Linux-audio-dev

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3 participants
7520 discussions

by Christopher Arndt

>From the LAU list: Am 08.09.18 um 17:23 schrieb Len Ovens: > I would be willing to help with a govering body if there are others so > inclined. I'd definitely be interested in helping OSC staying relevant. I've dabled with different OSC-to-X bridges in the past. [1] [2] [3]. My main interest is controlling applications, which talk to some MIDI device, running on a desktop or Raspi or similar, from another application on an Android device, since MIDI and USB-OTG support on Android devices is still somewhat a matter of luck. The protocols I've seen so far, which embed MIDI in OSC are often too simplistic. If I can't transmit Sysex, for example, it's no use to me. And what is the advantage of the verbose commands MidiOSC/midioscar use over just using the MIDI data type OSC provides? Also, the MIDI specification has had a few additions in the past years and a OSC-MIDI protocol hould make sure to support those as well. Chris [1] https://github.com/SpotlightKid/osc2rtmidi [2] https://github.com/SpotlightKid/osc2mqtt [3] https://github.com/SpotlightKid/touchosc2midi

7 years, 3 months

further in on midi2udp/tcp

by Jonathan E. Brickman

I have set up and run a number of tests now. Mido under python2, uses 5-7% of two different 2.4GHz+ cores for a one-way midi2tcp --> tcp2midi link based on the sample code using blocking waits on both MIDI and TCP ports. I ran into minor difficulty getting Mido into python2, and difficulty considerably beyond my knowledge getting Mido into python3, into this up-to-date Manjaro, so my next tests were midi2udp --> udp2midi using just Python3 and libraries JACK-Client and 'socket'; this is quite promising, just 2% CPU total, and the test is a bit crude. So now I'm working on designing an algorithm which models a hardwired MIDI cable over a UDP connection. Specific goals are: - MIDI over IP. Using UDP right now, will use TCP if a reason to do so emerges. - Simplicity. I want this implementable in dedicated hardware as easily and inexpensively as possible. I want $20 boxes where I can dial the src/dest IPs using dip switches. Dreaming? Maybe... - Very well-suited for live performance. This means absolutely no MIDI event dropouts without being unaware, and using MIDI resends and reset in emergency to handle packet loss. - Solid LAN immediately. Very slightly lossy LAN/WLAN next. WAN if there is call for it. - Reliability and predictability at MIDI standard speeds -- 31.5 kHz -- not bandwidth availability. Once this works it may be doubled or quadrupled, or brought to HD-MIDI's clock once someone decides on one. The current software thought is to have both sides have two threads: one thread running callback to JACK, the other handling UDP/TCP, the threads communicating by Python FIFO queues, the UDP/TCP thread being constrained by 31.5kHz wait-state loop of some sort. Any suggestions, abridgements, et cetera? Also any thoughts on the best way to build that UDP/TCP thread wait-state loop? I'm beginning to imagine that TCP might have the advantage of being able to build up the buffering...but all of this has been fairly far from my practical programming, and I know that so many of you live here, so I thought I might ask :-) -- Jonathan E. Brickman jeb(a)ponderworthy.com (785)233-9977 Hear us at ponderworthy.com -- CDs and MP3 available! Music of compassion; fire, and life!!!

