This is Steinway_IMIS soundfont, version 2.2.
ftp://musix.ourproject.org/pub/musix/sf2/Steinway_IMIS2.2
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.
Hello,
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!
-TimH
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
soundfonts?
Thanks in advance.
- Dan
> 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:
http://soundcloud.com/a-violent-whisper
(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
software...
Any ideas?
> -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?
>
>
>
KMidimon is a MIDI monitor for Linux using ALSA sequencer and KDE4 user
interface.
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
More info
http://kmidimon.sourceforge.net
Sources
http://sourceforge.net/projects/kmidimon/files/
Regards,
Pedro
CALL FOR WORKS:
http://www.transy.edu/music/STUDIO_300/2012_Call_for_Works.html
STUDIO 300 Digital Art and Music Festival, 2012: DEADLINE is April 15, 2012
=====================================================================
TRANSYLVANIA UNIVERSITY is accepting submissions for the STUDIO 300
Digital Art and Music Festival. This international festival will take
place in Lexington, Kentucky, USA on September 28 & 29, 2012.
MISSION
The Studio 300 Festival explores creative manifestations of technology
through concerts and exhibitions of digital art and music. This year’s
festival will feature concerts in Haggin Auditorium, and multimedia
gallery exhibits in the Morlan Gallery and the BYTE Gallery kiosk.
Artists and musicians from Lexington and across world will be
participating. A late night concert will also take place off campus at
Al’s Bar.
SUBMISSION DEADLINE
Submissions must be received by April 15, 2012. There is no submission fee.
PARTICIPATION GUIDELINES
Composers and Artists whose works are accepted and programmed for
performance in concerts or installations are required to attend in
person. Composers and Artists are expected to provide their own
performers if needed. Hotel discount rates will be available, and
participants will receive free admission to all events. A registration
fee of $45.00 is required for participation. Early registration fee
(received before May 1st, 2012) is only $25.00, instead of $45.00.
Composers and Artists whose works are accepted for the BYTE Gallery
digital kiosk are not required to attend in person, but are certainly
welcome. Participants in the BYTE Gallery are not required to pay a
registration fee.
=====================================================================
WORK CATEGORIES
1) Electro-Acoustic Music: Fixed Media (Concert or BYTE Gallery)
The Electro-Acoustic Music category is for fixed works of music/sound
art. These works should be electronically/digitally conceived and
produced. In other words, these should not be recordings of vocal or
instrumental acoustic compositions. It is certainly acceptable, however,
that works may be derived from acoustic sound sources. Stereo or
multichannel (5.1, Quad, or Double Diamond 8(Front:L,C,R;Side:L,R; Rear:
L,C,R) is acceptable for concert presentation, although a stereo mix
should be available for BYTE Gallery works.
2) Electro-Acoustic Music: With Performer(s) (Concert only)
The Electro-Acoustic Music category is for works of music/sound art that
involve a live performance element, including interactive works.
3) Videomusic (Concert or BYTE Gallery)
The Videomusic category is for works that explore non-narrative
abstraction with equal emphasis on electro-acoustic music/sound art and
moving images. Stereo or multichannel (5.1, Quad, or Double Diamond
8(Front:L,C,R;Side:L,R; Rear: L,C,R) is acceptable for concert
presentation, although a stereo mix should be available for BYTE Gallery
works.
4) Dramatic Video (BYTE Gallery only)
The Dramatic Video category is a theatrical work of short video/film
where digital technology is an essential part of the creative process.
The video should be accompanied by stereo audio, unless it is
intentionally silent. If the work includes sound, it must be stereo.
5) Animation (Concert or BYTE Gallery)
The Animation category is for video works that explore non-narrative
abstraction with primary emphasis on moving images. Works may or may not
include sound. Stereo or multichannel (5.1, Quad, or Double Diamond
8(Front:L,C,R;Side:L,R; Rear: L,C,R) is acceptable for concert
presentation, although a stereo mix should be available for BYTE Gallery
works.
6) Digital Print/Still Image (BYTE Gallery only)
The Digital Print/Still Image category is for fixed/still artworks where
digital technology is an essential part of the creative process.
7) Installation (Various locations)
Interactive installation/sound sculptures. Artists submitting
installation works should submit an abstract along with supporting
imagery, diagrams or footage of the installation. Artists will be
required to provide all resources: computers, speakers, etc.
8) Late-Night Club Electro Music (Concert only)
This category allows for electronic/computer/techno/electronica, etc.,
music that explores hybrid forms, intended for bar/club venues. DJ set,
jam band, songwriters, jazz soloist with a machine counterpart, etc., as
long as the electronic part is significant and relevant, works in this
category are welcome.
=====================================================================
SUBMISSION GUIDELINES
Submission is through email only—do not attach anything to the email,
instead provide web links to your application materials. Each entrant
may submit up to two (2) works.
Email your submission to studio300(a)transy.edu
Submissions must be received no later than April 15, 2012.
Completed submissions will include:
1) web link to a pdf/text file of the application form (see below)
2) web link to the submitted work (audio file, image file, movie file, etc.)
