On Thursday 22 July 2010 05:38:22 Patrick Shirkey wrote:
> On 07/22/2010 12:58 PM, Fernando Lopez-Lezcano wrote:
> > On Thu, 2010-07-22 at 01:08 +0200, Arnold Krille wrote:
> >> On Wednesday 21 July 2010 23:27:59 Ralf Mardorf wrote:
> >>> On Wed, 2010-07-21 at 23:21 +0200, f...@kokkinizita.net wrot
On 07/22/2010 12:58 PM, Fernando Lopez-Lezcano wrote:
On Thu, 2010-07-22 at 01:08 +0200, Arnold Krille wrote:
On Wednesday 21 July 2010 23:27:59 Ralf Mardorf wrote:
On Wed, 2010-07-21 at 23:21 +0200, f...@kokkinizita.net wrote:
And you fail regarding almost everything you wri
On Thu, 2010-07-22 at 01:08 +0200, Arnold Krille wrote:
> On Wednesday 21 July 2010 23:27:59 Ralf Mardorf wrote:
> > On Wed, 2010-07-21 at 23:21 +0200, f...@kokkinizita.net wrote:
> > > And you fail regarding almost everything you write. If you want
> > > to pontificate about acoustics and psycho-a
On 07/22/2010 09:52 AM, f...@kokkinizita.net wrote:
On Wed, Jul 21, 2010 at 10:23:03PM +0100, Folderol wrote:
I remember when 2001 first came out, being totally astonished by the
sequence where the ape-man first uses a bone as a club. There was the
totally realistic effect of a gust of wind
Excerpts from fons's message of 2010-07-22 02:24:04 +0200:
> On Thu, Jul 22, 2010 at 01:05:01AM +0200, Philipp Überbacher wrote:
>
> > I think the word loudness is a problem here. Afaik it usually refers to
> > how it is perceived, and twice the amplitude doesn't mean twice the
> > perceived loudn
On Thu, Jul 22, 2010 at 01:05:01AM +0200, Philipp Überbacher wrote:
> I think the word loudness is a problem here. Afaik it usually refers to
> how it is perceived, and twice the amplitude doesn't mean twice the
> perceived loudness. It may mean twice the sound pressure level, energy,
> or intensi
On Wed, Jul 21, 2010 at 10:23:03PM +0100, Folderol wrote:
> I remember when 2001 first came out, being totally astonished by the
> sequence where the ape-man first uses a bone as a club. There was the
> totally realistic effect of a gust of wind moving from the screen to the
> rear of the cinema.
On Wed, Jul 21, 2010 at 10:07:10PM +0200, JohnLM wrote:
> What's the thing about far and near fields?
The rule pressure = 1 / distance is true only for
theoretical point sources, and for real sources if the
distance is much larger than the size of the zource.
In the other case you are in the '
On Wednesday 21 July 2010 23:27:59 Ralf Mardorf wrote:
> On Wed, 2010-07-21 at 23:21 +0200, f...@kokkinizita.net wrote:
> > And you fail regarding almost everything you write. If you want
> > to pontificate about acoustics and psycho-acoustics then please
> > study the subject before doing so. It w
Excerpts from Paul Davis's message of 2010-07-21 19:26:40 +0200:
> On Wed, Jul 21, 2010 at 11:52 AM, JohnLM wrote:
>
> > - If I muliply float by 2.0, do I get twice the sound pressure or twice the
> > sound intensity, or something else?
>
> you get samples that are twice as loud. this doesn't h
On Wednesday 21 July 2010 23:18:15 Ralf Mardorf wrote:
> On Wed, 2010-07-21 at 22:58 +0200, Ralf Mardorf wrote:
> > @ nonsense and bullshit, where are the examples that it works?
Here: http://www.ambisonia.com/
Downloaded a lot of cool stuff from there (and will do so once my set-up is
finally co
On Wed, Jul 21, 2010 at 11:10:07AM +0200, rom wrote:
> On 21/07/10 09:43, Arnold Krille wrote:
> > So please, if you create homepage for the app, state the problem and the
> > fact
> > that your (nice!) app is not a solution but only a patch to the problem...
> >
> :-D eheh, yes yes i will...
