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7516 discussions

[linux-audio-dev] Microsoft gets a patent on partitioned convolution

by Anders Torger

This might be interesting to some of you: The newly granted patent US6625629 "System and method for signal processing using an improved convolution technique" owned by Microsoft, covers partitioned convolution. The patent was filed in May 2000, and granted in September 2003. This is in most claims the same convolution algorithm previously patented by Lake Technology with priority date back in July 7 1992, US5502747. And that is in most claims the same algorithm as invented and published by Soo and Pang and others prior to 1992, which is the same algorithm used in my software BruteFIR. Isn't the patent system wonderful? The requirements "new" and "non-obvious" were in practice scrapped a long time ago... Anyway, Microsoft does as far as I know not have the tradition to harass free software developers as Lake has, so I don't think the fact that another one owns the partitioned convolution algorithm will cause any more trouble. It would be interesting to know what Lake thinks about this. If Microsoft has patented it, they probably use it, and then Lake might want them to pay royalty, or else.... /Anders Torger

22 years

[linux-audio-dev] [ann] guitar preamp plugin, v2

by Tim Goetze

hi all, a new, completely redone version of my valve-inspired preamp plugin is up. improvements over the predecessor include: * smoother distortion; clipping kicks in veeery gently * a better 'gain' knob model and balance between input and output loudness * initial hi-pass filtering now part of the unit * gentle mid-range frequency boost * closer matching of the original circuit's harmonic distortion characteristics * 4x oversampling at 44-48 kHz sample rates more info and the plugin sources at http://quitte.de/dsp/preamp.html enjoy, tim

22 years

[linux-audio-dev] Does NI run Traktor FS on Linux through Wine ?

by Benno Senoner

From here: http://www.native-instruments.com/index.php?fsfeatures_us "In TRAKTOR FS the Final Scratch System has a high-performance DJ software that has been specifically optimized for the needs of Final Scratch users. System Requirements: *Runs on standard PCs, operating on Linux OS (all necessary software included)" from here: http://jane.no-ip.com/traktor-debian.html "This is work in progress but posted for people who wish to get Native Instruments / Standon Magnetics Final Scratch version of Traktor to work on their own linux distribution rather than the stripped installation that they provide on the CD. Please note this may not work for you at all - and I've tried to be as direct as I can with the documentation - It's assumed that you've played in a shell before, and have some familiarity with linux.. " I'm not a FS user but from reading the page it seems that they are using Wine to run it under linux from a self bootable CD. Anyone got more infos about this ? (I'd interested if Wine is performant enough etc ....) from here: http://djzorro.mynet.it/ "Dear Visitor, these "patches" (try to) add (a sort of) networking ability to a GNU/Linux distribution made by Nativ e Instruments as a OS for their Traktor Final Scratch software. " For curiousity I downloaded one of the ZIP files. It unzips to a .tuc and .tup file. The tup file is a tar.bz2 file so just rename and untar it. For example in the boot dir you see two kernels: 2.4.22pre1-ni 2.4.22pre1-z Are these standard kernels, did they use patches or did they write their own ? (where are the sources ? are they objeing the GPL license ?) Comments ? Benno http://www.linuxsampler.org

22 years

[linux-audio-dev] [ANN] libgig - Gigasampler file loader library

by Christian Schoenebeck

Thanks to the great reverse engineering work of Paul Kellett and Ruben van Royen I created this library. libgig is a C++ cross-platform loader library for Gigasampler files. The library consists of three parts: - RIFF classes for parsing arbitrary RIFF files - DLS classes which use the RIFF classes to parse and provide access to DLS level 1 and 2 files - gig classes which are based on the DLS classes and provide the necessary extensions for the Gigasampler file format So you can also use the library for loading DLS files or RIFF files in general, but the main focus is the Giga format, which you might get from the name of this lib ;) You can get the sources coming with tools / demo apps, API documentation, UML diagram and a short kick start docu at: http://stud.fh-heilbronn.de/~cschoene/projects/libgig/ I claim that this library provides all articulation data the Gig format contains. If you think I might miss some, let me know! The library should be compilable on all platforms. Nevertheless I don't own a non Intel system, so I can't test it; maybe it needs some minor adjustments but I took care about endian and word size correctness when I wrote the lib, so I'm quite confident it will work! Let me if you tried it on a non Intel system! Best regards Christian Schoenebeck

