Linux-audio-user January 2008

linux-audio-user@lists.linuxaudio.org

142 participants
145 discussions

[LAU] Sound card or DAC to hook everything together?

by robert lazarski

Hi all, I'm planning what to buy a small studio. I have two active monitors that have XLR inputs only. I plan on adding a subwoofer when I can afford it, which also has XLR only. I have several keyboards. From just the keyboards my idea is easy: Hook them all to my main one, the Korg Oasys, and take the unbalanced outputs from the Oasys and hook them up to the monitors via TRS to XLRM Cables. Putting linux in to the equation is where I'd like some help please. I also want to use these monitors with linux as computer speakers. I think the m-audio delta 66 is well supported by linux and has a breakout box, so I would also be able run TRS to XLRM Cables from the breakout box to the monitors. At some point i'd like to hook up the keyboards to Ardour too for recording. If all that is possible, how do I switch from using the computer for sound to my keyboards - without swapping cables? Ideally an 8 channel mixer would allow me to switch between a computer and my keyboards, but that seems overkill as my keyboards have everything a mixer would do in my case (eq, effects, multiple channel inputs, midi etc). I am probably missing a simple solution, any ideas? I looked at DAC's as an alternative or addition to the delta 66. These are expensive, but about the same price as a mixer and might be a better fit for the multiple-audio-sources to stereo issue I have. Any experiences with these and linux? Thanks! Robert

18 years

[LAU] Convoluted Leslie?

by Ken Restivo

Anyone have a Leslie and willing to make a convolution impulse of it (say, using Fons' program for generating impulses)? I love the sound of AZR3, and the Leslie is quite good, the only thing it is missing is the sound of the WOOD, of the actual Leslie cabinet itself. I'm curious what it'd sound like through a clean convolution of just the cabinet, possibly not even using the Leslie tube amp, just a clean transistor amp into the Leslie speakers. Of course the tonewheel shape 2 or 3 setting isn't QUITE a tonewheel, but it's very close. If I could get the Leslie wood cabinet resonance in there I think it'd kick even more ass than it already does. -ken

18 years

[LAU] JACK Synthesizer Manager Proposal

by Thorsten Wilms

Hi! Audun Halland and I have been thinking about a set of related problems. The first result is the following proposal, meant to gather feedback from the community. I'm posting about this to both LAD and LAU, but separately. Hopefully we can keep the more technical side on LAD :) Please feel encouraged to come up with additional use cases, ideas and tell us about your relevant experience. You can read the following with a little bit of markup on http://thorwil.wordpress.com/2008/01/26/jack-synthesizer-manager-proposal/ or the same text right here: JSM, the JACK Synthesizer Manager We propose a programm that acts as a proxy between sequencing software and both software and hardware sythesizers. Among the goals are unified patch selection and making projects more portable. If we get the impression that the JSM is something that both developers and users will find handy and use, then development might start real soon. In this text, we avoid going into technical details to foster free thought and discussion. Use Cases 1. Patch selection Goal: Choose patches from all available hardware and software synthesizers. Giorgio uses a single means to select a patch among all patches of all of his software and hardware synthesizers. He uses meta-data to find the right patch. The right connections are made automatically. 2. Computer as syntheszier Goal: Use the computer as a compound synthesizer in a live performance. Hiromi has her keyboard connected to her laptop live on stage. She uses several soft-synths via keyboard-split and layering. A few selected parameters are bound to the wheels of the keyboard. After each song, she switches from one setup to the next with least effort. 3. Collaboration Goal: Exchange projects without having to change settings back and forth. Alice and Bob take turns on working on a project. They use different hardware but don't have to manually change connections and choose patches on each turn because of an abstraction layer. MIDI Interface Ports The problem with MIDI interface ports is that the hardware on the other side and its setup might change. Or be entirely different if people exchange projects. An abstraction layer can make this more comfortable to handle. The JSM takes care of the mapping between software ports and MIDI interface ports. It can work on a per MIDI channel level. Patches and Instrument Definitions Patches and controllers are chosen by name; the user doesn't have to deal with cryptic numbers. For kit-programms, name mappings are given (e.g. bass drum on C1). Patch selection happens by a single means, offering all available patches (JACK apps, plugins, hardware). Making the required MIDI and audio connections is automated as far as possible. Categorization Categories help to find the right patch among many. When exchanging projects, they help to replace unavailable patches with similar ones. Virtual/Compound Synthesizers >From the outside, the computer can be dealt with like a single compound synthesizer. Different synthesizers can be triggered from ranges on a single keyboard (key splits). Synthesizers can be layered. The whole setup can be switched with programm changes. JACK to ALSA Bridge JSM could be the de facto JACK MIDI to ALSA MIDI bridge. No Jack "SYSTEM" midi ports, the jack world only sees the devices offered by JSM. -- Audun Halland and Thorsten Wilms