On Wed, Jul 21, 2010 at 5:36 PM, wrote:
> On Wed, Jul 21, 2010 at 11:24:12PM +0200, Ralf Mardorf wrote:
>
>> Indeed I never heard a recording done with this equipment. Where can I
>> get an example done with this equipment? I can't listen to it at home,
>> but I guess I'm able to find somebody wi
On Wed, Jul 21, 2010 at 11:27:59PM +0200, Ralf Mardorf wrote:
> I guess you make a fool of your self, perhaps not to Linux lists, but
> indeed to professionals who have to do hard jobs all the day.
Could be, I'm one of them.
> At least
> we still have all that phased stereo recordings, that we a
On Wed, Jul 21, 2010 at 11:24:12PM +0200, Ralf Mardorf wrote:
> Indeed I never heard a recording done with this equipment. Where can I
> get an example done with this equipment? I can't listen to it at home,
> but I guess I'm able to find somebody with the valid equipment to listen
> to the record
On Wed, 2010-07-21 at 22:23 +0100, Folderol wrote:
> On Wed, 21 Jul 2010 17:10:35 -0400
> Paul Davis wrote:
>
> > On Wed, Jul 21, 2010 at 4:58 PM, Ralf Mardorf
> > wrote:
> > > @ nonsense and bullshit, where are the examples that it works?
> > >
> > > There is no valid recording with more than 1
On Wed, 2010-07-21 at 23:21 +0200, f...@kokkinizita.net wrote:
> On Wed, Jul 21, 2010 at 10:58:13PM +0200, Ralf Mardorf wrote:
>
> > @ nonsense and bullshit, where are the examples that it works?
> >
> > There is no valid recording with more than 1 or 2 channels,
> > regarding to a natural impres
On Wed, 2010-07-21 at 17:10 -0400, Paul Davis wrote:
> On Wed, Jul 21, 2010 at 4:58 PM, Ralf Mardorf
> wrote:
> > @ nonsense and bullshit, where are the examples that it works?
> >
> > There is no valid recording with more than 1 or 2 channels, regarding to
> > a natural impression. Some art proje
On Wed, 21 Jul 2010 17:10:35 -0400
Paul Davis wrote:
> On Wed, Jul 21, 2010 at 4:58 PM, Ralf Mardorf
> wrote:
> > @ nonsense and bullshit, where are the examples that it works?
> >
> > There is no valid recording with more than 1 or 2 channels, regarding to
> > a natural impression. Some art pro
On Wed, Jul 21, 2010 at 10:58:13PM +0200, Ralf Mardorf wrote:
> @ nonsense and bullshit, where are the examples that it works?
>
> There is no valid recording with more than 1 or 2 channels,
> regarding to a natural impression.
Yo mean you don't know of one.
> Some art projects that didn't try
On Wed, 2010-07-21 at 22:58 +0200, Ralf Mardorf wrote:
> @ nonsense and bullshit, where are the examples that it works?
>
> There is no valid recording with more than 1 or 2 channels, regarding to
> a natural impression. Some art projects that didn't try to give a
> natural impression are somethin
On Wed, Jul 21, 2010 at 4:58 PM, Ralf Mardorf
wrote:
> @ nonsense and bullshit, where are the examples that it works?
>
> There is no valid recording with more than 1 or 2 channels, regarding to
> a natural impression. Some art projects that didn't try to give a
> natural impression are something
@ nonsense and bullshit, where are the examples that it works?
There is no valid recording with more than 1 or 2 channels, regarding to
a natural impression. Some art projects that didn't try to give a
natural impression are something very, very different.
Most audio engineers still fail regardin
On Wednesday 21 July 2010 21:20:45 Ralf Mardorf wrote:
> Just keep in mind that we have two ears and any math or analog recording
> with more virtual ears is suspect, regarding to a natural impression.
Excuse me, that is bullsh**.
Yes, we only have two ears. But that two ears hear sound from all
On 2010.07.21. 21:20, Ralf Mardorf wrote:
On 2010.07.21. 20:40, Ralf Mardorf wrote:
I guess the transit time issue for analog isn't solved. When I worked
for Brauner we and SPL developed a surround microphone + SPL mixing
console. IMO it's pure bullshit.
http://audio.uni-lueneburg.de/seminarweb
On Wed, Jul 21, 2010 at 9:14 PM, Ralf Mardorf wrote:
> People today aren't able to do a good stereo or mono mix, e.g. because
> of the loudness war, but they are thinking of doing 3D mixes.
