Linux-audio-user February 2013

linux-audio-user@lists.linuxaudio.org

142 participants
178 discussions

Steinway_IMIS2.2 soundfont (no loops fix)

by Roberto Gordo Saez

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.

1 year, 10 months

[linux-audio-user] Sub-harmonic generator? (LADSPA or VST)

by Tim Howard

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

8 years, 4 months

Alternative FluidSynth GUI?

by Dan Capp

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

9 years, 1 month

Sound Devices USBPre2, UAC2 status

by shal＠free.fr

Hi, Some old posts exist about the UAC2 support for the Sound Devices USBPre2 but some problem remains. The current status is that this sound card is supported as a USB 1.1 card in high-speed mode. But this card is not seen as a Usb Audio Class 2 on Linux. On Mac OS X this card is recognized as UAC2. My principal problem is that the "device descriptor" provided by the card is always a USB1.1 class There is two modes of boot for the card (pressing the "1" button, the card is in full speed mode, without pressing in UAC2 mode) There is only one difference between these two modes in the lsusb -v : the "bInterval" go to 4 from 1. This is already view by Clemens on: http://lists.linuxaudio.org/pipermail/linux-audio-user/2011-October/081275.… In this another post, we can seen: Bernardo Barros wrote: > Ok, I reconnected without pressing "1". > > Bus 002 Device 002: ID 0926:0202 > Device Descriptor: > bNumConfigurations 2 Strange, I have never 2 on bNumConfigurations ! Somebody can test it on its card ? This is perhaps my problem, my card only provides one "Configuration Descriptor". The second one is certainly the UAC2 "Configuration Descriptor". The lsusb without 1 pressed : http://pastebin.com/8yjjASv7 The lsusb with 1 pressed : http://pastebin.com/pGFdjR4K The usbmon trace of the insertion of the usbpre2 (without "1") : http://pastebin.com/pySC4Age This sound card is great, it is very disappointing to not be able to used it with all functionnalities. I search help in order to debug this problem. I am devlopper, I can test kernel patches without problem. Thank for any idea (or patch). Olivier

10 years, 1 month

Re: [LAU] An appeal to famous artists?

by Aurélien Leblond

> 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? > > >

10 years, 7 months

Wav loop points

by Louigi Verona

*Wrote this some time ago to the list, never got a reply. Now looking through the archives, I don't see this mail at all. I did attach a file, so maybe it was filtered. This is why I am duplicating this.* Hey fellas! I notice that no Linux samplers seem to support wav file loop points. All Windows DAWs that I have used support the format and there are a lot of samples out there with perfect loop points which is very useful. I have no idea whether this is part of the spec or not but these looppoints have been used for more than 15 years, that's for sure, since some of these sample collections have been around during tracking days. I did find something on loops here: http://www.sonicspot.com/guide/wavefiles.html But I think you, devs, know better than me anyway. I think it would be great if LMMS, samplers like Petri-Foo would support this, as this adds a lot of functionality. Many sample collections provide perfect loops and it is tiresome to have to try to remake it by hand each time, while in some software it is simply impossible at all. What do you think? ps: I can provide you with a sample example with loop points

10 years, 9 months

[ANN] KMidimon 0.7.4 released

by Pedro Lopez-Cabanillas

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

11 years, 6 months

CALL FOR WORKS! April 15, 2012 DEADLINE: STUDIO 300 Festival

by Timothy Polashek

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

11 years, 9 months

Raspberry Pi and real-time, low-latency audio

by Jeremy Jongepier

List, I've created a Wiki page with my findings of using real-time, low-latency audio on the RPi: http://wiki.linuxaudio.org/wiki/raspberrypi It's not complete and the RPi needs some more hacking to squeeze out the last bits of processing power that can be dedicated to things like samplers, synths, effects and guitar amp emulators. Thought I'd share the link, saw some questions regarding the RPi pass by the last few months. To show off what the RPi is capable of: http://www.youtube.com/watch?v=u6XKaRe_MEA&webm=1 (if you still use Flash remove '&webm=1') Regards, Jeremy

11 years, 9 months

Some new Bach

by Julien Claassen

Hello everyone! So I had a holiday in paradise. Meaning: I was surrounded by a very good friend, loads of vintage equipment and Ardour3. And I am grateful for all three. So I used a few minutes to record another piece of Bach. It's the B Minor prelude (once again) played on an ARP Pro Soloist (trumpet) and an ARP Oddysey. Unfortunately I had to spread my arms to the left and right playing the piece. So the performance is not as good, as you might wish. Still it was an experience I loved and so I'm sharing, hoping that a few gear nerds might get something out of it. http://juliencoder.de/bach/BWV869A-Prelude_in_B_Minor-Synth_Version.ogg And for the ogg-less (poor bastards :-) ) http://juliencoder.de/bach/BWV869A-Prelude_in_B_Minor-Synth_Version.mp3 Processing consists of some high and lowpass filtering, using the GLAME filters, the TAP stereo echo of the Oddy and the CAPS Plate reverb 2x2 for teh Pro Soloist. Any feedback is welcome. I hope you can enjoy it. Warmly yours Julien ---------------------------------------- http://juliencoder.de/nama/music.html

11 years, 9 months

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Linux-audio-user February 2013