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Rhythm

For counting refer to music counting (Wikipedia). Musicians count using numbers, “ands” and vowel sounds. Downbeats within a measure are called 1, 2, 3… Upbeats are represented with a plus sign and are called “and” (i.e. 1 + 2 +), and further subdivisions receive the sounds “ee” and “uh” (i.e. 1 e + a 2 e + a). Musicians do not agree on what to call triplets.

Afro-cuban and latin rhythms

Clave

Guajeo

Tresillo

Habanera

Chachacha

Arabic rhythms

Scales

Basics

Hemitonic scales contain one or more semitones and anhemitonic scales do not contain semitones. The term scale is related to mode.

Scale types by number of notes contained

Diatonic scale = heptatonic including 5 W and 2 H steps, which are 2 or 3 W steps apart

A diatonic scale is any seven-note scale constructed sequentially using only whole tones and half tones, repeating at the octave, having a tonal center, and comprising only one tritone interval between any two scale members, which ensures that the half tone intervals are as far apart as possible.

Any sequence of seven successive natural notes, such as C–D–E–F–G–A–B, and any transposition thereof, is heptatonic (has 7 notes) and is a diatonic scale.

In Western music, there are seven such scales, and they are commonly known as the modes of the major scale (Ionian, Dorian, Phrygian, Lydian, Mixolydian, Aeolian, and Locrian).

The dominant

The dominant is the fifth scale degree of the diatonic scale. It is called the dominant because it is second in importance to the first scale degree, the tonic. Think 'do - sol'.

Chords with a dominant function: dominant chords (seventh, ninth, and dominant ninth) and leading-tone chords (diminished, half-diminished seventh, and diminished seventh).

The triad built on the dominant note is called the dominant chord. This chord is said to have dominant function, which means that it creates an instability that requires the tonic for resolution.

The subdominant

In scales, the subdominant is the fourth tonal degree of the diatonic scale. Think 'do - fa'.

Modes, how whole and half tones are distributed

In music theory, the meaning of the term mode depends on context.

Its most common use may be described as a type of musical scale coupled with a set of characteristic melodic and harmonic behaviors.

Modes have seven notes (i.e. they are heptatonic), and are built using a diatonic pattern of half steps and whole steps.

Modes are defined by their starting note or tonic.

Modern modes include (W = whole tone, H = half tone): So modern Western modes use the same set of notes as the major scale, in the same order, but starting from one of its seven degrees in turn as a tonic, and so present a different sequence of whole and half steps.

Ionian mode, I, = Ionic scale = the major scale

Is the cornerstone of western music. It is diatonic, i.e. made up of seven notes (eight if you include the octave). It is the first of the seven musical modes. E.g. C major consists of the notes C, D, E, F, G, A and B (all the white keys on a piano keyboard).

Dorian, II

Dorian (Doric) mode can refer to three very different but interrelated subjects: 'Black Magic Woman' opens in D dorian, then D minor in octaves, then A7 - V, and back to D minor. Later there are sections in D mixolydian.

Phrygian, III

Lydian, IV

Mixolydian, V

Mixolydian mode may refer to one of three things:

Aeolian, VI

Also called natural minor scale.

Locrian, VII

Minor scale patterns

Natural minor scale patterns
Harmonic minor scale patterns
Melodic minor scale patterns
Jazz minor scale patterns

Pentatonic scale (with 5 notes)

Pentatonic majors and minor
The standard tuning of a guitar uses the notes of an E minor pentatonic scale: E–A–D–G–B–E, contributing to its frequency in popular music.

Minor blues scale (minor pentatonic + blue note = 6 notes, hexatonic)
The (minor) blues scale is similar to the minor pentatonic scale, but with an additional lowered fifth. The lowered fifth is referred to as the "blue note".

Examples of minor blues scales:
Major blues scale (major pentatonic + blue note = hexatonic)
The major blues scale is made up of : tonic (1), major second (2), a minor third (b3), major third (3), fifth (5) and sixth (6). The intervals are 1, 1/2, 1/2, 1+1/2, 1, 1+1/2

There's a relation of 1 1/2 tones downwards between major and minor blues scales:
BB King box
Fits nicely over all chords I7, IV7, V7, but best for major blues. For minor, use the penta 2 box, i.e. drop the third note e.g. in Am use the BB king box without C, 'shifted down fingering'. Penta 2 box is useful for major blues as wel..
Nine notes blues scale
Another common blues scale has nine notes. In C The E♭ and B♭ are blue notes. Continue below
Pentatonic sus scale
Scale: d - major sec- fourth- fifth- lower seventh - octave.