>
> I'm unable to follow this strange evolution.
>
That's ok. I don't understand DSP. I don't think anybody
On Wed, Jul 21, 2010 at 10:14:37PM +0200, Ralf Mardorf wrote:
> All thoughts about doing 3D are useless until we aren't able to connect
> electrodes directly to our brains and to have a rimming regarding to our
> brains.
Nonsense.
> As long as Cochlear implant isn't good, any try to do 3D mixing
On Wed, 2010-07-21 at 22:14 +0200, Ralf Mardorf wrote:
> People today aren't able to do a good stereo or mono mix, e.g. because
> of the loudness war, but they are thinking of doing 3D mixes.
>
> I'm unable to follow this strange evolution.
>
> We all have 2 ears and 1 brain that has to do a lot
People today aren't able to do a good stereo or mono mix, e.g. because
of the loudness war, but they are thinking of doing 3D mixes.
I'm unable to follow this strange evolution.
We all have 2 ears and 1 brain that has to do a lot of work, regarding
to information from the sense organs. The brain
On Wed, Jul 21, 2010 at 08:56:20PM +0200, JohnLM wrote:
> I think this should reduce problems with two conversions to/from
> floats, when both inputs and outputs are of integer type.
It doesn't and there are no such problems. Once you have a float,
multiplying or dividing it by 2^N just means cha
On Wed, 2010-07-21 at 22:07 +0200, JohnLM wrote:
> Continuation of talk from
> Re: [LAD] Floating point processing and high dynamic range audio
>
> Simply Subject line no longer described the actual content.
>
> On 2010.07.21. 20:19, Jörn Nettingsmeier wrote:
> > On 07/21/2010 08:56 PM, JohnLM wr
Continuation of talk from
Re: [LAD] Floating point processing and high dynamic range audio
Simply Subject line no longer described the actual content.
On 2010.07.21. 20:19, Jörn Nettingsmeier wrote:
On 07/21/2010 08:56 PM, JohnLM wrote:
If I code program to handle attenuation of sounds depend
On Wed, 2010-07-21 at 20:19 +0200, Jörn Nettingsmeier wrote:
> On 07/21/2010 08:56 PM, JohnLM wrote:
>
> > If I code program to handle attenuation of sounds depending on their
> > source (emitter) position in virtual 3D space, I guess then there's no
> > simple way to relate the effect to real wor
On Wed, 2010-07-21 at 20:01 +0200, f...@kokkinizita.net wrote:
> An audio signal represents pressure variation as a function of
> time. Multiplying it by two will give 2 times the pressure,
> and 4 times the power. The subjective result is another matter.
Subjective double loudness is around 6 dB,
On 07/21/2010 08:56 PM, JohnLM wrote:
If I code program to handle attenuation of sounds depending on their
source (emitter) position in virtual 3D space, I guess then there's no
simple way to relate the effect to real world.
How this is usually handled?
you reduce the level with distance (amou
On 2010.07.21. 20:05, Paul Davis wrote:
On Wed, Jul 21, 2010 at 2:01 PM, wrote:
On Wed, Jul 21, 2010 at 01:26:40PM -0400, Paul Davis wrote:
floating point -1.0 == minimum value of an integer sample == -inf dBFS
floating point 1.0 == maximum value of an integer sample == 0dBFS
??? At least
On Wed, Jul 21, 2010 at 2:01 PM, wrote:
> On Wed, Jul 21, 2010 at 01:26:40PM -0400, Paul Davis wrote:
>
>> floating point -1.0 == minimum value of an integer sample == -inf dBFS
>> floating point 1.0 == maximum value of an integer sample == 0dBFS
>
> ??? At least the first of these makes no sens
On Wed, Jul 21, 2010 at 01:26:40PM -0400, Paul Davis wrote:
> floating point -1.0 == minimum value of an integer sample == -inf dBFS
> floating point 1.0 == maximum value of an integer sample == 0dBFS
??? At least the first of these makes no sense at all,
and the second applies if the dB value i
On Wed, Jul 21, 2010 at 2:56 PM, JohnLM wrote:
> If I code program to handle attenuation of sounds depending on their source
> (emitter) position in virtual 3D space, I guess then there's no simple way
> to relate the effect to real world.
