputs of this application.
The second version would just be an alternate UI for adjusting the gain,
pan and plugin automation parameters in Ardour.
When placing instruments in the 3D space you'd probably need to do some
EQ, multi-band compression and phase changes. Anyway - this should be
rather trivial to do given that there are good LADSPA plugins for the
job already.
Has anyone thought of or planned creating something like this?
I thought I could do it myself - I just need to learn programming in
general (starting from zero) and audio + 3D in particular. :)
Br,
-Jorma
__
Sano ei kuukausimaksuille. Hanki Suomen ainoa aidosti
kuukausimaksuton GSM-liittymä osoitteesta http://www.saunalahti.fi
Hi,
I don't know whether this is old news but interesting anyway: a mixing
interface in which you handle the pan and gain settings by placing
"balls" that represent the instruments (or tracks from a recorder) in a
3D space.
Here is the site with samples:
http://www.globerecording.com/book/mixes/index.html
I think this is interesting as you always do that when mixing - usually
just inside your hear.
Having something like this for Linux would be great. Either as a
stand-alone Jack aware mixing interface or as an alternate mixing UI for
Ardour for example.
In the first version you'd just assign instrument names for incoming
Jack ports or combinations of them and place them in the 3D space. The
output would be summed as a stereo (or 5.1 or...) stream into the
outputs of this application.
The second version would just be an alternate UI for adjusting the gain,
pan and plugin automation parameters in Ardour.
When placing instruments in the 3D space you'd probably need to do some
EQ, multi-band compression and phase changes. Anyway - this should be
rather trivial to do given that there are good LADSPA plugins for the
job already.
Has anyone thought of or planned creating something like this?
I thought I could do it myself - I just need to learn programming in
general (starting from zero) and audio + 3D in particular. :)
Br,
-Jorma
__
Sano ei kuukausimaksuille. Hanki Suomen ainoa aidosti
kuukausimaksuton GSM-liittymä osoitteesta http://www.saunalahti.fi
Hi!
Mx4 is updated and corrected
The phase parameters works again
Slightly different intonation algorithm
Frequency fine has a much broader range and is renamed frequency offset
8 new waweshapes
Modulation can be controlled by modulation wheel
Sources are somewhat cleaned up. No more globals in mmx4.c
Efficiency is at the moment down by 5%, so only 88 note polyphony on a
400 Mhz PII
Some sounds are included with the distribution. Start mx4 from the
directory where "mx4patch" is located and try out bank A, patch 1 - 8.
I think it feels like finished product now.
Get it at:
http://hem.passagen.se/ja_linux/
cheers! // Jens M Andreasen
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
>From: Tim Goetze <tim(a)quitte.de>J
>Date: Tue, 3 Feb 2004 14:21:53 +0100 (CET)
>resonant filters use recursion; the algorithm sometimes is coded as
>'take this input sample and give me an output sample' for readability
>but is easily adapted to arrays.W
I think that maybe wcnt does both, all the modules process one sample at a
time, and the filters
add one sample to the array every time after processing x samples in filter
array to get average for the one output sampleM
>the maths behind them are intricate
>(to me at least), D
likewise; I had a look at harmony central (fairly helpful) which concreted
realisation that I definately had not got any graspA of resonance in my
filters. I looked in eq cookbook, there were bits and pieces which I had no
more than vague notions of.
>but you don't need too firm an understanding of the
>theory to actually use Sthem.
good!
>you'll find code exampleHs for the
>algorithm and the compuAtation of the recursion coefficients in almost
>every major audio synthesis/processing package or at musicdsp.org .
hmmm, I keep putting off loRoking at other peoples code, it's all greek to
me.
>steve's ladspa set has a very nice state-variable filter (svf) which
>lends itself well for resonancTe and reasonably quick parameter
>changes. you may want to try it first before resorting to coding your
>own.
I've not had much chance to uDse ladspa. I've compiled glame to use it's
filter network, but there seems to be inputs and outputs Olacking, many are
mono, I can't read a stereo file, through a reverb and out to another stereo
Tfile, or from a stereo input on soundcard, through fx, to file, so I've
given up on glame (again), plus I don't like how it wont delete the deleted
things.
Another one I keep trying is SND. I quite like it, but have only got the
basics working, no effects etc. And I've got zero knowledge oNn scheme,
guile whatever. I need to get motif again as I deleted it along with
lesstif, and seemE to have lost cdrom....snd was not loading xm.
no idea what this means: above fs/4 IIRC -- not too worried about it
either.
Well, I guess I'll try and learn from otheTrs code at long last, and nip on
over to musicdsp.org.
I remember last year I somehow had a strange notion there was not much more
I could do to wcnt, and this year after a long break, everything's coming
out of the woodwork, and there's all sorts needing lifts and tucks.
James ~(sirromseventyfive)~
_________________________________________________________________
Tired of 56k? Get a FREE BT Broadband connection
http://www.msn.co.uk/specials/btbroadband
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
Hi,
Because I subscribed to linux-kernel recently, so I didn't get the patch after the cmpci.c posted (A user posted it). The driver after 6.0 has added kernel patch so I posted patches based on my CVS from them.
To me it is easier to keep one version for kernel 2.4 and 2.6, with a few patches, that keeps driver functions consistent.
I can post changes since my 5.64 (current version for kernel 2.6) and to 6.16 (kernel version for kernel 2.4) and the diff file of 5.64 of mine and the kernel.
Sincerely,
ChenLi Tien
-----Original Message-----
From: Andrew Morton [mailto:akpm@osdl.org]
Sent: 2004/4/1 [星期四] 上午 01:49
To: C.L. Tien - 田承禮
Cc: linux-kernel(a)vger.kernel.org; linux-audio-dev(a)music.columbia.edu; 收信群組-網頁 Support 信箱
Subject: Re: ANN: cmpci 6.67 released
C.L. Tien - _________ <cltien(a)cmedia.com.tw> wrote:
>
>
> Hi,
>
> I made serveral changes for 6.64, the change are as following:
To what kernel do these patches apply? Certainly not current 2.6.
If you intend to raise 2.6 patches, please ensure that they are against the
latest kernel.org kernel. And please ensure that the patches are in `patch
-p1' form. The headers should look like:
--- a/sound/oss/cmpci.c 22 Mar 2004 17:07:02 -0000 6.64
+++ a/sound/oss/cmpci.c 29 Mar 2004 22:58:49 -0000 6.65
Also, a single patch per email is preferred.
Thanks.
Hi,
I made serveral changes for 6.64, the change are as following:
revision 6.67
date: 2004/03/31 17:56:11; author: cltien; state: Exp; lines: +3 -2
Disable the timed out debug message, nothing wrong.
----------------------------
revision 6.66
date: 2004/03/31 17:42:08; author: cltien; state: Exp; lines: +3 -2
Make sure to call chkintr_mpu401 after attach_mpu401 called.
----------------------------
revision 6.65
date: 2004/03/29 22:58:49; author: cltien; state: Exp; lines: +5 -3
Now the AC3_SW can work on PPC for chip ver 037 or older.
Sincerely,
ChenLi Tien
