Linux-audio-dev

linux-audio-dev@lists.linuxaudio.org

7516 discussions

by David Wessel

Could you please remove me from your mailing list as I will be away from email for an extend period of time. I'm David Wessel at wessel(a)cnmat.berkeley.edu Thank you, David Wessel

20 years, 6 months

[linux-audio-dev] Mx44 update

by Jens M Andreasen

Hi! As you might know, the initial phase relation between oscillators in an FM synth is quite important for the resulting sound. Not least when you are dealing with feedback loops. I have had velocity sensitivity on phase for ages, but came to think of that keyfollow on phase might be more useful? The rationale being that adjecent notes would then have slightly different harmonic series (or dramatically different, depending on other settings.) One advantage would be that "clean" sounds (ie: Piano) could have some unique harmonic space surrounding each note, so that blockchords can live harmonically together in an even-tempered world, without too much beating and without resorting to detuning, PWM and whatnot. So I made this new button near the other phase parameters, added a few lines of code and prepared a test patch called "Test III" located in "H.4" (which at least to my ears and speakers is partially reminiscent of a piano.) The new button switches between phase-velocity or -keyfollow for the slider just below. What? Oh ... Here: http://hem.passagen.se/ja_linux (no new screenshot) -- ( ) c[] // Jens M Andreasen

20 years, 6 months

[linux-audio-dev] re: Chebyshev

by Bill Schottstaedt

About 3 years ago there was a thread here about using Chebyshev polynomials to mimic guitar amps -- I think I have found at least a partial solution to some of the problems mentioned at that time -- could someone send me the amplifier characteristics they were trying to reproduce, or any other tests? Thanks!

20 years, 6 months

[linux-audio-dev] Sequencer Concept

by Thorsten Wilms

Hi! I have been thinking about how an advanced sequencer could look and work over and over again and now finaly managed to come up with one consistent concept that i would like to present here now. A mockup to illustrate the following explainations: http://wrstud.uni-wuppertal.de/~ka0394/forum/sequencer_05.png The basic idea is to have nested containers to be arranged verticaly and horizontaly. All information is tied to or contained in these containers. As the horizontal axis stands for time, i needed to express the nesting only verticaly (plus color), so that's what the round corners and the empty bottoms of the containers are for. Maybe it helps when you think on Lisp and paranthesis, only vertcaly. On the mockup the big white container defines absolute time (min/sec) and the context for playback control (only one play position inside thsi container (for each user)). Several of them could exist in parallel, all with their own playback control. The next, yellow container defines the meter (the ruler) 4/4, followed by a tempo track set to 120 BPM. The blue container is an audio container. These can take others of their kind, audio inputs and outputs and finaly audio clips. This one defines an "Out 1" and its send level and conatins 3 clips. Below it, the green container sets a 3/4 meter. Because it is inside the 4/4 container, the quarter notes match. If outside, it would have to have its own and independent tempo track. The last Container is for MIDI. It has IN and OUT as attributes. Alternatively these could be expressed on tracks like used for tempo, what would make them changeable inside the container. Every Container can be used as a pattern (instances). They could have a dropdown menu to swutch between different versions (/takes). I have some more ideas and details, but i think this should be enough for now! :) I have only basic and seldomly applied coding skills, and this doesn't look like a one man project anyway ... So I hope for interested developers ... or that at least this gives someone some inspiration. I would be happy to further develop my concepts of course (allthough my diploma in industrial design, same topic: sequencer takes priortiy for the next 3 months). --- Thorsten Wilms

20 years, 6 months

[linux-audio-dev] Evolutif

by J_Zar, Gianluca Romanin

Hi all, I would like to know if someone knows if the Evolutif Audio ( http://evolutif.sourceforge.net/ ) project is alive (no CVS, no releases from 2003). If not, is there any other similar audio project actually in running? I'm thinking to extend this code stuff (Evolutif) and I would like to parse possibilities and efforts. Thanks, -- J_Zar Gianluca Romanin ---------------- See you at OpenJay.org

