Patrick Shirkey wrote:
yes, you can move audio over USB. the question is not whether you can,
but whether you should, and my feeling is that professional or
semi-professional users should avoid it completely, regardless of what
Yamaha, Tascam, Edirol and others who want to provide *cheap*
Steve Harris wrote:
On Tue, Feb 04, 2003 at 07:10:39 -0500, Taybin Rutkin wrote:
On Tue, 4 Feb 2003, Abramo Bagnara wrote:
Despite that I strongly think that an audio server that not permit in
native way the traditional approach (what you call blocking approach)
will never achieve the
Of course, any kernel enhancements they make will have to be GPL'd.
That could help us.
-dgm
Bob Ham wrote:
On Tue, 2003-01-28 at 14:46, Paul Davis wrote:
they announced last month that next year or soon after, they would be
using embedded linux in just about all their consumer keyboards
David Olofson wrote:
The very AU interfaces looked a *lot* like Objective C to me in the
docs, but maybe I wasn't reading carefully enough...
I'm hardly an Objective-C expert, but I'm pretty sure that it's just
Apple-flavored OO-style C.
-dgm
Tim Goetze wrote:
vanDongen-Gilcher wrote:
rhythmn is always based on one integral periodic 'pulse'. if
time is not divisible by this atom, there is no musical time.
Nancarow, Ives, Stockhausen, Xenakis, Boulez, Schaeffer, Henry etc. etc in
the classical field
can you point at a specific
Pascal Haakmat wrote:
16/12/02 16:51, Paul Davis wrote:
western music's emphasis on integral beats per bar has led to a
slipping away of a great deal of the fun and beauty to be found in
other musical traditions. i've recommended it before, and i'll do it
again now:
I find your exposition
Sorry, forgot to add:
Pascal Haakmat wrote:
Modern technology (and software in particular) allows us to design
incredibly flexible instruments without needing to commit to any
particular musical tradition at all. That doesn't mean that doing so
is also always a good idea.
I know what you're
David Olofson wrote:
actually and mathematically proving this unfortunately is
beyond me, you have to try it yourself.
Well, why don't we ask someone who actually plays this kind of music
seriously? I can only tell you how *I* count when dealing with
complex rhythms - and I don't do it
Tim Goetze wrote:
[33] Over eighty-five percent of the ragas on the CDs have been
performed in tintal.
tim
Way off-topic: I wonder if that's due to western influence, since the 16
beats of
tintal somewhat resemble the 4-bar 4/4 phrase of western music.
However, tintal
can also be
Paul Davis wrote:
We've been talking about 'TEMPO' and 'TRANSPORT' and 'TICKS' and 'METER'
controls, which (honestly) kind of turns my stomach. This is not what
controls are meant to be doing. the answer strikes me in shadowy details:
Each host struct has a timeline member. Plugins register
David Olofson wrote:
I think he meant start of beat and that kind of stuff, rather.
(isolde stirbt would be a change of a string Control of some weird
plugin. ;-)
Hmm. I like the idea of a plugin that uses the string Isolde stirbt as
a control
so much that I think I'll just have to
David Olofson wrote:
On Saturday 14 December 2002 19.41, Tim Goetze wrote:
this is not meant to intimidate, rather to be a wake-up call.
[...many good points elided...]
Well, considering that we seem to have virtually *no* input from
people with solid experience with software sequencers
Steve Harris wrote:
On Sun, Dec 15, 2002 at 12:25:46 +0100, David Olofson wrote:
Well, I don't exactly know Objective C, but I've read up on the
basics, for reasons I can't remember... (Probably to see if it was
the C++ done right I was looking for. In that case, it was not,
because the
David Olofson wrote:
On Sunday 15 December 2002 00.32, Paul Davis wrote:
* Is there a good reason to make event system timestamps
relate to musical time rather than audio time?
Again, I would rather let the timestamps deal with audio time.
Hosts which work in bars/beats/frames
should be
David Olofson wrote:
On Sunday 15 December 2002 03.44, Tim Hockin wrote:
Aaargh! Can't seem to find anything more interesting than a PDF
with a very basic overview... Is there a freely available SDK
anywhere?
Would just like to say that I find some parts of that PDF a bit
scary... We're *not*
Steve Harris wrote:
On Thu, Dec 12, 2002 at 04:25:08 +0100, David Olofson wrote:
Well, this might be early, but I needed to do something slightly less
demanding for a while. So I hacked a small presentation:
http://olofson.net/xap/
Nice logo.
