Linux-audio-user August 2011

linux-audio-user@lists.linuxaudio.org

101 participants
97 discussions

by Aurélien Leblond

>> I am not a marketing expert, but words like 'Linux', 'FLOSS' might be >> frightening people. 'Opensource', 'Ardour' and 'Ubuntu' (and probably >> Creative Commons) are words which lay much better in 'the market'... >I cannot begin to describe how much I disagree with "rebranding" what is >being done to make it go big. Sure "open source" is a nice term, and "create >commons" is too, but one should stand with what it is that your *actually >doing*, and dimming it down for people getting into the scene is not going >to improve the situation in the long run. Turning them into a veteran linux >audio guys: that's a better goal. >Restating: I disagree with the idea of "marketing" names for what we do. >People will be draw to the comunity *because* of what we do, not because of >*how we brand* what we do. Unfortunately, I won't agree there! The company I work for produce software (a very VERY big company), and they have a whole department for branding. I know it is "sad", and as a developer, I feel that "if it is a good software, they will come"... But...not so... May be rebranding is the wrong idea though. GNU is (one of) the License for Open Source Software. CC is (one of) the License for Artistic Content. We might need out own brand for the advertising part! (A new step in the Business Model). Another thing I was thinking about is this: When we release a software, it's really easy to know it's an open source software, it has the GNU License for example... For music rights, we have the CC license... What about creating a logo for music created only with open source software? Instead of having in the description of my band "oh I use only open source software blablabla", just a simple logo attached on the website of the band... I think somebody mentionned that Lord Of the Ring sound production was done in Ardour... Imagine if on each poster of the movie there were just a small logo claiming that! Aurélien

12 years, 1 month

[LAD] Announcing Kn0ck0ut-LV2, spectral subtraction plugin

by Jeremy Salwen

Hello all, I am pleased to announce that the first release of Kn0ck0ut-LV2<https://github.com/jeremysalwen/kn0ck0ut-lv2>is ready. Kn0ck0ut-LV2 is a port of the very popular VST "Spectral Subtractor/Vocal Remover" plugin Kn0ck0ut<http://www.freewebs.com/st3pan0va/>, with added features and improvements. Kn0ck0ut-LV2 is primarily useful for either isolating or removing the "center channel" of stereo recordings. If you have center panned vocals, you can use this to get the classic effects of "karaoke" or "vocal extraction". However, if you turn the controls to the extremes and/or feed it two unrelated signals, you can also get a variety of unique sounds. On top of Kn0ck0ut's functionality, I offer these improvements in Kn0ck0ut-LV2: * Improved performance through use of FFTW and more efficent buffering code * Completely variable FFT size and overlap amount controls. * Experimental "Phase Compensation" option, which will perhaps preserve additional fidelity in certain cases. * Restored Low-cut filter which was removed in later releases. If this all sounds great, a direct download link for the sources is here<https://github.com/jeremysalwen/kn0ck0ut-LV2/tarball/1.0>. In order to compile, you need lv2core, fftw3, and lv2-c++-tools A special thanks to St3pan0va, the original author of kn0ck0ut. Comments/questions are welcome. Jeremy Salwen