> How this is usually handled?
there are decades of resea
On 2010.07.21. 19:26, Paul Davis wrote:
- How does floating point (and perhaps fixed point/integer) values relate
to dB notation?
floating point -1.0 == minimum value of an integer sample == -inf dBFS
floating point 1.0 == maximum value of an integer sample == 0dBFS
relationships to dBU, dB
On Wed, Jul 21, 2010 at 11:52 AM, JohnLM wrote:
> Hey, fellow devs!
> I'm a newcomer to this mailing list and I'm sure this has been discussed
> here at some point, but I'll ask anyway.
>
> I'm a bit better on programming side than on audio-tech side so...
> - Does all floating point formats man
Hey, fellow devs!
I'm a newcomer to this mailing list and I'm sure this has been discussed
here at some point, but I'll ask anyway.
I'm a bit better on programming side than on audio-tech side so...
- Does all floating point formats mandate valid values in [-1.0, 1.0]
range?
- How does floa
> >> $ jackd -d alsa -d hw:0 --> fire up
> jackd on first card
> >> $ alsa_in -d hw:1 --> add second card
> >> $ alsa_in -d hw:2 --> add third card
> a.s.o.
> >>
> >> Then, use any jack capture client you want,
> including jackrec,
> >> jack_capture and ardour, just to name a few.
> >
>
On Wed, Jul 21, 2010 at 1:49 AM, Pieter Palmers wrote:
> I cannot help but noting that the 'most bone-headed way of doing low-latency
> audio' called firewire provides timestamps related to the sample clock for
> midi messages (even each MIDI byte). The timestamps are valid accross
> multiple dev
On Wed, Jul 21, 2010 at 7:48 AM, drew Roberts wrote:
>> $ jackd -d alsa -d hw:0 --> fire up jackd on first card
>> $ alsa_in -d hw:1 --> add second card
>> $ alsa_in -d hw:2 --> add third card a.s.o.
>>
>> Then, use any jack capture client you want, including jackrec,
>> jack_capture an
On Wednesday 21 July 2010 03:17:56 Adrian Knoth wrote:
> On Wed, Jul 21, 2010 at 02:24:09AM +0200, rom wrote:
> > I'd like to ask some advice about a small multitrack recorder program i
> > wrote, and have been using for some time. Basically, what it does is to:
> > - simultaneously capture sound f
Excerpts from Jeremy's message of 2010-07-21 00:43:41 +0200:
> On Wed, Jun 9, 2010 at 9:19 AM, Brett McCoy wrote:
>
> > Both a plugin version and a standalone app would be awesome!
> >
> > On Wed, Jun 9, 2010 at 9:16 AM, Louigi Verona
> > wrote:
> > > A plugin would be nice!
> > >
> > > On Wed,
On 21/07/10 09:43, Arnold Krille wrote:
> So please, if you create homepage for the app, state the problem and the fact
> that your (nice!) app is not a solution but only a patch to the problem...
>
:-D eheh, yes yes i will... i can even provide a sample recording that
clearly shows the problem
On 07/04/2010 11:16 PM, Dan Mills wrote:
On Sun, 2010-07-04 at 22:56 +0200, Ralf Mardorf wrote:
Good to read about this issue. I always disable the on-board audio
devices, but I would add a second PCI card to my PC and sync it with
the
already installed sound card, so I better don't do it. It
On Wednesday 21 July 2010 04:45:56 Patrick Shirkey wrote:
> On 07/21/2010 10:24 AM, rom wrote:
> > Hi all, i'm new to this list.
> > I'd like to ask some advice about a small multitrack recorder program i
> > wrote, and have been using for some time. Basically, what it does is to:
> > - simultaneou
On 06/09/2010 03:19 PM, Brett McCoy wrote:
Both a plugin version and a standalone app would be awesome!
a plugin, a standalone version, and an emacs extension with lots of
chewy parentheses! puh-leeeze!
;-]
___
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On Wed, Jul 21, 2010 at 02:24:09AM +0200, rom wrote:
> I'd like to ask some advice about a small multitrack recorder program i
> wrote, and have been using for some time. Basically, what it does is to:
> - simultaneously capture sound from several consumer-grade soundcards.
> - use libsamplerate t
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