Linux-audio-dev

linux-audio-dev@lists.linuxaudio.org

7508 discussions

by Sven Jaehnichen

Hi, I just released a new plugin. The first one based on the new B.Widgets toolkit. Try out and have fun. B.Low is the unique sample-based sound generator plugin you always waited for. It blows out low sounds from below to spice up your music production with a special flavour. The high quality samples were gratefully provided by numerous international artists. Github: https://github.com/sjaehn/BLow Release: https://github.com/sjaehn/BLow/releases/tag/1.2.0 Regards, Sven

3 years, 4 months

SMC-22 Summer School -- June 5-7, 2022 -- Applications Now Open!

by Stéphane Letz

Greetings, The 2022 Sound and Music Computing (SMC) Summer School will take place on June 5-7, 2022 in Saint-Étienne (France), prior to the SMC conference (https://smc22.grame.fr). It will consist of three one day workshops by Michel Buffa, Ge Wang, and Yann Orlarey (see program below). The SMC-22 Summer School is free and targeted towards grad students in the cross-disciplinary fields of computer science, electrical engineering, music, and the arts in general. Attendance will be limited to 25 students. Application to apply to the SMC-22 Summer School can be made through this form: https://forms.gle/HF2Xv7QtbZG5U4hE6 (you will be asked to provide a resume as well as a letter of intent). Applications will be reviewed "on the fly" on a "first come, first served basis:" if the profile of a candidate seems acceptable, it will be automatically selected. The SMC-22 Summer School will happen in person (no video streaming): accepted candidates will be expected to physically come to the conference venue. Additional information about this event can be found on the SMC-22 website: https://smc22.grame.fr/school.html --- SMC-22 SUMMER SCHOOL PROGRAM -------------------------------------------------- Michel Buffa -- Web Audio Modules 2.0: VSTs For the Web During this tutorial, you will first follow a WebAudio API presentation with examples and you will learn how to program simple effects or instruments with JavaScript. In a second part you will be introduced to "WebAudio Modules 2.0" (WAM), a standard for developing "VSTs on the Web." The new WAM ecosystem covers many use cases for developing plugins, from the amateur developer writing simple plugins using only JavaScript/HTML/CSS to the professional developer looking for maximum optimization, using multiple languages and compiling to WebAssembly. It was designed by people from the academic research world and by developers who are experts in Web Audio and have experience developing professional computer music applications. In its current state, the open source WAM 2.0 standard is still considered a "beta version," but in a stable state. The framework provides most of the best features found in native plugin standards, adapted to the Web. We regularly add new plugins to the wam-examples GitHub repository, but there are also dozens of WAMs developed by the community, such as the set of plugins created by the author of sequencer.party, who has open sourced them in their entirety. DUring this tutorial you will learn how to reuse existing plugins in a host web application, but also how to write your own reusable plugins using JavaScript, TypeScript or Faust. Bio of Michel Buffa Michel Buffa (http://users.polytech.unice.fr/~buffa/) is a professor/researcher at University Côte d'Azur, a member of the WIMMICS research group, common to INRIA and to the I3S Laboratory (CNRS). He contributed to the development of the WebAudio research field, since he participated in all WebAudio Conferences, being part of each program committee between 2015 and 2019. He actively works with the W3C WebAudio working group. With other researchers and developers he co-created a WebAudio Plugin standard. He has been the national coordinator of the french research project WASABI, that consists in building a 2M songs knowledge database that mixes metadata from Cultural, lyrics and audio analysis. -------------------------------------------------- Ge Wang -- Chunity! Interactive Audiovisual Design with ChucK in Unity In this workshop, participant will learn to work with Chunity -- a programming environment for the creation of interactive audiovisual tools, instruments, games, and VR experiences. It embodies an audio-driven, sound-first approach that integrates audio programming and graphics programming in the same workflow, taking advantage of strongly-timed audio programming features of the ChucK audio programming language and the state-of-the-art real-time graphics engine found in Unity. Through this one-day workshop, participants will learn: 1) THE FUNDAMENTALS OF CHUNITY WORKFLOW FROM CHUCK TO UNITY, 2) HOW TO ARCHITECT AUDIO-DRIVEN, STRONGLY-TIMED SOFTWARE USING CHUNITY, 3) DESIGN PRINCIPLES FOR INTERACTIVE AUDIOVISUAL/VR SOFTWARE Any prior experience with ChucK or Unity would be helpful but is not necessary for this workshop. Bio of Ge Wang Ge Wang (https://ccrma.stanford.edu/~ge/) is an Associate Professor at Stanford University’s Center for Computer Research in Music and Acoustics (CCRMA). He researches the artful design of tools, toys, games, instruments, programming languages, virtual reality experiences, and interactive AI systems with humans in the loop. Ge is the architect of the ChucK audio programming language (https://chuck.stanford.edu/) and the director of the Stanford Laptop Orchestra (https://slork.stanford.edu/). He is the Co-founder of Smule and the designer of the Ocarina and Magic Piano apps for mobile phones. A 2016 Guggenheim Fellow, Ge is the author of /Artful Design: Technology in Search of the Sublime/ (https://artful.design/), a photo comic book about how we shape technology -- and how technology shapes us. -------------------------------------------------- Yann Orlarey -- Audio Programming With Faust The objective of this one-day workshop is to discover the Faust programming language (https://faust.grame.fr) and its ecosystem and to learn how to program your own plugins or audio applications. No prior knowledge of Faust is required. Faust is a functional programming language specifically designed for real-time signal processing and synthesis. It targets high-performance signal processing applications and audio plug-ins for a variety of platforms and standards. A distinctive feature of Faust is that it is not an interpreted, but a compiled language. Thanks to the concept of architecture, Faust can be used to generate ready-to-use objects for a wide range of platforms and standards including audio plugins (VST, MAX, SC, PD, Csound,...), smartphone apps, web apps, embedded systems, etc. At the end of the workshop, you will have acquired basic Faust programming skills and will be able to develop your own audio applications or plugins. You will also have a good overview of the main libraries available, of the documentation, and of the main programming tools that constitute the Faust ecosystem. Bio of Yann Orlarey Born in 1959 in France, Yann Orlarey is a composer, researcher, member of the Emeraude research team (INRIA, INSA, GRAME), and currently scientific director of GRAME (https://www.grame.fr), the national center for musical creation based in Lyon, France. His musical repertoire includes instrumental, mixed, and interactive works as well as sound installations. His research work focuses in particular on programming languages for music and sound creation. He is the author or co-author of several musical software, including the programming language FAUST, specialized in acoustic signal synthesis and processing.