12 years, 1 month

BOSS BR-80

by Kazutomo Yoshii

Hi All, I bought BOSS BR-80 recently, which can be used as USB audio interface. Unfortunately, Fedora15(2.6.38.8) didn't recognize it. Maybe someone already made BR-80 work but my google search didn't show any hint, so I decided to hack. I added an entry to quirks-table.h for BR-80 (see below) and recompiled the snd-usb-audio module and re-installed the module. I also added a dmex and softvol config to .asoundrc(see also below). It now works as a playback device, which satisfies my current requirements. The capture interface and MIDI seems not working. The lsusb output contains a couple of 'UNRECOGNIZED' lines. lsusb output,/proc/asound/, etc are also below. Although I might not use these interfaces, I'm just curious to hack. Can anyone suggest where I should look at? Thanks, Kaz ======================================== --- sound/usb/quirks-table.h.orig 2011-08-06 21:17:32.686663306 -0500 +++ sound/usb/quirks-table.h 2011-07-26 19:05:21.790767824 -0500 @@ -1611,6 +1611,34 @@ } } }, +{ + USB_DEVICE(0x0582, 0x0130), + .driver_info = (unsigned long) & (const struct snd_usb_audio_quirk) { + /* .vendor_name = "BOSS", */ + /* .product_name = "MICRO BR-80", */ + .ifnum = QUIRK_ANY_INTERFACE, + .type = QUIRK_COMPOSITE, + .data = (const struct snd_usb_audio_quirk[]) { + { + .ifnum = 0, + .type = QUIRK_AUDIO_STANDARD_INTERFACE + }, + { + .ifnum = 1, + .type = QUIRK_AUDIO_STANDARD_INTERFACE + }, + { + .ifnum = 2, + .type = QUIRK_MIDI_STANDARD_INTERFACE + }, + { + .ifnum = -1 + } + } + } +}, + + ======================================== $HOME/.asoundrc pcm.dmixer { type dmix ipc_key 333444 # uniq val slave { pcm { type hw; card BR80AUDIO; } period_time 0 period_size 1024 buffer_size 8192 rate 44100 } bindings { 0 0 1 1 } } #http://alsa.opensrc.org/How_to_use_softvol_to_control_the_master_volume pcm.softvol { type softvol slave { pcm "dmixer" } control { name "Master" card 0 # is this right? } } pcm.!default { type plug slave.pcm "softvol" } ======================================== $ find /proc/asound/BR80AUDIO/ -type f /proc/asound/BR80AUDIO/id /proc/asound/BR80AUDIO/usbbus /proc/asound/BR80AUDIO/usbid /proc/asound/BR80AUDIO/stream0 /proc/asound/BR80AUDIO/midi0 /proc/asound/BR80AUDIO/pcm0p/sub0/status /proc/asound/BR80AUDIO/pcm0p/sub0/sw_params /proc/asound/BR80AUDIO/pcm0p/sub0/hw_params /proc/asound/BR80AUDIO/pcm0p/sub0/info /proc/asound/BR80AUDIO/pcm0p/xrun_debug /proc/asound/BR80AUDIO/pcm0p/info ======================================== This message appears in kernel log [81902.426215] ALSA sound/usb/midi.c:1680: MIDIStreaming interface descriptor not found ======================================== lsusb output Bus 002 Device 008: ID 0582:0130 Roland Corp. Device Descriptor: bLength 18 bDescriptorType 1 bcdUSB 2.00 bDeviceClass 255 Vendor Specific Class bDeviceSubClass 0 bDeviceProtocol 255 bMaxPacketSize0 64 idVendor 0x0582 Roland Corp. idProduct 0x0130 bcdDevice 0.00 iManufacturer 1 iProduct 2 iSerial 0 bNumConfigurations 1 Configuration Descriptor: bLength 9 bDescriptorType 2 wTotalLength 176 bNumInterfaces 4 bConfigurationValue 1 iConfiguration 0 bmAttributes 0xc0 Self Powered MaxPower 2mA Interface Descriptor: bLength 9 bDescriptorType 4 bInterfaceNumber 0 bAlternateSetting 0 bNumEndpoints 0 bInterfaceClass 255 Vendor Specific Class bInterfaceSubClass 255 Vendor Specific Subclass bInterfaceProtocol 0 iInterface 0 Interface Descriptor: bLength 9 bDescriptorType 4 bInterfaceNumber 1 bAlternateSetting 0 bNumEndpoints 0 bInterfaceClass 255 Vendor Specific Class bInterfaceSubClass 2 bInterfaceProtocol 2 iInterface 0 ** UNRECOGNIZED: 06 24 f1 01 00 00 Interface Descriptor: bLength 9 bDescriptorType 4 bInterfaceNumber 1 bAlternateSetting 1 bNumEndpoints 1 bInterfaceClass 255 Vendor Specific Class bInterfaceSubClass 2 bInterfaceProtocol 2 iInterface 0 ** UNRECOGNIZED: 07 24 01 01 00 01 00 ** UNRECOGNIZED: 0b 24 02 01 02 04 18 01 44 ac 00 Endpoint Descriptor: bLength 7 bDescriptorType 5 bEndpointAddress 0x0d EP 13 OUT bmAttributes 5 Transfer Type Isochronous Synch Type Asynchronous Usage Type Data wMaxPacketSize 0x0038 1x 56 bytes bInterval 1 Interface Descriptor: bLength 9 bDescriptorType 4 bInterfaceNumber 2 bAlternateSetting 0 bNumEndpoints 0 bInterfaceClass 255 Vendor Specific Class bInterfaceSubClass 2 bInterfaceProtocol 1 iInterface 0 Interface Descriptor: bLength 9 bDescriptorType 4 bInterfaceNumber 2 bAlternateSetting 1 bNumEndpoints 1 bInterfaceClass 255 Vendor Specific Class bInterfaceSubClass 2 bInterfaceProtocol 1 iInterface 0 ** UNRECOGNIZED: 07 24 01 07 00 01 00 ** UNRECOGNIZED: 0b 24 02 01 02 04 18 01 44 ac 00 Endpoint Descriptor: bLength 7 bDescriptorType 5 bEndpointAddress 0x8e EP 14 IN bmAttributes 37 Transfer Type Isochronous Synch Type Asynchronous Usage Type Implicit feedback Data wMaxPacketSize 0x0038 1x 56 bytes bInterval 1 Interface Descriptor: bLength 9 bDescriptorType 4 bInterfaceNumber 3 bAlternateSetting 0 bNumEndpoints 2 bInterfaceClass 255 Vendor Specific Class bInterfaceSubClass 3 bInterfaceProtocol 0 iInterface 0 ** UNRECOGNIZED: 06 24 f1 02 01 01 Endpoint Descriptor: bLength 7 bDescriptorType 5 bEndpointAddress 0x03 EP 3 OUT bmAttributes 2 Transfer Type Bulk Synch Type None Usage Type Data wMaxPacketSize 0x0200 1x 512 bytes bInterval 1 Endpoint Descriptor: bLength 7 bDescriptorType 5 bEndpointAddress 0x84 EP 4 IN bmAttributes 2 Transfer Type Bulk Synch Type None Usage Type Data wMaxPacketSize 0x0200 1x 512 bytes bInterval 0 Interface Descriptor: bLength 9 bDescriptorType 4 bInterfaceNumber 3 bAlternateSetting 1 bNumEndpoints 2 bInterfaceClass 255 Vendor Specific Class bInterfaceSubClass 3 bInterfaceProtocol 0 iInterface 0 Endpoint Descriptor: bLength 7 bDescriptorType 5 bEndpointAddress 0x03 EP 3 OUT bmAttributes 2 Transfer Type Bulk Synch Type None Usage Type Data wMaxPacketSize 0x0200 1x 512 bytes bInterval 1 Endpoint Descriptor: bLength 7 bDescriptorType 5 bEndpointAddress 0x85 EP 5 IN bmAttributes 3 Transfer Type Interrupt Synch Type None Usage Type Data wMaxPacketSize 0x0200 1x 512 bytes bInterval 1

