Linux-audio-dev March 2007

linux-audio-dev@lists.linuxaudio.org

79 participants
63 discussions

[linux-audio-dev] Getting out of the software game

by Gordon JC Pearce

After a few days of careful consideration, I've decided that I no longer want to be involved in developing software for Linux. It's been a difficult decision to make, having used Linux as my main desktop OS for around 10 years now, but I feel that the community as a whole is going in a direction that is not compatible with my moral compass. To that end, I'm pulling everything I've written under the GPL or a GPL-compatible licence. If there are copies out there, great, feel free. Anything I'm interested in will be rewritten from the ground up under a BSD-style licence, which to be honest I've always preferred. Part of the reason for this is the increasing difficulty of using binary drivers with Linux. I know a lot of people don't like them, but I like to have things like accelerated video *and* custom kernels without all the buggering about involved in getting it working. In particular the Debian-based distributions seem to be intentionally hamstrung when comes to supporting binary-only drivers, which makes running the custom kernel required for low-latency work *and* the binary nVidia driver almost impossible. I don't want to be associated with this nonsense any more. It's not what Free Software is about. Gordonjcp

17 years, 1 month

[linux-audio-dev] CLAM at the 2007 Google Summer of Code

by Pau Arumi

STUDENT: Audio and Music software is your thing? Need a part-time job of $4500 for this summer? Want to have fun developing free software? We are happy to announce that the CLAM project is participating, for the first time, in the 2007 edition of Google's Summer of Code. CLAM is not the only audio-linux project in GSoC, Ardour and Mixxx also did it. See [1] for the whole list APPLICATION DEADLINE: 24 March 2007 Find all the information in the CLAM web: http://clam.iua.upf.edu and its SoC wiki page [2] We are very excited to offer a number of ideas that would benefit CLAM now that it is about to reach its 1.0 release. We also encourage you to propose new ideas if you feel none of the ones offered by the CLAM team suits your profile or interests. Looking forward to working with you… The CLAM team 1. http://code.google.com/soc 2. http://iua-share.upf.edu/wikis/clam/index.php/GSoC_2007 -- Google Summer of Code is a program that offers student developers stipends to write code for various open source projects. Google will be working with a several open source, free software and technology-related groups to identify and fund several projects over a three month period. Historically, the program has brought together over 1,000 students with over 100 open source projects, to create hundreds of thousands of lines of code. The program, which kicked off in 2005, is now in its third year, following on from a very successful 2006.

17 years, 1 month

[linux-audio-dev] TMP directory problem

by Dave Phillips

Greetings: Okay, I'm stumped by this one. I'm trying to compile a small app on my old machine, it's running Dynebolic with the required devel packages. I've built other apps in this environment with no problem, but when I compile this one app I keep receiving this kind of error : /tmp/cc30Bs2G.o : No space left on the device So how do I get more space in the /tmp directory ? I tried setting TMP and TMPDIR, got no joy. I'll gladly supply more details if needed, but that's basically what's happening. Any suggestions from the gurus ? Best, dp

