This is Steinway_IMIS soundfont, version 2.2.
This version fixes the issue with loops. I hope this is the good one
and there are no more remaining major bugs.
Marcos is a little busy right now, so he asked me to make this fix. He
is thinking to make other improvements, so expect more updates soon.
Does anyone know of a good plugin that will generate subharmonics?
I would like to put a little more low frequency "oomph" into my bass
track. Preferrable LADSPA, but VST would work, too.
Thanks for any help!
Research tells me that QSynth seems to be the only currently
available/usable GUI for FluidSynth, but I get big xruns whenever I try and
use it. FluidSynth itself doesn't cause me problems (I know because I'm able
to use the FluidSynth-DSSI plugin fine in Rosegarden etc). The problem is
that I want to use FluidSynth with Ardour3, but Ardour3 doesn't support DSSI
plugins yet. So the only solution I have is to find a standalone interface
for FluidSynth and then to link up using Jack. I looked at the old GUI
'FluidGUI' but it seems to be so old that it won't properly install on
recent versions of Ubuntu.
So does anyone know of:
1) A GUI for FluidSynth other than QSynth and FluidGUI?... or
2) An application other than the above 2 which would allow me to load
Thanks in advance.
> My question/answer: "How much are you willing to do to make it happen?"
Well I'm not exactly sure anymore to be honest, I didn't think my
message would start such a rant!
But after reading all the answered, two things seem to stand out:
1. A lot of the FOSS music software are not for the general public. I
wouldn't agree myself (I mean, Ardour, Hydrogen or Yoshimi are as
straight forward as a music software can be)... And for that, nothing
much I/we can do but participate to the code (which I do when I can),
make donations (which I do every year), provide feedback, provide bug
reports, etc, etc, etc...
And obvisouly use the software and produce some tunes! Which I do too:
(Although now I realise that nowhere I say that it's completely
recorded/produced with only FOSS softwares!)
2. More interrestingly, the "appeal to famous artists" didn't seem to
be well received... What seems to come out though is that although the
FOSS community seems to be good to produce software, we don't seem to
be good at advertising it :)
- Ardour has...49 followers on facebook... Nothing on the wall...
- Hydrogen...94...and one entry on the wall...
- Couldn't find a # tag for any of these on Twitter...
I know I know, we are not advertisers, we are developers!
But what if a small group of us (and yeah, including me :)) would do that?
How do we go about that? We have loads of website/tools to share code
and software (sourceforge, svn, git, etc..), but none to organise
ourself into a community to create some kind of organised campagn of
advertisement on social networks (or other tools)!
What I have in mind is what was done by ThisOneIsOnUs... what they did
for their production is exacty what we do every day for FOSS
> -Mike Mazarick
> PS - sorry for the top posting, but I thought it better in this instance
>> -----Original Message-----
>> From: Aurélien Leblond [mailto:firstname.lastname@example.org]
>> Sent: Monday, August 01, 2011 11:07 AM
>> To: linux-audio-user(a)lists.linuxaudio.org
>> Subject: [LAU] An appeal to famous artists?
>> I'm writing this post because of a few experiences I had over the
>> years into world of amateur music production (but I'm sure it does
>> applies to every artistic domains).
>> I'm an amateur musician and a Linux enthusiast, and even though I work
>> as a developer, my professional activity doesn't directly have
>> anything to do with both these
>> domains (although in the case of Linux this is quite a shame, but
>> that's another subject). But one thing I am surrounded with at work is
>> fellow musicians.
>> I have setup a pretty nice home studio in my flat: electronic drumkit,
>> alright USB sound-card, good quality speakers, electric guitar, pretty
>> big guitar fx board, USB
>> keyboard with a lot of knobs, few synthesizers and......a laptop
>> running Ubuntu, Ardour, Hydrogen, AlsaModularSynth, Yoshimi, LV2, etc,
>> etc and etc...
>> A few of these colleagues came to my place to play music, and all of
>> them were impressed by the level of investment, and invariably the
>> first question that comes
>> up is the price of all the hardware and software... So when I
>> explained that I gathered the hardware over the last few years and
>> that the software is free, I always get
>> that little wink and smile:
>> - “haaaa 'free'? Bittorent yeah?”
>> - “no no no...not THAT free... I'm using Linux, and I'm trying to make
>> a point of using only free software in my music production... Actually
>> it's not free as you think it is,
>> I do try to make some donations every year, blablabla...”
