Qtractorqtractor Linux Audio/MIDI MultiTrack Workstation
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Ardour Export Redesign
Ardour Export Redesign Thorsten Wilms [email protected] Revision 2 2007-07-17 Table of Contents 1 Introduction 4 4.5 Endianness 8 2 Insights From a Survey 4 4.6 Channel Count 8 2.1 Export When? 4 4.7 Mapping Channels 8 2.2 Channel Count 4 4.8 CD Marker Files 9 2.3 Requested File Types 5 4.9 Trimming 9 2.4 Sample Formats and Rates in Use 5 4.10 Filename Conflicts 9 2.5 Wish List 5 4.11 Peaks 10 2.5.1 More than one format at once 5 4.12 Blocking JACK 10 2.5.2 Files per Track / Bus 5 4.13 Does it have to be a dialog? 10 2.5.3 Optionally store timestamps 5 5 Track Export 11 2.6 General Problems 6 6 MIDI 12 3 Feature Requests 6 7 Steps After Exporting 12 3.1 Multichannel 6 7.1 Normalize 12 3.2 Individual Files 6 7.2 Trim silence 13 3.3 Realtime Export 6 7.3 Encode 13 3.4 Range ad File Export History 7 7.4 Tag 13 3.5 Running a Script 7 7.5 Upload 13 3.6 Export Markers as Text 7 7.6 Burn CD / DVD 13 4 The Current Dialog 7 7.7 Backup / Archiving 14 4.1 Time Span Selection 7 7.8 Authoring 14 4.2 Ranges 7 8 Container Formats 14 4.3 File vs Directory Selection 8 8.1 libsndfile, currently offered for Export 14 4.4 Container Types 8 8.2 libsndfile, also interesting 14 8.3 libsndfile, rather exotic 15 12 Specification 18 8.4 Interesting 15 12.1 Core 18 8.4.1 BWF – Broadcast Wave Format 15 12.2 Layout 18 8.4.2 Matroska 15 12.3 Presets 18 8.5 Problematic 15 12.4 Speed 18 8.6 Not of further interest 15 12.5 Time span 19 8.7 Check (Todo) 15 12.6 CD Marker Files 19 9 Encodings 16 12.7 Mapping 19 9.1 Libsndfile supported 16 12.8 Processing 19 9.2 Interesting 16 12.9 Container and Encodings 19 9.3 Problematic 16 12.10 Target Folder 20 9.4 Not of further interest 16 12.11 Filenames 20 10 Container / Encoding Combinations 17 12.12 Multiplication 20 11 Elements 17 12.13 Left out 21 11.1 Input 17 13 Credits 21 11.2 Output 17 14 Todo 22 1 Introduction 4 1 Introduction 2 Insights From a Survey The basic purpose of Ardour's export functionality is I conducted a quick survey on the Linux Audio Users to create mixdowns of multitrack arrangements. -
Extending the Faust VST Architecture with Polyphony, Portamento and Pitch Bend Yan Michalevsky Julius O
Extending the Faust VST Architecture with Polyphony, Portamento and Pitch Bend Yan Michalevsky Julius O. Smith Andrew Best Department of Electrical Center for Computer Research in Blamsoft, Inc. Engineering, Music and Acoustics (CCRMA), [email protected] Stanford University Stanford University [email protected] AES Fellow [email protected] Abstract VST (Virtual Studio Technology) plugin stan- We introduce the vsti-poly.cpp architecture for dard was released by Steinberg GmbH (famous the Faust programming language. It provides sev- for Cubase and other music and sound produc- eral features that are important for practical use of tion products) in 1996, and was followed by the Faust-generated VSTi synthesizers. We focus on widespread version 2.0 in 1999 [8]. It is a partic- the VST architecture as one that has been used tra- ularly common format supported by many older ditionally and is supported by many popular tools, and newer tools. and add several important features: polyphony, note Some of the features expected from a VST history and pitch-bend support. These features take plugin can be found in the VST SDK code.2 Faust-generated VST instruments a step forward in Examining the list of MIDI events [1] can also terms of generating plugins that could be used in Digital Audio Workstations (DAW) for real-world hint at what capabilities are expected to be im- music production. plemented by instrument plugins. We also draw from our experience with MIDI instruments and Keywords commercial VST plugins in order to formulate sound feature requirements. Faust, VST, Plugin, DAW In order for Faust to be a practical tool for generating such plugins, it should support most 1 Introduction of the features expected, such as the following: Faust [5] is a popular music/audio signal pro- • Responding to MIDI keyboard events cessing language developed by Yann Orlarey et al. -
(A/V Codecs) REDCODE RAW (.R3D) ARRIRAW
What is a Codec? Codec is a portmanteau of either "Compressor-Decompressor" or "Coder-Decoder," which describes a device or program capable of performing transformations on a data stream or signal. Codecs encode a stream or signal for transmission, storage or encryption and decode it for viewing or editing. Codecs are often used in videoconferencing and streaming media solutions. A video codec converts analog video signals from a video camera into digital signals for transmission. It then converts the digital signals back to analog for display. An audio codec converts analog audio signals from a microphone into digital signals for transmission. It then converts the digital signals back to analog for playing. The raw encoded form of audio and video data is often called essence, to distinguish it from the metadata information that together make up the information content of the stream and any "wrapper" data that is then added to aid access to or improve the robustness of the stream. Most codecs are lossy, in order to get a reasonably small file size. There are lossless codecs as well, but for most purposes the almost imperceptible increase in quality is not worth the considerable increase in data size. The main exception is if the data will undergo more processing in the future, in which case the repeated lossy encoding would damage the eventual quality too much. Many multimedia data streams need to contain both audio and video data, and often some form of metadata that permits synchronization of the audio and video. Each of these three streams may be handled by different programs, processes, or hardware; but for the multimedia data stream to be useful in stored or transmitted form, they must be encapsulated together in a container format. -
