Currently in 'Scales' Yoshimi can set this anywhere between 1Hz and 2kHz, which
is frankly ridiculous.
This doesn't appear at all in the Scala documentation, so that's no guide.
I've had suggestions ranging from +- 1/2 semitone to +- half octave as being
more than enough, considering that there is also semitone master key shift
covering +- 3 octaves (used to be 5!) along with a fine detune of +63 -64
cents.
What have other synth people here set for this? Does anyone else actually have
the setting?
--
Will J Godfrey
http://www.musically.me.uk
Say you have a poem and I have a tune.
Exchange them and we can both have a poem, a tune, and a song.
Hi all:
I've been trying to make my OSC2MIDI app work as an internal client for the
MOD Duo. However I've got some misunderstanding or something. I'm first
just trying it on desktop (debian) but even compiling the example internal
client at
https://github.com/jackaudio/jack2/blob/develop/example-clients/inprocess.c
and running
lack_load /home/spencer/inprocess
yeilds the same result as when I try to run osc2midi. It fails with the
message intclient = 0 status = 0x1
Are the internal clients supposed to be in a special directory or
something? I haven't had any luck with the googles for documentation or
examples beyond the source for the client.
My source is at https://github.com/ssj71/OSC2MIDI/tree/jack_internal/src if
it helps.
If more information about my system or whatever would be helpful just let
me know. Thanks,
_Spencer
Guitarix release 0.38.1
Guitarix is a tube amplifier simulation for
jack (Linux), with an additional mono and a stereo effect rack.
Guitarix includes a large list of LV2 and LADSPA plugins, and support
LADSPA / LV2 plugs as well in it's racks.
The guitarix engine is designed for LIVE usage, and feature ultra fast,
glitch and click free preset switching and is full Midi and remote
controllable (the Web UI is not included in the distributed tar ball).
*This is a critical bug-fix release.*
In version 0.38.0 the state (preset) wasn't loaded correctly by the
engine on startup, this release fix that.
When you've already upgraded to 0.38.0, please consider to update again
to 0.38.1
Still the LV2 plugins coming with guitarix using a Gtkmm based UI, I'll
work on it to port them to X11 based UI's.
Refer to our project page for more information:
http://guitarix.org
Download Site:
http://sourceforge.net/projects/guitarix/
enjoy
regards
hermann
Hi all.
As usual the second Tuesday of the month is upon us. I'll be in the
mainhall from 20:00.
See you there.
Cheers
/Daniel
PS Let's keep the follow-up discussion in the LAU thread. DS
With a discussion about latency in the Jack lists, I thought
I ask a question I've been wondering:
By connecting a cable from a HW output to a HW input, one
can measure the round-trip latency.
But if the purpose is to try to determine the absolute
output latencies of the output port and the input port,
by say, dividing the round-trip value by 2 and assuming
this value applies to both ports, then won't this concept
fail if the output port has a different latency than the
input port? Say, by using two different devices for the
input and output ports.
I find myself asking what exactly transport position is and
how it relates to the data in the outside physical world.
I wonder if it would make sense to build an external
hardware transport position indicator so that the latency
test signals could be compared with it.
For example to measure an output port's latency:
------>--[HW transport position indicator]-->---
[PC]------- |
--- | |
| -->-[Audio output port]-------->---[Comparator]
| |
-----<--[Delay measurement]-------<-----------
The remaining unknown - the input port latency would be
given by subtracting this measured value from the total
round-trip latency.
Sound crazy?
Thanks.
Tim.
Guitarix release 0.38.0
Guitarix is a tube amplifier simulation for
jack (Linux), with an additional mono and a stereo effect rack.
Guitarix includes a large list of LV2 and LADSPA plugins, and support
LADSPA / LV2 plugs as well in it's racks.
The guitarix engine is designed for LIVE usage, and feature ultra fast,
glitch and click free preset switching and is full Midi and remote
controllable (the Web UI is not included in the distributed tar ball).
From the changelog:
 * fix bug #67, don't use malloc.h on FreeBSD
 * remove assert for ports count, to allow save removing of changed
LV2 plugins
 * add new option -E --hideonquit, this makes the UI experience smooth
when used as LV2 plugin
 * add support for LV2_URID_Map, LV2_URID_Unmap and LV2_OPTIONS to
allow more plugs to load
 * fix compiler warnings with gcc 8
 * add exit handler and warning when samplerate is above 96kHz
 * hide splash on error message
 * set online help to sourcforge/discussion
 * fix build against boost-1.69
 * add Russian-language translation by Valeriy Shtobbe and Olesya
Gerasimenko, many thanks!
 * update all build scripts to use faust version 2.15.11 and update
all generated faust files
Still the LV2 plugins coming with guitarix using a Gtkmm based UI, I'll
work on it to port them to X11 based UI's.
Refer to our project page for more information:
http://guitarix.org
Download Site:
http://sourceforge.net/projects/guitarix/
enjoy
regards
hermann
hi all,
just back home safe and waaay smoother than when getting there first :)
now,
for all the traditional and lousy unedited photos, straight out and
dumped from the camera sd-card:
https://www.rncbc.org/lac/lac2019
(note that the weather was lousy, cloudy and rainy...)
cheers and thanks for all the fish(*)
--
rncbc aka. Rui Nuno Capela
(*) ps. had none actually, there were only dead meat (and dead
vegetables too) but had it great on oysters on the last day, if seafood
counts as non-meat:)~
For Yoshi and Zyn, there are a very large number of patches that have no
copyright/license information filled in. In the first place this makes it
impossible to give any kind of acknowledgement. Potentially more critical is
the new messy copyright legislation staggering through the EU.
I don't know if there is any practical way of adding this to old files, but at
least when creating new one *please* fill these fields in - even if you don't
think you'll ever release them.
