Linux-audio-dev

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7513 discussions

Re: [linux-audio-dev] Gigasampler vs Halion PR war

by Benno Senoner

I suspect that Steinberg (and others) went the wait-and-see attitude. They recognized that the patent was simply too broad and that an eventual lawsuit would have caused quite a controversy in the audio world. (Perhaps damaging good relations between Tascam and other audio sw producers, generating bad press and probably in the end resulting in the patent declared invalid). Plus it seems that soon there will be new contenders on the commercial disk based samplers area.I believe that regarding the patent they took the same stance as (probably) Steinberg did. For example Native Instrument announced that they will add disk streaming support to their Kontakt sampler this month. ---- http://www.nativeinstruments.de/index.php?kontakt_us Direct From Disc extension In November 2002 a free Mac and PC update for registered KONTAKT users will add the Direct From Disc extension. This feature will enable KONTAKT to play samples directly from the hard drive. Sample size will no longer be limited by the amount of physical RAM - an instrument can be as large as available hard drive space. All instruments utilizing this technology will load many times faster than RAM-based instruments. --- You are probably aware that Invision has a patent about the PC softsynth this means that there are literally hundreds of such apps "violating" the patent. The idea of caching data in RAM that resides on a mass storage device is just too old, it has existed since the first mass storage device was introduced. Anyway if you care, in the good old Amiga days I implemented routines that allowed the streaming of large audio clips from disk and CDROM with instant play by caching the first part of the clip in RAM. It was 1991-92 I believe the project was part of an italian version of the Grolier Encyclopedia for the Amiga and that strange CD-like player amiga device. (I do not remember the name anymore). This is just a small example of "prior art" :-) I guess there are hundreds other of examples too. I fully agree with what David Burrows said. :-) cheers, Benno Paul Davis wrote: >>Do we know what Steinberg did about this, if anything? >i asked karl steinberg. he was unwilling to say anything about it. -- http://linuxsampler.sourceforge.net Building a professional grade software sampler for Linux. Please help us designing and developing it.

22 years, 10 months

[linux-audio-dev] Gigasampler vs Halion PR war

by Benno Senoner

Gigasampler / Gigastudio vs Halion "comparison": http://www.nemesysmusic.com/news/NewsLet/newslet_Mar2002.html no comment :-) Benno -- http://linuxsampler.sourceforge.net Building a professional grade software sampler for Linux. Please help us designing and developing it.

22 years, 10 months

[linux-audio-dev] spiced 12AX7, plots, clipper.so

by Tim Goetze

after taking some plots from a simple 12AX7 preamp spice model, i've decided to try naive asymmetric hard-clipping, without any antialiasing measures. http://quitte.de/12AX7-clipping.html has the plots, a link to the spice model source, the hard clipper ladspa implementation and the mandatory mp3: http://quitte.de/brat.mp3 which is the output from this signal chain: guitar (bridge pickup, humbucker) -> HiPass (200) -> Gain (db = 30) -> clipper.so -> unmatched.so it may not be a true amp model, but to me ... it rocks. i'm still pondering whether antialiasing is needed, and if so, how to do it (fit in a windowed sinc where the signal hits the clipping threshold? thoughts welcome). for building a decent 'virtual amp', i imagine some combination of Steve's excellent valve and valve_rect for a good, smooth and warm lowish-gain tone, a bit of tunable eq and this kind of hard-clipping for hi-gain, harsh distortion topped off with a cabinet response will just about do it for me. tim

22 years, 10 months

Re: [linux-audio-dev] Re: image problem [was Re: [Alsa-devel] help for a levelmeter]

by John Lazzaro

> Paul Davis <paul(a)linuxaudiosystems.com> writes: > > OS X is a major challenge to the linux audio religious faithful. It's an opportunity, too, though -- there's a segment of the Mac population that can barely justify the cost premium for Mac hardware, because they use the hardware for recreation or avocation, not as a tool to make more money. If the Linux folks: -- Port the popular apps to OS X, and improve them so that the honest and budget-conscious Mac folks adopt the free Linux apps rather than pirate commercial apps. -- Keep those apps running just as well (or better) under Linux, and evangelize the hardware cost differential. Linux audio could probably carve out the budget-conscious Mac subset over a period of 3-5 years, which (random guess) is 100,000 users or so. That's not my motivation for putting sfront on OS X -- that has more to do with just reaching more users to popularize the underlying standards -- but it might be a motivation for the mainstream Linux GUI audio apps to start a serious OS X porting effort. ------------------------------------------------------------------------- John Lazzaro -- Research Specialist -- CS Division -- EECS -- UC Berkeley lazzaro [at] cs [dot] berkeley [dot] edu www.cs.berkeley.edu/~lazzaro -------------------------------------------------------------------------

