On 16/11/11 Matt Giuca wrote:
2. Make this file a true settings file, which consists of key=value pairs
and # comment lines, which modifies the settings.
As long as there are settings to cover all the things you might want to
change (e.g., reverb), then I don't see a problem with #2 and I think
John O'Hagan wrote:
Yes, by starting fluidsynth in server mode ("-s", plus whatever options you're
using for driver, device, soundfont etc.) you can send strings like "noteon 0
64 100 \n" and so on to port 9800 to produce sounds from your soundfont. Type
'help' in an interactive fluidsynth termin
I'm very grateful for all of the suggestions put forward to solve this
problem. I was unaware of 'netcat' until I read about it here -
networking has always been a bit of a mystery to me. I find that I have
'nc' on my system, which I gather does the same thing as 'netcat' so I'm
about to go and
Thanks for that, Dave.
Normally, you would need another computer with network access to the server
running fluidsynth. This could be an ipad (running the 'pterm' app), or a
netbook, or laptop with wireless access.
Do you have network access to the pc running fluidsynth?
I don
Thanks, Pedro.
There is a server mode (command line switches "-s" or "--server"). By default,
FS listens in this mode by the TCP/IP port number 9800
> using a simple protocol similar to telnet. You can send commands to
FS using this port as it would be done in the normal shell.
Please could
David - many thanks for your response!
Hmm, I don't think it's currently possible to specify those parameters
on the command line. Try running fluidsynth without the "-i" switch,
you'll get a shell. In that shell, you can issue the "help reverb"
command. Then try putting outrageous values in and
I'd appreciate some simple guidance on how to adjust Fluid's reverb
settings at the command line. I've tried 'man fluidsynth' which seems to
indicate that various reverb parameters are adjustable, but it gives no
clue as to what the valid range of values for 'num' might be in each
case, nor how
haven't really looked closely at it in a while.
-~Chris
On 07/21/2010 03:19 AM, Edenyard wrote:
Many thanks for your response, Chris. The PDF was very interesting,
even if I don't fully understand some of the programming type content
of it.
Do you know whether your proposed mo
ative/E-MU designed their synth engines, and the thousands of
SoundFonts out there expect this behavior. You can read more details
about this in this PDF file
<http://www.schristiancollins.com/temp/20080817_changes.pdf>, which was
my proposed list of changes for FluidSynth 1.0.9.
-~Chris
On 07/1
I'd be grateful if someone here could kindly unravel a bit of a mystery
in Fluid Synth for me regarding instrument attenuation.
I've been making a new organ soundfont using samples from the excellent
new Silver Octopus romantic set and I'm now tryingto get the right
balance between the various
Dear Josh,
Very many thanks for that!
The first "while true" loop is essentially a busy loop, since it will be
executing acconect and checking its value as fast as it can. Adding a
sleep inside of the loop (like I added above), should help things.
Am I right in thinking that 'sleep' won't ho
John O'Hagan wrote:
Ben Leggett wrote:
[...]
Currently, I start fluidsynth in a shell script in conjunction with
Dosbox, as opposed to systemwide, since the soundfont I use makes
fluidsynth take up quite a lot of memory.
Because this soundfont is large, fluidsynth startup time can take quite
a
Josh wrote:
The Reverb in FluidSynth hasn't really undergone that much in the way of
changes. Its not really that good I've noticed and it along with the
Chorus are good candidates for overhaul. As for Jack, it doesn't have
"Reverb" or "Chorus" itself, it is an inter-application audio (and now
Jimmy wrote:
I have assumed
that channel 10 is for drums, but what do I know ;-)
One thing's certain - you know a lot more about it than I do!
Anyway, I only guess that there is a flag somewhere
that Qsynth uses to start up FluidSynth with 32
channels. I got some style files playing here sh
Josh wrote:
I can see an issue though if someone decides to use channel #10 for
something other than drums (non GM/GS mode). In that case that part of
your patch would cause a bit of headache for the user.
I'm not sure if I'm understanding this thread correctly since my
knowledge of MIDI is,
Can somebody please re-assure me that I'm not dreaming all of this:
I've tried pinching myself and I SEEM to be awake, but
Mihail Zenkov <[EMAIL PROTECTED]> wrote, very reasonably:
:) Where are you read this? I six years do amplifiers (mainly on
tubes)
and acoustics. All amplification str
Thanks for that, Josh!
I've also noticed rather unpleasant sounding tones sometimes. One thing
I have found is that this is often caused by the chorus and/or reverb.
Try turning both of those off, or changing the parameters thereof.
I'll give that a try later. It's a great comfort to know tha
This may sound a dumb question, but can someone explain to me
whereabouts in Fluidsynth the scale tuning is set? In other words, the
relationship between adjacent semitones, etc. Is the tuning
equal-temperament, or some mean-tone system? How accurate is it?
I ask this because I've noticed that
John Matthews wrote:
I have experienced a problem with noisey sound with fluid with via 82xx
sound chips. It turns out that the snd-via82xx driver is the problem.
To see if that's the same problem, download vias own "viaudiocombo" driver,
which is available on their website. It's an oss drive
Not sure if this is a silly question, but how many bits does Fluidsynth
use for audio data? Reason for asking is that I seem to be running into
trouble with audible quantising distortion on quiet sounds. I was
considering getting a 24-bit soundcard to see if that helps but it's
probably pretty
I've been pondering over an extension to Fluidsynth that I'd very much like to
see made.
At the moment, I use Fluid with an application that wants 48 MIDI channels. I
start Fluid with the '-K 48' parameter and it opens 3 MIDI ports, which I then
patch through to 3 virtual MIDI sources driven b
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