Hey!
I have a load of questions and I hope it's
not too much trouble to get them answered.
Does Ardour or any Linux program support
Digidesigns Control|24?
If not, how would it get support?
What control surfaces are supported?
I know a mackie controller is supported...
Also, can Ardour recieve 96Khz from the HDSP 9652?
What's the status with the HDSP 9652 driver?
Where can I check the status of the HDSP 9652 driver?
thanks...
rob
I have been trying to get ALSA (0.9.0rc5) working with an on-board
ALC650 chip, ALSA because that is what the chip's manufacturer,
Realtek, offers on their website. (I assume that this means
that the sound code in kernel 2.4.20 won't work with the chip.)
I compiled everything and made 'insmod' with 'snd' and 'snd-via82xx',
with no error messages that I could see (a lot of other modules
were loaded automatically.) I also ran the make-dev's script.
Yet, no sound.
So I looked at Sound-HOWTO's. They stress the importance of seeing
kernel messages about sound. Well, I don't see any.
Then, because ALSA apparently mutes everything by default, I
tried compiling two mixers from the ALSA site. No success,
because I was missing some libraries. Also, I was pretty
confused about what version of ALSA they were supposed to work
with.
Of course, I can start looking for those libraries, but while
I do that, could some kind soul please explain how I can find
out whether my actual sound setup is likely to work at all?
Or would anyone know of a mixer program that would not need
libraries that I will not have?
If it matters - my sound sources are DVD and TV...
Thank you,
Sakari Aaltonen
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Hello,
(I hope it's ok to post messages like this to this list? If not, please steer
me in the right direction...)
I'm using Ardour on SuSE 8.1 (the version that comes with SuSE, not CVS).
I have a Creatoive SoundBlaster Platinum, with the original edition of the
LiveDrive (No IR). Using alsa 0.9.x that also came with SuSE.
Inside Ardour, I can record from the sound card's microphone just fine. By
setting "Capture" to the line-in (on the PCI card) with alsamixer, I can then
record from the PCI card's line-in just fine, without changing any settings
in Ardour. I might point out that I am using headphones connected to the
LiveDrive, and not using external speakers at all.
So, I thought I could just set LiveDrive-Line-In to "Capture" in alsamixer
and get going. When I do that, I can hear my guitar in my headphones just
fine, just like I can with the line-in or mic-in. However, no sound gets
recorded.
I am not sure what this means. Ardour/Jack has to be listening to alsa
somehow, or I wouldn't be able to shift between mic-in and line-in with
alsamixer.
Why, then, does moving alsamixer over to the LiveDrive's line-in produce
silence in ardor?
Remember, it's not sielent in the system, as I can hear it in through
headphones. It's just that Ardour doens't record it.
Any ideas?
Does anyone out there use a LiveDrive with ardour?
Thanks!
JW
- - --
- - ----------------------------------------------------
Jonathan Wilson
Cedar Creek Software http://www.cedarcreeksoftware.com
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>>NI Spektral Delay (never entirely sure what its going to do, but its got a
>>lovely interface - oh please please someone code something like this for
>>GNU/Linux! ;-)
>
>
> It's called freqtweak and it rules. http://freqtweak.sourceforge.net/
>
> - Steve
oh yes indeedy!!!! my prayers have been answered :o)....
thanx!
m~
--
iriXx
www.iriXx.org
copyleft: creativity, technology and freedom?
info(a)copyleftmedia.org.uk
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Hi,
> The Nyquist frequency is equal to (sample rate / 2).
> Logically, this is because the A/D converter needs at
> least 2 samples to detect 1 cycle at the Nyquist
> frequency. Frequencies higher then the Nyquist will
> actually appear as lower frequencies to the A/D
> converter and is called aliasing. Normally, A/D
> converts run the signal through a highpass filter
> first to avoid these problems.
> I guess the interesting problem is aliasing. Right?
Yes but did you ever actually here problems at 48 Khz yourself ?? I didn't..
The sounds for the piano where sampled at 48 Khz but the Audigy 2 which was
used for this (not the best ADC arround) internally processes the input
sound at 192 or 96 Khz and probably downsamples it in hardware with
anti-aliasing (24 bit accuracy I think). Anyhow theoretically there might be
a problem but practically I've never encountered it.