3 years, 4 months

GRAME and Faust selected at GSoC

by Stéphane Letz

Hi people, Google Summer of Code (https://summerofcode.withgoogle.com) is a global, online program focused on bringing new contributors into open source software development. GSoC Contributors work with an open source organization on a 12+ weeks programming project under the guidance of mentors. GRAME has been selected as a mentor organization for the Faust project (https://summerofcode.withgoogle.com/programs/2022/organizations/grame). Foe interested people, feel free to contribute ! Stéphane

3 years, 5 months

Sonoj Convention 2022 - October 8th and 9th (?)

by Sonoj Convention

Dear past and future visitors of the Sonoj Convention, the following message is made under the assumption that the world will return to a more healthy and peaceful state until October 2022. At this point in time, I am unable to make any guarantees. Sorry. However, the date is fixed. The convention will either be on this weekend (see below) or it will not happen at all. The fourth annual Sonoj Convention ( https://www.sonoj.org ) will maybe(!) taking place this upcoming October 8th-9th 2022 in Cologne, Germany. The convention is focusing on the combination of music production and free / open source software, with a priority on practical music production. We want to welcome everyone, regardless of your musical or technical background. As it was the last times, admission to the convention is free. While the website https://sonoj.org/ is still in it's "in-between" mode it will soon be replaced by the real site again, with more information. To get a better idea of what to expect out of Sonoj, you can find information and recordings from last year's conventions in our archives: ( https://sonoj.org/archive ) If you want to contribute with a demonstration or talk, please contact me ( info(a)sonoj.org ). A short, informal expression of intent will be enough for now. Yours, Nils Hilbricht Cologne, Germany https://www.sonoj.org