Neufuzz: Efficient Fuzzing with Deep Neural Network
Received January 15, 2019, accepted February 6, 2019, date of current version April 2, 2019. Digital Object Identifier 10.1109/ACCESS.2019.2903291 NeuFuzz: Efficient Fuzzing With Deep Neural Network YUNCHAO WANG , ZEHUI WU, QIANG WEI, AND QINGXIAN WANG China National Digital Switching System Engineering and Technological Research Center, Zhengzhou 450000, China Corresponding author: Qiang Wei ([email protected]) This work was supported by National Key R&D Program of China under Grant 2017YFB0802901. ABSTRACT Coverage-guided graybox fuzzing is one of the most popular and effective techniques for discovering vulnerabilities due to its nature of high speed and scalability. However, the existing techniques generally focus on code coverage but not on vulnerable code. These techniques aim to cover as many paths as possible rather than to explore paths that are more likely to be vulnerable. When selecting the seeds to test, the existing fuzzers usually treat all seed inputs equally, ignoring the fact that paths exercised by different seed inputs are not equally vulnerable. This results in wasting time testing uninteresting paths rather than vulnerable paths, thus reducing the efficiency of vulnerability detection. In this paper, we present a solution, NeuFuzz, using the deep neural network to guide intelligent seed selection during graybox fuzzing to alleviate the aforementioned limitation. In particular, the deep neural network is used to learn the hidden vulnerability pattern from a large number of vulnerable and clean program paths to train a prediction model to classify whether paths are vulnerable. The fuzzer then prioritizes seed inputs that are capable of covering the likely to be vulnerable paths and assigns more mutation energy (i.e., the number of inputs to be generated) to these seeds. -
Codec Is a Portmanteau of Either
What is a Codec? Codec is a portmanteau of either "Compressor-Decompressor" or "Coder-Decoder," which describes a device or program capable of performing transformations on a data stream or signal. Codecs encode a stream or signal for transmission, storage or encryption and decode it for viewing or editing. Codecs are often used in videoconferencing and streaming media solutions. A video codec converts analog video signals from a video camera into digital signals for transmission. It then converts the digital signals back to analog for display. An audio codec converts analog audio signals from a microphone into digital signals for transmission. It then converts the digital signals back to analog for playing. The raw encoded form of audio and video data is often called essence, to distinguish it from the metadata information that together make up the information content of the stream and any "wrapper" data that is then added to aid access to or improve the robustness of the stream. Most codecs are lossy, in order to get a reasonably small file size. There are lossless codecs as well, but for most purposes the almost imperceptible increase in quality is not worth the considerable increase in data size. The main exception is if the data will undergo more processing in the future, in which case the repeated lossy encoding would damage the eventual quality too much. Many multimedia data streams need to contain both audio and video data, and often some form of metadata that permits synchronization of the audio and video. Each of these three streams may be handled by different programs, processes, or hardware; but for the multimedia data stream to be useful in stored or transmitted form, they must be encapsulated together in a container format. -
Implementing a Parametric EQ Plug-In in C++ Using the Multi-Platform VST Specification
2003:044 C EXTENDED ESSAY Implementing a parametric EQ plug-in in C++ using the multi-platform VST specification JONAS EKEROOT SCHOOL OF MUSIC Audio Technology Supervisor: Jan Berg 2003:044 • ISSN: 1402 – 1773 • ISRN: LTU - CUPP - - 03/44 - - SE Implementing a parametric EQ plug-in in C++ using the multi-platform VST specification Jonas Ekeroot Division of Sound Recording School of Music in Pite˚a Lule˚aUniversity of Technology April 23, 2003 Abstract As the processing power of desktop computer systems increase by every year, more and more real-time audio signal processing is per- formed on such systems. What used to be done in external effects units, e.g. adding reverb, can now be accomplished within the com- puter system using signal processing code modules – plug-ins. This thesis describes the development of a peak/notch parametric EQ VST plug-in. First a prototype was made in the graphical audio program- ming environment Max/MSP on MacOS, and then a C++ implemen- tation was made using the VST Software Development Kit. The C++ source code was compiled on both Windows and MacOS, resulting in versions of the plug-in that can be used in any VST host application on Windows and MacOS respectively. Writing a plug-in relieves the programmer of the burden to deal directly with audio interface details and graphical user interface specifics, since this is taken care of by the host application. It can thus be an interesting way to start developing audio DSP algorithms, since the host application also provides the op- portunity to listen to and measure the performance of the implemented plug-in algorithm. -