> Please do not think you need to change ANYTHING about your samples to
> sound like Bardstown. Every piano sounds different, so every library will
> sound different, so every mp3 will sound different. I know of many game
> developers and people writing scores for TV and movies that would seem to
> disagree with your opinion, but we're all entitled. Right? ;-)
If I would change something it would be in an additional soundfont (that's
if the samples themself are changed) for the Audigy (2) initially. Regarding
44.1 Khz samples, we can downsample with anti-aliasing during the
installation process if needed.. When not changing the sampled themself
changes can be made in realtime in hardware/software with filters and EQ
settings.
I agree that every piano sounds different.. Even if you bought two the same
acoustic instruments the sound is likely to be slightly different
(hearable).
What you would prefer when you would buy a piano like Grandest Piano if it
offered soundbank in multiple formats ? One installer that installs all
formats in one go and might write 1.5 gig of soundbanks or more to your
harddisk or.... One data file for which somebody has to pay and a lot of
free downloadable installers for each format ? I'm asking since we can't
make an installer with the current installation system which allows you to
install in several formats since we rely on a 'patching' system (like DeltaX
under Linux) for part of the installation proces.. If a person would select
multiple formats we'll need a lot of patchfiles to cope with this.
> I disagree that the Bosey is 'filtered' or 'dull', but I do agree that
it
> is not as bright as your library. Don't get fooled though, and listen to
> what others say. I think there is no right answer here, like there is no
> right piano.
People tend to get blind because a piano is lot's of Mb/Gb, read some
propaganda about a soundbank (e.g. an multivelocity sampled, multilayer, 127
realistic velocity levels using system XXX for obtaining the YYY acoustic
realism effect blah blah..).. Just read the text on www.studioax.com and
you'll see what I mean.
> From what I can hear, you are making great progress, especially for a
> soundfont in less than 200MB. (Or whatever it ends up being.) I'd suggest
> you do your best work and make the library sound as much like the original
> piano you sampled as possible.
There will be a 220 MB version at maximum (initially) and several smaller
versions down to 40 MB (only one sampled velocity layer) for maximum
compatibillity with any system..
I'm currently looking at Halion and EXS for destination formats.. From what
I saw I think that EXS is no longer available for Windows.. Does anybody
know if this is correct... Also when anybody on this list would buy Grandest
Piano, would you use it under Linux or Windows ? If you want to use it under
Linux which softsynths do you think would be good candidates ? I can't
promise I'll support any of them initially but there might be free update
patches (or free downloadable installers if we go for the data file +
installer).
> In real life the Bosey doesn't sound like the German Steinway, which
> doesn't like the American Steinway, which doesn't sound like the Young
> Chang, which doesn't sound like the Yamaha, which doesn't sound at all
like
> the Baldwin that Bruce Hornsby plays. Why should your library of a sampled
> Yamaha sound like Kips Bosey? I don't think so! Not at all!
It doesn't have to sound like a Yamaha even.. As long as it sounds like a
piano.. If there should be variations which should allow you to easily
switch between several types of piano while using the same soundbank that's
only a pro.
> If you want to hear a really dark piano, go to digital shootout and
> listen to any of the Malmsjo's. They are very dark, and yet there are
people
> that love them. This is the way that piano sounds in real life. I think
they
> work for certain types of music.
Once v0.2 is complete, which I hope will be the last beta containing only
the biggest version of the piano I'll look into adding variation soundbanks.
> I think your samples will work well also. Just keep up the good work
and
> listen to lots of libraries. If pointing you or others towards sites like
> the Digital Piano Shootout helps, then great. If not, don't worry about
it.
It surely helps.. It basically allows me to listen to several types of
pianos (whether I like them or not) and see if it's possible to make
variations similar to well known pianos.. Not that these would sound exactly
like them but it allows for pianos with different types of sound.
---
Roel / Utopia Sound Division
http://www.utopiasd.com
Hi,
I've uploaded the MP3 recording of this MIDI file to
http://project-portability.foad.nl/mp3/pianotest1.mp3
Note though that it was sampled from Grandest Piano beta v0.1 and thus will
not neccesarily represent the v1.0 release of the piano. Next week two new
sample layers will be added and the amount of velocity layers will be
increased to 127 (which will fully replace the current not so perfect ones).
Also the release values of each note (or layer.. not sure yet) will be
adapted.. I'll provide the website with a recording from v1.0 when it
arrives so I prefer to keep this recording low profile.
The recording was made without any reverb active or any post-processing so
that it shows the actual samples the best way.
Regarding 16 bit vs 24 bit.. I personally don't see the use of 24 bit
samples too much yet. When mixing them is concerned the more bits the
better.
