Does anyone know what happened to mutopia.org? They
used to have public domain scores formatted with among
other things, Lilypond. I think they also had midi
files.
Now the website just has a big logo, with promise of
the 'rebirth' of mutopia coming soon, but that's been
up that way for awhile now.
Any first- or second-hand knowledge out there?
--Mark
=====
--
Seek professional help! Ask a librarian.
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TAP-plugins 0.7.0 released.
Homepage: http://tap-plugins.sf.net
Reminder: the docs are in a separately downloadable package, get it
from the same place!
New plugins (as always, check the docs for detailed usage info):
* TAP Chorus/Flanger
An implementation capable of creating traditional Chorus and Flanger
effects, spiced up a bit to make use of stereo processing. It sounds
best on guitar and synth tracks.
* TAP Sigmoid Booster
This plugin applies a time-invariant nonlinear amplitude transfer
function to the signal. Depending on the signal and the plugin
settings, various related effects (compression, soft limiting,
emulation of tape saturation, mild distortion) can be achieved.
* TAP TubeWarmth
Adds the character of vacuum tube amplification to your audio tracks
by emulating the sonically desirable nonlinear characteristics of
triodes. In addition, this plugin also supports emulating analog
tape saturation.
Fixes:
* Caught denormal problem causing large CPU peaks in TAP Stereo Echo.
Hopefully there are no more infected plugins in my collection; I
carefully inspected all feedback loops in all plugins. But that
don't mean a thing; please do not hesitate to complain if you still
experience such bad behaviour in any plugin.
Hope you enjoy this release. Please report any problems.
Tom
Ron,
Thanks for posting your experiences and techniques. There is an article
on this same subject (controlling loudness) in the most recent
edition of Electronic Musician. Just thought you might want to check
that out, too. This is definitely a "current topic."
The Square One column: "You've Got the Power: Some straight talk about
volume levels" by Mark Ballora, Asst. Prof. of Music Technology at
Penn State. September 2004, page 82++.
Best regards,
Dave.
I now have, after installing the various plugin packages out there, an
embarrasment of riches in my LADSPA folder. Pawing through them all is
inconvenient, even when catagorized as most are, since I will never use
the majority. Does anyone have ideas on how to thin things out, without
breaking apps that need specific plugins ? I mean, how many kinds of
distortion does a guy need anyway ? It is not always clear which effect
goes with which file name. The idea would be to audition the likely
ones, say "Ohh I like that", and remove the rest from the listings.
Hi,
The recent discussions concerning documentation
motivated me to write an article about mastering. This
document isn't an application or library specific
howto. I'd like to thank Daniel James for editing this
version.
To a small degree my document is a response to Rip
Rowan's Over The Limit article. Over The Limit was
referenced during a thread in which I requested
assistance for achieving maximum loudness. Rip's
article can be found here:
http://www.prorec.com/prorec/articles.nsf/articles/8A133F52D0FD71AB86256C2E…
After I'm satisfied with Loudness, I intend to publish
an article on mixing. That document has been sitting
on the back burner for many months. I've just never
presented it.
My document is titled Loudness. The current version is
good enough to publish but I know feedback from our
community will make it better. Where it's appropriate
I will rewrite Loudness.
ron
Loudness
by Ron Parker
This document is a definition of loudness in
mastering, and an introduction to techniques for
solving the basic problem. I'm including quotes from
two letters as arguments in favour of loud mastering.
The album
referred to in the first review is a job for which I
requested advice for techniques to achieve loud
mastering on the Linux Audio User mailing
list. For some of us, the ensuing thread concluded
that loud mastering is bad.
"Just heard the new CD. This is a phenomenal piece of
work. The recording is very crisp and bright. Top of
the heap. First rate! No kidding, this sounds much
better than the majority of my CDs. It's like my
stereo was designed to play it." The job order that
caused this "loud" master basically stated, achieve
every bit of loudness that you can get. And I did!
After completing the above album, I engineered, mixed
and mastered the audio for an eight minute art film.
To design an appropriate mix and master, it was vital
to know that the final destination format is DVD-Video
and the venues for playback vary from 500 seat
theatres to art center installation rooms that fit a
couple dozen people.
After asking numerous questions I concluded that the
quality of playback systems would range from great to
junk. Based on these insights, I designed a mix that
lends itself to loud mastering. By minimising
dynamics and carefully controlling total bass energy
the level of the average soundfloor could be easily
increased to produce a loud master. My reasoning is
that low volume playback on garbage systems will lose
an appreciable amount of information. And the client
review:
"Doctor, GOOD JOB ON THE FILM PROJECT
SOUNDS GOOD ON OUR SYSTEM.....