Trick: to play d pentatonic sus, play Am pentatonic but start on D.

So: A, C, D, E, G => D, E, G, A, C, D

Jazz scales

One important feature of jazz is "the principles of chord-scale compatibility": a sequence of chords will generate a sequence of compatible scales. In classical major-mode harmony, chords typically belong to the same scale. For example, a ii–V–I progression in C major will typically use only the notes of the C diatonic collection. In jazz, a four-chord progression may use four different scales, often as the result of chordal alterations.

Jazz altered scales
Jazz other scales

Middle Eastern scales

Some scales span part of an octave; several such short scales are typically combined to form a scale spanning a full octave or more, and usually called with a third name of its own.

The Turkish and Middle Eastern music has around a dozen such basic short scales that are combined to form hundreds of full-octave spanning scales.

Among these scales Hejaz scale has one scale step spanning 14 intervals (of the middle eastern type found 53 in an octave) roughly similar to 3 semitones (of the western type found 12 in an octave), while Saba scale, another of these middle eastern scales, has 3 consecutive scale steps within 14 commas, i.e. separated by roughly one western semitone either side of the middle tone.

'Bellydance scale': E, F, G, G#, B, C, D, E.

Arabic maqamat

Maqamat are made up of smaller sets of consecutive notes that have a very recognizable melody and convey a distinctive mood. Such a set is called jins (جنس; pl. ajnās أجناس), meaning "gender" or "kind".

In most cases, a jins is made up of four consecutive notes (tetrachord), although ajnas of three consecutive notes (trichord) or five consecutive notes (pentachord) also exist.

Ajnas are the building blocks of a maqam. A maqam scale has a lower (or first) jins and an upper (or second) jins. In most cases maqams are classified into families or branches based on their lower jins.

The upper jins may start on the ending note of the lower jins or on the note following that. In some cases the upper and lower ajnas may overlap. The starting note of the upper jins is called the dominant, and is the second most important note in that scale after the tonic. Maqam scales often include secondary ajnas that start on notes other than the tonic or the dominant. Secondary ajnas are highlighted in the course of modulation.

References on Arabic music theory often differ on the classification of ajnas. There is no consensus on a definitive list of all ajnas, their names or their sizes. However the majority of references agree on the basic 9 ajnas, which also make up the main 9 maqam families.

Maqamat ajnas:

Arabic maqamat's temperament

Tempérament: Bien qu'utilisant les mêmes maqâms (mêmes noms et mêmes intervalles selon le mode), les musiciens des différentes contrées n'utilisaient pas les mêmes tempéraments et fréquences pour une même note.

Au XXIe siècle, pour des raisons pratiques, les altérations sont « arrondies » au quart de ton le plus proche et on ne représente que deux ou trois altérations pour représenter les différents intervalles inférieur au demi-ton. Cependant, ces intervalles, bien qu'écrits à l'identique, sont joués différemment selon le maqâm dans lequel se trouvent les musiciens.

Arabic maqamat's key

Armure (key): il n'y a pas de consensus sur la façon de placer les altérations constitutives du maqâm sur l'armure

Algerian scales and modes

Scales and key signatures

In Western musical notation, a key signature is a set of sharp (♯), flat (♭), or rarely, natural (♮) symbols placed on the staff at the beginning of a section of music. In standard music notation, the order in which sharps or flats appear in key signatures is uniform, following the circle of fifths:



























Scales on guitar

Chords

Chords

Chord factors and tensions

A factor or chord factor is a member or component of a chord. These are named root, third, fifth, sixth, seventh, ninth (compound 2nd), eleventh (compound 4th), thirteenth (compound 6th), and so on, for their generic interval above the root. See also https://en.wikipedia.org/wiki/Interval_(music).

There are 3 notes left in a major scale that are not chord tones: 2 (=9), 4 (=11) and 6 (=13).

Often, not every chord tone is considered equally important:

Chord symbols

The symbols used for notating chords are:

Major chord - think C

In the key of C major, the first degree of the scale, called the tonic, is the note C itself.

A major triad, such as C–E–G, contains a major third (C–E) and a minor third (E–G).