Regading looping etc.. The samples are all unlooped with a maximum of 16
seconds (which is often used).
> Yeah, but what is a tiMIDIty version, explicitly? If you want to
> please the Linux community, just send us 88 (more?) samples, one for
> each key, and chuck the looping. Just let them all ring out till
> silence. Better yet, 4-5 samples for each key at different striking
> pressures would be great. Don't worry about how or what software will
> sort this all out, we'll figure out something.
With all the sampled velocity layers and huge amount of filtered velocity
layers one soundfont won't simply work on any 'claimed' soundfont compatible
softsynth or device. E.g. LiveSynth Pro a very good SF2 softsynth can't
handle the piano correctly (yet). Our Utopia Live! soundfont (GM/GS) can't
be played back (or even loaded) on anything else than SB Live!/Audigy
hardware. It's the main drawback of 'complicated' soundfonts..
I have all the velocity layers sampled at 88 notes at my harddisk but the
Audigy is stuck at around 330 MB (maximum loadable soundfont size under
Windows 2000/XP). That's why I choose for around 25-28 samples per velocity
layer. The size of the full 88 key sampled piano with 5 sampled velocity
layers would be at least 800 MB assuming I'd stick to 48 Khz stereo
samples.. It might be done in the future, but not now, unless there is a
demand for it. I don't think the difference would be noticable too much..
I'm willing to add around 3 samples to each layer if the beta testers think
this is needed..
> A good idea would be to double all of these samples, one recorded
> with the sustain pedal open, and one closed. This would allow the
> creation of the interactive effect between the strings which is
> so noticeably lost in most sample sets. This makes the set too
> large you say? Not even. I wouldn't sweat if it was a couple of
That would mean that there would be 3 instruments (MIDI wise) which a
composer would have to switch between.. I'm not sure if this is usefull.
> GIG even. Hey, it's only one DVD. Lets start putting today's machines'
> capabilities to good use. In fact, these samples should be AIFF, WAV,
> or raw, 96k/24bit, mastered digitally with mics and equipment that can
> register frequencies approaching the nyquist. That way, when we lower
> notes an octave or two for effect, we will still have high end sizzle.
Try to explain to me what the use is of 96 Khz samples ? It's just marketing
nothing more.. 48 Khz makes it possible to represent up to 24 Khz of sampled
frequencies, far about what you can hear. More important is that the device
or softsynth used mixes at higher bitrates and that the DACs are of high
quality (unless you render directly to a .WAV/whatever file).
> Yeah, make that, and I would buy it. $20.00 - $30.00 say. As long as
> there were no restrictions through licensing, other than, of course, on
> the resale of the package as a sample set.
No restrictions, other than you are not allowed to distribute any part of
what's in the package that will be sold.
---
Roel / Utopia Sound Division
http://www.utopiasd.com
I've been working with Muse and have encounterd the following:
I loaded a midi file that plays on every midi player/sequencer
I've used. And I also did the "quick start" But I couldn't get
any sound out of it and it didn't seem to input any notes from
my midi keyboard.
I have kaconnect set like this:
External MIDI 0 ---> Emu10K1 Wave Table
---> Muse Sequencer
Muse Sequencer ---> Emu10K Wave Table
I was unable to load any instruments in the track info window.
It just shows ---> ???
I tried all the different "Song Types". I'm too new at this to
know what "NO" "GM" "GS" and "XG" are so I tried each one and it
didn't seem to have any affect.
I'm looking forward to trying out Muse.
Any help would be appreciated...
Rocco
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Hi,
> I think this is quite a good start! The upper registers, above middle
> C, are the best to my ears. They sound quite open and natural. I beleive
> that this part would be easy to mix and would come through just great on
> pop music.
> I think that below middle C, or maybe even an octave further, there
> isn't quite the power that I hear in the Bardstown (link follows - look
> for Piano Shoot Out) or the Post Bosendorfer samples on the previous
> link, but those are 9 foot pianos that costs about $200K U.S. It's got
> the largest sound around.
I'll listen to the MP3s and will see if I can't add an additional piano
which sounds more like that Bardstown. Only if it's a dry recording though
since reverb and other tweaks can do a lot to change the sound of a piano.
> What piano did you sample by the way??
It was a Yamaha model..
> I certainly liked yours more than a couple that I've purchased and
> look forward to hearing your final product.
Just check http://project-portability.foad.nl once in a few weeks to check
on the progress.. Any wishes of changes or variations to the piano are
welcome.
