On Mon, Jan 29, 2007 at 03:30:59PM -0500, Chuckk Hubbard wrote: (snip) Eh? There is a jack implementation for osx: http://jackosx.com/ -- Paul Winkler http://www.slinkp.com

-----BEGIN PGP SIGNED MESSAGE----- Hash: SHA1 On Mon, Jan 29, 2007 at 04:14:50PM -0500, Brett W. McCoy wrote: I suspect that'd be a great thing for JACK and free audio in general. If there were LADSPA for Windoze, that'd be even better. It's sad that there is so much great free stuff for VST, and only a few (very high-quality, but relatively few) effects and softsynths for LADSPA. - -ken

On Tuesday 30 Jan 2007 09:34, Tom Szilagyi wrote: Audacity supports LADSPA plugins on Windows as well, and there are several DLLs of plugins we all know and love available from the Audacity site. My next Sonic Visualiser release will support both LADSPA and DSSI effects on Windows too, although SV isn't a very useful host for effects processing. Tom, can you point me to any documentation or examples for your flattened metadata format? For a long time Rosegarden has supported flat text files as well as LRDF for plugin categorisation although not for any of the other metadata, and so far I've been using the same format for SV's Vamp feature extraction plugins -- but mine is not an especially good format and I wouldn't mind supporting another instead if it was simple to use without any additional libraries. Also, how about a default LADSPA plugin path on Windows? Audacity irritatingly likes to have them in %ProgramFiles%\Audacity\Plug-Ins, but a generic name like %ProgramFiles%\LADSPA Plugins (or Plug-Ins?) would seem more sensible. Ugh, all this talk of Program Files is making me feel icky. Chris

On Mon, 2007-01-29 at 16:14 -0500, Brett W. McCoy wrote: aww. now its going to have to eat you too. such a waste.

Ken Restivo wrote: Just about anything audio related. They don't have a particular sound. They are capable of generating *any* sound you can think of. For instance here: http://www.nabble.com/-Csnd--Deep-Note-t1490061.html someone has emulated the THX Deep Note (at the start of movies/DVDs using THX surround sound they have the Deep Note). Thats exactly what they are. All sorts of things. Here are some examples: http://www.csounds.com/compositions/index.html Erik -- +-----------------------------------------------------------+ Erik de Castro Lopo +-----------------------------------------------------------+ Good advice for everyone : stay away from churches, mosques and synagogues.

On 29 Jan 2007 23:37:39 -0500, Michal Seta <mis(a)artengine.ca> wrote: Max/MSP isn't available for Linux, is it? -Chuckk

On 1/30/07, Paul Davis <paul(a)linuxaudiosystems.com> wrote: Yeah doesn't sound likely. For me the deciding factor is Pd's data structures, allowing it to remember and graphically represent any pattern of variables. Max has something it calls data structures, but it's not the same thing at all. I haven't used Max much, but its advantage seems to be its high-level functions. It just has more built-in commands. In Pd these are usually kept in external libraries that have to be loaded individually. Csound, on the other hand, has hundreds of opcodes, and can be controlled directly from Pd with the csoundapi~ external. I'm starting to use this more. -Chuckk -- "Far and away the best prize that life has to offer is the chance to work hard at work worth doing." -Theodore Roosevelt

-----BEGIN PGP SIGNED MESSAGE----- Hash: SHA1 On Tue, Jan 30, 2007 at 09:31:37AM -0500, Paul Davis wrote: Heh, "embarassment"? We're all Linux users here. It's always fun to have a look at the Linux distribution family tree. Or the Unix family tree, that one's interesting too. Or the family tree of languages like lisp. Or of political or artistic movements. Most of us are musicians too, it's also fun to have a look at the family tree of the various styles/genres of music. To paraphrase a famous muppet: fork fork fork fork fork fork. I've found that petty disputes and arbitrary forks are common for almost every field of human endeavour. They tend to be fractals, splitting infinitely and recursively. Occasionally they merge or hit a dead-end, but I've found the overall trend is towards more diversity, not less. It's a subjective impression though. It may be one of those "half-full, half-empty" things, and I've no way to document or quantify it, so I'll just leave it at that. - -ken

On 1/29/07, Ken Restivo <ken(a)restivo.org> wrote: They are indeed audio programming languages. Lots of people use them to study Digital Signal Processing and digital filters. I used Pure Data to create a sequencer for alternate tuning systems that fit my needs, as none existed that did. I think Pure Data's strength is its data structures, which allow you to make a list of any number of qualities for lists of items; I used them for the notes in my system, and plan on using them for automations. People also use Pd to do video manipulations, which I don't know much about. Just from what I know, Csound does granular, FM, mixing, MIDI, all kinds of filtering (there are LOTS of kinds), AM, scanned synthesis, waveguide, wave terrain, formant synthesis, FFT, phase vocoding, convolution, morphing, sample playback, and dynamics processing. It does more that I don't understand too. One thing I love is that it can play any frequency whatsoever, not just the Big 12. This is all in addition to the usual math and "if" statement stuff of regular programming languages. There used to be a pretty extensive set of internet radio shows with all Csound stuff at csounds.com, but none of them seem to be there now. This guy has some good Pure Data stuff: http://obiwannabe.co.uk/html/music/music.html I think you have to use Pure Data to hear his compositions, though. I think Tobias Enhaus' Csound piece here is the best one: http://www.csounds.com/compositions/index.html I'm embarrassed that I can't produce more examples, but it is true that both Csound and Pd can sound like absolutely anything. The distinction is in how they're used more than what they do. -Chuckk

On 1/30/07, Ken Restivo <ken(a)restivo.org> wrote: He's a nice guy, so if you like his stuff that much feel free to write and tell him. It's actually formant synthesis, no vocoding. There is no real recording of anything involved in the piece, just bursts of sine waves in the right frequencies to sound human. Csound is pretty useful for that, if you can wade through the parameters. Good stuff. I do that too. If learning is what you want, there's plenty of it to be done with those programs. BT has published a snippet of Csound code he wrote for a piece on his Myspace account blog. He says that, when the song is released ("everything that makes us human, continues" lol), he'll publish the entire Csound file. I'm eager to see it simply because the snippet he's provided shows his programming/production is extremely careful, and he's been studying Csound for years with some of the top guys. -Chuckk

On 1/30/07, Chris McCormick <chris(a)mccormick.cx> wrote: These are the people I hang out with too. I forgot an obvious one: ZynAddSubFX. That's relatively mainstream friendly. If you want friendlier than that, I think Audacity pretty much covers everything except stuff like CD players. Lilypond is cross-platform, but again not very friendly. Ardour would be a great example, if it ran on Windows. lol, your question turned out to be a painful one. I just looked and apparently ZynAddSubFX doesn't work so well on Mac. lol -Chuckk