Linux-audio-dev March 2005

linux-audio-dev@lists.linuxaudio.org

68 participants
63 discussions

[linux-audio-dev] Re: [linux-audio-user] hydrogen crashes / extract waves from .mid-files of ddrum

by Lee Revell

On Mon, 2005-02-21 at 15:42 +0100, CC-Band wrote: > hi, > > i tried out the agnula demudi project. > > jack & hydrogen works fine but sometimes hydrogen crashes immediately. > what can i do to get information, why? I am having the exact same problem with Hydrogen. Most of the time it crashes immediately. If I start it repeatedly it will eventually succeed. I have found it's a lot more likely to segfault immediately on startup if JACK is run in verbose mode, and the crashes are more likely with lower latencies. 32 frames almost always crashes. 128 almost always succeeds. 64 is hit or miss. Lower latencies are less likely to crash on a faster machine. I have reproduced this across several versions of JACK and Hydrogen on multiple machines. I got a backtrace from gdb and this is where it crashes (from src/lib/Hydrogen.cpp): inline void audioEngine_process_clearAudioBuffers(uint32_t nFrames) { *---> memset( m_pMainBuffer_L, 0, nFrames * sizeof( float ) ); // clear main out Left memset( m_pMainBuffer_R, 0, nFrames * sizeof( float ) ); // clear main out Right As soon as it goes to clear the audio buffers, boom. As the problem is timing sensitive it's certainly a race condition. I cannot determine whether the bug is in JACK or hydrogen though. I have reported the problem on hydrogen-devel and got no response whatsoever. It's getting to be frustrating as the bug is 100% reproducible, but I can't even get the Hydrogen developers to ACK my bug report. Here is the backtrace. Lee (gdb) bt full #0 0xb759949b in memset (dstpp=0x0, c=0, len=512) at ../sysdeps/i386/memset.c:65 d0 = 128 dstp = 0 x = 0 #1 0x0807da0f in audioEngine_process_clearAudioBuffers (nFrames=128) at src/lib/Hydrogen.cpp:702 No locals. #2 0x08074381 in audioEngine_process (nframes=128, arg=0x0) at src/lib/Hydrogen.cpp:746 res = 0 startTimeval = {tv_sec = 1107297223, tv_usec = 403047} sendPatternChange = 183 res2 = -1218109252 renderTime_start = {tv_sec = -1217118338, tv_usec = -1208618368} i = 3086349340 pNote = (class Note *) 0x1 renderTime_end = {tv_sec = 91845001, tv_usec = -1084229004} ladspaTime_start = {tv_sec = 52302212, tv_usec = 0} ladspaTime_end = {tv_sec = -1208836712, tv_usec = 0} val_L = -0.87490797 val_R = 1.40129846e-45 fRenderTime = 0 fLadspaTime = 1.821688e-44 finishTimeval = {tv_sec = -1208834440, tv_usec = -1084229128} sampleRate = 1.17287768e-35 #3 0xb7f2e9f9 in jack_client_thread (arg=0x82f59d0) at client.c:1264 control = (volatile struct {...} *) 0xb73a3000 event = {type = GraphReordered, x = {n = 0, port_id = 0, self_id = 0}, y = {n = 1, ptid = 1, other_id = 1}} status = 0 '\0' c = 0 '\0' err = 0 #4 0xb773fe51 in pthread_start_thread (arg=0xbf5ffbe0) at manager.c:309 default_params = {__sched_priority = 0} request = {req_thread = 0x0, req_kind = REQ_CREATE, req_args = {create = {attr = 0x0, fn = 0, arg = 0x0, mask = {__val = { 0 <repeats 32 times>}}}, free = {thread_id = 0}, exit = {code = 0}, post = 0x0, for_each = {fn = 0, arg = 0x0}}} outcome = (void *) 0x0 #5 0xb75f96ea in clone () from /usr/lib/debug/libc.so.6 fstab_state = {fs_fp = 0x0, fs_buffer = 0x0, fs_mntres = {mnt_fsname = 0x0, mnt_dir = 0x0, mnt_type = 0x0, mnt_opts = 0x0, mnt_freq = 0, mnt_passno = 0}, fs_ret = {fs_spec = 0x0, fs_file = 0x0, fs_vfstype = 0x0, fs_mntops = 0x0, fs_type = 0x0, fs_freq = 0, fs_passno = 0}} __elf_set___libc_subfreeres_element_fstab_free__ = (const void *) 0xb762dce0

