Linux-audio-user November 2009

linux-audio-user@lists.linuxaudio.org

160 participants
143 discussions

by Folderol

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.

16 years, 3 months

[LAU] Pulseaudio Foibles

by David Baron

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.")

16 years, 3 months

[LAU] zyn?

by Josh Lawrence

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

16 years, 3 months

[LAU] Apogee One

by David Baron

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?

16 years, 3 months

[LAU] [ANN] Composite - New project for live audio sequencing

by Gabriel M. Beddingfield

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++.

16 years, 3 months

[LAU] I Flying - new instrumental

by Oleg Ivanenko

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]

16 years, 3 months

[LAU] Laptop specs

by laurence alexander

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

16 years, 3 months

[LAU] Helping Singers transition into Vocalists

by Stephen Stubbs

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

16 years, 3 months

[LAU] A little piece in Swedish

by Robert Jonsson

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

16 years, 3 months

[LAU] Ardour Workshop + FLOSS Manuals Book Sprint, 23-27.11.09 Rotterdam NL

by Derek Holzer

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"

16 years, 3 months

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Linux-audio-user November 2009