>> And invariably, I get “the look” (you all know which one I'm talking
>> As the sessions go on and my colleagues see the different software in
>> actions, they always start to make the comparison with what they use
>> in other OS: “Wouah I
>> can't do that with my drum machine! And this software Ardour is pretty
>> cool, and I really like the sound of this synthesizer! What is it?
>> AlsaModularMix you say?
>> Well it looks weird but I like it!”...
>> Then as the conversation goes on on gears and software, it generally
>> goes like this “oh, I bought this synth because Trent Reznor from Nine
>> Inch Nails is using it
>> and I wanted to get that sound...”, “this guitar fx? Bought it because
>> the guys in Slayer are using it and I love” (yes all my mates and
>> myself are metal heads!).
>> So I started to think... And I thought a little bit more... All the
>> people I know in the music world, we always use references to known
>> artist: “Trent Reznor uses this,
>> The Edge uses that, Brian Eno has this synth, etc”. There is even a
>> website that list the gears used by famous guitar players.
>> I have a couple of friends back in my home country who are trying to
>> build up a recording studio... They work 100 hours a week recording
>> and promoting local bands,
>> they eat pasta because the money is tight.......but they spent I don't
>> know how much into brand new Macs and software licenses...
>> I can hear you from here already “WHY DID YOU NOT TELL THEM ABOUT
>> Well......I did:
>> - “Yeah RIGHT! Every known musicians use Macs! They are designed for
>> Really? Who decided that? Aaaaaaahhhhh yeah I forgot, Apple is very
>> good at advertisement... See that little illuminated apple at the back
>> of every of their laptops?
>> That sticks out well when Trent Reznor posts pictures of his studio,
>> or when you see pictures of ?uestLove on stage...
>> - “Linux and stuff... It's for free... It must sucks... I mean you
>> need loads of research and money to create the software to play
>> - “It's not stable enough...”
>> Ok, I give you that... But we have come a long way... And I bet that a
>> good Ubuntu setup without alpha or beta versions of any software would
>> be stable...
>> And obviously the user base on proprietary software is bigger, so more
>> testers, more feedbacks... But hey, look at my laptop, pretty stable
>> - “It's too complicated... with these command lines and all...”
>> Hmmm yes and no there... Yes setting up a Linux machine with a low
>> latency kernel is quite complicated... But remind me how much did you
>> spent to setup your
>> Mac? And yeah you are right, we used command lines in Linux... But YOU
>> don't have to! When was the last time you saw a Linux machine? Ah
>> yeah, when I
>> show you my Mandrake machine 10 years ago... Well we came a long way
>> since that time, you should check it again! I mean playing, recording
>> and producing
>> music on a computer IS a complicated business, whatever OS you use.
>> - “And when it doesn't work, who do I ask?”
>> Hmmmm, when Cubase doesn't work, what do you do? Oh yeah, you google
>> your issue and you browse around forums to find a solutions...
>> Actually when you have an issue with your mac in general, is it Apple
>> or a dude on some forums who gives you the solution?
>> So I thought a little bit more... In the world of artists (I thinking
>> here especially about music, but it is probably right in other
>> artistic domains), brands are created
>> because artists use them, no?
>> And SERIOUSLY, in the world of music, the Open Source world certainly
>> have brilliant tools! And the Open Source certainly has to speak to a
>> lot of artist if they
>> knew about it? The sense of freedom, the sense of sharing? Isn't it
>> what Bob Marley or Rage Against the Machine were singing about?
>> Trent Reznor (yes, I am a big fan) has been releasing music under
>> Creative Common licenses... He let the people decide how much they
>> wanted to pay for
>> some of his albums (remind you of something? Donations?). He let fans
>> record all the concerts of his last tour, let them mix it, cut it,
>> produce it, package it and
>> sale it (check out ThisOneIsOnUs). He even provided the tracks of some
>> songs for the fan to have fun and mix them differently... Surely a guy
>> like that would
>> understand the value of Free Software. And where there is one, there
>> might be others...
>> (Sorry for the long introduction but) What I am getting at is this:
>> Should we make an appeal to artists to produce something using only
>> Open Source software?
>> What do you guys think? Isn't it the best time to promulgate such a
>> message, with the social media and all? And if yes, what would be the
>> best way?
>> Or am I completely wrong? And there is something in the big picture I
>> didn't see?