NICE BRIGHT & CLEAR NOTES
SHOULD SURVIVE <production house name>"
NOTE: Unlike the album review, the film hasn't hit the
streets and passed the acid test. I won't know for a
couple months but fully expect a dozen attendees
crammed into the corner of a room, listening to a boom
box playback system, to hear every single note of the
audio track while a raging orgy of ecstatic wine and
cheese tasters go bananas in the background.
It's my opinion that to claim loud mastering is bad is
the posturing of audio engineers that don't understand
the task. In my experience, loud mastering is a style
that is the perfect solution for specific challenges.
The film track is an example of a job that requires
loud mastering.
TECHNIQUES FOR CONTROLLING LOUDNESS
I'm defining Mastering as having the single objective
of controlling loudness. The challenge is to increase
the level of the average sound floor for any mix.
Assume you have ten control room mixes that aren't
loud enough, and that each of them has a max peak of
-10.0dBfs. The first opportunity is to increase peaks
to 0.0dBfs. JAMin and every other mastering solution
have numerous gain stages; input, EQ, compressor,
limiter, boost/softclip, output.
The +10dB of input gain produces a max peak of
0.0dBfs, but this only begins to exploit the potential
loudness. The opportunity is in creating headroom so
the level of the soundfloor average can be increased
towards 0.0dBfs. The peak is the loudest frequency
while the average is the max response level for the
majority of the frequency range. How to describe this:
Peak - 0.0dBfs
Average - ------- -20.0dBfs
Frequency 20Hz---------20kHz
In the audible range of 20Hz to 20kHz, our example
mixes have a dominant frequency peak from 250Hz to
500Hz. According to our graphic, when 250-500Hz is
peaked at 0.0dBfs, every other frequency is at
20.0dBfs.
If equalisation is used to adjust 250-500Hz by
10.0dBfs the gap between the peak and the average
becomes 10dB. To close the gap even further we can use
the low range band of a compressor to apply a 10:1
ratio.
This creates a new average peak at -20.0dBfs. We've
got 20dB of headroom and all of the aforementioned
gain stages can be used to move the average closer to
0.0dBfs. Now we've got incredible loudness. Obviously,
real mixes have numerous "errant" frequency bands.
MULTITRACK SOURCES
The advantage of multitrack sources is a level of
control that isn't available when working with stereo
files. Even though good mixes don't require a great
deal of tampering, common problems are discovered and
easily fixed during mastering. Regardless, there is a
serious limitation; it's difficult beyond reason to
put 10 multitrack sources within one session file, and
mastering is the task of making many songs sound great
together.
Consider a multitrack source where the snare drum is
the loudest instrument and it has +6.0dB transient
peaks. When this mix is routed to a stereo bus which
in turn routes to JAMin the instrument controlling the
potential level for the average soundfloor is the
snare drum. When the LADSPA TAP Limiter is used to
eliminate the +6dB spikes on the snare track the
resulting average soundfloor (entire mix) can be
increased +6.0dB without causing clips.
Assuming low frequency energy below the audible range
of 20Hz is a cause for peak levels, the Jack Audio
Analyser can be used to examine individual tracks for
excessive energy and equalisation can be adjusted.
Imagine three instrument tracks where -3.0dB
equalisation cuts in the low frequency ranges around
20Hz create an accumulated 9.0dB of headroom without
having a negative effect on the sound quality. The
resulting average soundfloor is a much better mix for
the mastering engineer.
These examples are far from reality but they describe
what mastering is and how to use a typical set of
tools to achieve the greatest potential for loudness.
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recording seems to be working OK but:
in audacity when I record the track it sounds OK
however if I generate click track and record then (the click track is
playing while I am recording) the recording is really bad (noisy, low
quality).
I vaguely remember something about full-duplex on sounblaster not
being very good, i.e. there's something wrong when using it but don't
remember what (bitrate being forced to be very low or something along
those lines).
However I can't find any information on that subject now (I tried
google and creative site), does anybody know details and/or have some
pointers to relevant docs?
system: debian unstable, 2.6.5 kenrel (with alsa), sounblaster live
platinum (with live drive).
TIA
erik
Greetings:
Recently I received a letter from a fellow who civilly noted how
atrocious is so much of the documentation for Linux audio software.
