Linux-audio-dev

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7516 discussions

[linux-audio-dev] OSC, mDNS and LASH: a good combo?

by Martin Habets

My impression is that more and more applications are moving to OSC for inter-process communication. Question 1: Are most audio/midi applications converging on OSC? Are there any moving away from it? Or are there other strong contenters in this area? AFAIK all linux audio/midi applications use an arbitrary UDP port number, and rely on manual configuration of this for the server and all clients. With OSC popularity increasing this will pose a growing problem for end users who have to configure the ports, and for developers of client programs that want to interact with multiple servers. The answer to this issue is service discovery, which was recently discussed on the OSC_dev list [1]. That thread leads to a product called howl [2], which is an open implementation of mDNS/redezvous/ zeroconf (take your pick). It provides 3 daemons (of which 2 should be run) and some libraries. Using this implementation all applications would (ideally) register or discover services using the howl libraries. Apart from this, the programs would communicate via OSC. To me this seems like a lot of overhead for a relatively small gain. OTOH it seems like a very flexible and future-proof solution. An alternate way I've been considering is an OSC-based service discovery daemon. It would accept OSC messages to register and discover services. The advantage of this is that it only uses 1 small daemon, but more importantly that applications do not need to use any additional libraries besides the OSC one (<insert liblo plug here> :). So far I can see 6 input messages for such a daemon, with 4 response messages. The disadvantage is that the daemon would still need an arbitrary port number, and all applications would need to know it (at least for a while). For intra-host discover the daemon could still interact with howl or something like it if that is needed. But if this approach is successfull we could request one dedicated port from IANA. Question 2: Are there other better alternatives? Question 3: Which alternative is better or do you prefer? (mDNS/OSC-daemon) The only thing I haven't mentioned yet is LASH. Well, in my opinion it is the prime example of an application that needs to interact with all other linux audio/midi appications. As such, I think it could gain most from a service discovery scheme. And there has been talk about using OSC for it [3]. Comments/suggestions/questions? Blast away! Phasers on stun please! And Steve: appologies for stepping on your turf. Best regards, -- Martin [1] http://www.create.ucsb.edu/pipermail/osc_dev/2004-December/000841.html [2] http://www.porchdogsoft.com/products/howl/ [3] http://music.columbia.edu/pipermail/linux-audio-dev/2004-August/009288.html [4] http://www.cnmat.berkeley.edu/OpenSoundControl/ --------------------------------------------------------------------------- 30 years from now GNU/Linux will be as redundant a term as UNIX/MERT is today. - Martin Habets ---------------------------------------------------------------------------

20 years, 8 months

[linux-audio-dev] specs for 1/3 octave filters

by Alfons Adriaensen

Hello, I'm looking for the 'official' (ANSI/IEC/ITU/???) specs for the set of 1/3 octave bandpass filters used for sound analysis. ISTR there are different grades, depending on precision and filter order. If someone would have them (or a pointer) please drop me line. TIA, -- Fons

20 years, 8 months

[linux-audio-dev] [OT] Ogg Vorbis stream

by Jens M Andreasen

Hi! CBC Toronto is evaluating the Ogg Vorbis format for Internet streaming. You can find it here: $ ogg123 http://oggtrial.nm.cbc.ca:80/cbcr2-toronto.ogg It is only 32Kbit but, considering the low bandwith, sounds amazingly good. There are some annoying artifacts though: Certain announcers gets very metallic voices Piano, Viola da Gamba etc "flutters" reminiscent of a cassette player. Any idea why it flutters? Is it my player, their encoding setup or perhaps a limitation in the Vorbis codec itself? Oh, and remember to visit their feedback section to give them a thumbs up :) -- ( ) c[] // Jens M Andreasen

20 years, 8 months

[linux-audio-dev] [ANN] liblo 0.18

by Steve Harris

http://www.plugin.org.uk/liblo/releases/liblo-0.18.tar.gz This is bugfix release and fixes a critical bug in 0.17 that bites when trying to connect multiple clients to one server. All users of 0.17 should upgrade as soon as possible. Liblo is an implementation of the Open Sound Control protocol for POSIX systems. It is released under the GNU General Public Licence. http://www.plugin.org.uk/liblo/ http://www.cnmat.berkeley.edu/OpenSoundControl/ - Steve

20 years, 8 months

Re: [linux-audio-dev] OSC, mDNS and LASH: a good combo?

by lazzaro

Hi everyone, Just a quick note on discovery from the RTP MIDI experience: http://www.cs.berkeley.edu/~lazzaro/rtpmidi/index.html The assumption we're making is that existing IETF session management tools -- the Real Time Streaming Protocol (RTSP) for applications that feel like content distribution, and the Session Initiation Protocol (SIP) for applications that feel like telephony -- will be the way RTP MIDI (together with audio and video and text, etc) sessions will get set up, and that the mechanisms these tools use for discovery will be used for RTP MIDI. On SIPPING (the place where new SIP frameworks are born and raised): http://www.ietf.org/html.charters/sipping-charter.html there has been a lot of activity recently about "p2p SIP architectures", which in a LAN context is the sort of discovery people are talking about here (link-local multicast, the backbone of mDNS, is the LAN tool at the bottom). But there's also an interest in making these p2p SIP architectures work outside a LAN context, which is where the "p2p" comes from -- they look for inspiration from the file-sharing world for discovery (Distributed Hash Tables, etc) ... Also, note that basic SIP already has some link-local multicast support -- a new phone coming on line can sent a REGISTER to a well-known local multicast address and port, where any SIP proxies online will be listening. This doesn't solve the bigger question of how you make an architecture where even phone is also a SIP proxy, and act to serve each other ... which is what the SIPPING work is about. --- John Lazzaro http://www.cs.berkeley.edu/~lazzaro lazzaro [at] cs [dot] berkeley [dot] edu ---

20 years, 8 months

[linux-audio-dev] Re: ICMC2005 Paper Deadline less than 10 days away!

by Juhana Sadeharju

>From: Pau Arumi <parumi(a)iua.upf.es> > >Please note that the ICMC 2005 ( September / Barcelona ) paper >submission is less than 10 days away! We urge everyone to post their >papers to the suvisoft system as soon as possible to prevent any last >minute problems. >For details on submissions see http://www.icmc2005.org/ Please request or make sure that your paper will be placed "open access" after the conference. Or submit to conferences already making their papers "open access", like DAFX. Does anyone have the earlier ICMC conference papers conveniently available as PDF files and could make them all available for me? I would like to go through all ICMC papers back from 1980ties. Juhana -- http://music.columbia.edu/mailman/listinfo/linux-graphics-dev for developers of open source graphics software

20 years, 8 months

[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

20 years, 8 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).

20 years, 8 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/

20 years, 8 months

[linux-audio-dev] addy change

by Dave Phillips

Greetings: My ancient bright.net address is finally closed, as of now. I'll receive no more email at that address (current addy is in this mail's header). If you've sent any mail to me over the past two days it's probably been lost: I inadvertently cleared my Inbox for the older account, so please resend if you've sent anything directly to me recently. All my bright.net pages will be revived at another location, I'll send a note to this list at that time to say where & when. Best, dp

20 years, 8 months

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Linux-audio-dev