22 years

[linux-audio-dev] Hammerfall latency confusion in german "Keyboards" articles ?

by Benno Senoner

Hi, I regularly read the german "Keyboards" magazine and in some occasions they tested some Windows softsynths/HDR apps and measured voicecount/number of parallel instances of plugins. They usually talk about "3 msec latency" case but in one occasion I've seen they talked about "1.5msec latency" too. I could be wrong but I assume they are misinterpreting "fragment latency" and total latency, fooling users into believing that the latency numbers they gave refered to the total latency. My question is: since the Hammerfall cards always use two fragments, are the buffer size (latency) figures shown in the diagram below: http://www.rme-audio.de/images/hdsp/mf_set.gif refered to the whole buffer or to a single fragment. for example take the 1.5msec (64 samples) case. Does that mean 64 samples in total (32samples/fragment = 0.75msec per fragment) or 64 samples per fragment (1.5msec per fragment thus a total 3msec). I'm sure Paul D. and other Hammerfall experts will be able to enlighten me. Sorry for the question but I just wanted to be sure that it's not the case where per-fragment latencies as sold as total latencies since lower latency numbers are always cool :-) cheers, Benno http://www.linuxsampler.org

22 years

[linux-audio-dev] Does NI run Traktor FS on Linux through Wine ?

by Benno Senoner

This is a multi-part message in MIME format.

22 years

[linux-audio-dev] Softsynth latency control [Jack?]

by Florian Schmidt

Hi, i was thinking about latencies of softsynths and how cubase vst handles this when playing back recorded midi tracks as opposed to playing the softsynth directly. I'm talking about the vst-softsynths here. not the ones that get controlled via usual midi ports. It seems that during playback of a prerecorded midi track cubase vst knows the latency of the softsynth and and arranges for that so that the softsynth is really tight [no offset to other recorded audio material]. This is, of course, only possible because the midi signal if routed vst-internally is handled different than midi that gets sent out. I suppose that todays available audio/midi-sequencer support midi in a form that it is synchronized to the latency of the audio signal that is sent out. So, if the audio signal takes 2*128/44100s [2 buffers a 128 frames] to reach the ear of the user, then the prerecorded midi signal is delayed this exact amount of time, because midi signals is supposed to be of zero latency. And for external hardware synthesizers this is pretty much true. This way prerecorded audio and midi tracks are nicly synchronised during playback. Now, for the case of a sofstsynth this scenario doesn't fit, because the synth is not zero latency. This means that a "tight" midi track is audible with the softsynths output latency. Now, Jack is really an audio server but it could also be used to communicate the latency of the softsynth to the Audio/Midi Sequencer. I know there's calls to get the output latency of physical output ports. But it would be nice to have calls to ask for the physical output latency of clients [this value can be different for different clients - maybe with different output devices]. This way, the audio/midi-sequencer could ask jack for a list of clients and offer this choice to the user who then can select which midi tracks correspond to which softsynth. The Sequencer could then send the midi events a tad bit earlier [the output latency of the softsynth]. What do you think? I have no insight into the implementation details of jack, so i don't know how possible this scenario is and if it fits with design decisions. Regards Florian Schmidt

22 years

[linux-audio-dev] CheeseTracker 0.9.0 released!

