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20713 discussions

by emillo＠libero.it

> i agree too... i had a potter around and made some nice mixer graphics > but never had time to go further with them. i'd like to work on this > from time to time too, and all my work is publised Libre. Hi, I've done something too... but the same problem here with time ;) I've made some knobs with blender, they are here: http://plugin.org.uk/graphics/ http://emillo.net/download/mixer.png Bye

22 years, 5 months

[linux-audio-user] LilyPond 2.0 - make beautiful music prints

by Han-Wen Nienhuys

Dear music enthousiasts, LilyPond version 2.0 was released today. LilyPond is an automated music notation system: it is used to make gorgeous sheet music. It is libre software ("open source"), and available for most Unix flavors, including Linux and MacOS X, and MS Windows. Use it for your music too! For this version, we have dramatically simplified many parts of the syntax, making it easier to use than ever before. Other improvements include quarter-tone accidentals, and conditional inclusion of music fragments. With version 2.0, we have a solid platform for working on notation and typography features for coming versions. Downloads, examples and documentation are available from the website, http://lilypond.org A big thank-you goes out to our hackers and bughunters: Mats Bengtsson, Heikki Junes, Juergen Reuter, Antonio Palama, Benjamin Milde, Daniel Berjon Diez, David Bobroff, David Rayleigh Arnold, Erik Ronstroem, Fabio dos Santos, Fodor Bertalan, Frederic Bron, Graham Parcival, Ian Bailey-Mortimer, John Williams, Josza Marton, Marco Caliari, Matthieu Amiguet, Michael Welsh Duggan, Patrick Atamaniuk, Paul Scott, Pedro Kroeger, Peter Lutek, Richard Schoeller, Thorkil Wolvendans, and Werner Trobin Happy music printing, Han-Wen Nienhuys & Jan Nieuwenhuizen (core development team) New features in 2.0 since 1.8 ***************************** * Crescendos can now be drawn dotted or dashed. * Quarter tones are now supported. They are entered by suffixing `ih' for a half-sharp and `eh' for a half-flat. Hence, the following is an ascending list of pitches: ceses ceseh ces ceh c cih cis cisih cisis * The following constructs have been removed from the syntax: \duration #SCHEME-DURATION \pitch #SCHEME-PITCH \outputproperty FUNC SYMBOL = VALUE For `\outputproperty', the following may be substituted: \applyoutput #(outputproperty-compatibility FUNC SYMBOL VALUE) * Clefs may now be transposed arbitrarily, for example \clef "G_8" \clef "G_15" \clef "G_9" * The syntax for chords and simultaneous music have changed. Chords are entered as <PITCHES> while simultaneous music is entered as <<..MUSIC LIST..>> In effect, the meanings of both have been swapped relative to their 1.8 definition. The syntax for lists in `\markup' has changed alongside, but figured bass mode was not changed, i.e.: \markup { \center <..LIST OF MARKUPS..> } \figure { <FIGURES> } As chords the more often used than simultaneous music, this change will save keystrokes. * Each music expression can now be tagged, to make different printed versions from the same music expression. In the following example, we see two versions of a piece of music, one for the full score, and one with cue notes for the instrumental part: << \tag #'part << { c4 f2 g4 } % in the part, we have cue-notes \\ R1 >> \tag #'score R1 % in the score: only a rest >> The same can be applied to articulations, texts, etc.: they are made by prepending -\tag #YOUR-TAGS to an articulation, for example, c4-\tag #'with-fingerings -4 -\tag #'with-strings \6 This defines a note, which has a conditional fingering and a string-number indication. * The settings for chord-fingering are more flexible. You can specify a list where fingerings may be placed, eg. \property Voice.fingeringOrientations = #'(left down) This will put the fingering for the lowest note below the chord, and the rest to the left. * The script previously known as `ly2dvi' has been renamed to `lilypond'. The binary itself is now installed as `lilypond-bin'. * Markup text (ie. general text formatting) may now be used for lyrics too. * Two new commands for grace notes have been added, `\acciaccatura' and `\appoggiatura', \appoggiatura f8 e4 \acciaccatura g8 f4 Both reflect the traditional meanings of acciaccatura and appogiatura, and both insert insert a slur from the first grace note to the main note. * Layout options for grace notes are now stored in a context property, and may now be set separately from musical content. * The `\new' command will create a context with a unique name automatically. Hence, for multi-staff scores, it is no longer necessary to invent arbitrary context names. For example, a two-staff score may be created by \simultaneous { \new Staff { NOTES FOR 1ST STAFF } \new Staff { NOTES FOR 2ND STAFF } } * Octave checks make octave errors easier to correct. The syntax is \octave PITCH This checks that PITCH (without octave) yields PITCH (with octave) in \relative mode. If not, a warning is printed, and the octave is corrected. * All articulations must now be entered postfix. For example, c8[( d8]) is a pair of beamed slurred eighth notes. * The definition of `\relative' has been simplified. Octaves are now always propagated in the order that music is entered. In