17 years, 1 month

[linux-audio-dev] Open Sound System v4.0 released

by Hannu Savolainen

FOR IMMEDIATE RELEASE Open Sound System v4.0 Released. CULVER CITY, CA, March 15, 2007: 4Front Technologies is announcing the availability of Open Sound System (OSS) version 4.0 for Linux, Solaris, FreeBSD, Open Server6 and UnixWare7. Open Sound System is a cross platform audio architecture that provides drivers for most consumer and professional audio devices and comes with an API that allows applications to be simply recompiled on any of the supported operating systems. New Features: o New and improved transparent Virtual Mixer engine - Allows up to 16 applications to share the same "real" audio device. - Supports recording and full duplex in addition to playback. - Ability to mix stereo and multichannel audio streams up to 7.1/192Khz/32bit. - Supports full 24 bit range without loss of precision during internal computations. - mmap() support for games like DoomIII and Quake4. - Each application has its own independant volume controls. - Supports loop back recording. o Full Solaris Audio Device Architecture (SADA) emulation on Solaris so that legacy Solaris audio apps can run on Open Sound System drivers. o Advanced Linux Sound Architecture (ALSA) Library emulation support so that popular ALSA apps (the ones that use the ALSA library interface) can run on Open Sound System. o 100% backwards compatibility for Open Sound System (OSS) v3 API. o 64bit internal processing guarantees audio fidelity and precision if the audio data needs to be converted. o New device enumeration and mixer API makes it very easy to manage devices programatically. o Uses up to date native kernel interfaces and installation methods will enable OSS to keep up with changes to the operating systems for the forseeable future. o Updated drivers for all devices supported in the older OSS v3.9x versions. Support for obsolete ISA bus devices has been finally withdrawn from Open Sound System v4.0. The virtual mixer in Open Sound v4.0 will give the user multiple virtual full duplex multichannel audio streams. It is possible to run a full duplex VOIP session, view a DVD in full 5.1 surround sound and play popular video game all at the same time without any complicated device setup and configuration. Open Sound v4.0 brings unmatched device and system management capabilities that make it ideal and easy to setup in virtualized environments. For more information and to download a free-for-personal-use copy of the software, visit 4Front's WWW site at http://www.opensound.com. --- xxx --- All trademarks and copyrights belong to their respective owners. Open Sound System is a trademark of 4Front Technologies. Copyright (C) 1996-2007, 4Front Technologies, All Rights Reserved. Contact: Dev Mazumdar 4Front Technologies 4035 Lafayette Place, Unit F Culver City, CA 90232 USA. Tel: (310) 202 8530 E-mail: info(a)opensound.com Fax: (310) 202 0486 Web: http://www.opensound.com

17 years, 1 month

[linux-audio-dev] Hi, is it possible to record multi channel speech audio and down sample it 2 stereo channels BUT with horizontal audio positioning of each audio channel ie. like dolby surround effect. I'm not looking to make multi channel podcast, just a plain stere

by Steve Harris

On 13 Mar 2007, at 09:15, Valent Turkovic wrote: > Hi, > is it possible to record multi channel speech audio and down sample it > 2 stereo channels BUT with horizontal audio positioning of each audio > channel ie. like dolby surround effect. Sure, but you might be disappointed by the results, Pro Logic is not very sophisticated (eg. there's no separate rear left and right channel, and the bandwidth is limited). Also the only free software implementation that I know of is not state of the art, partly due to patent problems, and partly due to lack of interest. There's a LADSPA plugin: http://plugin.org.uk/ladspa-swh/docs/ladspa- swh.html#id1401 which does Pro Logic matrix encoding, you will need some other software to mix your independent streams into LCR channels (you can do it by ear with a 3+ variable send bus mixer), but once you have that you can feed it to the plugin and get a pro logic compatible stream out. PS ignore the documentation, it has been tested, and it does work, just not brilliantly. You will get better results if you EQ the mics a bit to cut the level of the highs and lows a bit, especially in the rear channel. You would get much better results with an ambisonic stream, but I don't /think/ you can make stereo-compatible ambisonic streams, and not many people have ambisonic decoders. Other people on this list know a lot more about ambisonics though. - Steve

17 years, 1 month

[linux-audio-dev] [ANN] FreeBoB bugfix release - libfreebob-1.0.3

by Pieter Palmers

Dear FireWire enabled Linux audio users, libfreebob 1.0.3 is available as from today. It is downloadable at our SourceForge page: http://downloads.sourceforge.net/freebob/libfreebob-1.0.3.tar.gz This is a maintenance release for the freebob 1.0 branch, and contains no new features. It fixes two bugs: - a buffer reset bug that prevented jackd freewheeling from working. - a bug that caused MIDI output to fail on all but the last channel of a device. Greets, Pieter