22 years, 10 months

Re: [linux-audio-dev] Re: image problem [was Re: [Alsa-devel] help for a levelmeter]

by CK

Thanks paul, I have this problem once in a while as a die hard opensource fan I didn't go out and buy software for years now and - a point that even in the linux community many people don't seem to understand - not because I'm a cheap- skate or ex-w4r3z kid that doesn't understand how commercial sw production works (no that I would but I guess I get the overall picture) _but_ because also on an application level I want to have access to the sources, to tailor to my needs, to figure out inner workings without bothering tech support, to fix things. I had this discussion with a cycling74 employee recently explaining that I might buy max/msp but _not_ without sources, I'd sign their soul-demanding NDA, pay more - whatever to be able to change #define MAXINLETS 64 in any objects src to what I believe is needed ... I read: [very insightful posting snipped] > improve it. OS X does not let me do this because it isn't as > tinker-friendly as linux. make this a 'thinker-friendly' aswell (SCNR maybe it's because I'm .eu) cheers, x -- chris(a)lo-res.org Postmodernism is german romanticism with better http://pilot.fm/ special effects. (Jeff Keuss / via ctheory.com)

22 years, 10 months

re:[linux-audio-dev] Open Music

by assayag gerard

> From: David Gerard Matthews <dgm4+(a)pitt.edu> > To: linux-audio-dev(a)music.columbia.edu > Subject: [linux-audio-dev] Open Music > Date: 25 Oct 2002 23:39:57 -0400 > > Is anyone working on this: http://www.ircam.fr/equipes/repmus/OpenMusic? > Apparently they GPL'd the sources, and you can download it, but it's > written in Lisp, and MCL PPC Lisp at that. However, as they put it: > > "At the beginning, this will make sense only to people owning the > Digitool compiler. Although we are conscious that this limitation does > not fit clearly into the GPL framework, we think that making the sources > available is an oppurtunity to raise collaborations leading to new > versions of OM that would depend only on open sources compiler, > particularly on linux platforms" > > I did speak with some Ircam people at Darmstadt this past summer, and I > don't think they really have the interest in doing the port themselves. > However, Ircam certainly isn't anti-Linux, so they might be > able/willing to help/be persuaded to work on it. (François, and > Norbert, if you're on this list, feel free to comment.) > > -dgm Until now, we did'nt have the internal resources to develop a full linux version of OpenMusic. However a fragmental prototype of OM/Linux based on cmucl had been developed by Camilo Rueda and his team at Cali Univsersity in Colombia. See http://escher.puj.edu.co/openmusic/ Things are changing now, thanks to the Agnula (A GNU Linux Audio Distribution) project. This project is funded by the European Commission, coordinated by Tempo Reale in Florence, and involves Ircam (coordinator : Francois Dechelle) as a partner. See http://www.agnula.org/ Thanks to Francois Dechelle's support, we may now envision the integration of OmLinux in the following monthes, as well as the definition of a coherent development strategy between OMLinux and OM/OsX. More info to come soon... Gérard Assayag Music Representation Team IRCAM

22 years, 10 months

[linux-audio-dev] work is what happens while we're debating GUIs

by Paul Davis

this is a VSTi: http://www.harmony-central.com/Newp/2002/Oddity-large.jpg slurp ;)

22 years, 10 months

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22 years, 10 months

Re: [linux-audio-dev] 3MU as LADSPA plugin?