A C major chord, the major triad built on the note C (C–E–G), is referred to as the one chord of that key and notated in Roman numerals as I. The same C major chord can be found in other scales: it forms chord III in the key of A minor (A→B→C) and chord IV in the key of G major (G→A→B→C). This numbering indicates the chords's function (e.g. IV = sub-dominant).

Major seventh chord - think Cmaj7

A major seventh chord is a seventh chord in which the third is a major third above the root and the seventh is a major seventh above the root. Think 'do - mi - sol - si'.

It can be written as maj7, M7, Δ, ⑦, etc. The "7" does not have to be superscripted, but if it is, then any alterations, added tones, or omissions are usually also superscripted.
Chord Root Major third Perfect fifth Major seventh
Cmaj7 C E G B
C♯maj7 C♯ E♯ (F) G♯ B♯ (C)
D♭maj7 D♭ F A♭ C
Dmaj7 D F♯ A C♯
D♯maj7 D♯ Fdouble sharp (G) A♯ Cdouble sharp (D)
E♭maj7 E♭ G B♭ D
Emaj7 E G♯ B D♯
Fmaj7 F A C E
F♯maj7 F♯ A♯ C♯ E♯ (F)
G♭maj7 G♭ B♭ D♭ F
Gmaj7 G B D F♯
G♯maj7 G♯ B♯ (C) D♯ Fdouble sharp (G)
A♭maj7 A♭ C E♭ G
Amaj7 A C♯ E G♯
A♯maj7 A♯ Cdouble sharp (D) E♯ (F) Gdouble sharp (A)
B♭maj7 B♭ D F A
Bmaj7 B D♯ F♯ A♯
Satie's first Gymnopédie (1888) alternates two major seventh chords. The first eight measures alternate between Gmaj7 and Dmaj7.

Seventh chord - think C7, E7 - also called dominant 7th chord and major minor 7th chord

The seventh chord is constructed with a root, a major third, a perfect fifth and a minor seventh above the root.

Thus it is a major triad together with a minor seventh, denoted by the letter name of the chord root and a superscript "7".

Terminology: dominant seventh chords are often built on the fifth scale degree (or dominant) of a key. For instance, in the C major scale, G is the fifth note of the scale, and the seventh chord built on G is the dominant seventh chord, G7. (In this chord, F is a minor seventh above G.(?)) In Roman numeral analysis, G7 would be represented as V7 in the key of C major.

Minor chord - think Em

Minor seventh chord - think Em7

Constructed from root, a minor third, a perfect fifth and a minor seventh.

Major and minor sixth chord

The major sixth chord is a major triad and the additional sixth interval is major.

E.g.

The minor sixth chord consists of a minor triad with a tone added a major sixth above the root.

E.g.

Major 9, 11, 13 chords

Consider Cmaj9. Tensions (aka extensions) are notes that are part of a chord, but are not chord tones (which are 1 3 5 7).

There are 3 notes left in the major scale that are not chord tones: 2, 4 and 6

If we add these tones to the chord, they become tensions. Most of the time we play tensions an octave higher than chord tones because otherwise they get in the way of the chord tones (the chord would sound “muddy”). That’s also the way tensions are notated: So if we add the 2 to Cmaj7 we get Cmaj9: C, E, G, B, D (or 1, 3, 5, 7, 9).

Augmented chords

An augmented triad is a chord, made up of two major thirds (an augmented fifth). The term augmented triad arises from an augmented triad being considered a major chord whose top note (fifth) is raised. When using popular-music symbols, it is indicated by the symbol "+" or "aug". E.g.

Diminished chords

A diminished triad is a triad consisting of two minor thirds above the root. Every diminished triad chord has this structure: a minor third and another minor third.

It is a minor triad with a lowered (flattened) fifth.

It may be indicated by the symbols "dim", "o", "m♭5", or "MI(♭5)". However, in most popular-music chord books, the symbol "dim" and "o" represents a diminished seventh chord (a four-tone chord), which in some modern jazz books and music theory books is represented by the "dim7" or "o7" symbols.

E.g.

Sus chords

A suspended chord is a chord in which the (major or minor) third is omitted and replaced with a perfect fourth or a major second.

The lack of a minor or a major third in the chord creates an open sound, while the dissonance between the fourth and fifth or second and root creates tension.

E.g.

Relation dominant scale/dominant chord

Relation subdominant scale/dominant chord

Guitar chords

Chord progressions

A cadence (Latin cadentia, "a falling") is the end of a phrase in which the melody or harmony creates a sense of resolution.