How to Create Music with GNU/Linux
How to create music with GNU/Linux Emmanuel Saracco [email protected] How to create music with GNU/Linux by Emmanuel Saracco Copyright © 2005-2009 Emmanuel Saracco How to create music with GNU/Linux Warning WORK IN PROGRESS Permission is granted to copy, distribute and/or modify this document under the terms of the GNU Free Documentation License, Version 1.2 or any later version published by the Free Software Foundation; with no Invariant Sections, no Front-Cover Texts, and no Back-Cover Texts. A copy of the license is available on the World Wide Web at http://www.gnu.org/licenses/fdl.html. Revision History Revision 0.0 2009-01-30 Revised by: es Not yet versioned: It is still a work in progress. Dedication This howto is dedicated to all GNU/Linux users that refuse to use proprietary software to work with audio. Many thanks to all Free developers and Free composers that help us day-by-day to make this possible. Table of Contents Forword................................................................................................................................................... vii 1. System settings and tuning....................................................................................................................1 1.1. My Studio....................................................................................................................................1 1.2. File system..................................................................................................................................1 1.3. Linux Kernel...............................................................................................................................2 -
Radium: a Music Editor Inspired by the Music Tracker
Radium: A Music Editor Inspired by the Music Tracker Kjetil Matheussen Norwegian Center for Technology in Music and the Arts. (NOTAM) Sandakerveien 24D, Bygg F3 N-0473 Oslo Norway [email protected] Abstract Musical events are defined with pure text. Radium is a new type of music editor inspired by The event C#3 5-32-000 plays the note C the music tracker. Radium's interface differs from sharp at octave 3 using instrument number 5 at the classical music tracker interface by using graphi- volume 32. The last three zeroes can be used cal elements instead of text and by allowing musical for various types of sound effects, or to set new events anywhere within a tracker line. tempo. Chapter 1: The classical music tracker interface The tables are called patterns, and a song and how Radium differs from it. Chapter 2: Ra- usually contains several patterns. To control dium Features: a) The Editor; b) The Modular the order patterns are playbed back, we use a Mixer; c) Instruments and Audio Effects; d) In- strument Configuration; e) Common Music Nota- playlist. For example, if we have three patterns, tion. Chapter 3: Implementation details: a) Paint- a typical song could have a playlist like this: ing the Editor; b) Smooth Scrolling; c) Embed- 1, 2, 1, 2, 3, 1, 2. ding Pure Data; d) Collecting Memory Garbage in C and C++. Chapter 4: Related software. 1.1 How Radium Differs from the Classical Tracker Interface Keywords Radium4 differs from the music tracker inter- Radium, Music Tracker, GUI, Pure Data, Graphics face by using graphical elements instead of text Programming. -
Release 0.23~Git Max Kellermann
Music Player Daemon Release 0.23~git Max Kellermann Sep 24, 2021 CONTENTS: 1 User’s Manual 1 1.1 Introduction...............................................1 1.2 Installation................................................1 1.3 Configuration...............................................4 1.4 Advanced configuration......................................... 12 1.5 Using MPD................................................ 14 1.6 Advanced usage............................................. 16 1.7 Client Hacks............................................... 18 1.8 Troubleshooting............................................. 18 2 Plugin reference 23 2.1 Database plugins............................................. 23 2.2 Storage plugins.............................................. 24 2.3 Neighbor plugins............................................. 25 2.4 Input plugins............................................... 25 2.5 Decoder plugins............................................. 27 2.6 Encoder plugins............................................. 32 2.7 Resampler plugins............................................ 33 2.8 Output plugins.............................................. 35 2.9 Filter plugins............................................... 42 2.10 Playlist plugins.............................................. 43 2.11 Archive plugins.............................................. 44 3 Developer’s Manual 45 3.1 Introduction............................................... 45 3.2 Code Style............................................... -