3 years, 5 months

Csound question

by Fons Adriaensen

Hello all, See below... What I want to achieve is to take some action when instr 85 ends. I naively tried using 'gidur' as p3 for instr 85 in the score, but that doesn't work. So how do I trigger instr 86 at the right time ? <CsInstruments> instr 84 gidur filelen $INPFILE print gidur endin instr 85 ; set its duration from the value found in instrument 84 p3 = gidur ; process input from $INPFILE endin instr 86 ; Should do something when instr 85 ends. endin </CsInstruments> <CsScore> i84 0 0.1 i85 + 1 ; p3 is just a dummy </CsScore> TIA, -- FA

3 years, 5 months

Potential GSoC projects

by Roman Sommer

Hi there, My name is Roman, I'm studying Computer Science and I'd like to participate in the GSoC this year. Also I'd like to do this in a linux audio related project if possible, because I want to help improve the Linux Audio world! So if anyone here is part of or knows an organisation that would like to mentor a GSoC student and have them work on one of their projects, please let me know! My background: I'm a Master student in CS and my focus so far has been centered around operating systems (incl. kernel development), security, concurrency and (hard) real-time. At the University I also took a few signals, systems and DSP courses, so I know what an LTI system is, how digital filters work and what a hilbert transform does. To pay my rent and food I work part time as a repair technician fur electronic musical instruments and equipment and therefore have a background in electronics as well. I'm also a passionate hobby musician and live mixing technician. I know how to write C code that doesn't blow up. I'm familiar enough with C++ to get around comfortably. Recently I started writing an 8-bit microcontroller emulator as a University project in Rust and so far I really like the language. Python is also a very nice language in my opinion. Audio related things I've written include python bindings for the jack dbus interface, a jack application managing tool to start/stop/mute applications via hardware buttons and used mididings to map MIDI CC to Sysex for my hardware synths. I've also written a bit of FAUST code to create a number of effects I want to use. A few ideas and fields I can imagine working on (non-exhaustive, no particular order): - Mididings backend for embedded devices - Polyrhythmic sequencing - Sysex integration in sequencers - Linux kernel work - Emulation of analog hardware (setBfree still needs a nice overdrive afaik ;) ) - jack and/or pipewire Something I'd really like to see someday is being able to sit down at (or stand up with) my Instrument and just jam and when I played something I like, I can go back to, say, 28s ago and extract a few bars and build a song from there. Also I'd really like to hear your ideas and suggestions! :) I'm really looking forward to your responses and hopefully a great collaboration as a result! Feel free to ask any questions, as will I! ;) Cheers, Roman / etXzat

3 years, 5 months

[Announce] FFADO version 2.4.5

by Jonathan Woithe

The FFADO project is pleased release FFADO version 2.4.5. This is a bug-fix release to address issues encountered since version 2.4.4. This is a source-only release. It can be downloaded from http://ffado.org/files/libffado-2.4.5.tgz A release announcement can be found at http://ffado.org/posts/ffado-2.4.5-release/ Changes since FFADO 2.4.4: * Spelling, capitalisation and quoting fixes in documentation and source code. * Use a dark theme by default in ffado-mixer. * Remember the user’s ffado-mixer theme choice. * The ffado-mixer desktop file includes a Dutch translation. * Saffire mixers gain additional tool tips. * Correctly report the Saffire Pro 24 and Pro 56 in messages from the driver when these interfaces are in use. * Reduce the need for scrolling of the Saffire Pro24 panel in ffado-mixer. * Build correctly under scons 3.0.5 and above. * Address type-related issues encounted in ffado-mixer when using python 3.10. * Correct ffado-mixer routing assignments for the Profire-2626 device. Thanks to those who have helped with this release, including Pander, Filippo Bardelli, Nils Philippsen, Takashi Sakamoto and Daniel Baeuerlein. Jonathan Woithe (on behalf of ffado.org)