In jazz, a cadence is often referred to as a turnaround, chord progressions that lead back and resolve to the tonic (for example, the ii-V-I turnaround).

Blues progressions

Chords played over a 12-bar scheme.
I I or IV I I7
IV IV I I7
V V or IV I I or V

You can either (or combine): Chords played over C (C F G):
C C or F C C7
F F C C7
G G or F C C or G

Chords played over G (G C D):
G G or C G G7
C C G G7
D D or C G G or D

Jazz-style blues progressions:
I7 IV7 I7 I7
IV7 IV7 I7 III - VI7
II min 7 V7 III - VI7 II - V7

Jazz-style blues progressions in F:
F7 Bb7 F7 F7
Bb7 Bb7 F7 A07 - D7
G min 7 C7 A07 - D7 G min 7 - C7

Jazz-style blues progressions in G:
G7 C7 G7 G7
C7 C7 G7 B07 - E7
A min 7 D7 B07 - E7 A min 7 - D7

Jazz progressions

II-V-I
vi-ii-V-I
The 'circle progression', in C major: Am–Dm–G–C, which have roots that descend by perfect fifth (i.e. the dominant), or ascend by fourth
Rhythm changes
Bird changes

Playing scales over chords

Obviously, many things go, e.g. in a I-IV-V (G, C, D) blues in G:

Melody

Melody basics

Melody and chords

tbd

Technology

Overviews

Notation formats

MusicXML

Generation formats

SoundFont

SoundFont is a brand name that refers to a file format and associated technology that uses sample-based synthesis to play MIDI files. It was first used on the Sound Blaster AWE32 sound card for its General MIDI support. SoundFont is a registered trademark of Creative Technology,

Recording formats

WAV

Routing of audio, MIDI, ...

Jack

JACK is a sound server for audio production that controls your audio and MIDI settings. It allows you to choose your audio interface as well as all the important audio settings such as sample rate, buffer size and periods.

Any inputs and outputs from your audio interface and/or JACK aware programs can arbitrarily be connected together, i.e. ALSA, MIDI and audio connections. JACK not only deals with connections between programs but also within programs.

JACK takes over the soundcard on your computer. This means that your usual audio and video players will be broken while JACK is running. This includes rhythmbox, amarok, vlc, Adobe flash, etc....If your normal audio and video players aren't working, try "killall jackd".

Controlling Jack - practice

Handson GrayTiger:

Note that in /usr/bin there are a lot of jack_* programs ...

Controlling Jack - theory

Run 'man jackd' for man page. Starting: 'jackd [options] -d backend [backend-parameters]', where 'backend' can be 'alsa, coreaudio, dummy, firewire, oss sun and portaudio'. Useful: '-v, --verbose' to get verbose output.

For ALSA: 
ALSA BACKEND OPTIONS
       -C, --capture [ name ]
              Provide only capture ports, unless combined with -D or -P. Optionally set capture device name.

       -d, --device name
              The ALSA pcm device name to use. If none is specified, JACK will use "hw:0", the first hardware card defined in /etc/modules.conf.

       -z, --dither [rectangular,triangular,shaped,none]
              Set dithering mode. If none or unspecified, dithering is off.  Only the first letter of the mode name is required.

       -D, --duplex
              Provide both capture and playback ports. Defaults to on unless only one of -P or -C is specified.  (default: true)

       -h, --help Print a brief usage message describing only the
              alsa backend parameters.

       -M, --hwmeter
              Enable hardware metering for devices that support it. Otherwise, use software metering.

       -H, --hwmon
              Enable  hardware  monitoring  of  capture  ports.  This is a method for obtaining "zero latency" monitoring of audio input. It requires support in hardware and from the underlying ALSA device
              driver.

              When enabled, requests to monitor capture ports will be satisfied by creating a direct signal path between audio interface input and output connectors, with no processing by the host computer
              at all. This offers the lowest possible latency for the monitored signal.

              Presently  (March 2003), only the RME Hammerfall series and cards based on the ICE1712 chipset (M-Audio Delta series, Terratec, and others) support --hwmon. In the future, some consumer cards
              may also be supported by modifying their mixer settings.

              Without --hwmon, port monitoring requires JACK to read audio into system memory, then copy it back out to the hardware again, imposing the basic JACK system latency determined by the --period
              and --nperiods parameters.