While that may be generally true it is also easy to point out specific
excellent docos, e.g., Snd, Csound, LilyPond, Rosegarden, etc., though
too at the same time it must be admitted that even those docs are not
necessarily the most well-organized. Perhaps this fellow's most damning
statement was made re: the HOWTOs available from the Linux Documentation
Project (LDP). I decided to check out the situation myself, and here's
what I found (the doc is followed by its last revision date):
Linux Sound HOWTO July 2001
ALSA Sound mini-HOWTO November 1999
Linux MIDI HOWTO May 2002
Linux MP3 HOWTO December 2001
Worse, the LDP's own documentation refers back to these out-of-date
pieces, making sure that readers continue to be misinformed. I mean no
critique of the excellent LPD, but it seems to me that as a community we
have an obligation to correct this situation. For all the talk about
improving documentation, here's a chance for anyone to get directly
involved. The format for these HOWTOs is simple and already laid out:
what's needed is currency, someone to correct and update the basic sound
& music oriented HOWTOs. Otherwise it might be better if we asked the
LDP to remove the docs in order to mitigate confusion.
Any comments ? Any takers ? Does anyone care ?
Best regards,
dp
Hi,
I'm rebuilding my Linux Audio box after a card change and system
crash. I know I've seen this problem before but can't remember
what I did to fix it (and that system and all its logs are long gone.)
I'm using a Delta 1010 (not the LT)
I'm using the CCRMA kernel: kernel-2.4.26-1.ll.rh90.ccrma
The latest ALSA release: 1.0.5a
Now I'm compiling JACK 0.98.1 and I get this in the middle of
my './configure' trace:
------------------------------------------------------
checking for pkg-config... /usr/bin/pkg-config
checking for sndfile >= 1.0... Package sndfile was not found in the
pkg-config search path.
Perhaps you should add the directory containing `sndfile.pc'
to the PKG_CONFIG_PATH environment variable
No package 'sndfile' found
configure: WARNING: *** the jackrec example client will not be built
------------------------------------------------------
wha...?
Am I gonna be needing this 'jackrec example client'?
Anybody have a clue-by-4 to throw in my direction? ;-)
Peace,
~Jos~
Hello
I'm running debian kernel 2.6.6 and am trying to get the realtime-lsm module compiled -without success.
I first tried the non-debian instructions in the INSTALL file, when this
didn't work, i tried
apt-get install realtime-source and
make-kpkg --append-to-version foo --added-patches=debian modules_image
it failed, the output is below.
(never having added extra third party modules in this way i then tried
a whole recompile of the kernel with the same result,
make-kpkg --append-to-version=foo --added-patches=debian
kernel_image modules_image)
my kernel config contains
CONFIG_SECURITY=y
# CONFIG_SECURITY_NETWORK is not set
CONFIG_SECURITY_CAPABILITIES=m
# CONFIG_SECURITY_ROOTPLUG is not set
CONFIG_SECURITY_SELINUX=y
# CONFIG_SECURITY_SELINUX_BOOTPARAM is not set
# CONFIG_SECURITY_SELINUX_DISABLE is not set
CONFIG_SECURITY_SELINUX_DEVELOP=y
# CONFIG_SECURITY_SELINUX_MLS is not set
tia for any tips on getting this working,
dee
-----
end output from make-kpkg
dh_testdir
dh_testroot
dh_clean -k
make KERNEL_DIR=/usr/src/linux MODVERSIONS=detect
KERNEL=linux-2.6.6.20040815b C
OMMONCAP=none
make[2]: Entering directory `/usr/src/modules/realtime'
make modules -C /usr/src/linux SUBDIRS=/usr/src/modules/realtime
make[3]: Entering directory `/usr/src/kernel-source-2.6.6'
CC [M] /usr/src/modules/realtime/realcap.o
/usr/src/modules/realtime/realcap.c:137: error: unknown field
`bprm_compute_cred
s' specified in initializer
/usr/src/modules/realtime/realcap.c:137: error: `cap_bprm_compute_creds'
undecla
red here (not in a function)
/usr/src/modules/realtime/realcap.c:137: error: initializer element is not
const
ant
/usr/src/modules/realtime/realcap.c:137: error: (near initialization for
`capabi
lity_ops.register_security')
make[4]: *** [/usr/src/modules/realtime/realcap.o] Error 1
make[3]: *** [/usr/src/modules/realtime] Error 2
make[3]: Leaving directory `/usr/src/kernel-source-2.6.6'
make[2]: *** [all] Error 2
make[2]: Leaving directory `/usr/src/modules/realtime'
make[1]: *** [binary-modules] Error 2
make[1]: Leaving directory `/usr/src/modules/realtime'
Module /usr/src/modules/realtime failed.