7 years, 3 months

Reminder: Call for Participation - ALMAT Workshop @ Impuls, Academy 2019

by IOhannes m zmoelnig

ALMAT - "Algorithms That Matter" Workshop at the impuls 11th International Ensemble and Composers Academy for Contemporary Music 2019 Special workshop for computer music practitioners, sound artists and composers Call for Participation Deadline: October 1st, 2018 with Robin Minard, David Pirrò, Hanns Holger Rutz http://www.impuls.cc/academy-2019/special-programs.html#c5169 [please distribute] Algorithms that Matter (ALMAT) focuses on the experimentation with algorithms and their embedding in sound works. Rather than conceiving algorithms as established building blocks or the a priori formalisation of a compositional idea, we look at them as performing entities whose consequences are irreducible to models. Algorithms “matter” in the sense that matter and meaning cannot be distinguished, neither can artists and their computational tools. Algorithms actively produce spaces and temporalities which become entangled with their physical embeddings. The 2019 edition of the workshop focuses on the development of a site-specific sound installation. The installation will explore the interactions of algorithmic and physical spaces and their dynamic and mutable properties. Participants will work on the premise that spaces and our perception of them change depending on presence, absence, the movement of visitors, the time of the day, the rhythm of the surroundings as well as the sonic and algorithmic interventions we bring into them. This workshop seeks to attract computer music practitioners, sound artists and composers by offering a platform for exchange and reflection about their personal approaches towards algorithmic experimentation. The participants are invited to develop their various approaches within an atmosphere of collaboration, where special emphasis will be given to the translation of environmental data (such as sensor input from the surroundings and visitors) through computer music systems developed and assembled by the participants and tutors. One question we want to pursue is how behaviours can be composed that transition from "technical and artificial" to "organic and alive", particularly through the articulation of spatiality. The workshop starts with an internal presentation of the participants for the other participants and tutors. An initial sound situation using a large number of small reconfigurable speakers forms the starting point for in-situ work. This structure will then be available for decomposition and rearrangement by the participants. The space will become a public exhibition halfway through the workshop, making it possible to observe and adapt to the interactions with the audience, a central question in the making of sound installations. The workshop will be held with technical infrastructure provided by the Institute for Electronic Music and Acoustics (IEM), including an 48-channel sound system and a selection of sensors. The workshop ALMAT was developed by David Pirrò and Hanns Holger Rutz (both IEM Graz) and will be held together with the special support by Robin Minard. How to apply: 1.) First, you must register and be accepted as a participant of the impuls Academy 2019. 2.) Along with your application, you must submit a statement concerning your specific interest in participating in the ALMAT Workshop or send this by e-mail to office(at)impuls(dot)cc. 3.) In addition, please send a description of your personal work in relation to the workshop's theme stating your previous experiences and describing employed computational approaches, their aesthetic

7 years, 3 months

[ANN] Qtractor 0.9.2 - The Summer'18 Release

by Rui Nuno Capela

At last! Qtractor 0.9.2 (summer'18 beta) is released! Not much has changed but here's the change-log: - AppData/AppStream metadata is now settled under an all permisssive license (FSFAP); also updated to be the most compliant with latest freedesktop.org specification and recommendation. - Fix build for Qt >= 5.11.0 (by David Geiger, thanks); also for some g++ >= 8.1.1 warnings and quietness. Description: Qtractor [1] is an audio/MIDI multi-track sequencer application written in C++ with the Qt framework [2]. Target platform is Linux, where the Jack Audio Connection Kit (JACK [3]) for audio and the Advanced Linux Sound Architecture (ALSA [4]) for MIDI are the main infrastructures to evolve as a fairly-featured Linux desktop audio workstation GUI, specially dedicated to the personal home-studio. Website: http://qtractor.org http://qtractor.sourceforge.net https://qtractor.sourceforge.io Project page: http://sourceforge.net/projects/qtractor Downloads: http://sourceforge.net/projects/qtractor/files - source tarball: http://download.sf.net/qtractor/qtractor-0.9.2.tar.gz - source package (openSUSE Tubleweed): http://download.sf.net/qtractor/qtractor-0.9.2-37.rncbc.suse.src.rpm - binary package (openSUSE Tubleweed): http://download.sf.net/qtractor/qtractor-0.9.2-37.rncbc.suse.x86_64.rpm - AppImage [7] packages: http://download.sf.net/qtractor/qtractor-0.9.2-7.x86_64.AppImage Git repos: https://git.code.sf.net/p/qtractor/code https://github.com/rncbc/qtractor.git https://gitlab.com/rncbc/qtractor.git https://bitbucket.org/rncbc/qtractor.git Wiki (help wanted!): http://sourceforge.net/p/qtractor/wiki/ - static rendering: http://qtractor.org/doc http://qtractor.sourceforge.net/doc https://qtractor.sourceforge.io/doc - user manual & how-to's: http://download.sf.net/qtractor/qtractor-manual-and-howtos.epub http://download.sf.net/qtractor/qtractor-manual-and-howtos.pdf License: Qtractor [1] is free, open-source Linux Audio [5] software, distributed under the terms of the GNU General Public License (GPL [6]) version 2 or later. References: [1] Qtractor - An audio/MIDI multi-track sequencer http://qtractor.org http://qtractor.sourceforge.net https://qtractor.sourceforge.io [2] Qt framework, C++ class library and tools for cross-platform application and UI development http://qt.io/ [3] JACK Audio Connection Kit http://jackaudio.org [4] ALSA, Advanced Linux Sound Architecture http://www.alsa-project.org/ [5] Linux Audio consortium of libre software for audio-related work http://linuxaudio.org [6] GPL - GNU General Public License http://www.gnu.org/copyleft/gpl.html [7] AppImage, Linux apps that run anywhere http://appimage.org/ See also: http://www.rncbc.org/drupal/node/1933 Enjoy && Have fun. -- rncbc aka Rui Nuno Capela

