I just had a look at cal's website and found there were versions .030 -
.035 so immediately tried the latest one. This seemed to
have the VU problem solved but unfortunately locked up completely when
I tried to load a parameter file. This was true for all versions back
to 0.31.
However, .030 seemed OK, so I had the bright idea of doing a 'diff'
between the likely files. The interesting change came in masterUI.fl
where I noticed the following:
.030
// load the data
int result = zynMaster->loadXML(filename);
zynMaster->actionLock(unlock);
zynMaster->applyParameters();
.031 (and onwards)
// load the data
int result = zynMaster->loadXML(filename);
zynMaster->applyParameters();
zynMaster->actionLock(unlock);
I simply swapped those last two lines back, and all seems to be well
now. It's late now, but tomorrow I'll try to have a good old bash at it
and see what happens!
Incidentally, the files are beautifully clearly laid out now :)
--
Will J Godfrey
http://www.musically.me.uk
Say you have a poem and I have a tune.
Exchange them and we can both have a poem, a tune, and a song.
I am not using it, but kde starts it. This from my logs:
Nov 9 15:33:46 d_baron pulseaudio[13214]: alsa-sink.c: Disabling timer-based
scheduling because high-resolution timers are not available from the kernel.
Nov 9 15:33:47 d_baron pulseaudio[13214]: alsa-source.c: Disabling timer-
based scheduling because high-resolution timers are not available from the
kernel.
Nov 9 15:33:49 d_baron pulseaudio[13214]: module-alsa-card.c: Failed to find
a working profile.
Nov 9 15:33:50 d_baron pulseaudio[13214]: module.c: Failed to load module
"module-alsa-card" (argument: "device_id="2" name="platform-snd_mpu401.0"
card_name="alsa_card.platform-snd_mpu401.0" tsched=yes ignore_dB=no
card_properties="module-udev-detect.discovered=1""): initialization failed.
This from .config:
CONFIG_HIGH_RES_TIMERS=y
CONFIG_HPET_TIMER=y
CONFIG_HZ_1000=y
CONFIG_HZ=1000
CONFIG_SCHED_HRTICK=y
So the 1st two errors are ??
I have no idea what the mpu401 error is about--that is driving a Yamaha sw60xg
sound generator.
(Were I to use it, I would need to have jack started, its modules in the
configs, etc. I have played through the audio card using pulse so it "works.")
If I *can't* get zyn or yoshimi running on my netbook, is this worth looking at?
http://home.gna.org/zyn/
i.e., is it in a usable state and can patches from the original zyn be
loaded into this?
--
Josh Lawrence
http://www.hardbop200.com
This is a USB interface with built in mike and mike preamp. Cool idea, a bit
expensive list price, though.
Advertized for use with a Mac. Anyone used it using alsa usb drivers on linux?
Like it?
I have started a new project called Composite, which is planned to be a
sequencer for live-performance sequencing, sampling, and looping. One might
say that it will be like Ableton Live. It will be an LV2 host for synths and
effects, and will have a built-in sampler (which will probably be an LV2
plugin).
At this time, the project is in the planning stages.[1] Anyone who is
interested is invited to join the mailing list and share your thoughts and
opinions -- especially as it relates to UI and workflow.[2]
Links......
Project: http://gabe.is-a-geek.org/composite/
Mailing List: http://groups.google.com/group/composite-dev
Code: http://gitorious.org/composite
Specs (WIP): http://gabe.is-a-geek.org/composite/specification.html
FAQ: http://gabe.is-a-geek.org/composite/faq.html
Thanks especially to Patrick Shirkey for stirring things up.
Peace,
Gabriel
CC: LAU, LAD, LAA, Composite-Dev
[1] Strategy: Create a published spec. of what we want to
accomplish, and then get after it. There is currently
no code, but we plan to steal as much as we can.
[2] However, these will probably *not* change:
+ Will be monolithic. Let's not start a monolithic
vs. modular debate.
+ Will use Qt and C++.
Hi, all!
I've recently finished long-awaited(for me) instrumental composition
(http://www.archive.org/download/IFlying/Ash_Ya_Lechu_I_Flying_986.mp3)
and need your opinions about it. If you please, tell me about my
composition/arrangement/performance/mastering etc mistakes. Sorry for
my English :)
--
Truly yours, Oleg Ivanenko aka Ash
[if it wasn't so sad, it would be funny]
I use Ubunutu Studio for audio - Rosegarden, Hydrogen, AMSynth, Alsamodular synth, audacity, time machine, zynaddsynth etc - on an 8 year old laptop. I am having overheating problems and want to upgrade to a new machine. Any advice for minimum specs to be looking outfor. E.g. is a 7200rpm hard drive necessary? Should I go for dual core? Trying to spend around £300. Thanks
The Disclaimer: some personal opinions on the topic, not definitive by any means.
1. Good Hearing. If one was born with a hearing loss, then it may be impossible to progress. Otherwise, protect your hearing! Loud amplified sounds/music, gunfire, and other loud dB sources should be avoided.
2. Proper Air Support. If your chest is moving up and down while you sing, then you won't have proper air support. You need to learn to sing from the diaphram. Your navel should be going in and out, like a bellows, forcing the air up. For instruction, visit your local junior/high school band teacher and let him/her show you proper brass playing breathing technique. Your voice works more like a brass instrument than any other instrument.
3. Resonance. Nylon strings on a solid body guitar will NOT sound as rich and full as nylon strings on a hollow body guitar. For a singer to create a richer, fuller sound; the mouth cavity needs to be expanded as much as possible. A beginning technique is to arch the eyebrows up, drop the jaw, and form the lips into an 'o'. This technique expands the mouth cavity the most. The singer should notice an immediate improvement in the fullness of their sound. Then the singer will learn to maintain that openness in the mouth cavity as the eyebrows come back down. The jaw will tend to stay down all the time. Opera singers are a great visual clue to proper jaw technique and roundness in the lips.