       -i, --inchannels int
              Number of capture channels.  (default: maximum supported by hardware)

       -I, --input-latency
              Extra input latency (frames).  (default: 0)

Run 'jackd -h' to see help: 
Usage: jackdmp [ --no-realtime OR -r ]
               [ --realtime OR -R [ --realtime-priority OR -P priority ] ]
      (the two previous arguments are mutually exclusive. The default is --realtime)
               [ --name OR -n server-name ]
               [ --timeout OR -t client-timeout-in-msecs ]
               [ --loopback OR -L loopback-port-number ]
               [ --port-max OR -p maximum-number-of-ports]
               [ --slave-backend OR -X slave-backend-name ]
               [ --internal-client OR -I internal-client-name ]
               [ --internal-session-file OR -C internal-session-file ]
               [ --verbose OR -v ]
               [ --clocksource OR -c [ h(pet) | s(ystem) ]
               [ --autoconnect OR -a <modechar>]
                 where <modechar> is one of:
                   ' ' - Don't restrict self connect requests (default)
                   'E' - Fail self connect requests to external ports only
                   'e' - Ignore self connect requests to external ports only
                   'A' - Fail all self connect requests
                   'a' - Ignore all self connect requests
               [ --replace-registry ]
               [ --silent OR -s ]
               [ --sync OR -S ]
               [ --temporary OR -T ]
               [ --version OR -V ]
         -d master-backend-name [ ... master-backend args ... ]
       jackdmp -d master-backend-name --help
             to display options for each master backend

Available backends:
      loopback (slave)
      dummy (master)
      netone (master)
      firewire (master)
      alsarawmidi (slave)
      alsa (master)
      net (master)

Available internals:
      profiler
      netadapter
      audioadapter
      netmanager

QJackctl

Ted Felix: 'You'll need to configure JACK through qjackctl before using it. Press the "Setup..." button to get the Setup dialog. Many of the settings will be set to "(default)" and that should be ok. Just make sure "Frames/Period" is set to 128, and "Sample Rate" is set to 44100. Also, if you need to use an ALSA device name other than hw:0, check the "Interface" field.' ==> hw:1.

One annoying thing about qjackctl is that it will overwrite your .jackdrc file without your permission. Bear this in mind in case things aren't working as expected.

The "Graph" button takes you to a MIDI connection GUI like aconnectgui. ==> I have no such button, I have 'Connect'.

Sample messages at startup: 
Fri Sep  6 21:16:42 2024: Jack: playback device hw:Generic_1,0
Fri Sep  6 21:16:42 2024: Jack: capture device hw:Generic_1,0
Fri Sep  6 21:16:42 2024: Jack: JackEngine::ClientInternalOpen: name = system
Fri Sep  6 21:16:42 2024: Acquired audio card Audio1
Fri Sep  6 21:16:42 2024: creating alsa driver ... hw:Generic_1,0|hw:Generic_1,0|1024|2|44100|0|0|nomon|swmeter|-|32bit
Fri Sep  6 21:16:42 2024: configuring for 44100Hz, period = 1024 frames (23.2 ms), buffer = 2 periods
Fri Sep  6 21:16:42 2024: Jack: JackEngine::PortRegister ref = 0 name = system:capture_2 type = 32 bit float mono audio flags = 22 buffer_size = 1024
Fri Sep  6 21:16:42 2024: Jack: JackEngine::PortRegister ref = 0 name = system:playback_1 type = 32 bit float mono audio flags = 21 buffer_size = 1024
Fri Sep  6 21:16:42 2024: Jack: JackEngine::PortRegister ref = 0 name = system:playback_2 type = 32 bit float mono audio flags = 21 buffer_size = 1024
Fri Sep  6 21:16:42 2024: Jack: JackEngine::PortRegister ref = 0 name = system:midi_capture_1 type = 8 bit raw midi flags = 22 buffer_size = 0
Fri Sep  6 21:16:42 2024: Jack: JackEngine::ClientExternalOpen: uuid = 3, name = PulseAudio JACK Sink
Fri Sep  6 21:16:42 2024: Jack: JackClientSocket::Connect : addr.sun_path /dev/shm/jack_PulseAudio JACK Sink_1000_0
Fri Sep  6 21:16:42 2024: Jack: JackEngine::PortConnect ref = 3 src = 8 dst = 4
Fri Sep  6 21:16:42 2024: Jack: JackConnectionManager::Connect port_src = 8 port_dst = 4
What gets started: GrayTiger audio in QJackctl's Connections

Pipewire

MIDI - Musical Instrument Digital Interface

MIDI introduction

A single MIDI cable can carry up to sixteen channels of MIDI data, each of which can be routed to a separate device. Each interaction with a key, button, knob or slider is converted into a MIDI event, which specifies musical instructions, such as a note's pitch, timing and loudness.