As and aside, a lot of these also have no 'Type' filled in :(
Apologies for the cross post - not really sure where this should go.
--
Will J Godfrey
http://www.musically.me.uk
Say you have a poem and I have a tune.
Exchange them and we can both have a poem, a tune, and a song.
*Apologies for cross-postings*
# Fifth Annual Web Audio Conference - Call for Submissions
https://www.ntnu.edu/wac2019
The fifth Web Audio Conference (WAC) will be held 4-6 December, 2019 at the
Norwegian University of Science and Technology (NTNU) in Trondheim, Norway.
WAC is an international conference dedicated to web audio technologies and
applications. The conference addresses academic research, artistic
research, development, design, evaluation and standards concerned with
emerging audio-related web technologies such as Web Audio API, Web RTC,
WebSockets and Javascript. The conference welcomes web developers, music
technologists, computer musicians, application designers, industry
engineers, R&D scientists, academic researchers, artists, students and
people interested in the fields of web development, music technology,
computer music, audio applications and web standards. The previous Web
Audio Conferences were held in 2015 at IRCAM and Mozilla in Paris, in 2016
at Georgia Tech in Atlanta, in 2017 at the Centre for Digital Music, Queen
Mary University of London in London, and in 2018 at TU Berlin in Berlin.
The internet has become much more than a simple storage and delivery
network for audio files, as modern web browsers on desktop and mobile
devices bring new user experiences and interaction opportunities. New and
emerging web technologies and standards now allow applications to create
and manipulate sound in real-time at near-native speeds, enabling the
creation of a new generation of web-based applications that mimic the
capabilities of desktop software while leveraging unique opportunities
afforded by the web in areas such as social collaboration, user experience,
cloud computing, and portability. The Web Audio Conference focuses on
innovative work by artists, researchers, students, and engineers in
industry and academia, highlighting new standards, tools, APIs, and
practices as well as innovative web audio applications for musical
performance, education, research, collaboration, and production, with an
emphasis on bringing more diversity into audio.
## Theme and Topics
The theme for the fifth edition of the Web Audio Conference is Diversity in
Web Audio. We particularly encourage submissions focusing on inclusive
computing, cultural computing, postcolonial computing, and collaborative
and participatory interfaces across the web in the context of generation,
production, distribution, consumption and delivery of audio material that
especially promote diversity and inclusion.
## Further areas of interest include:
* Web Audio API, Web MIDI, Web RTC and other existing or emerging web
standards for audio and music.
* Development tools, practices, and strategies of web audio applications.
* Innovative audio-based web applications.
* Web-based music composition, production, delivery, and experience.
* Client-side audio engines and audio processing/rendering (real-time or
non real-time).
* Cloud/HPC for music production and live performances.
* Audio data and metadata formats and network delivery.
* Server-side audio processing and client access.
* Frameworks for audio synthesis, processing, and transformation.
* Web-based audio visualization and/or sonification.
* Multimedia integration.
* Web-based live coding and collaborative environments for audio and music
generation.
* Web standards and use of standards within audio-based web projects.
* Hardware and tangible interfaces and human-computer interaction in web
applications.
* Codecs and standards for remote audio transmission.
* Any other innovative work related to web audio that does not fall into
the above categories.
## Submission Tracks
We welcome submissions in the following tracks: papers, talks, posters,
demos, performances, and artworks. All submissions will be single-blind
peer reviewed. The conference proceedings, which will include both papers
(for papers and posters) and extended abstracts (for talks, demos,
performances, and artworks), will be published open-access online with
Creative Commons attribution, and with an ISSN number. **A selection of the
best papers, as determined by a specialized jury, will be offered the
opportunity to publish an extended version at the Journal of Audio
Engineering Society.**
**Papers**: Submit a 4-6 page paper to be given as an oral presentation.
**Talks**: Submit a 1-2 page extended abstract to be given as an oral
presentation.
**Posters**: Submit a 2-4 page paper to be presented at a poster session.
**Demos**: Submit a work to be presented at a hands-on demo session. Demo
submissions should consist of a 1-2 page extended abstract including
diagrams or images, and a complete list of technical requirements
(including anything expected to be provided by the conference organizers).
**Performances**: Submit a performance making creative use of web-based
audio applications. Performances can include elements such as audience
device participation and collaboration, web-based interfaces, Web MIDI,
WebSockets, and/or other imaginative approaches to web technology.
Submissions must include a title, a 1-2 page description of the
performance, links to audio/video/image documentation of the work, a
complete list of technical requirements (including anything expected to be
provided by conference organizers), and names and one-paragraph biographies
of all performers.
**Artworks**: Submit a sonic web artwork or interactive application which
makes significant use of web audio standards such as Web Audio API or Web
MIDI in conjunction with other technologies such as HTML5 graphics, WebGL,
and Virtual Reality frameworks. Works must be suitable for presentation on
a computer kiosk with headphones. They will be featured at the conference
venue throughout the conference and on the conference web site. Submissions
must include a title, 1-2 page description of the work, a link to access
the work, and names and one-paragraph biographies of the authors.
**Tutorials**: If you are interested in running a tutorial session at the
conference, please contact the organizers directly.
## Important Dates
March 26, 2019: Open call for submissions starts.
June 16, 2019: Submissions deadline.
September 2, 2019: Notification of acceptances and rejections.
September 15, 2019: Early-bird registration deadline.
October 6, 2019: Camera ready submission and presenter registration
deadline.
December 4-6, 2019: The conference.
At least one author of each accepted submission must register for
and attend the conference in order to present their work. A limited
number of diversity tickets will be available.
## Templates and Submission System
Templates and information about the submission system are available
on the official conference website: https://www.ntnu.edu/wac2019
Best wishes,
The WAC 2019 Committee