4. Positioning the Sound. The sound of your voice should seem to be coming from a point 1/2 meter from your head, along a line formed by the back or your mouth and a spot midway between your eyes and about a centimeter above your eyes. To help you visualize what I'm trying to describe here, search the Internet for a picture of John Birks "Dizzy" Gillespie's B-Flat Trumpet. The back of your mouth would be the mouthpiece of the trumpet and the upturned bell should be the line coming out from your forehead.
5. Critical Listening. Just like a recording engineer, the singer must listen critically to the sound they are producing and fine tune the result in real time using the techniques raised in numbered paragraphs 2, 3, and 4 above. A vocalist is continually listening to and adjusting their sound.
A helpful tip: Sing in front of a supportive audience. We all need positive encouragement while we are learning.
My public performances are at my Lutheran church as a choir member and as the cantor. This is a very supportive environment because it's inborn to Lutherans to be forgiving. As I always tell the PhD Choral Performance candidates (from the University of Illinois music department) who the congregation hires, "Don't worry about making mistakes, you're forgiven! It's in the contract!"
I'm singing/canting in a very large space without amplification. I know I've 'gotten it right' when I can't tell where the sound is coming from, it's all around me. I sometimes find myself wondering: who is singing that? My other acid test is when you can literally 'hear a pin drop' in a audience of 200+ that also includes infants and small children.
A personal annoyance: Vibrato is an effect, not a musical style. A little reverb can be helpful. Too much reverb and you start getting into an echo chamber that quickly becomes tiring to the ear. I'd really like to listen to more classical opera, but that operatic vibrato turns me off within 2 measures.
For What It's Worth,
Stephen Stubbs
Champaign, IL
Hi guys,
The wierdest things pop out of my head from time to time. Can't say this is
the kind of music I listen to, but out it came and I'm quite happy with it
so far.
It's somekind of newage swedish punk/progg. Hot off the plate.
I hope atleast some of you will enjoy it :-)
http://www.spamatica.se/diligodecanto/music/diligo_decanto_-_en_logn.mp3
Or at the main page:
http://www.spamatica.se/diligodecanto
Comments/criticism are very welcome. I'm learning all the time.
Oh, btw, it's tagged, hope I got it right.
Regards,
Robert
Ardour Workshop + FLOSS Manuals Book Sprint
Hosted by: moddr_lab/WORM, FLOSS Manuals and Derek Holzer
Monday 23 November to Friday 27 November, 2009
Day session: 13:00-17:00 (GMT +1)
Evening session: 18:00-22:00 (GMT +1)
Location (physical): moddr_lab, Willem Buytewechstraat 188, Rotterdam,
the Netherlands
Location (online): http://en.flossmanuals.net/bin/view/Ardour/
Introduction to FLOSS Manuals by Adam Hyde
21.00, Friday 20 Nov at WORM, Achterhaven 148, Rotterdam
http://agenda.wormweb.nl/agenda.php?id=2888
Ardour is a full-featured, free and open-source hard disk recorder and
digital audio workstation software suitable for professional use. New
and experienced users of Ardour are invited to "learn by documenting"
during this combination workshop and book sprint.
A book sprint brings together a group of writers, editors and artists to
go from an outline to a published book in just five days. We will use
this format to give workshop participants tasks which they will learn to
complete in Ardour, and which they will then document for the Ardour
FLOSS Manual. This is an exciting opportunity both to acquire new skills
as well as share them with others in the form of a book!
The workshop will be split into two sessions: an evening session
focusing on learning the software and creating chapters for the FLOSS
Manual, and an afternoon session focusing on editing, proofreading and
correcting the workshop texts. At the end of the week, we hope to have a
beginner's manual covering these and other topics:
Introduction: What is Ardour?
Installing Jack & Qjackctl: Linux
Installing JackOSX: OSX
Installing Ardour: Linux
Installing Ardour: OSX
Installing Jamin: Linux
Installing Jamin: OSX
Getting Started: the user interface
Getting Started: using JACK to interface with the soundcard and other
applications
Audio Tutorial: editing and arranging existing audio
Audio Tutorial: multitrack recording with the soundcard
Audio Tutorial: multitrack recording with other applications
Audio Tutorial: using automation
Audio Tutorial: using LADSPA and VST plugins
Audio Tutorial: mixing down tracks
Audio Tutorial: mastering with Jamin
Audio Tutorial: exporting to file and CD
etc etc
Participants who would like to join us in Rotterdam should sign up via:
workshop(a)moddr.net
Interested remote participants should create a login on the Ardour FLOSS
Manual page: http://en.flossmanuals.net/bin/view/Ardour/
and communicate with us via the FLOSS Manuals chat interface on the
website or at: irc.freenode.net #flossmanuals
during the working times listed.
Further info/references:
Ardour: http://ardour.org/
Ardour reference manual (in progress):
http://vm-nice.stackingdwarves.net:8888/ardour-en/1-ARDOUR.html
Ardour reviewed by Kim Cascone:
http://createdigitalmusic.com/2009/08/04/linux-music-workflow-switching-fro…
Old Ardour tutorial (cached): http://tinyurl.com/ardour-tutorial
FLOSS Manuals: http://en.flossmanuals.net/
moddr_lab: http://moddr.net/
WORM: http://wormweb.nl/
Derek Holzer: http://umatic.nl/info_derek.html
--
::: derek holzer ::: http://blog.myspace.com/macumbista :::
http://www.vimeo.com/macumbista :::
---Oblique Strategy # 81:
"Go to an extreme, move back to a more comfortable place"