One common MIDI application is to play a MIDI keyboard or other controller and use it to trigger a digital sound module (which contains synthesized musical sounds) to generate sounds, which the audience hears produced by a keyboard amplifier. MIDI data can be transferred via MIDI or USB cable, or recorded to a sequencer or digital audio workstation to be edited or played back.

MIDI also defines a file format that stores and exchanges the data. A MIDI file is not an audio recording. Rather, it is a set of instructions – for example, for pitch or tempo – and can use a thousand times less disk space than the equivalent recorded audio.

MIDI downloads

MIDI connections

The list of available input and output MIDI devices/ports may be compiled in the MIDI driver you use. It can typically be changed by opening some Preferences dialog. If you switch to another driver, be sure to click OK and reopen the Preferences dialog in order to have an updated list.

For a lot of MIDI drivers one can also establish connections with external tools, like QjackCtl for JACK-MIDI and ALSA-MIDI.

MIDI keyboards

Jack-keyboard - basics

Synaptics shows Debian includes 'jack-keyboard', which includes jack-keyboard and a2jmidid
Jack-keyboard - Qsynth - QjackCtl
To get it working:
Jack-keyboard - legacy
After Synaptics install, start from Gnome GUI. Complains, you first need to start jack, hence:

vmpk - Virtual MIDI Piano Keyboard / dropped

Hands-on

First, make absolutely certain JACK and fluidsynth are not running. Then launch VMPK, '$ vmpk &'. Hangs ...

Mamba / dropped

Seems a dead end...

Uaudio - Volt

Audacity - audio editing and recording

Versions

In 2022-01, DebbyBuster had Audacity 2.2.2 installed. In 2024-03, GrayTiger had Audacity 2.4.2, in 2024-06 upgraded to Audacity 3.4.2.

Local info

Core functionality

Audacity allows to create and edit tracks:

Files and filetypes

Each Audacity project is stored in its own file with the extension aup3, for example: my-project.aup3.

Audacity's project format is not compatible with and cannot be opened in any other audio application.

On Linux, Audacity 2.4.2 refuses to read the .aup3 files created on Windows.

Basic documentation

Analysis

Terminology: Tools for analysis. Many of the analysis tools shipped in Audacity are Nyquist plugins which can be edited in any text editor. You can download additional Nyquist analysis plugins. The built-in analyzers are LADSPA effects. Some additional LADSPA analysis plugins for Linux can be downloaded from http://www.ladspa.org/.

Generation and rhythm generation

Play, record, overdubbing, ...

Microphone recording

  • Audacity - improving recording quality

    • Changing speed and pitch

    Pitch is (perceived) frequency, changing speed affects pitch and tempo, but you can change tempo without changing pitch.

    Mixing

    Plug-ins in Audacity

    Plugins add extra functionality such as effects, audio generation and analysis. See plug-ins intro. To manage plugins in Audacity: 'Tools/Plugin Manager', where you can a.o. 'rescan'.

    See https://support.audacityteam.org/basics/customizing-audacity/installing-plugins - which includes 
    If a plugin doesn't get found by Audacity, or doesn't come with an installer, move the plugin files to one of the following locations:

    LV2: ~/.lv2, /usr/local/lib/lv2 (for 32-bit) or /usr/local/lib64/lv2 (for 64-bit)
    Note: Always copy the entire .lv2 folder

    VST2: ~/.vst or /usr/local/lib/vst
    Note: Many VST effects are Windows-only

    VST3: ~/.vst3 or /usr/local/lib/vst3

    LADSPA: ~/.ladspa or /usr/local/lib/ladspa

    Vamp: ~/.vamp or /usr/local/lib/vamp

    Nyquist: See below

    Plug-ins intro

    Basics

    There are three broad classes of audio plug-in: The program used to dynamically load audio plug-ins is called a plug-in host. Communication between host and plug-in(s) is determined by a plug-in API.