19 years, 9 months

[linux-audio-dev] University of Lueneburg audio workshop

by Florian Grote

Call for Participation When searching for the determinant factors of digital audio production, its forms and compositional strategies, mere technological criteria become less important in the light of the pervasion of information technology into audio media. "Computer als Klangmedien" (Computers as Sound Media), the topic of the 1993 Hyperkult III, have become omnipresent. Even the traditional domain of digital music, the "Computer Music" with its core elements, algorithmic composition and sound synthesis, can be found in a broad practice of digital production within mainstream pop music. Compositional as well as sound-aesthetical traditions of "Elektronische Musik" and "musique concrète" become base elements of a popular or less popular avantgarde that is positioned beyond historic dogmas. At the same time, artistic as well as scientific discourses discover electronic sound as a central area of present-time culture. Apparently, the abstract soundworlds of electronica do not only represent the digital lifestyle but also come to be the projection space of techno-cultural change. Phenomena of hybridism, as they were described in the 90s caused by the disbandment of familiar boundaries between technology, nature and culture , between plugged and unplugged and also between Art and Pop Music, now gain new actuality with the reintegration of analog sound synthesis, tube amplifiers, and manually operated instruments into the digital environment. On one hand, hybrid technology corresponds with a hybrid culture of merging established oppositions, however does it also often aim at creating fotorealistic simulations of its predecessors. Against this background, how are methods, contents, traditions and creative strategies changed? Which relations exist between digital audio media and auditive forms and processes? Do distribution and collaborative production in digital networks call for a new definition of the musically interested public? Which technological innovations will give direction to future practices? HyperKult 14 wants to debate these and other questions in an interdisciplinary dialogue and take the chance to reach an up-to-date positioning of digital audio media. Contributions from diverse scientific and artistic plateaus in the field of audio compression methods, sound synthesis, sampling, software-tools, Creative Commons, avantgarde-pop, sound art, sound culture, informatics, cultural and media sciences are welcome. The HyperKult will have an extended exhibition area with the topic communications . The goal is to advance the practice-related exchange between projects, organisations, labels, and musicians (etc.). Interested parties are hereby called upon to participate with presentations. A registration is obligatory due to limited space. Dates Please send 1-2 page abstracts of your contribution to the workshop HyperKult 14 (scientific lectures, technical or artistic demontrations) as well as registrations for communications -presentations (no fees) until March 31 2005 to: Universität Lüneburg Rechenzentrum HyperKult 21332 Lüneburg Germany mailto:hyperkult@uni-lueneburg.de Organizational committee Rolf Großmann Martin Schreiber Martin Warnke Program committee Rolf Großmann (Universität Lüneburg) Michael Harenberg (Hochschule der Künste Bern) Robert Henke (aka Monolake, Ableton, Berlin, angefragt) Jochen Koubek (Humboldt-Universität zu Berlin) Claus Pias (Ruhr-Universität Bochum) Martin Schreiber (Universität Lüneburg) Georg Christoph Tholen (Universität Basel) Georg Trogemann (Kunsthochschule für Medien Köln Martin Warnke (Universität Lüneburg) Section »Computer als Medium« In line with the HyperKult 14, the annual general meeting of the section will take place on July 16 2005. What is HyperKult? »HyperKult - Computer as Medium« takes place as an annual (non-profit and no-budget) symposium since 1990. Hyper(media)Kult(ur) was an at this time an upcoming field of research across the borderline of technical and cultural disciplines. HyperKult has broadened over the years to examine more general questions of the relationship between cultural, especially aesthetic development and information technology. HyperKult is organized by the department "Kulturinformatik" of the University of Lueneburg in Kooperation with researchers from Humboldt University Berlin and the University of Basel (Switzerland).

19 years, 9 months

[linux-audio-dev] Multichannel sound ?

by robinud＠volja.net

Hi! How does one use the extra channels on a six channel card ? I can only hear the 2 front speakers. I remember on a es1370 card, that I had an extra /dev/dsp1 for the rear speaker pair, but with an on board VIA audio there is only one /dev/dsp. I also tried playing a 6 channel sound file with sox, but still only the front speakers make sound. Any clues ? HW is VIA 8235 + Realtek ALC650 kernel 2.6.8-debian driver is OSS via82xxxx ( I'm willing to switch to ALSA, but a quick look says it is the same there ). Ideally I would want a second stereo /dev/dsp1, that would produce sound on the rear speakers. Thanks for any help, David ---------------------------------------------------------------- Varno. Enostavno. Vredno. Internet dodatne storitve. http://www.voljatel.si/storitve/

19 years, 9 months

2024

2023

2022

2021

2020

2019

2018

2017

2016

2015

2014

2013

2012

2011

2010

2009

2008

2007

2006

2005

2004

2003

2002

Linux-audio-dev March 2005