20 years, 6 months

[linux-audio-dev] Re: Nord Modular instrument converter

by Juhana Sadeharju

>From: Simon Jenkins <sjenkins(a)blueyonder.co.uk> > >2. Is C++ OK? (You'd end up with a Patch class that could be >over-ridden to dump itself in whatever format was required). C++ is ok, and would make sense because the nmedit code is C++. For each module, the nmedit has a parameter etc. descriptions. If I understand correctly, we don't need them because we write our modules as an exact clones (inputs, outputs, parameters at least). But if the nmedit code already loads all the information, please keep it that way. The info could be useful. Juhana -- http://music.columbia.edu/mailman/listinfo/linux-graphics-dev for developers of open source graphics software

20 years, 6 months

Re: [linux-audio-dev] Sequencer Concept

by Kjetil Svalastog Matheussen <k.s.matheussen＠notam02.no>

Thorsten Wilms: >As the horizontal axis stands for time, i needed to express >the nesting only verticaly (plus color), so that's what the >round corners and the empty bottoms of the containers are >for. Maybe it helps when you think on Lisp and paranthesis, >only vertcaly. Below is my (short) personal view on your design. Don't take it as an attack on your ideas, but a different persons opinion, and use it for what its worth. I think this kind of design of a graphical interface for western classical scores on a computer is inefficient because it wastes too much space on the computer screen. The result is that the composer needs to spend work doing too much navigation. Whats the point of visualy seeing the pitch of notes? You hear them much better. Just write the name of the notes instead of spending all that much vertical space. I spent three years coming up with this design: http://www.notam02.no/radium/ which I know (by personal experience) is a damn extreme efficient note/score editor. http://www.notam02.no/~kjetism/radium/pictures/v062_linux.png (linux screenshot) http://www.notam02.no/arkiv/src/radium-0.63.tar.bz2 (linux alpha)

20 years, 6 months

[linux-audio-dev] [ANN] "Symmetries" premiere recording now available (and other goodies)

by Ivica Ico Bukvic

Greetings all, First off, apologies for cross-posting... I would just like to share the quick-and-dirty downmix of the premiere of my latest work "Symmetries" (that took place at the last-week's "Linux Audio Conference" in Karlsruhe, Germany) with the LAU/LAD as well as Pd community. Without you guys, this piece would never have been possible :-). As my token of gratitude, in conjunction with this release I am also releasing the soundfont that I've built from scratch using exclusively Linux software (Swami, Rezound) and specifically for use in this piece. For more info on each of these please see notes below. As always, your feedback is much appreciated! ------------------- About "Symmetries:" Symmetries (for computer and optional violin) is an experiment in relegating musical structure and expression to the inherently stupid box of transistors. By concurrently utilizing various GNU/Linux audio software (Fluidsynth/QSynth, Pd, LADSPA, Jack-rack, JACK) it was composer's intention to generate a lush interactive texture whose frail balance engenders a consistent forward drive. In an ever-changing array of hierarchical probabilities no two instances are expected to ever be the same. The piece has been designed to be completely modular in terms of computer-driven sound diffusion and can utilize 2-8 channels. For its premiere the piece used 8-channel diffusion. However, the recordings below are provided in a stereo-downmix form. Hardware used in performance was eMachines m6807 laptop (64-bit AMD 3000+), RME HDSP Multiface, and a Peavey 1600x midi controller that I used to control some of the timbral nuances via Pd and Jack-Rack (LADSPA). The violin part was played by Ania Zielinska (Poland) who commissioned the work. ------------------- There are 3 recordings available: 1) 128-bit (fixed rate) 48KHz OGG recording of the premiere: http://meowing.ccm.uc.edu/~ico/Symmetries_LAC_2005_premiere.ogg (5.8MB) 2) 128-bit 48KHz MP3 recording of the premiere: http://meowing.ccm.uc.edu/~ico/Symmetries_LAC_2005_premiere.mp3 (6.0MB) 3) 64-bit 44KHz MP3 of the computer part: http://meowing.ccm.uc.edu/~ico/Symmetries.mp3 (2.8MB) ------------------- The soundfont is a based on series of recordings of solo violin playing straight tone "con sordino" sound. The recordings have been structured in a gigasampler fashion (minor 3rd apart, except for the open strings). It has 2 sets of samples, ones without limiter which have already been mapped, and other with the limiter which are in the soundfont but have not been mapped. The sample tuning has been adjusted "by ear," so it may not be mathematically accurate but FWIW it did pass my own scrutiny (which should be taken with a grain of salt as this piece is not as demanding when it comes to absolute preciseness of the tuning of individual pitches). The looping of sounds is measured to provide most seamless transition while accounting for the change of the direction of the bow. Conceivably one could create a sense of orchestral sordino by layering the same sound over and over. The soundfont does have reverb and chorus abilities enabled but IMHO it sounds the best without any chorus applied to it. The soundfont is released under the "GPL/Artistic 2.0" license (for more info please see: http://dev.perl.org/perl6/rfc/346.html). Btw, I chose the art-related license simply based on my limited understanding that it is more appropriately tailored towards something that is not code-based. That being said, if anyone can explain me the difference between the two licenses, I would really appreciate it :-). To download the soundfont please click here: http://meowing.ccm.uc.edu/~ico/Linux/violin_sordino.tar.bz2 (21.5MB) NB: Considering that the Linux server that is hosting this may be on its last legs (strange noises from the HD), I would not mind if someone would consider mirroring this particular file. Many thanks! ------------------- Once again, I would like to extend my thanks to the developers and users alike of the open-source, and perhaps more importantly, Linux audio software! Many thanks also go to the organizers of the Linux Audio Conference for making this performance possible! Best wishes, Ivica Ico Bukvic, composer & multimedia sculptor http://meowing.ccm.uc.edu/~ico/