3 years, 5 months

[ANN] Qsynth 0.9.6 - A Mid-Winter'22 Release

by Rui Nuno Capela

Hi all, ** Qsynth - A fluidsynth Qt GUI Interface [1] ** Qsynth 0.9.6 (mid-winter'22) is out! Qsynth is a FluidSynth [2] GUI front-end application written in C++ around the Qt framework [3] using Qt Designer. Change-log: - Migrated command line parsing to QCommandLineParser/Option (Qt >= 5.2; by Pedro Lopez-Cabanillas). - New option to change the UI language translation. - Added DLS file type to the soundfonts selection dialog. - Fixed translations path to be relative to application runtime. Website: https://qsynth.sourceforge.io http://qsynth.sourceforge.net Project page: https://sourceforge.net/projects/qsynth Downloads: https://sourceforge.net/projects/qsynth/files - source tarball: https://download.sf.net/qsynth/qsynth-0.9.6.tar.gz - source package: https://download.sf.net/qsynth/qsynth-0.9.6-50.1.rncbc.suse.src.rpm - binary packages: https://download.sf.net/qsynth/qsynth-0.9.6-50.1.rncbc.suse.x86_64.rpm - AppImage [6] package: https://download.sf.net/qsynth/qsynth-0.9.6-50.1.x86_64.AppImage - Windows package (thanks to Pedro Lopez-Cabanillas): https://download.sf.net/qsynth/qsynth-0.9.6-50.1.win-x64-setup.exe - Flatpak [7] package (thanks again to Pedro Lopez-Cabanillas): https://flathub.org/apps/details/org.rncbc.qsynth Git repos: https://git.code.sf.net/p/qsynth/code https://github.com/rncbc/qsynth.git https://gitlab.com/rncbc/qsynth.git https://bitbucket.com/rncbc/qsynth.git License: Qsynth [1] is free, open-source Linux Audio [4] software, distributed under the terms of the GNU General Public License (GPL) version 2 or later [5]. References: [1] Qsynth - A fluidsynth Qt GUI Interface https://qsynth.sourceforge.io [2] FluidSynth - A SoundFont Synthesizer A real-time software synthesizer based on SoundFont 2 specifications https://www.fluidsynth.org [3] Qt framework, C++ class library and tools for cross-platform application and UI development https://qt.io/ [4] Linux Audio consortium of libre software for audio-related work https://linuxaudio.org [5] GPL - GNU General Public License https://www.gnu.org/copyleft/gpl.html [6] AppImage, Linux apps that run anywhere https://appimage.org/ [7] Flatpak, next-generation technology for building and distributing desktop applications on Linux https://flatpak.org/ See also: https://www.rncbc.org/drupal/node/2315 Have fun, make some noise! -- rncbc aka Rui Nuno Capela

3 years, 6 months

Replacement for KbdCtl.bell

by Peter

Dear All, inspired by the "A History of Audio on Linux somewhere?" I took a look at my very old Linux Audio projects. I have one which amazingly still compiles, namely FeigenSound from the Linux Magazin 03/2001, however I can't hear the output, even when the pcspkr module is loaded. I assume that todays Laptops just don't have speaker anymore. There I was using the KbdCtl.bell_* to generate tones with a given frequency and duration: // switch to new state KbdCtl.bell_percent = 100; KbdCtl.bell_pitch = Frequency; KbdCtl.bell_duration = Duration; XChangeKeyboardControl(pDisplay, KBBellPercent | KBBellPitch | KBBellDuration, &KbdCtl); Is there still such a simple method available to generate a tone with a given duration and frequency. Of course I could generate a corresponding array and send it to jackd, I'm just looking for something simple. Best regards, Peter

3 years, 6 months

Jack Transport Question

by Fons Adriaensen

Hello all, Looking at the Jack Transport state machine on <https://jackaudio.org/api/transport-design.html>, there is only one 'reposition' transition, and it goes to the 'Starting' state which then sooner or later will go to 'Rolling'. Q1: Does this mean it is impossible to reposition without starting ? Or is there just a transition missing in the diagram from 'Stopped' to itself ? Q2: Is there any way to find out, while 'Stopped', if all clients are ready to start immediately without actually starting ? I'd say at least one more state would be required. Ciao, -- FA

3 years, 6 months

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Linux-audio-dev