17 years, 1 month

[linux-audio-dev] Loss Livecode festival, Sheffield 20-22 July 2007

by alex

Festival/conference about live coding in Sheffield, UK this Summer... ====================================================================== _ ___ ____ ____ _ _ ____ _ | | / _ \/ ___/ ___| | | (_)_ _____ / ___|___ __| | ___ | | | | | \___ \___ \ | | | \ \ / / _ \ | / _ \ / _` |/ _ \ | |__| |_| |___) |__) | | |___| |\ V / __/ |__| (_) | (_| | __/ |_____\___/|____/____/ |_____|_| \_/ \___|\____\___/ \__,_|\___| ---------------------> LOSS Livecode Festival <----------------------- Sheffield, UK -- 20-22 July 2007 http://livecode.access-space.org/ In association with Access Space, TOPLAP and lurk When we improvise music, we are creating music while it is being performed. "Live Coding" is the creation of software while it is being executed; the software in turn generating music or video. Thanks to dynamic programming languages, the live coder is able to modify and extend their program without restarts, their music and/or visual growing with the code that describes it. This way of working allows instant results for every sourcecode edit. Programming becomes a fast, creative process - expressive enough that a whole audio/visual performance may be created as software. Live Coding began during the 1980s, primarily with FORTH and Lisp. In recent years new live coding environments and languages such as Chuck, Fluxus, Impromptu and SuperCollider 3 have appeared, with enthusiastic communities growing around them. Live Coding performances have also used Smalltalk, PureData, Scheme, Perl, Haskell, Ruby, Python... In early 2004 the "Temporary Organisation for the Promotion of Live Algorithm Programming" (TOPLAP) was formed to support open dialog between all live coders. Since its early beginnings in a smoky bar in Hamburg, TOPLAP has reached 178 members worldwide, gaining coverage in mass media and collaboratively organising several international meetings. In 2005 Access Space initiated the L.O.S.S. project (http://loss.access-space.org) to support free music creativity and distribution. It featured a series of commissions leading to a Creative Commons licensed audio CD and repository website produced entirely with open source tools. Continuing their series of LOSS commissions and events, Access Space have teamed up with TOPLAP and lurk to create a three day international festival, bringing live coding musicians and video artists together to explore and showcase new approaches in live performing and participatory arts. ---> CALL FOR PARTICIPATION <----------------------------------------- Your performance and/or presentation proposal is called for. For the latest version of this call, please refer to http://livecode.access-space.org/ Commissions are available to help realise ambitious projects and performances. Presenters and performers will gain free entry throughout the festival, and those without institutional support may apply for a small bursary. ---> IMPORTANT DATES <--- * 14th March - Call for participation * 14th April - Deadline for proposals * 1st May - Notification of acceptance * 16th June - Copy deadline for proceedings (to be confirmed) * 20th-22nd July - Conference - schedule TBA ---> PRESENTATIONS <--- Short (up to 20 minute) presentations during a day long symposium. The remit is broad, but possible subjects may include * A demo of a novel live coding language/environment * Historical context of live coding * Live coding without computers * Critique of live coding practice * Live patching * Reflections on live coding experiences * Adapting general purpose languages to live coding * Analysis of live coding performances * Live algorithms that live code * Life coding * Portable live coding devices * Reflective/self-modifying code * Live visualisation of sourcecode * Collaborative networked live coding * ... Proposals do not have to be long - however much or little you need to explain your ideas is fine. If you are unsure if you can make it, submit your idea anyway - we may be able to accommodate a small number of remotely streamed presentations for those unable to attend in person. There will also be time for a brief (around three hours) introductory workshop. Please indicate if you would like to be involved. ---> PERFORMANCES <--- There will be at least two evenings of performances, ranging from 10 to 40 minutes. Please outline what you would like to perform, including technical requirements. We plan to have at least three data projectors, many pairs of small speakers for participatory improvisations, enough headphone amps for 100 pairs of headphones, and a big stereo sound-system for 'traditional' performances. Please state your preference, and feel free to be creative (see commissions below). We are also thinking about a pre-event in London, UK some days before the festival, let us know if you would like to take part. ---> PROCEEDINGS <--- If your proposal is accepted you will be encouraged to submit short texts and images for publication in the proceedings. All speakers and performers will receive a free copy at the beginning of the conference. ---> COMMISSIONS <--- If you would like time or resources to develop a new way of performing, some new language or software feature, or something else interesting then please include a short estimated budget in your brief, which may include an artist fee. Note that due to funding constraints the project should have a strong audio component. The maximum commission will be of £1000 (about 1470 euro). ---> BURSARY <--- A small bursary is available to contribute towards travel and accommodation. Please include an estimated budget for your attendance and we will apportion this money based on need. Money is however very short, if you are a member of an academic institution we are keen to help you apply for local funding. ---> PROPOSAL SUBMISSION <--- Preferably in plaintext, but all common formats are accepted. Supporting material including web links to previous work, audio and video files are welcome but not mandatory. Proposals should arrive before midnight, 14th April 2007. Proposals are accepted by email (preferred): livecode(a)access-space.org Or by post: LOSS Livecode c/o Alex McLean Access Space 1 Sidney Street Sheffield S1 4RG Royaume Uni If sending via email please do not include large attachments - either include URLs or contact us in advance. If sending via post include an email address so that we may confirm receipt. ---> MAILING LIST <--- As members of the "keep avant garde internet tidy" campaign, we keep our cross posts to a minimum. To continue receiving news of the conference, please sign up to our mailing list: http://lists.lurk.org/mailman/listinfo/lc/ ---> ABOUT ACCESS SPACE <--- Based in Sheffield, Access Space is the UK's first "Free Media Lab" - a community space equipped with locally recycled computers running free, open source software. It provides a framework, resources and support for self-directed learning, arts and creativity. Taking part is totally free, and anyone can walk in and contribute: http://access-space.org ---> FOR MORE INFORMATION <--- Don't hesitate to email with questions to the submission address above. The conference website is not yet ready, but more information about live coding may be found at the official TOPLAP wiki: http://toplap.org/ Hope to see you in July! LOSS Livecode is funded by Arts Council England, Yorkshire and The PRS Foundation. ====================================================================== -- Alex McLean http://yaxu.org/ http://slub.org/ http://lurk.org/ http://doc.gold.ac.uk/~ma503am/