the following example, PRE \repeat "unfold" 3 BODY \alternative { ALT1 ALT2 } POST the octave of BODY is based on PRE, the starting octave of ALT1 on BODY, the starting octave of ALT2 on ALT1, and the starting octave of POST on ALT2. The same mechanism is used for all other music expressions, except the chord. Backwards compatibility is retained through a special program option, which is set through #(ly:set-option 'old-relative) * Windows users can double click a `.ly' file to process and view it automagically through the new `lily-wins' frontend. New features in 1.8 since 1.6 ***************************** * The chord entry code has been completely rewritten. It is now cleaner and more flexible. * A new syntax has been added for text entry. This syntax is more friendly than the old mechanism, and it is implemented in a more robust and modular way. For more information, refer to the section on "Text markup" in the notation manual. * The integration of the input language and Scheme has been made deeper: you can now use LilyPond identifiers in Scheme, and use Scheme expressions instead of LilyPond identifiers. * The internal representation of music has been cleaned up completely and converted to Scheme data structures. The representation may be exported as XML. * A new uniform postfix syntax for articulation has been introduced. A beamed slurred pair of eighth notes can be entered as c8-[-( d8-]-) In version 2.0, postfix syntax will be the only syntax available, and the dashes will become optional. This will simplify the language: all articulations can be entered as postfix, in any order. * A new syntax has been added for chords: << PITCHES >> It is not necessary to update files to this syntax, but it will be for using LilyPond version 2.0. In version 2.0, this syntax will be changed to < PITCHES > for chords, and \simultaneous { .. } for simultaneous music. To convert your files from <PITCHES> to <<PITCHES>>, use the script included in buildscripts/convert-new-chords.py This change was introduced for the following reasons * It solves the "start score with chord" problem, where you have to state \context Voice explicitly when a chord was the start of a Staff or Score. * With the new syntax, it is possible to distinguish between articulations (or fingerings) which are for a single chord note, and which are for the entire chord. This allows for per-note fingerings, and is more logical on the whole. * User code may now be executed during interpreting. The syntax for this code is \applycontext #SCHEME-FUNCTION * User code may now be executed on arbitrary grobs during interpreting. The syntax for this feature is \applyoutput #SCHEME-FUNCTION SCHEME-FUNCTION takes a single argument, and is called for every grob that is created in the current context. * New algorithms for chord-name formatting have been installed. They can be tuned and have ergonomic syntax for entering exceptions. * Texts may now be put on multimeasure rests, e.g. R1*20^\markup { "GP" } * Ancient notation now prints ligatures in Gregorian square neumes notation, roughly following the typographical style of the Liber hymnarius of Solesmes, published in 1983. Ligatures are still printed without the proper line breaking and horizontal spacing. * Glissandi can now be printed using the zigzag style. * LilyPond can now print clusters. The syntax is \apply #notes-to-clusters { NOTE NOTE .. } * For irregular meters, beat grouping marks can be printed. The syntax for this is #(set-time-signature 7 8 '(3 2 2)) * Nested horizontal brackets for music analysis can now be printed: NOTE-\startGroup .. NOTE-\stopGroup * Ottava brackets are now fully supported as a feature. The syntax is #(set-octavation 1) * Metronome markings are printed when a \tempo command is processed. * Fingerings can be put on chords horizontally. * The appearance of various glyphs has been fine-tuned. * Different types of percent style repeats may now be nested. * The emacs support has been extended. * The manual has been completely revised and extended. New features in 1.6 since 1.4 ***************************** * Support for figured bass and tablature. * Completely rewritten beam formatting: provides much better output now. * Completely revised and improved music font. * Completely rewritten MIDI import support. * Completely rewritten grace note support. Practically speaking this means that grace notes can be slurred to normal normal notes. * Improved accidental handling and formatting: styles for producing cautionaries may vary, and complex collisions between accidentals of a chord are handled much better. * Better spacing: both globally and locally. This includes subtle details like optical stem spacing. * More support for ancient notation: mensural ligatures, ambitus (pitch range) of voices, more shapes, etc. * More support for piano notation: bracket pedals, directed arpeggios, arpeggio brackets. * Easier music polyphonic music entry. * More extensibility, many speedups and bugfixes * The manual has been thoroughly revised. * Development is now hosted at http://savannah.gnu.org, and sources can be downloaded through anonymous CVS. * Support for windows: LilyPond is part of the cygwin distribution, which comes with a user-friendly installer. -- Han-Wen Nienhuys | hanwen(a)cs.uu.nl | http://www.xs4all.nl/~hanwen