- Steve
Very nice. Logo #2 (with the red
Steve Harris wrote:
On Wed, Dec 11, 2002 at 12:40:18 +, Nathaniel Virgo wrote:
I can't really say I can think of a better way though. Personally I'd leave
scales out of the API and let the host deal with it, sticking to 1.0/octave
throughout, but I can see the advantages of this as
David Olofson wrote:
On Wednesday 11 December 2002 13.59, David Gerard Matthews wrote:
Steve Harris wrote:
On Wed, Dec 11, 2002 at 12:40:18 +, Nathaniel Virgo wrote:
I can't really say I can think of a better way though.
Personally I'd leave scales out of the API and let the host deal
David Olofson wrote:
That's not rude - I don't think anyone is *totally* sure about this...
Though, you might want to note (pun not intended) that I'm really
talking about continous pitch - not note numbers, as in integer,
MIDI style. You could think of the relation as
linear_pitch =
Joern Nettingsmeier wrote:
[representing pitch]
i'm a classically trained musician, and i even failed to learn csound
properly, but even so it strikes me as highly arbitrary and somewhat
anachronistic to stick to the 12 semitones/octave model.
so i'd strongly second steve's suggestion to have
David Olofson wrote:
AFAIK, there are even musicians that don't have much use of current
standard synths and applications, simply because they're too
restrictive, and/or way too cumbersome to deal with, when it comes to
scales and pitch control.
Like me?
-dgm
Steve Harris wrote:
Agreed, our German brethren seem to want to spell out
El-Ah-Dee-Es-Pee-Ah, which is pretty inconvenient.
OTOH I think Joern was amused when I insisted on pronouncing luss, as in
can you just ls that directory.
- Steve
Yeah, when I went to buy a SCSI Zip disk a few years
David Olofson wrote:
On Sunday 08 December 2002 12.52, Steve Harris wrote:
[...API name...]
I jokingly suggested XLP in a previous thread on a similar subject.
It could be... eXtended Linux Plugins?
Maybe XLI would be good here.
Not bad - although I think the Linux part is an issue. Do we
Paul Winkler wrote:
On Mon, Dec 09, 2002 at 01:44:03AM +0100, David Olofson wrote:
(Quite easy to spell too, for those who refuse to say ksapp or
whatever. ;-)
Well, taking a cue from xylophones and Xerox,
I would pronounce it ZAP! ... with the exclamation
point ;)
--PW
Or else you can
D R Holsbeck wrote:
I guess stability is not an issue?
It's not the potential drawing card that it once was. OSX is as stable
as Linux, and even 'doze XP is getting there, from what I hear.
-dgm
To attract commercial attention, a Linux audio application would have to
offer either a
Mark Knecht wrote:
Patent holder?? GET HIM! Good thing you didn't post on slashdot.
Taybin
LOL!! Well, my name is on a number of patents, including one (#6,457,152)
accepted by the Patent Office a few weeks ago. (Also post-1996 - #6,356,099,
#6,240,480, Pre-1996 I just don't
Paul Davis wrote:
OS X, despite being unix, actually promotes/requires that
applications are written using an API (i.e. a set of libraries) that
bear little resemblance to anything traditionally called unix. so
even this will not help the porting effort. in theory, the gnustep
people have a
assayag gerard wrote:
Until now, we did'nt have the internal resources to develop a full
linux version of OpenMusic. However a fragmental prototype of OM/Linux
based on cmucl had been developed by Camilo Rueda and his team at Cali
Univsersity in Colombia. See
Mark Knecht wrote:
I'd pay regular retail prices
for any program that could compete with Logic, Pro Tools or Cubase SX on the
Linux platform.
Whoa, something Mark K. and I agree on! :) Right on!
As a user I feel a bit trapped that I can't get the software
I want today AT ANY PRICE on
I think someone on one of the lists (ardour-dev, maybe) managed to do
this. There was a lot of messing around, however,
and much as I like M-Audio cards I wouldn't recommend this approach to
someone who just need a lot of analog I/O.
OTOH, doesn't the Hammerfall DSP have a multi-channel analog
Patrick Shirkey wrote:
CDs are an outdated medium that has survived because of the patent
industry. If the multimedia companies didn't have so much invested
into cd technology we would all own DVDRW drives by now. I hope it is
just a matter of time before the prices are reasonable for small
Steve Harris wrote:
Thats something that worried me, I seem to remeber that the sound of a
guitar changes if its not impedance matched with the AD converter. I'm
pretty sure, mine doesn't match passive guitars. My bass is active though,
and I dont have any DI boxes, so no choice anyway.
Yeah,
Steve Harris wrote:
On Mon, Oct 28, 2002 at 09:50:52 -0800, Tom wrote:
OK, can someone recommend a DI box I can buy in europe for a reasonable
ammount of money? Studiospares lists a range from E50 (behringer) to E460
(MTR) +tax.
19 and XLR output is perferable, but I can live without either.
Patrick Shirkey wrote:
As in the NZ, Australian, British, French and US flags?
Some of us are really sick of seeing flags everywhere...