by Juan Linietsky

Cheesetracker is a portable Impulse Tracker clone. It supports all the main Impulse Tracker and FastTracker/SoundTracker features, plus many more. It is licensed under the GNU Public License. It runs under Linux/BSDs, MacOSX(QT/Mac or Qt/X11), or Win32(Cygwin). It can be obtained at http://cheesetronic.sf.net For those unfamiliar with trackers, this is basically an all-in-one sequencer/sampler/sample editor/mixer/fx processor bundle, wich provides fast and flexible means for professional grade music composing. Including in the release are tutorials and documentation. Volunteers to help to better documment it would be highly appreciated. The ChangeLog for this release follows: v0.9.0 ------ -Removed sample mode (Scream Tracker 3 mode) as It's obsolete and not needed for backwards compatibility. -Instruments are now layered and can perform up to 4 simultaneous voices with individual parameters each. -Added an effect buffers system. Instruments are now routed to custom buffers (each with individual effect chains), which can also re-route to other buffers. This allows to create very complex effect routes for realtime processing. -Effect buffers are "process on demand", which means they are smart enough to notice when they are doing nothing, thus disabling themselves. -Added a few internal effects: Amplifier, Clipping/Distortion, Recursive Delay Line, Stereo Enhancer, Chorus and Reverb. -Added a LADSPA effect source plugin. LADSPA plugins can be added to the chains. -Created new file formats that save all the new features: .CT (CheeseTracker Module) .CI (Cheesetracker Instrument) and .CS (CheeseTracker Sample) -Added preview to the sample file selection box, just hilite a file and use your keyboard to play notes (/ and * work in there too). -Readded JACK Driver (Kasper Souren) -Added RTAUDIO driver, allows for porting to Win32/ASIO and OSX/CoreAudio -Fixed some big endian compatibility issues. CheeseTracker should work fine again on big endian machines. -MacOSX port and build system/build fixes courtesy of Benjamin Reed -Fixed tons and tons of bugs. AND NOW PLEASE READ: How fast CheeseTracker reaches version 1.0 depends on YOU. The focus of this version is STABILITY. Because of this, I need to receive as many bug reports as I can, both program and build system. If you find a bug, I'd be enormously grateful if you submit it. Even if it is an obvious bug to you, chances that other people will find and report the same bug are much smaller than what you may think. If you dont report a bug that annoys you, the chances of it reappearing in the next version will allways be higher. Planned for 1.0.0: -=-=-=-=-=-=-=-=- -Rock Solid stability -WAV exporting -A hopefully working Windows port. This depends mainly on the Qt-Win32 project. If you are a good Windows programmer and would like to see CheeseTracker working in there sooner, please give those guys a hand! Enjoy!! Juan Linietsky

22 years

[linux-audio-dev] Re: Correct sustain pedal emulation (midi hold controller) ?

by vanDongen/Gilcher

On Monday 27 October 2003 15:08, Benno Senoner wrote: >Assume I press C2 with velocity 50 pedal up, the C2-pedalup (associated >to velocity 50) sample sounds. >Now I press the sustain pedal and press C2 with velocity 100. >What should the sampler do ? Quickly fade out the C2-pedalup >(velocity-50) note and trigger the >C2-pedaldown (velocity 100) note ? >And of course when you release the pedal all sustained notes will get a >note-off. I am a piano player. I would expect the C2 note to be replaced with the next attack on that note. If the pedal is pressed, the damper stays up, so the next attack will be the hammer hitting the strings, and the sounding note is not faded out before. So I think you should fade out the previous note after or on the attack of the next one. Maybe even a lot later. There is an adding resonance effect if you keep hitting the same note with the pedal down, but that is probably the sympathetic vibrations from the other strings. If the pedal is not pressed the damper returns to the string as the key is released to play the next attack. You will get a note off message then anyway. Note that releasing the pedal should only send note-off to those notes that are sounding, but whose key is not pressed. If you have keys pressed down, the dampers will be up, regardless of the position of the sustain-pedal. So these should continue. I have no idea if digital piano's actually do this correctly, but it is the way a accoustic piano works. Gerard electronic & acoustic musics-- http://www.xs4all.nl/~gml

22 years

[linux-audio-dev] LADCCA mailing list

by Bob Ham

Hi all, There's now a mailing list specifically for LADCCA discussion, ladcca-devel. You can subscribe from here: http://mail.nongnu.org/mailman/listinfo/ladcca-devel Bob -- Bob Ham <rah(a)bash.sh> "At some point, keystroke recorders got installed on several machines at Valve. Our speculation is that these were done via a buffer overflow in Outlook's preview pane." -- Gabe Newell on the Half-Life 2 source leak

22 years

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