17 years, 1 month

Re: [linux-audio-dev] Getting out of the software game

by Taybin Rutkin

By continually breaking the drivers, it forces someone to look over them when updating and maybe fix other problems. Taybin -----Original Message----- >From: Christian Schoenebeck <cuse(a)users.sourceforge.net> >Sent: Mar 14, 2007 10:17 AM >To: The Linux Audio Developers' Mailing List <linux-audio-dev(a)music.columbia.edu> >Subject: Re: [linux-audio-dev] Getting out of the software game > >Am Mittwoch, 14. März 2007 14:16 schrieb Paul Davis: >> in theory, you certainly can. but the kernel development team, and linus >> in particular, are not interested in an engineering effort/long term >> approach that makes this feasible. if you define a stable driver binary >> interface, you can change the kernel out around it and drivers keep >> working. linus has made it clear that he sees no reason to do this, and >> is perhaps even opposed to it for some possibly sound engineering >> arguments (though that is open to debate). > >And what are these arguments? > >CU >Christian

17 years, 1 month

[linux-audio-dev] Some ALSA mixer API questions

by Ross Vandegrift

Hey everyone, I'm working my way through a simple mixer application using ALSA's mixer API. However, the mixer section of the documentation is blank, so I've taken to reading through amixer's source code to try and figure out how it does it's things. It's a bit hard to piece together how some of the stuff goes together. I've got the basics of getting/setting volume values and getting volume ranges from mixer elements. I'm a bit confused by how to get element types. It seems like amixer opens the ctl device to get a mixer element's type? Am I right about this? It seems like a very confusing API to require the ctl device to get info on an element from the mixer device. If it does require a handle to the ctl device, could someone give me the quick overview of how this works together in the big picture? If not, I'd appreciate a quick explanation of the right way to determine the type of a mixer element. -- Ross Vandegrift ross(a)kallisti.us "The good Christian should beware of mathematicians, and all those who make empty prophecies. The danger already exists that the mathematicians have made a covenant with the devil to darken the spirit and to confine man in the bonds of Hell." --St. Augustine, De Genesi ad Litteram, Book II, xviii, 37

17 years, 1 month

Re: [linux-audio-dev] Hi, is it possible to record multi channel speech audio and down sample it 2 stereo channels BUT with horizontal audio positioning of each audio channel ie. like dolby surround effect. I'm not looking to make multi channel podca

by Valent Turkovic

> To start with have a look at Wikipedia. They have a pretty good section > about audio engineering which covers a lot of topics including > sterophony. (At least the German edition does) > > > > Yours sincerely, > Dennis Schulmeister Thank you for your suggestions.

17 years, 1 month

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 2007