7 years, 3 months

midi2tcp and tcp2midi, working prototype

by Jonathan E. Brickman

It is working as here: https://github.com/ponderworthy/midi2tcp and quite well. Haven't come up with a single reason to make it more complicated, beyond much more careful timeout handling. It will need to be able to destroy its own socket and recreate et cetera, to be durable with marginal wifi. And performance is not very good, midi2tcp takes 3-5% of one core and tcp2midi takes 6-8% of another on this i3- 3110 at 2.4GHz. Am not sure what best to do about the performance. Will probably try converting Python to binary, but have read over and over again that that doesn't do so very much. I also had to rename it back to TCP after re-reading the Mido library docs yet again, it is using rtpmidi backend but it says it's TCP, not UDP, and it is using a connected socket which means TCP I do believe. I had thought RTP-MIDI was UDP? I wonder if judicious use of UDP would improve performance by a substantial amount? -- Jonathan E. Brickman jeb(a)ponderworthy.com (785)233-9977 Hear us at ponderworthy.com -- CDs and MP3 available! Music of compassion; fire, and life!!!

7 years, 3 months

MIDI-2-TCP, TCP-2-MIDI

by Jonathan E. Brickman

I need lossless JACK MIDI networking outside of JACK's built-in networking, and not multicast unless someone can tell me straightforwardly how to get multicast (qmidinet) to run within localhost as well as outside it. Thus I am thinking of trying my hand at using the Mido library to bridge JACK MIDI and TCP. I have never done this sort of coding before, programmatorially I am mostly a deep scripting guy, Python-heavy with a bunch of Bash on Linux, Powershell- heavy on Windows of late, with a pile of history on back in Perl on both and VBA on Windows. Anyone have hints...suggestions...alternatives...a best or better starting place? Right now I don't want the applets to do GUI at all, I just want them to sit quietly in xterms, on JACK servers, keeping connection, and passing MIDI data to and fro, as other processes and devices bring it. -- Jonathan E. Brickman jeb(a)ponderworthy.com (785)233-9977 Hear us at ponderworthy.com -- CDs and MP3 available! Music of compassion; fire, and life!!!

7 years, 3 months

Berlin Linux Audio meeting @ c-base 2018-09-11

by Daniel Swärd

Hi all. Next meeting at c-base is on Tuesday 2018-09-11. To avoid cross-posting too much on the mailing lists I'd like the follow-up discussion to happen in the thread to the invitation mail I sent to the linux- audio-user list. There's also a bit more content in that mail than a redirect... ;-) Cheers /Daniel