KMidimon is a MIDI monitor for Linux using ALSA sequencer and KDE4 user
Changes in 0.7.4
* requires Drumstick >= 0.5
* load and play OVE files (Overture), contributed by Rui Fan
* option to request real-time priority on MIDI input thread
* option to (not) resize columns while recording
* better reporting of file loading errors
* revised universal sysex messages translation
Copyright (C) 2005-2010, Pedro Lopez-Cabanillas
License: GPL v2
(posted the same message on the alsa-user list, but without reply, now trying
i have a machine with two pci devices of the same type. how can i ensure
persistent device indices?
the wiki  mentions a way for a way using vid/pid, but for pci devices it
suggests to write a udev rule.  has an example, but it only describes how to
set up the device names in /dev/snd. but how do i bind a specific device to an
alsa device index (hw:X)?
A few days ago in the alsa users mailing list, Clemens pointed to a
recent patch for the EHCI driver   for solving the following problem:
The current TT scheduling doesn't allow to play and then record on a
full-speed device connected to a high speed hub.
In connection with this, there was a discussion here some months ago
. Some users said that they were not able to get jack working in
duplex mode . I also tried to prepare my sister's notebook with a UA25EX
and duplex did not work either. I encountered the same problem in the
laptop of a friend of mine. In both cases, the computers have an Intel 5
Series/3400 Series Chipset USB2 controller. Jack always says "broken
I have not tried the patch yet but it seems to work if you read the
whole thread in alsa-users. Has someone else tried? Joan? Jeremy?
i recently built a 64 bit Ubuntu studio machine, and am looking for 64
bit packages - the Linux sampler home page only has 32 bit though.
does anyone know where i might find a package, compiled either for
Ubuntu or Debian?
http://bumblepuppy.org/blog/?p=237 - government bill to remove basic
human rights in NZ
(TL;DR: skip to "The main question...")
I'm planning a hobby project to build an all-digital surround/hi-fi
system. Regular surround/hi-fi systems convert digital input sources
to analog in the surround processor/preamp, but I want to keep the
signal in the digital domain as far as possible (by using all-digital
class D power amps, aka. "PowerDACs" [*] that convert a PCM signal to
an amplified PWM signal that is feeds the speaker directly through an
LPF. The heart of this system is an all-digital surround
processor/preamp that should do the following:
1. Switch between multiple digital inputs. (typically from HDMI or SPDIF)
2. Decode and/or upsample the input (if necessary) into a suitable
format, typically 96kHz or 192kHz 24-bit PCM in 8 channels (for a 7.1
3. Perform signal processing on the PCM signal, like room correction
and volume control.
4. Output each of the 8 channels on separate digital outputs suitable
for connection to the power amp associated with each speaker.
AFAIK there are currently (very few or) zero preamps for sale that
meet the above requirements. Requirement #4 seems especially hard to
I'm therefore planning to build my own preamp based on the following components:
- A HDMI switch with audio split (SPDIF) and RS-232 control.
- A Linux computer that controls the HDMI switch, and contains the
audio processing software (e.g. a gstreamer pipeline doing the
decoding and manipulation).
- A suitable audio interface with at least 8 digital outputs.
I believe this rig should be able to meet the above requirements.
The main question at this point is what audio interface I should
choose for the rig. Some points to consider:
- Must work very well with Linux; bonus points if the vendor is Linux-friendly.
- Must be able to output 8 channels of 96kHz/24bit PCM, preferably
using AES/EBU or SPDIF (as that's what most digital power amps seem to
accept as input).
- USB, Firewire, PCI or PCI express? Which is more stable/supported?
- Bonus points if it also has 8 analog outputs, as I want to
prototype this on an analog power amp before investing in digital
- Since this is still in a proof-of-concept phase, I'd like to spend
not more than about $1000 on the interface.
So far I've been browsing interfaces like:
- MOTU 828mk3 (capable, but seems to be poorly supported by Linux)
- RME HDSPe AES (very capable, lacks analog outputs, a bit pricey)
- RME Multiface II + HDSPe interface card (has analog outputs, not
sure if 1 SPDIF plus 1 ADAT can give me 8 channels of digital output
in 96/24, pricey)
- Focusrite Saffire PRO 40 (seems similar to RME Multiface II, but
cheaper. Unsure how well it is supported by Linux)
What other audio interfaces should I check out? Are there other things
I should keep in mind when picking an audio interface?
Have fun! :)
[*]: Examples of all-digital power amps include the NAD Direct Digital
amps (M2 and C390DD), the Tact True Digital Amplification series, etc.
Johan Herland, <jherland(a)gmail.com>