22 years, 5 months

Re: [linux-audio-user] Red Hat and ALSA

by Luke Yelavich

At 04:36 PM 23/09/2003, Joerg Anders wrote: >Hi all! > >I'm searching for a good place for Red Hat ALSA RPMs. >I'm convincend there are many. But is there an "official" >web site ? I know Red Hat doesn't ship ALSA on CD. >But I read about a so-called "Red Hat community". >(Unfortunately, I'm not familar with the Red Hat >package policy.) > >Can anybody give a hint? Planet CCRMA is what you are after. http://www-ccrma.stanford.edu/planetccrma/software/ Regards Luke ---------------- Luke Yelavich AudioSlack Founder and main package maintainer Audio software packaged for the Slackware Linux Distribution http://www.audioslack.com luke(a)audioslack.com

22 years, 5 months

[linux-audio-user] Re: HDSP Firmware

by BrbrOfSvl＠aol.com

Hello all, Kevin E. helped me out with my HDSP. Turns out I just needed the new 0.9.6 drivers (sure took some work to get them up and running, though - thanks, Kevin). Works great now, with hdspmixer and everything (LOOKS great, too!).... but one weird thing happens - when I run aplay or play, when it gets to the end of the file something happens and then no programs can access the soundcard. Something similar happens on windows, but I don't know what's causing it. Any ideas? Matt

22 years, 5 months

[linux-audio-user] MORE hdsp 9652!

by Aaron Trumm

I hate when I think of a third question after hitting send this one is maybe best backchanneled to Mark, but I don't have the address down here, I've just discovered, so let's hope it's of use to other people: If I'm to figure out how to apply Thomas's patch to the planet flow, it might help me to have a little detail on what YOU did to apply the patch. given that I'm semi smart, but have so little information, this might help a great deal. :) slowly I learn - *chugga chugga* -- -------------- Aaron Trumm NQuit www.nquit.com --------------

22 years, 5 months

[linux-audio-user] Re: ! HDSP9652 again yikes

by BrbrOfSvl＠aol.com

In a message dated 9/23/2003 8:50:01 PM Eastern Daylight Time, linux-audio-user-request(a)music.columbia.edu writes: > > > > > DAMMIT aaron! last question for now - this is for > anybody - what > > is this?: > > (it was mentioned in a thread on alsa-devel) > > > > hdspconf GUI > > I believe it's where you configure the card - all the sync/ref stuff, etc. If you're box has a windows side, there will usually be a little icon on the bottom of the screen which looks like a little hammer (though maybe it looks different for the 9652 - I have a multiface) - I'm pretty sure it's the same thing. Yes-no? Matt

22 years, 5 months

[linux-audio-user] Re: more on HDSP9652

by BrbrOfSvl＠aol.com

In a message dated 9/23/2003 8:50:01 PM Eastern Daylight Time, linux-audio-user-request(a)music.columbia.edu writes: > > You put the card in a Windows based (or maybe Mac based, I don't know) > computer and you run the firmware updater for the Rev 101 (65 hex) firmware. > It takes the card down to rev 101. This is available on the > RME web site > under downloads. Yeah... though sometimes when you downgrade you have to go the "archive" section of the RME downloads.