18 years

[LAU] [OT] creative commons non-commercial licensed music - ask for advice

by Martin Ahnelöv

> I received an email from a film producer (based in Los Angeles, > probably > an indie studio) in which he wrote that the director of a movie > they're > just finishing (they're at post-production stage) is interested in > using > two tracks of mine, 'Balloon' (http://www.cesaremarilungo.com/media) > and > 'As we grow older' (http://www.cesaremarilungo.com/media/the-moon-ep). > > I released these tracks under a non-commercial Creative Commons > license: > > http://creativecommons.org/licenses/by-nc-nd/2.0/deed-music. > > In the past some of my music has been used for some short films, but > these were clearly non commercial projects or film schools thesis. > > Has anybody some experience on this topic? What should I do? Should I > re-license these tracks? Can I just make them a written permission? > Or > should I ask for some kind of royalty (or would it be ridiculous, > also > considering that AFAIK Gyorgy Ligeti has never been paid for its > music > on '2001 A space odyssey' :-) )? > > Thanks in advance, > > - c. > > CC got a pretty good video on this situation here: <http://support.creativecommons.org/videos#ccp> (I think it's that one). You (the author) may give people permission to break the CC-NC license. peace, Gasten

18 years

[LAU] [OT] creative commons non-commercial licensed music - ask for advice

by Cesare Marilungo

I received an email from a film producer (based in Los Angeles, probably an indie studio) in which he wrote that the director of a movie they're just finishing (they're at post-production stage) is interested in using two tracks of mine, 'Balloon' (http://www.cesaremarilungo.com/media) and 'As we grow older' (http://www.cesaremarilungo.com/media/the-moon-ep). I released these tracks under a non-commercial Creative Commons license: http://creativecommons.org/licenses/by-nc-nd/2.0/deed-music. In the past some of my music has been used for some short films, but these were clearly non commercial projects or film schools thesis. Has anybody some experience on this topic? What should I do? Should I re-license these tracks? Can I just make them a written permission? Or should I ask for some kind of royalty (or would it be ridiculous, also considering that AFAIK Gyorgy Ligeti has never been paid for its music on '2001 A space odyssey' :-) )? Thanks in advance, - c. -- www.cesaremarilungo.com

18 years

Re: [LAU] [ANN] zynjacku version 1 released

by Hermann Meyer

> zynjacku-1 will not build against slv2-0.5.x series. zynjacku-2 will > (when released). What version of slv2 is being zynjacku compiled > against, when the build fail log was captured? zynjacku-1 should build > fine against any slv2-0.4.x. I have 0.4.5 here. Hello Okay, I build zyn and zynjacku against slv2-0.4.5 and be happy again. Nice to see the synth list grow up. I also rebuild ardour and the swh-lv2-plugins against 0.4.5 reegards hermann

18 years

[LAU] OT: Couch in Finland

by Loki Davison

Hi all, I'm am soon to be leaving my exile in Siberia and returning to Australia, so Phat will hopefully see a new release soon. However, i need to spend a night or two in Finland on the way back. I'm poor, finland is expensive! ;) Anyone got a couch they wouldn't mind my girlfriend and I sleeping on for a night or 2? Thanks, Loki LAU/LAD the one stop shop for music, travel and advice. :)

18 years

Re: [LAU] xruns with m-audio fast track pro on fedora 8 ccrma -> kernel 2.6.22 , periods/buffer = 3 , disable system bips and esd, and proper rtirq setup

by Florent Berthaut

Hartmut Noack a écrit : > -----BEGIN PGP SIGNED MESSAGE----- > Hash: SHA1 > > Florent Berthaut schrieb: > >> Fernando Lopez-Lezcano a écrit : >> >>> A more basic question... what parameters are you using when you start >>> jackd? >>> >>> -- Fernando >>> >>> >> .jackdrc: >> >> /usr/bin/jackd -R -P70 -t1000 -u -dalsa -r44100 -p64 -n2 -D -Chw:0,1 >> -Phw:0,0 -S -i2 -o2 >> >> > > USB-Devices often perform much better with -n3. Furthermore I would try > to eliminate any flag, that is not absolutely needed such as: > > /usr/bin/jackd -R -dhw:1 -dalsa -r44100 -p64 -n3 > > BTW: this would compute to around 4 ms latency - is that good enough for > you? > > Okay, i had forgot to turn off the system "bips" and esd (it reduced the number of xruns) And yep with -n3 i 've got even less xruns and it seems they're not audible. I don't know if the latency is low enough though, i'll test this evening with my drum pads. Thanks everyone , it's really great to get so much help so quickly. Flo > -----BEGIN PGP SIGNATURE----- > Version: GnuPG v1.4.6 (GNU/Linux) > Comment: Using GnuPG with Mozilla - http://enigmail.mozdev.org > > iD8DBQFHlyDW1Aecwva1SWMRArDTAJ9dIPRT9WjP7qdq7hZ8RWyAsAY6egCeJ0cU > sHsAIr0IN2I9/PbfOzZuT/o= > =bAjH > -----END PGP SIGNATURE----- > >

18 years

[LAU] Experimental music video

by Chris McCormick

Hello, I made this with Linux, Pure Data (+ Gem), and A USB gamepad: <http://www.archive.org/details/Ergates> Enjoy! Best, Chris. ------------------- http://mccormick.cx

18 years

[LAU] Realistic strings in gig or sounfont?

by Ken Restivo

I'm looking for realistic strings in a STANDARD, linux-supported format. VST is evil. I refuse to use VST's. Alas, most of the Garritan stuff requires VST's these days. The only thing I could find is their strings in Gig (linuxsampler) format. Anyone used it? Is it worth the $200? Any other sources? Free/beer is great, but I'll pay for free/libre stuff if it's worth it. -ken

18 years

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Linux-audio-user January 2008