    See

    Muse Hub, Muse Sounds, Muse Score Studio et al

    Muse Hub/Muse Sound Manager

    Muse Score Studio

    202407: MuseScore 2.3.2, replaced by MuseScore 4 on Debian GrayTiger, see MuseScore in LTK.

    Start Muse Score Studio on GrayTiger: cd /home/marc/Downloads/MuseScore_4, then start the AppImage. Handbook Selective/editing: https://musescore.org/en/handbook/4/key-signatures Selective/playing:

    Community

    Muse Sounds

    Muse FX

    Soundslice

    A slice is an interactive learning environment designed for practicing music.

    Synthesisers - analog

    Synthesizer modules in early analog synthesizers included voltage-controlled oscillators (VCOs), voltage-controlled filters (VCFs), and voltage-controlled amplifiers (VCAs). The control voltage varied frequency in VCOs and VCFs, and attenuation (gain) in VCAs. Additionally, they used envelope generators, low-frequency oscillators, and ring modulators. Some synthesizers also had effects devices, such as reverb units, or tools such as sequencers or sound mixers. Because many of these modules took input sound signals and processed them, an analog synthesizer could be used both as a sound-generating and sound-processing system.

    Berklee

    Synthesisers - digital

    Fluidsynth, Qsynth

    FluidSynth is a real-time software synthesizer based on the SoundFont 2 specification. It does not have a GUI but is used in e.g. Qsynth (Qt GUI for FluidSynth), MuseScore, Swami (instrument editor), LMMS, ... To play a midi file: 'fluidsynth --audio-driver=alsa -o audio.alsa.device=hw:1 /usr/share/sounds/sf2/FluidR3_GM.sf2 song.mid'

    To run as server: 'fluidsynth --server --audio-driver=alsa -o audio.alsa.device=hw:1 /usr/share/sounds/sf2/FluidR3_GM.sf2'. You may need to kill pulseaudio ('echo "suspend 1" | pacmd'). The server returns a prompt so you can issue 'help' or other cmds such as 'settings'. The latter returns: 
    > settings
audio.alsa.device                   hw:1
audio.driver                        alsa
audio.file.endian                   auto
audio.file.format                   s16
audio.file.name                     fluidsynth.wav
audio.file.type                     auto
audio.jack.autoconnect              False
audio.jack.id                       fluidsynth
audio.jack.multi                    False
audio.jack.server                   
audio.oss.device                    /dev/dsp
audio.period-size                   64
audio.periods                       16
audio.pulseaudio.adjust-latency     True
audio.pulseaudio.device             default
audio.pulseaudio.media-role         music
audio.pulseaudio.server             default
audio.realtime-prio                 60
audio.sample-format                 16bits
audio.sdl2.device                   default
midi.alsa.device                    default
midi.alsa_seq.device                default
midi.alsa_seq.id                    pid
midi.autoconnect                    False
midi.driver                         alsa_seq
midi.jack.id                        fluidsynth-midi
midi.jack.server                    
midi.oss.device                     /dev/midi
midi.portname                       
midi.realtime-prio                  50
player.reset-synth                  True
player.timing-source                sample
shell.port                          9800
shell.prompt                        > 
synth.audio-channels                1
synth.audio-groups                  1
synth.chorus.active                 True
synth.chorus.depth                  8.000
synth.chorus.level                  2.000
synth.chorus.nr                     3
synth.chorus.speed                  0.300
synth.cpu-cores                     1
synth.default-soundfont             /usr/share/sounds/sf3/default-GM.sf3
synth.device-id                     0
synth.dynamic-sample-loading        False
synth.effects-channels              2
synth.effects-groups                1
synth.gain                          0.200
synth.ladspa.active                 False
synth.lock-memory                   True
synth.midi-bank-select              gs
synth.midi-channels                 16
synth.min-note-length               10
synth.overflow.age                  1000.000
synth.overflow.important            5000.000
synth.overflow.important-channels   
synth.overflow.percussion           4000.000
synth.overflow.released             -2000.000
synth.overflow.sustained            -1000.000
synth.overflow.volume               500.000
synth.polyphony                     256
synth.reverb.active                 True
synth.reverb.damp                   0.000
synth.reverb.level                  0.900
synth.reverb.room-size              0.200
synth.reverb.width                  0.500
synth.sample-rate                   44100.000
synth.threadsafe-api                True
synth.verbose                       False
    You can now use aplaymidi to find the fluidsynth's listening port: 
    aplaymidi -l
 Port    Client name                      Port name
 14:0    Midi Through                     Midi Through Port-0
129:0    FLUID Synth (418885)             Synth input port (418885:0)
    You can then play a midi song: 'aplaymidi -p 128:0 song.mid'.