> It was, BTW, a bit hard, as I suggested earlier, to compare yours
> with the others because of your choice to use 48K instead of 44.1K. This
> will make it a bit more difficult for people to use your library at the
> same time that they use a tool like GigaSampler, but 48K people need a
> great piano also! Go for it!
I don't see a real problem here. The main reason for it is that the Audigy
deals with 48 Khz samples better than with 44 Khz samples. Basically a 44
Khz version could be made in 10 minutes though. The real difference is in
the mixing of different hardware and softsynths IMHO. I've not played other
digitised 'professional' pianos (other than GP One which I don't consider to
be that good).. Point is that I don't want to be influenced by other peoples
result and thus trying to avoid mistakes that others might have made while
trying to gain realism.
> > Try to explain to me what the use is of 96 Khz samples ? It's just
> > marketing nothing more.. 48 Khz makes it possible to represent up to
> > 24 Khz of sampled frequencies, far about what you can hear.
> Ok, I'll have a go :-)
> If you sample at 48Khz you need to filter out everything above 24Khz in
> order to avoid alias noise. First of all this is not *really* possibkle,
> filters don't block thay damp. Secondly a filter steep enough to let
> ninimal amounts of energy through above 24Khz will be distorting the
> upper part of the frequency range.Now if you sample at 96Khz the story
> is the same, but not you have an extra octave to filter smoothly.
> Another part of the story is that although a 48Khz sample can represent
> frequencies upto 24Khz, the representation of the higher frequencies not
> accurately describing the intensity.
Let's put it this way.. Do you think a CD sounds bad ? I think the average
person can't hear much about 18 Khz (could be 20 Khz though).. So unless you
are a sampler yourself you probably won't notice. I certainly won't go above
48 Khz since bigger is not always better.. Of course a lot depends on what
sampler was used to capture the sound. 44 Khz could be an option but I'll
have to have a look at the softsynths and hardware Grandest Piano will
eventuelly be aimed at.
---
Roel / Utopia Sound Division
http://www.utopiasd.com
Hi,
I listened to some of the MP3 recordings on that website.. In my ears it's
simply heavily filtered (very dull) and reverberated while lower velocities
don't sound realistic to me.. Just a personal oppinion..
Bwaltz.mp3 also seems to have some polyphony issues or at least some strange
note-cuttoffs..I didn't listen to all of the recordings though.
Anyhow I'll try to make a more bassy version of Grandest Piano as an option
together with Jazz, Pop etc. versions.
---
Roel / Utopia Sound Division
http://www.utopiasd.com
> Hi,
>
> This stuff is done by bypassing the toolkit, they tend not to support
> bitmaps.
ahhh.... thanks... now its beginning to make sense :)
>
> There are some example bits I'm using here:
> http://inanna.ecs.soton.ac.uk/~swh/pixmaps/
>
> But basicly any alpha blended image will work. The UI is made up by
> compositing the images much like you would in gimp or photoshop. Which is
> how I test them actually, just hiding and revealing layers to check the
> transitions look OK.
ahhhh.... right :)...
>
> Sliders are a bit odd cos there done with a piece of image for the part
> the slider moves over, the two ends and the slidy part as seperate
images,
> but it doesn't have to be done that way. I'm sure people will be able to
> write UI code for anything you happen to come up with.
cool :)
actually im used to doing sliders that way in Flash - i've done a bit of
Flash coding as you've probably seen by the mini-mixer thing in my
incomplete website interface! ;-)... theres no sound as yet on that
page, the idea was that you could load sounds and the mixer would
function, but i never got quite that far.... still to do!
if i keep things in layers, i'd be able to draw up a slider and then
slice it up into the sections you need....
>
> If you could produce some widgets that look better than my hamfisted
> gimpings then that would be fantastic. I copied things around my studio
> because I'm lazy and can't draw :)
hey, they dont look at all bad though!
i've grabbed a copy of your code for swh (only just reinstalling
mandrake on my laptop so i've gotta recompile everything!)
i'll have a look at them and have a go... the principle from what i see
is pretty straightforward - and i like your approach with the pixmaps
too, the metal-look background seems to be an essential thesedays!
i'll have a go maybe doing some pixmaps and post them up :)... i'll need
a little time tho, i've not been well and book deadlines are looming in
front of me :-/.... maybe i can come up with something on the weekend :)
bw
m~
--
iriXx
www.iriXx.org
copyleft: creativity, technology and freedom?
info(a)copyleftmedia.org.uk
www.copyleftmedia.org.uk
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