20 years, 6 months

[linux-audio-dev] GTK performance?

by Jens M Andreasen

Hi all! The other day I dressed up my application with a fancy g5-ish pixmap theme. Looks good and expensive :) As it turned out, it really was expensive (counting cpu-clocks.) Using Page Up/Down to manipulate a scale, I get 100% cpu at times when the the scale is at max (respectively min), hence no redrawing should take place (because oldValue == newValue.) I then measured X using an Xterm, holding down a key to get the key to repeat. Really, no sweat! Just a srolling window with gibberish. So X is as far as I can see not at fault. Is it gtk then? Or the pixmap engine? I thought I'd go and listen to the horses mouth and fired up The Gimp ... Uhmm! Those guys really do not wish to use the pixmap engine and replaces the scales with what comes out of the eazel-engine (Crux & friends.) With key Page Up/Down and the eazel-engine, I still get 20% CPU. This is kind of expensive for essentially doing nothing. My conclusion is that there is something deeply wrong inside gtk, regarding handling of signals and/or redraw. This is bad news for RT audio people using gtk. In comparison, letting FlightGear redraw the polygons of the Himalaya ranges looks kind of cheap :-/ Comments? Reference machine: 1.1Ghz Celery. Gtk-2.0 -- ( ) c[] // Jens M Andreasen

20 years, 6 months

[linux-audio-dev] producing a self-contained executable

by Tom Szilagyi

Hi, I'm asking for a bit of help from someone having experience with the 'dirtier' side of Linux programming. :) My problem is that I need to present a single executable of my software that will run on as many systems as possible, without trouble caused by non-matching dynamic library versions. The software is a specialized medical application for hearing therapy of autist persons, to be distributed among a small (but heterogenous) client base. The current state is this: I compile the program, it runs on my system, but it generates relocation errors and the like if I copy the executable to another system with a different libc (or other library) version. This is what I would expect anyway, so no surprise at all. My first thought was that I should try to produce a statically compiled executable that contains each and every library it depends on, so it barely needs any pre-defined resources on the target system. Executable size and startup time is not an issue here, it just needs to run everywhere. Producing different executables for different machines is not an option. Changing these conditions is beyond my authority. I've run into difficulties trying to compile a statically linked version due to problems with GTK, which apparently doesn't allow me to statically link to it. I also don't really know how to get at statically linking libc (however I didn't try very hard anyway, since I already got stuck with GTK). The app uses GTK, lots of audio file format libraries, ALSA, JACK and of course libc. Any help (including pointers to howto-s about statically linking) would be very welcome. Tom

20 years, 6 months

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Linux-audio-dev