That's true. It is becoming more of a community property these days.
Does anyone else have any suggestions. Keeping in mind that the site
is
Paul Winkler wrote:
On Sun, Oct 27, 2002 at 11:03:23PM +, Steve Harris wrote:
Whats a typical arangement for speaker cones? I remeber seeing single cone
(obviously) and 2x2.
1, 2, and 4 are the most common. It's common to only
mic 1 of the cones, pretty close up - but it's also common
Mark Knecht wrote:
Please remember - from my perspective this was all a joke anyway. (!!)
Ok, no harm done. Sorry if I seemed a bit harsh - didn;t realize it
was a joke. I have heard people propose that kind of stuff seriously.
-dgm
Steve Harris wrote:
gnoise doesn't do this, and neither does snd. i am not sure about
audacity, but i suspect it doesn't either.
Audacity, and glame use disk paging.
IMHO sweep has the best UI (speed, clarity, usability), its a shame about
the RAM thing, but maybe thats why its so fast.
-
I just spent several hours last night comparing three different editors.
Basically, all of them have something to recommend, and
I plan on keeping all of them on my system. The skinny:
Snd: My old favorite. Easy to use, keeps getting better, but a bit
ugly still. Nonetheless, I know how to
Mark Knecht wrote:
Possibly , but to install PTLE you must have PTLE hardware in the system.
Not true. I have ProTools Free installed on a Windows box with no digi h/w
whatsoever. PT Free can import files from other versions of PT.
-dgm
(At least using the default Windows installer from
Erik de Castro Lopo wrote:
On Thu, 24 Oct 2002 19:38:52 -0400
David Gerard Matthews [EMAIL PROTECTED] wrote:
Sweep: Loads of fun, fast, pretty, nice use of LADSPA plugins. Still
no way to record directly into the program from an external source.
Yes there is.
The little red icon/button
Mark Knecht wrote:
Taybin,
So I may one day be able to run Acid Pro in wine and route audio to alsa?
That would be just too cool for words! ;-)
Mark
Don't get your hopes up. I can't even get Sibelius to run in wine - and
I didn't even attempt midi entry or playback.
Besides, I don't know
Ivica Bukvic wrote:
That being said, I have been at least somewhat convinced that Jack is
possibly the way to go, and after some thinking, I've decided to attempt
porting RTcmix into the Jack framework. Only time will now tell whether
this was worth it or not.
Regards,
Ico
That was the
Paul Davis wrote:
i do know what RTcmix is. i've used it. its a really cool program. its
not the sort of thing i would use for RTP. if you do, thats great, but
most of the people who are buying software for RTP are also not
looking for software like RTcmix.
LADSPA plugin out there... Yet you
Paul Davis wrote:
(*) of course, no public release of nuendo for beos, or (i think) even
nuendo for irix, has ever took place.
Rather unfortunate, in many ways. I love Irix, and and you would think
it wouldn't be too hard to port the Irx code
to Linux.
-dgm
(Who has been searching for a
John Lazzaro wrote:
Lea Anthony [EMAIL PROTECTED] writes
Wishing for people to write native apps for a system with no market is
like wishing Windows would die. It might happen, but it's not bloody
likely.
However, if you port a novel Linux application to Windows or OS X,
the users on those
I seem to remember a few years back - around 1998 or so, if I recall,
that Electronic Musician magazine
ran an article on Linux. (It was called The Penguin's Song) I read
the article, and even though there
didn't seem to be too many useful apps at that point, it got me curious.
I started
Steve Harris wrote:
On Fri, Oct 18, 2002 at 08:34:20 +0100, nick wrote:
indeed, for a plugin soft-synth, it would only ever make sense to write
it in c/c++ or assembler really, a question of speed. Are there really
people who seriously want to write a synth in aynthing else?
Of course,
Hello,
The Hammerfall has a great reputation, but it might be more
cost-effective to go with one of the M-Audio cards if you don't need
16-24 channels of audio. The biggest selling point of the Hammerfall
cards (besides their legendary low-latency performance) is the massive
number of
*
David Gerard Matthews
Composer and Sound Designer
Non coerceri maximo, continere minimo, divinum est.
Get your own FREE E-mail address at http://www.linuxfreemail.com
Linux FREE Mail is 100% FREE, 100% Linux, 100% better, and 100% yours!
Paul Davis wrote:
there are much better cards than the Event series. The Midiman
Delta's
would be the most obvious choice. well engineered, well documented,
well liked, and pretty well supported under Linux.
In fact, the guy who sold me my Delta told me specifically to stay clear
of the
Max Kovgan wrote:
am i in the wrong place ...
You're not.
i thought this list is for people who try to add professional audio
appliances into linux.
It is. Joachim was just being cynical. Stick around a year or so,
we'll have some pretty kicking software.