7 years, 3 months

spectmorph-0.4.1

by Stefan Westerfeld

spectmorph-0.4.1 has been released. Overview of Changes in spectmorph-0.4.1: ---------------------------------------- * macOS is now supported: provide VST plugin for macOS >= 10.9 * Include instruments in source tarball and packages * Install instruments to system-wide location * New Instruments: Claudia Ah / Ih / Oh (female version of human voice) * Improved tools for instrument building - support displaying tuning in sminspector - implement "smooth-tune" command for reducing vibrato from recordings - minor encoder fixes/cleanups - smlive now supports enable/disable noise * VST plugin: fix automation in Cubase (define "effCanBeAutomated") * UI: use Source A / Source B instead of Left Source / Right Source * UI: update db label properly on grid instrument selection change * Avoid exporting symbols that don't belong to the SpectMorph namespace * Fix some LV2 ttl problems * Fix locale related problems when using atof() * Minor fixes and cleanups What is SpectMorph? ------------------- SpectMorph is a free software project which allows to analyze samples of musical instruments, and to combine them (morphing). It can be used to construct hybrid sounds, for instance a sound between a trumpet and a flute; or smooth transitions, for instance a sound that starts as a trumpet and then gradually changes to a flute. SpectMorph ships with many ready-to-use instruments which can be combined using morphing. SpectMorph is implemented in C++ and licensed under the GNU LGPL version 3 Integrating SpectMorph into your Work ------------------------------------- SpectMorph is currently available for Linux and Windows users. Here is a quick overview of how you can make music using SpectMorph. - VST Plugin, especially for proprietary solutions that don't support LV2. (Available on Linux and 64-bit Windows) - LV2 Plugin, for any sequencer that supports it. - JACK Client. - BEAST Module, integrating into BEASTs modular environment. Note that at this point, we may still change the way sound synthesis works, so newer versions of SpectMorph may sound (slightly) different than the current version. Links: ------ Website: http://www.spectmorph.org Download: http://www.spectmorph.org/downloads There are many audio demos on the website, which demonstrate morphing between instruments. -- Stefan Westerfeld, Hamburg/Germany, http://space.twc.de/~stefan

7 years, 3 months

Re: [LAD] ?= Updat

by bill-auger

Spam detection software, running on the system "mail1.linuxaudio.cyso.net", has identified this incoming email as possible spam. The original message has been attached to this so you can view it or label similar future email. If you have any questions, see @@CONTACT_ADDRESS@@ for details. Content preview: yes that was a not a great analogy - my example was only meant to be general advice for any arbitrary dependency - it did not fit well for this case where that dependency is part of the tool-chain - indeed, you are correct that the very purpose of makefiles is to abstract over system-specifics in the tool-chain (and pkg-config itself is for abstracting system-specific library filenames) - if the two pkg-config binaries had different filenames then it would perhaps call for a new makefile variable like: $PKGCONF [...] Content analysis details: (5.5 points, 5.0 required) pts rule name description ---- ---------------------- -------------------------------------------------- 2.5 RCVD_IN_SORBS_HTTP RBL: SORBS: sender is open HTTP proxy server [75.138.187.221 listed in dnsbl.sorbs.net] 2.4 RCVD_IN_SORBS_SOCKS RBL: SORBS: sender is open SOCKS proxy server 1.1 DATE_IN_PAST_03_06 Date: is 3 to 6 hours before Received: date -0.5 AWL AWL: Adjusted score from AWL reputation of From: address

7 years, 3 months

Re: [LAD] ?==?utf-8?q? Update

by bill-auger

Spam detection software, running on the system "mail1.linuxaudio.cyso.net", has identified this incoming email as possible spam. The original message has been attached to this so you can view it or label similar future email. If you have any questions, see @@CONTACT_ADDRESS@@ for details. Content preview: On Tue, 28 Aug 2018 16:48:40 +0200 Hermann Meyer wrote: > Using pkg-config means that it works on any system, even older ones, using pkg-config means that it works on any system that has pkg-config installed - using pkgconf means that it works on any system that has pkgconf installed - and either of pkg-config and pkgconf can be installed on any system regardless of what the distro declares as the "official" implementation [...] Content analysis details: (5.4 points, 5.0 required) pts rule name description ---- ---------------------- -------------------------------------------------- 0.0 BAD_ENC_HEADER Message has bad MIME encoding in the header 2.5 RCVD_IN_SORBS_HTTP RBL: SORBS: sender is open HTTP proxy server [75.138.187.221 listed in dnsbl.sorbs.net] 2.4 RCVD_IN_SORBS_SOCKS RBL: SORBS: sender is open SOCKS proxy server 1.1 DATE_IN_PAST_03_06 Date: is 3 to 6 hours before Received: date 0.1 DKIM_SIGNED Message has a DKIM or DK signature, not necessarily valid -0.1 DKIM_VALID Message has at least one valid DKIM or DK signature -0.1 DKIM_VALID_AU Message has a valid DKIM or DK signature from author's domain -0.5 AWL AWL: Adjusted score from AWL reputation of From: address

7 years, 3 months

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Linux-audio-dev