22 years, 5 months

[linux-audio-user] more on HDSP9652

by Aaron Trumm

It's me Aaron again this is a question probably best for Mark K. but I thought it'd be useful to post it too I indeed have firmware rev 68 going for my 9652 - you said to use 65 - other strains said you had to downgrade to 65 - ok that makes sense. my two questions are hopefully simple - how do I do that? and can I go back up later? (I imagine Thomas and company will have the drivers humming for the newer rev and that at that point it'd be a good idea to go back up - if possible) also, I know this has been explained three times in the last day to other people asking, but this is not actual "firmware" in the sense that it's some kind of flash happening to the hardware, right? I think the one post explained that we were actually calling this firmware erroneously... -- -------------- Aaron Trumm NQuit www.nquit.com --------------

22 years, 5 months

[linux-audio-user] Hercules Gamesurround Fortissimo III 7.1 not working

by Arvid Stüwe

Hi! I'm trying to get alsa working with my new card, but the alsa module won't load. This is the error I get: # modprobe snd-cs46xx /lib/modules/2.4.22-xfs/kernel/sound/pci/cs46xx/snd-cs46xx.o: init_module: No such device Hint: insmod errors can be caused by incorrect module parameters, including invalid IO or IRQ parameters. You may find more information in syslog or the output from dmesg /lib/modules/2.4.22-xfs/kernel/sound/pci/cs46xx/snd-cs46xx.o: insmod /lib/modules/2.4.22-xfs/kernel/sound/pci/cs46xx/snd-cs46xx.o failed /lib/modules/2.4.22-xfs/kernel/sound/pci/cs46xx/snd-cs46xx.o: insmod snd-cs46xx failed and the syslog contains these messages: Sep 23 22:05:42 aurora kernel: PCI: Found IRQ 11 for device 00:11.0 Sep 23 22:05:43 aurora kernel: ALSA ../../alsa-kernel/pci/cs46xx/cs46xx_lib.c:268: AC'97 write problem, codec_index = 0, reg = 0x2, val = 0x8000 Sep 23 22:05:43 aurora kernel: ALSA ../../alsa-kernel/pci/cs46xx/cs46xx_lib.c:148: AC'97 read problem (ACCTL_DCV), reg = 0x2 Sep 23 22:05:46 aurora last message repeated 99 times lspci reports the card as: # lspci [...] 00:11.0 Multimedia audio controller: Cirrus Logic CS 4610/11 [CrystalClear SoundFusion Audio Accelerator] (rev 01) Entries in /etc/modules.conf are as they should be, if I read the instructions correctly: alias char-major-116 snd alias snd-card-0 snd-cs46xx alias char-major-14 soundcore alias sound-service-0-0 snd-mixer-oss alias sound-service-0-1 snd-seq-oss alias sound-service-0-3 snd-pcm-oss alias sound-service-0-8 snd-seq-oss alias sound-service-0-12 snd-pcm-oss alias snd-slot-0 snd-card-0 alias sound-slot-0 snd-slot-0 cu Arvid -- in bunten Bildern wenig Klarheit, viel Irrtum und ein Fünkchen Wahrheit (Johann Wolfgang v. Goethe)

22 years, 5 months

[linux-audio-user] Delta 1010LT Preamp Gain

by Greg Reddin

Does anyone know if the ADC 0 and ADC 1 controls on envy24control actually control the preamp gain on the M-Audio Delta 1010LT or would it just be the AD converter levels? My eventual goal is to use my DAW as a PA processor for small road gigs using Freqtweak or something similar for the master EQ and dynamics processing for FOH and monitors. As a proof of concept I connected the XLR outputs of an Allen & Heath console to the XLR inputs of my Delta 1010LT and connected the outputs of the Delta 1010LT to the power amp. I was not able to get good levels without distortion and I suspect it is because I need to decrease the gain on the mic preamps in the 1010LT. I would've connected to the line-level RCA inputs, but I didn't have a cable handy to try that. The problem seemed to persist even if I lowered the faders on the console. So does the preamp gain sound suspicious or am I connecting something with too much of an output level to a mic preamp to begin with or does it seem like something else? I'm pretty sure I'm not driving the amps with too much level frin the DAW. Any help is greatly appreciated. Greg __________________________________ Do you Yahoo!? Yahoo! SiteBuilder - Free, easy-to-use web site design software http://sitebuilder.yahoo.com

22 years, 5 months

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