3) web link to a photo (image file) of the artist/composer/producer
Any questions? Please contact:
Dr. Timothy Polashek
Director, STUDIO 300 FESTIVAL AT TRANSYLVANIA UNIVERSITY
tpolashek(a)transy.edu
=====================================================================
SUBMISSION FORM
1) Name of creator/s: ________________________________________________
2) Address of creator/s: _____________________________________________
City, State, Zip code, Country:
_________________________________________________
3) Phone number of creator/s: (____) _______________________________
4) E-mail of creator/s: _______________________________________________
5) Category of Submission (check one):
____ Electro-Acoustic Music: Fixed Media (Concert or BYTE Gallery)
____ Electro-Acoustic Music: With Performer(s) (Concert only)
____ Videomusic (Concert or BYTE Gallery)
____ Dramatic Video (BYTE Gallery only)
____ Animation (Concert or BYTE Gallery)
____ Digital Print/Still Image (BYTE Gallery only)
____ Installation (Various Locations)
____ Late-Night Club Electro Music (Concert only)
6) Title of piece: _______________________________________________
7) Duration: _____ minutes ______ seconds
8) Names of other artists or contributors:
_____________________________________________________
_____________________________________________________
9) Year of completion: _____
10) Link for downloading your submissions materials:
_____________________________________________________________
11) Program note for the piece (100 words):
_____________________________________________________________
_____________________________________________________________
_____________________________________________________________
_____________________________________________________________
_____________________________________________________________
12) Biography of the artist (100 words):
_____________________________________________________________
_____________________________________________________________
_____________________________________________________________
_____________________________________________________________
_____________________________________________________________
13) Should your work be chosen for STUDIO 300 FESTIVAL, do you grant
permission of this use, acknowledging that this use is voluntary and
that you will not be compensated for your participation?
______ Yes ______ No
14) Do you wish your work to be considered for programming on concerts?
Composers programmed for concerts are required to attend in person.
______ Yes ______ No
15) Do you wish your work to be considered only for the BYTE Gallery
kiosk? Composers/artists included in the BYTE Gallery are not required
to attend in person.
______ Yes ______ No
16) Do you wish your work to be considered for both the BYTE Gallery
kiosk AND concerts? Composers/artists included in the BYTE Gallery are
not required to attend in person. Composers programmed for concerts are
required to attend in person.
______ Yes ______ No
17) Do you approve of your work being accompanied by dance?
______ Yes ______ No
18) Should your work be chosen for the STUDIO 300 FESTIVAL, do you give
permission to use audio clips, images of your work, and your likeness
(photo image file) in university promotional materials?
______ Yes ______ No
URL for this CALL FOR WORKS!
http://www.transy.edu/music/STUDIO_300/2012_Call_for_Works.html
For more information contact Timothy Polashek (tpolashek(a)transy.edu),
director of the STUDIO 300 Festival, Transylvania University, 300 North
Broadway, Lexington, KY 40508 USA
STUDIO 300 Digital Art and Music Festival, 2012
September 28 & 29, 2012
Lexington, Kentucky USA
I'm sure a lot of you have experience distributing your music under a
Creative Commons license so I'd like some of your thoughts. My band
finished recording a full length album recently, and we are planning on
releasing it under CC-BY-NC-SA.
Our plan is to sell our album with a "Name your price" deal. But if you
choose to pay over a certain amount (like $12 or so) you also get a T-shirt
and a sticker (or some other sort of gifts). We have done something like
this in the past with our demos. We gave them away for free but also
accepted donations. A lot of people paid us nothing, but a few people were
quite generous!
How do you make money with this sort of license? Has anyone done something
similar with their pricing model? Are there other pricing models that you
prefer? What were your experiences, and how were the results?
-Kris
Hi,
I know it's been a long while. I won't burden you with my puny
excuses: we'll just make as if I didn't take several months for
something that should have taken only one, ok? :-)
This time, the featured musician is Robert Jonsson. Hiding behind
"The Charles Dwaring Evolution Experience", he makes stoner metal with
distorted guitars and snarling voices. And FLOSS, of course:
http://xouba.net/post/25297044437/floss-your-music-robert-jonsson
I'm collecting names for more installments, but they won't be soon.
I have a few important things to do this year, and they'll take time.
So, while you shouldn't discard the idea of more "FLOSS your music",
you'd better not hold your breath :-)
Thanks for all your patience,
--
Roberto Suarez Soto Pick up the phone,
I'm always home
hi all,
(posted the same message on the alsa-user list, but without reply, now trying
here)
i have a machine with two pci devices of the same type. how can i ensure
persistent device indices?
the wiki [1] mentions a way for a way using vid/pid, but for pci devices it
suggests to write a udev rule. [2] 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)?
thanks, tim
[1]
http://alsa.opensrc.org/MultipleCards#How_to_choose_a_particular_order_for_…
[2] http://alsa.opensrc.org/Udev
You asked for it (well, Helmut asked for it), you got it:
http://storage.restivo.org/music/Lahar/lahar-wizard.ogg
That's Better Than Lahar, live at Boom Boom Room, January 26, 2010.
The clav is a fluidsynth soundfont through Fons's auto-wah plugin. The Ozzy impression is me once again.
-ken