    SynprezFM/Yamaha DX7

    SynprezFM II is a Yamaha DX7 emulator initially developed under Linux, then optimized for Android. Freely available on Google Play in English, French and Spanish, with no advertisements.

    Includes 1024 sound patches and a patch editor. The sound engine reproduces the sound of the original DX7, given the same patches. Unlike sampler readers, the software is very compact because it generates the sound with very few data as input: a sound patch is just 128 bytes (sic). A sysex is a binary file that stores a sequence of system exclusive MIDI information mirroring the memory of the device: to transfer it you need to hook your Yamaha DX7 to a computer via a MIDI connection, then use a sysex managers to transfer each bank over. DX7

    Sequencers

    A music sequencer (or audio sequencer or simply sequencer) is a device or application software that can record, edit, or play back music, by handling note and performance information in several forms, typically CV/Gate, MIDI, or Open Sound Control, and possibly audio and automation data for digital audio workstations (DAWs) and plug-ins.

    Hydrogen

    Hydrogen 1.0.1 installed on GrayTiger. Songs are XML, instruments are 'drumkits'.

    Songs

    Are XML.

    Instruments

    Instruments are referred to as drumkits, available as "h2drumkit" files, which contain XML and samples. The actual instruments are sets of samples (e.g. WAV), ordered in components and layers.
    Instrument's Envelope Parameters
    Four rotaries are displayed: "ATTACK", "DECAY", "SUSTAIN", and "RELEASE". When a note associated with this instrument is triggered, its volume is run through an ADSR Envelope. Its particular settings can be adjusted using the envelope parameters located right below the instrument name.
    Instrument's Components and Layers
    Instruments consist of one or more components (e.g. centre of the drum, side of the drum, ...), and each component consists of one or more layers (hard played, soft played, ...).

    When clicking the Layers button in the Instrument Editor you can adjust the samples and synthesizer parameters of the particular layers of the instrument selected in the Sidebar of the Pattern Editor.

    Playing notes (instead of drums)

    The Pattern Editor can be used as Piano Roll Editor pressing the Input button.

    Hydrogen FX

    Linux Audio Developer's Simple Plugin API (LADSPA) is the only plugin format supported by Hydrogen.

    The FX Rack can be accessed by clicking the Blue button containing the black characters "FX". button in the Master Fader Strip.

    It has 4 slots where you can load a LADSPA effect plugin already installed on your system. See LADSPA: ~/.ladspa or /usr/local/lib/ladspa.

    There are dozens of plugins available for download from various sources:

    Impro-Visor

    A music notation program designed to help jazz musicians compose and hear solos similar to ones that might be improvised. The objective is to improve understanding of solo construction and tune chord changes.

    Other

    Other boxes

    Fruity Loops etc

    Other info

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    Radio and streaming

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    General

    Line 6

    Pod Go Wireless
    Basics
    Pod Go Wireless, version 1.20, firmware 1.20, 2021.
    Presets
    Popular presets:
    Amps
    Effects
    Mono versus stereo:
    Distortion - mono
    Dynamics models - mono
    Range compression: there are two types of range compression, downward and upward. Both reduce the dynamic range of an audio signal. Some compressors also have the ability to do the opposite of compression, namely expansion. Expansion increases the dynamic range of the audio signal.[3] Like compression, expansion comes in two types, downward and upward.

    Audio data compression, not to be confused with dynamic range compression, has the potential to reduce the transmission bandwidth and storage requirements of audio data. Algorithms are implemented in software as audio codecs. In both lossy and lossless compression, information redundancy is reduced, using methods such as coding, quantization, discrete cosine transform and linear prediction to reduce the amount of information used to represent the uncompressed data.
    EQ models - stereo
    Modulation models - stereo
    Delay models - stereo
    Reverb models - stereo
    Pitch/synth - mono
    Pitch/synth - mono
    IRs
    Impulse Responses are mathematical functions representing the sonic measurements of specific audio systems (for POD Go, acoustic guitar body resonance or speaker cabinet and microphone combinations).

    Bands and Artists

    Arabian music

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