12 years, 1 month

Re: [LAU] An appeal to famous artists?

by Aurélien Leblond

>Example: I'm comfortable using Cairo, and if somebody hands me a >Gtk::DrawingArea, I'll throw a Synth UI together without too much pain. With >that in mind, I've never written a LV2 plugin, and for me to write a synth >engine would be a case of "challenge" > "dev". To get the job done right in >as little time, I'd need to work together with somebody who knows LV2 dsp >stuff well, but not much Cairo. > >I'm interested in opinions from community to see if it is plausible / >possible / other to collaborate (more than we already are)? >Cheers, -Harry Well, speaking of which, I'm working on porting the AlsaModularMix internal modules to LV2 plugins. Progress is very slow (didn't realise how rusty my C/C++ is) and although after studying a lot the AMS code and knowing what the different modules do I have a fair understanding of the code, I wouldn't call myself an expert on LV2 DSP stuff... But I would defo need some help for the GUI bits! >PS: I concidered moving to a new topic.. but then thought nah :) Myeah....Think it digressed anyway!

12 years, 2 months

community pages

by pshirkey＠boosthardware.com

Hi, Can people who are doing interesting Linux Audio related things on facebook, twitter, soundcloud, etc... send through their details so that we can create a central location for where to find you all? -- Patrick Shirkey Boost Hardware Ltd

12 years, 2 months

LV2 synths for Ardour 3?

by Leigh Dyer

Hi all, With Ardour 3 coming along, and looking set to support only LV2 synth plugins, I've just been writing up some notes on the various LV2 synth plugins that are around at the moment. I've listed them here: http://wootangent.net/2011/06/lv2-synths-for-ardour-3-a-list/ I hope I've covered all the big ones, but are there any that I'm missing? I'd love for this to be a handy resource for new users when Ardour hits the big 3.0. Thanks Leigh

12 years, 2 months

PHASEX patch reverse-engineering challenge

by Ken Restivo

Some years ago, when I first tried out PHASEX, I created this silly little demo: http://www.archive.org/download/KenRestivoInternetArchivePart1/phasexdemo.o… At the time, I either hadn't figured out how to save patches, or forgot to save the patch, or perhaps PHASEX crashed on me before I got to save (it was its first release after all). I thought of turning that goofy little chord progression into a club/dance/house/techno/disco number eventually, but never got around to it. Yesterday I played it for my daughter, who is really into club/dance/pop/house music, and she liked it a lot and thought it was worth developing. But, of course, it was the *sound* that she was mostly impressed with, not that very pedestrian chord progression (yay PHASEX, whatevs me). So. I could spend hours with PHASEX trying to re-create that patch, but I doubt I'd ever get around to doing that. I figured maybe I'd put it out there and see if anyone else would like the challenge instead (please do, however, send me the patch if you figure it out). Here's what I do remember: the arpeggiated sound was, IIRC, done just with a filter, there was a 1/8 beat delay with tons of repeat, it was in poly mode, and somehow there was a very long release on something (VCA? VCF?). The first note was literally just one note; PHASEX did all the rest. After that I was just playing triads with my right hand and a single note in the bass. -ken

12 years, 2 months

[OT] The State of Art

by James Morris

An essay by Julian Oliver about state funding, in particular for the arts in the UK, Europe, America and Canada. Though more arts-related than anything else, there's some crossover in that it talks (far down) about more experimental arts: "...a lab that hosts workshops on noise and experimental music, software and bio-art, physical computing or mixed reality may not appear a sensible investment...". via netbehaviour: http://julianoliver.com/state-of-art

12 years, 2 months

Gotten an Audigy 2 ZS Platinium Pro... grmpf something is missing!

by Michelle Konzack

Hi *, I have goten a bunch of computers and with them an external box Creative Audigy 2 ZS Platinum Pro (SB0290 with IR Control and a cable) Since I have currently no FireWire in my Computer, my question is: It is enough to connect the Box to Firewire or do I need a special card for this flat digital connector? Unfortunately I can not find the Documentation for it in PDF, since the Microsoft/CHM crap does not work on my system... Thanks, Greetings and nice Day/Evening Michelle Konzack -- ##################### Debian GNU/Linux Consultant ###################### Development of Intranet and Embedded Systems with Debian GNU/Linux itsystems@tdnet France itsystems@tdnet Owner Michelle Konzack Owner Michelle Konzack Apt. 917 (homeoffice) Gewerbe Strasse 3 50, rue de Soultz 77694 Kehl/Germany 67100 Strasbourg/France Tel office: +49-176-86004575 Tel mobil: +33-6-61925193 Tel mobil: +49-177-9351947 <http://www.itsystems.tamay-dogan.net/> <http://www.flexray4linux.org/> <http://www.debian.tamay-dogan.net/> <http://www.can4linux.org/> Jabber linux4michelle(a)jabber.ccc.de Linux-User #280138 with the Linux Counter, http://counter.li.org/

12 years, 2 months

Re: [LAU] An appeal to famous artists?

by Mike Mazarick

What's wrong with using in-famous artists? These scallywags can produce some pretty good music. The issues you brought up still remain and it would help to understand that the copyrights in music are the same copyrights that software developers use (and were actually developed for musicians before there was software). It is much easier to collaborate than to compete, and easy usually wins. Here is a question which answers your question of the 'big picture'. My question/answer: "How much are you willing to do to make it happen?" -Mike Mazarick PS - sorry for the top posting, but I thought it better in this instance > -----Original Message----- > From: Aurélien Leblond [mailto:blablack@gmail.com] > 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 > about)... > > 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 > LINUX??? > > Well......I did: > - Yeah RIGHT! Every known musicians use Macs! They are designed for > artists! > 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 > music... > Really? > > - 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 > no? > > - 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?

12 years, 2 months

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Linux-audio-user August 2011