Linux-audio-user October 2011

linux-audio-user@lists.linuxaudio.org

130 participants
138 discussions

by James Stone

Apologies for those with an allergy to soundcloud, but I don't have a better way of distribution at the moment. http://soundcloud.com/jmstone/never-again I recorded this a few months ago now, planning to make some further changes, but I'm not sure I will get round to it in the near future, so.. RERO. The extreme distortion, and vocals back in the mix is on purpose - and hopefully reasonably in keeping with the genre. The piece could probably do with a better ending! This track is composed of a load of guitar and bass loops recorded into Renoise. Effects are mostly the built-in Renoise plugins IIRC. The guitar (Aria TA50) was recorded thru a Behringer V-AMP 2 and the bass (Ibanez Roadster RS800) through a BDI 21. Vocals were through 2 different cheapo Behringer mic preamps (minimic 800 replaced by a mic 100 after I fried the former accidentally!) Samson C01 condenser. Drums were laid down in 10 seconds! :) J

14 years

polarbear (zplane editor) on recent gcc's?

by andersvi＠notam02.no

Has anyone compiled Maarten de Boer's "polarbear" on recent compilers? I just downloaded polarbear-0.5.3 from http://www.resorama.com/maarten/files/polarbear-0.5.3.tgz. While compiling it complains about some things i beleive are related to the version of the compiler. Hacking it slightly, the app seems to run ok, adressing jack correctly. Ive got some questions about the edit-menu - select, cut, copy... - but am unsure whether ive got a fully functional copy up, and dont know how they are meant to behave. Maarten de Boer, maybe you are out there? Polarbear functions similarly to a sorely missed app from the old NeXT's, an interactive z-plane editor (ive forgotten the name, but i beleive it was setup by someone at ccrma) where coefficients were made available in the clipboard after manipulating the filter in the gui. Maybe there are other similar tools around? Thanks, -anders

14 years

[ANN] VMPK & FluidSynth 0.1.0 for Meego Harmattan

by Pedro Lopez-Cabanillas

Hi, VMPK & FluidSynth is a MeeGo Harmattan application for Nokia N9/N950 smartphones. It contains a QML based VMPK user interface bundled with FluidSynth for sound generation. Several enhancements have been included since the beta announced in August. * Controllers, Bender, and Velocity values can be optionally controlled by the accelerometer. * Internationalization. This version includes translations to Spanish, Russian (thanks to Serguey Basalaev) and Czech (thanks to Pavel Fric). * Inverted color theme. This dark color combination consumes less power, enabling longer battery life. * Latest FluidSynth included. Binary packages available at the OVI Store http://store.ovi.com/content/210572 Sources at SourceForge.net http://sourceforge.net/projects/vmpk/files/vmpkn9/ Screenshots in this blog post http://midi-clorianos.blogspot.com/2011/10/vmpk-fluidsynth-010-released.html Regards, Pedro

14 years

LAC 2012: the Linux Audio Conference - Call for Participation

by Fernando Lopez-Lezcano

LAC 2012: the Linux Audio Conference - Call for Participation April 12-15, 2012 @ CCRMA, Stanford University http://lac.linuxaudio.org/2012/ [Apologies for cross-postings] [Please distribute] Online submission of papers, music, installations and workshops is now open! On the website you will find up-to-date instructions, as well as important information about deadlines, travel, lodging, and so on. Read on for more details! We invite submissions of papers addressing all areas of audio processing based on Linux and open source software. Papers can focus on technical, artistic or scientific issues and can target developers or users. We are also looking for music that has been produced or composed entirely or mostly using Linux and other Open Source music software. The Deadline for all submissions is January 11th, 2012 The Linux Audio Conference (LAC) is an international conference that brings together musicians, sound artists, software developers and researchers, working with Linux as an open, stable, professional platform for audio and media research and music production. LAC includes paper sessions, workshops, and a diverse program of electronic music. The upcoming 2012 conference will be hosted at CCRMA, Stanford University, on April 12-15. The Center for Computer Research in Music and Acoustics (CCRMA) at Stanford University is a multi-disciplinary facility where composers and researchers work together using computer-based technology both as an artistic medium and as a research tool. CCRMA has been using and developing Linux as an audio platform since 1997. http://ccrma.stanford.edu Stanford University is located in the heart of Silicon Valley, about one hour south of San Francisco, California. This is the first time LAC will take place in the United States. http://www.stanford.edu We look forward to seeing you at Stanford in April! Sincerely, The LAC 2012 Organizing Team