-dgm
iriXx wrote:
in the rather remote and bizarre world of electroacoustic / academic composition and
research... which i guess is where i belong... there is a huge demand for apps like
Sculptor, jMax, pd, etc
logic and cubase are for me too commercial... my professional work requires apps
I run a really stripped-down Blackbox when doing audio work. For
general tasks (websurfing, etc.) I usually use Gnome, but as you pointed
out, it's way too bloated for audio (and KDE is even worse). Some people
also like XFCE or IceWM.
-dgm
Joachim Backhaus wrote:
Hi there,
I don't if
DeMeo, William wrote:
David Gerard Matthews Jr. wrote:
please elaborate on why KDE is too bloated for audio. I'm
using KDE with 256MB and two 400 MHz processors and X averagesabout 10%
of system memory and about 1% of CPU usage.
Please inform...
You are lucky enough to have a dual
SuSE installs stable alsa by default, and automatically configures it.
(Or at least 7.2 did. I have no experience with 7.3, the most recent
version.) It also includes some alsa packages, and is just an
all-around good newbie distro.
-dgm
Len Moskowitz wrote:
Thanks to all who responded to
It sounds like arecord (included with alsa) will do what you need. For
editing, I like Snd, but there are a lot of othere worthy (2-channel)
apps out there.
-dgm
Len Moskowitz wrote:
Hi,
I'm new to this list.
I'd like to record two channel audio from two microphones to
Jussi Laako wrote:
I still use Windows for making music because there is no suitable software
available.
- Jussi Laako
Obviously not, if you insist on using OSS.
-dgm
dave willis wrote:
On Mon, 17 Dec 2001, Paul Davis wrote:
??? dats are 48000, and cds are 44100. doesn't some sort of resampling
need to occur here?
Every pro DAT I've ever used has had the option to run at 44100, an
option I always to take advantage of to avoid resampling or multiple
Paul Davis wrote:
Ok. Could we gather what we already have and what we need to get? In
which directions should we push which people? For example, we're getting
the glue (jackit) but what do we need to glue together? Is there
something nobody has started to make, even if it's clearly needed
Paul Davis wrote:
as many people on slashdot pointed out, almost no (electric) guitarist
wants to send a digital signal from their instrument directly to a
mixer. almost everyone wants to move air via their chosen
amp/speaker combo and then mic it with their chosen mic before passing
it
Although, interestingly enough, it would probably be easier to implement
a Band-in-a-Box like program on Linux than on other operating systems
(provided one had both the necessary jazz expertise and the time - both
very big assumptions). You could probably use PD or jMax for this sort
of thing
greetings,
As the not-so-proud owner of an SBLive card, I thought I'd chime in.
Your project sounds really cool, and I'm all in favor of highly
unorthodox ideas. I'd be very interested in hearing the result, and if
you do write some code, I'd love to see it. But please, do
Mark Constable wrote:
On Sun, 28 Oct 2001 20:42, n++k wrote:
[n++k [EMAIL PROTECTED]]
...
| merci.
|
| sir you have no clue.
That is quite likely as I have only recently discovered the power
of using python and OpenGL (blows me away) and I'm hoping like crazy
to find something
Steve Harris wrote:
On Wed, Oct 17, 2001 at 11:21:01PM +0100, Do you know if its
posible to build a soundfield type mic using cheap elements, or does it
require really good ones?
- Steve
I read somewhere that you can buy a pair of cheapo PZM mics, and then
mount them on a piece of
While on the subject of the relative merits of various audio interfaces,
I'd like to pose a question. I'm looking to replace my SBLive with a
pro device. Basically, it boils down to an RME Hammerfall or a Delta
1010. I've done my homework on the two cards, but I've never seen
either of them in
Is anyone planning on picking this up? I'd do it myself if I had a)
time and b) better coding skills. BC2K is/was a fine piece of work.
Ruben Merz wrote:
Well, that's really sad. Let's hope that some people may go on with the
previous GPL code...
RUben
Greetings:
See the short
If artists avoid to get contracts with this media industry, this industry will
eventually be useless. We made them as powerful as they are today, only
we can take away their power again.
If artists and consumers are happy (as it seems today) I see no way out
except for some niches.
I don't know of anything exactly like Lisa (a very cool program, I
agree), but you might check out TerminatorX. AFAIK, it only handles
pre-recorded soundfiles (unlike Lisa, which can handle real-time input),
put you can scratch the files like virtual turntables and map mouse
movements to a
Greetings Benno and others,
Could you possibly post or email me your configuration files for alsa
0.9b5? I also have an SBlive and would like to use the most recent
alsa, but have been a little intimidated in getting it set up. Thanks,
dgm
Benno Senoner wrote:
Hello,
first thank you guys
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