by Mario Lang

"Richard Furse" <rf015d9821(a)blueyonder.co.uk> writes: > Sounds like an excellent idea... Only problem is that 3MU has a sequence setting in his config file too, which makes porting to LADSPA a bit strange. LADSPA doesn't have any string-value fascilities, or anything else for sequencer data, right? > Looked for this tk3MU thing and found TromVSpace, now obsolete. You can find tk3MU on the linux-sound page, right next to 3MU. And for those curious how such a .3MU file should actually look like, I managed to work one out, from reading the tk3MU sources: ---------------------------------------<>------------------------------------- #!3MU portamento-time = 50 attack = 2.1 release = 6.9 repetitions = 16 cutoff = 100 decay = 65 filter-amount = 190 filter-poles = 10 resonance = 39 tempo = 40 waveform = "square" cutoff = 13 Note = { c0 c1 d1 c0 c1 d1 e0 d#1 } note-mode = { normal normal normal normal normal normal normal normal } note-length = { legato normal legato legato legato normal legato normal } note-portamento = { 1 0 0 1 0 0 1 0 } ---------------------------------------<>------------------------------------- -- CYa, Mario

22 years, 10 months

[linux-audio-dev] Fwd: RE: [music-dsp] Transformer emulation revisited

by Steve Harris

This is from the music-dsp list, it seems relevant to what people were discussing with SPICE emualtion of tube circuits. - Steve ----- Forwarded message from "Sergio R. Caprile" <yogurthu(a)arnet.com.ar> ----- > Date: Thu, 07 Nov 2002 11:05:32 -0300 (ART) > From: "Sergio R. Caprile" <yogurthu(a)arnet.com.ar> > Subject: RE: [music-dsp] Transformer emulation revisited > To: music-dsp(a)shoko.calarts.edu > X-Mailer: XFMail 1.5.2 on Linux > > > On 06-Nov-2002 music-dsp-digest wrote: > > > I've been too lazy to sit down and calculate the typical Preamp hi-freq > > boosting from schematic component values, need to do that sometime. > > I did some Spice simulations some time ago, as far as I remember it was more a > sort of low-freq roll-off: single pole hi-pass between stages and poor resistor > decoupling. > > > Even if the preamp has hi-freq boost that emphasizes higher-frequency > > distortion, a downstream saturating transformer might "sound good" by > > selectively adding extra harmonics to the low notes? From one view, the > > transformer might be "undoing" the preamp's hi-freq emphasized distortion. > > But the two might work synergystically to make a more complex sound than a > > simple broadband fuzz? > > > > Since there is non-linear processing involved, the transformer is unable to > undo the preamp hi-freq distortion, but it adds a different color. The main > reason to hi-pass before distorting stages was to avoid that cutting rumbling > sound or excessive bass, well, that was before grunge and Metallica and... > > > There was no tone control setting that would completely straighten out the > > lines in the tri wave, even with the amp running clean. There were > > frequency-dependent effects in distorted tones which made the waves even > > more difficult to interpret. > > The Fender tone network (later adopted and modified by Marshall and almost > everyone, including Roland) is designed to color the signal, there is no "clean" > position as in a regular Baxandall network. There is an intentional notch at > 250/500 Hz that can be softened by the mid control and two bumps at 100Hz and > 5KHz. > I am not much into tubes, but most of the preamp stages where intentionally > biased so the tubes could easily be overdriven. Some Marshall have "feature" > capacitors running across different stages, I mean, the schems say: for model A > this capacitor, model B no capacitor, model C, change to this value. Pretty much > of the sound seems to have come out of sorcery ;^), or trial and error btw. > > James: > You said you simulated a simplified tone control > Did you simulate the Fender/Marshall network ? I tried to get the transfer > function but it gets a bit complicated and I always give up before bilinear > transform, and don't want to split the circuit as that might remove all the > interactions along the controls. > > Regards > > > > -- > -------------------------------------------------------------- > Sergio R. Caprile, Electronics Engineer, Bs.As., Argentina > http://www.geocities.com/scaprile > -------------------------------------------------------------- > > dupswapdrop -- the music-dsp mailing list and website: subscription info, > FAQ, source code archive, list archive, book reviews, dsp links > http://shoko.calarts.edu/musicdsp/ ----- End forwarded message -----

22 years, 10 months

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Linux-audio-dev