14 years

New release of zita-convolver / jconvolver / fconvolver

by Fons Adriaensen

Hello all, New releases on <http://kokkinizita.linuxaudio.org:/linuxaudio/downloads>: zita-convolver-3.0.2 -------------------- * General code cleanup, will now allow bugfixes and minor changes without breaking binary compatibility. * Will work correctly in Jack's 'freewheeling' mode. * Optimised partition size sequence in function of number of inputs and outputs, size and matrix density. * Should compile and work on OSX. The Makefile is untested. This release is NOT binary compatible with 2.0.0. This release is NOT API compatible with 2.0.0. The required changes are small but essential, and are documented in the README file. Full API documentation will follow. jconvolver/fconvolver-0.9.1 --------------------------- * Spaces allowed in filenames and jack port names. Use quotes or escape the spaces. * Hilbert transform IR built-in, allows creation of arbitrary complex matrices without requiring any external audio files. See README_CONFIG. * Should compile and work on OSX. The Makefile is untested. This release requires zita-convolver-3.0.x For an intersting demo of what convolution can do, try 'weird.conf'. Instructions are in the file. Ciao, -- FA

14 years

Re: [LAU] Top DSP plugins?

by jwm.art.net＠gmail.com

Ralf wrote:"Again, the usage Fons was suggesting is uncritical, but using a limiter instead of a compressor, for often repeating peaks isn't good, since the limiter would cause distortion." I always use the SC4 compressor on master bus for a little compression followed by the fastlookaheadlimiter to protect against any unpredictable inevitable spikes arising from a bunch of waveforms phases coinciding with each other. Also, you might find these links interesting: https://wiki.archlinux.org/index.php/Forum_Etiquette#No_Power-Posting.2FEmp… http://en.m.wikipedia.org/wiki/My_two_cents_(idiom) James Sent using BlackBerry® from Orange

14 years

Re: [LAU] Top DSP plugins?

by Ralf Mardorf

On Thu, 2011-10-20 at 01:40 +0000, linux-audio-user-request(a)lists.linuxaudio.org wrote: > Message: 22 > Date: Wed, 19 Oct 2011 22:42:12 +0000 > From: Fons Adriaensen <fons(a)linuxaudio.org> > Subject: Re: [LAU] Top DSP plugins? > To: linux-audio-user(a)lists.linuxaudio.org > Message-ID: <20111019224212.GC10008(a)linuxaudio.org> > Content-Type: text/plain; charset=us-ascii > > On Thu, Oct 20, 2011 at 12:16:45AM +0200, Ralf Mardorf wrote: > > > I experienced this 0.01% of the time margin is overstepped as not > being > > audible. YMMV Overstepping 0 dBFS not always cause audible results. > > I recently made a live recording of Berio's 'A-Ronne', in this case > performed by six singers. It has a *very* wide dynamic range (which > has to be reduced for e.g. broadcasting, as was the case) and takes > about 26 minutes. 0.01% of 26 minutes is around 1.5 seconds, and I > can assure you that a female voice at +9dB and being clipped for > 0.5 seconds three times is quite a nasty effect. Yes, 9dB above 0 dBFS is audible :(. I didn'd use a limiter for this amount, but I suspect the limiter will cause unwanted effects too. I might be wrong. If such a +9dB issue should happen for popular music in the studio, than we still record it again. Hm? Really an issue when recording live played classic. So again, for your usage you are right regarding to the usage of a limiter, but a limiter isn't a tool to minimise dynamic. Even for loudness war mixes the EQ and compressor are important, a limiter is the last tool that should be used to manipulate the dynamic, in other words it isn't a tool to manipulate dynamic. To reduce the dynamic for popular music, do a good EQed mix and than use a multi-band-compressor with what ever high ratio you prefer, but avoid the usage of a limiter. Here the limiter only sometimes is useful!

14 years

Re: [LAU] Top DSP plugins?