Schwachstellen Der Kostenfreien Digital Audio Workstations (Daws)
Schwachstellen der kostenfreien Digital Audio Workstations (DAWs) BACHELORARBEIT zur Erlangung des akademischen Grades Bachelor of Science im Rahmen des Studiums Medieninformatik und Visual Computing eingereicht von Filip Petkoski Matrikelnummer 0727881 an der Fakultät für Informatik der Technischen Universität Wien Betreuung: Associate Prof. Dipl.-Ing. Dr.techn Hilda Tellioglu Mitwirkung: Univ.Lektor Dipl.-Mus. Gerald Golka Wien, 14. April 2016 Filip Petkoski Hilda Tellioglu Technische Universität Wien A-1040 Wien Karlsplatz 13 Tel. +43-1-58801-0 www.tuwien.ac.at Disadvantages of using free Digital Audio Workstations (DAWs) BACHELOR’S THESIS submitted in partial fulfillment of the requirements for the degree of Bachelor of Science in Media Informatics and Visual Computing by Filip Petkoski Registration Number 0727881 to the Faculty of Informatics at the Vienna University of Technology Advisor: Associate Prof. Dipl.-Ing. Dr.techn Hilda Tellioglu Assistance: Univ.Lektor Dipl.-Mus. Gerald Golka Vienna, 14th April, 2016 Filip Petkoski Hilda Tellioglu Technische Universität Wien A-1040 Wien Karlsplatz 13 Tel. +43-1-58801-0 www.tuwien.ac.at Erklärung zur Verfassung der Arbeit Filip Petkoski Wienerbergstrasse 16-20/33/18 , 1120 Wien Hiermit erkläre ich, dass ich diese Arbeit selbständig verfasst habe, dass ich die verwen- deten Quellen und Hilfsmittel vollständig angegeben habe und dass ich die Stellen der Arbeit – einschließlich Tabellen, Karten und Abbildungen –, die anderen Werken oder dem Internet im Wortlaut oder dem Sinn nach entnommen sind, auf jeden Fall unter Angabe der Quelle als Entlehnung kenntlich gemacht habe. Wien, 14. April 2016 Filip Petkoski v Kurzfassung Die heutzutage moderne professionelle Musikproduktion ist undenkbar ohne Ver- wendung von Digital Audio Workstations (DAWs). -
Renoise 3.1 User Manual Renoise 3.1 User Manual Table of Contents 1 Welcome to the Renoise User Manual
Renoise 3.1 User Manual Renoise 3.1 User Manual Table of Contents 1 Welcome to the Renoise User Manual.......................................................1 2 Introduction To Renoise...........................................................................2 2.1 Main Screen Overview.....................................................................................2 2.1.1 Upper Status Bar.....................................................................................3 2.1.2 Global Song Control................................................................................3 2.1.3 Song Visualisation...................................................................................3 2.1.4 Loading & Saving Files............................................................................3 2.1.5 Selecting Instruments.............................................................................4 2.1.6 Creating & Editing Instruments...............................................................4 2.1.7 GUI presets.............................................................................................5 2.1.8 Sequencing Patterns...............................................................................5 2.1.9 Creating Patterns....................................................................................5 2.1.10 Applying Effects....................................................................................6 2.1.11 Lower Status Bar...................................................................................6 2.2 Guide -
Linux As a Mature Digital Audio Workstation in Academic Electroacoustic Studios – Is Linux Ready for Prime Time?
Linux as a Mature Digital Audio Workstation in Academic Electroacoustic Studios – Is Linux Ready for Prime Time? Ivica Ico Bukvic College-Conservatory of Music, University of Cincinnati [email protected] http://meowing.ccm.uc.edu/~ico/ Abstract members of the most prestigious top-10 chart. Linux is also used in a small but steadily growing number of multimedia GNU/Linux is an umbrella term that encompasses a consumer devices (Lionstracks Multimedia Station, revolutionary sociological and economical doctrine as well Hartman Neuron, Digeo’s Moxi) and handhelds (Sharp’s as now ubiquitous computer operating system and allied Zaurus). software that personifies this principle. Although Linux Through the comparably brisk advancements of the most quickly gained a strong following, its first attempt at prominent desktop environments (namely Gnome and K entering the consumer market was a disappointing flop Desktop Environment a.k.a. KDE) as well as the primarily due to the unrealistic corporate hype that accompanying software suite, Linux managed to carve out a ultimately backfired relegating Linux as a mere sub-par niche desktop market. Purportedly surpassing the Apple UNIX clone. Despite the initial commercial failure, Linux user-base, Linux now stands proud as the second most continued to evolve unabated by the corporate agenda. widespread desktop operating system in the World. Yet, Now, armed with proven stability, versatile software, and an apart from the boastful achievements in the various markets, unbeatable value Linux is ready to challenge, if not in the realm of sound production and audio editing its supersede the reigning champions of the desktop computer widespread acceptance has been conspicuously absent, or market.