by Ralf Mardorf

On Thu, 2011-10-20 at 01:40 +0000, linux-audio-user-request(a)lists.linuxaudio.org wrote: > > Message: 5 > Date: Wed, 19 Oct 2011 22:02:44 +0200 > From: Philipp ?berbacher <hollunder(a)lavabit.com> > Subject: Re: [LAU] Top DSP plugins? > To: linux-audio-user <linux-audio-user(a)lists.linuxaudio.org> > Message-ID: <1319053780-sup-6665@eris> > Content-Type: text/plain; charset=UTF-8 > > Excerpts from S. Massy's message of 2011-10-19 21:09:36 +0200: > > On Wed, Oct 19, 2011 at 10:31:48AM +0200, Jostein Chr. Andersen > wrote: > > > > > > It's interesting that in the 70's (the last half for me) and 80's, > we did not > > > have much possibilities compared to what we have today, we had to > stick to > > > what we had. But the sound itself and the mixes could sound very > good. Much of > > > what's typical of the sound from the 70's and 80's was not about > quality but > > > sound preferences, well expect for noise, echo and other tape and > HW > > > artifacts. > > It's also interesting to note that, with the plethora of devices, > > plugins and general techniques available today, mmusic production > seems > > to be sonically convergent. IOW, back when people had less freedom > in > > terms of choice, they fought harder to create a production sound > > specific to them, while today, that self-same freedom seems to be > used > > to mimic one another as much as possible. (This is speaking broadly, > of > > course.) > > > > Cheers, > > S.M. > > The question is, what can you do except mimic each other? Where can > you > go where no-one has gone before? > I think I heard an anecdote once that Mozart (or another big classical > composers) wondered about the same thing, yet a lot stuff happened > since. The only possible way to go is into experimental music, and > even > there it's very hard to do something no-one has done before. The added > downside is that nearly no-one will want to listen to experimental > music (based on the principle of pop music, people like what's similar > to what they know and like). I think many people have run into this > problem and I believe that's where the (from my observation) > increasing > trend of combining different kinds media comes from. > > In at least the time I could observe them many musicians fell into two > categories: Those who are happy with playing music in the style of > popular musicians from years past (Classical era, Beatles era, Rock > era) > and those who are happy to play in the popular style of the present > (Pop). I believe those who tried to find new grounds have always been > a > minority, and it likely always was hard, for a variety of reasons. > > Regards, > Philipp Do we need e.g. guys like Mark Guilian, Mike Patton, etc. those spoiled kids who bedder should drive the Porsche spend by mum and dad? They steal the music of my generation independence musicians and make a lot of money. We are hardly able to event some new kind of music, but we can try to do it and we can keep our roots. Those roots might be Schubert, McCoy Tyner, Radio Birdman, The Acüssed etc. but never ever some of that commercial mainstream. The other thread was about what? Analog mixing vs "how much plugins can I use to kill a good composition?" when doing digital recording. Nobody force us to do over-processing when doing HDD and MIDI-sequencer recording. We are free to use the computer in a sane way.

14 years

Re: [LAU] Top DSP plugins?

by Ralf Mardorf

On Wed, 2011-10-19 at 12:00 +0000, linux-audio-user-request(a)lists.linuxaudio.org wrote: > Message: 18 > Date: Wed, 19 Oct 2011 11:02:00 +0200 > From: Jeremy Jongepier <jeremy(a)autostatic.com> > Subject: Re: [LAU] Top DSP plugins? > To: linux-audio-user(a)lists.linuxaudio.org > Message-ID: <4E9E9208.5080902(a)autostatic.com> > Content-Type: text/plain; charset=ISO-8859-1 > > On 10/19/2011 10:46 AM, Ralf Mardorf wrote: > > Do wish to get rid of any dynamic? > > For my indie-electro solo stuff yes. Dynamics don't work on the > dancefloor ;) > > Best, > > Jeremy Jeremy :) I disagree! http://www.youtube.com/watch?v=qrrosELRyss It's compressed but still has some dynamic and it's hardly possible to do better dancefloor music :p. - Ralf

14 years

Re: [LAU] Top DSP plugins?

by Ralf Mardorf

On Wed, 2011-10-19 at 19:00 +0000, linux-audio-user-request(a)lists.linuxaudio.org wrote: > Almost all of my recording is 'classical' music which does not > require high average level or invasive compression. But even > using conservative average levels (mostly EBU loudness based > these days), that doean't mean that you can't get a signal that > peaks above 0 dB. It may happen just 0.01% of the time, but it > happens. And such short peaks are no good reason to lower the > average level, and limiting them to avoid clipping is completely > transparent, so I always use a limiter in the master bus. I experienced this 0.01% of the time margin is overstepped as not being audible. YMMV Overstepping 0 dBFS not always cause audible results. Most times I'm not using a limiter, sometimes I'm using a limiter for the master bus too, but I don't think that it's a good thing doing this, usually a limiter does destroy the sound. Anyway, the context was about using the limiter as a very active plug-in, while you're talking about the limiter as something that will be active in the worst case szenario, 0.01% of the times ;). > but none of them would produce such > gratituous nonsense as what you write above. It's hard for you to understand the context of speech? :D 2 Cents, Ralf

14 years

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Linux-audio-user October 2011