Find of czech users
Hi, is here somebody from Czech or Slovak? I need help with some little problems in lilypond and my english is ... no very good :-( Is here somebody who can help me? Zbynek ___ Lilypond-user mailing list [EMAIL PROTECTED] http://mail.gnu.org/mailman/listinfo/lilypond-user
Re: Space between beams?
On Thursday 05 February 2004 19:25, donald_j_axel wrote: >What is the name of the variable for the distance between > beam-lines? > >If there is such a variable it would improve the engraving > on which I am working, Chopin op. 28.1. I could need it for > several other pieces too. Yes, that is not often needed but engravers sometimes did it. When I have seen it the thickness of the beams was reduced also. Wouldn't it make more sense to adjust both at once, or is that what you meant? daveA -- Two million enemy women and children dead in our 12-year struggle to hand over Iraq to the backers of "fundamentalists" and terrorists. Iraq will surely be a prime source of cannon fodder for the annihilation of Israel. D. Raleigh Arnold dra@ (http://www.) openguitar.com [EMAIL PROTECTED] ___ Lilypond-user mailing list [EMAIL PROTECTED] http://mail.gnu.org/mailman/listinfo/lilypond-user
Re: Space between beams?
If you read the source code of the function Beam::get_beam_translation
in ly/beam.cc, you'll see that this distance is hard-coded at the
moment.
/Mats
donald_j_axel wrote:
What is the name of the variable for the distance between
beam-lines?
If there is such a variable it would improve the engraving
on which I am working, Chopin op. 28.1. I could need it for
several other pieces too.
The example shows the beams of the inner voice just keeping
distance from notes/lines, and all is well. It would be even
better with smaller beams, though. I tried
\property Voice.fontSize = #-1
but that makes noteheads smaller too.
I hope this is not too much of a beginner/FAQ question,
I have tried to find examples but cannot - maybe there isn't
and then that would be nice to know.
% force direction of stems
u = \stemUp
d = \stemDown
b = \stemBoth
% explicit staff change
su = \notes{ \translator Staff = upper}
sd = \notes{ \translator Staff = lower}
%bar 5
\times 2/3 {r16 \su \u e'a' }
\once \property Voice.NoteColumn \set #'horizontal-shift = #1
\once \property Voice.Beam \override #'thickness = #0.34
\once \property Voice.Beam \override #'positions = #'( 2.1 . -0.4)
%% no, no. \once \property Voice.fontSize = #-1
\times 2/3 { c'' a'd' } |
Regards
/Donald
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Re: Space between beams?
David Raleigh Arnold writes: > On Thursday 05 February 2004 19:25, donald_j_axel wrote: >>What is the name of the variable for the distance between >> beam-lines? The Beam's #thickness is tied to the spacing. Have a look at the Mozart Horn concerto example; the part uses thicker beams (parts often do). Jan. -- Jan Nieuwenhuizen <[EMAIL PROTECTED]> | GNU LilyPond - The music typesetter http://www.xs4all.nl/~jantien | http://www.lilypond.org ___ Lilypond-user mailing list [EMAIL PROTECTED] http://mail.gnu.org/mailman/listinfo/lilypond-user
Re: some padding properties broken in 2.1.16 and 2.1.17?
Han-Wen Nienhuys wrote: [EMAIL PROTECTED] writes: I don't think this is the problem: all the objects are tuned only once. It's still broken with \set instead of \override. The attached file produces the same results with 2.1.17 as before. Also there is again no space after a key signature unless there is a time signature. This doesn't look very good and can be confusing to read. I'm back to 2.1.14 until I have workarounds or until it's fixed. As always thanks for all of your great work here, Try setting staff-padding. What has staff-padding to do with the spacing betwen the key signature and the first note on a line? I did some experiments with the example in Pauls first email on the problem, http://mail.gnu.org/archive/html/lilypond-user/2004-01/msg00684.html The problem appears when you have a key signature with many sharps or flats, as the d flat major in this example. I tried playing with the values in space-alist in KeySignature and it seems that the spacing to the first-note doesn't work that well. I expected it to specify the spacing from the right edge of the key signature to the first note, but it rather seems to be related to the space from the left edge (which doesn't make sense since the width of the key signature depends on the key). So, if I increase the spacing to the first note to 6.5, I can make Pauls example look right (even with c flag major) but then the spacing is far too large in f major, for example. Changing from fixed-space to extra-space didn't help either (I never exactly understood how these work, even though the names are intuitive). /Mats ___ Lilypond-user mailing list [EMAIL PROTECTED] http://mail.gnu.org/mailman/listinfo/lilypond-user
Re: some padding properties broken in 2.1.16 and 2.1.17?
[EMAIL PROTECTED] writes: > >>read. I'm back to 2.1.14 until I have workarounds or until it's fixed. > >> > >>As always thanks for all of your great work here, > > > > > > Try setting staff-padding. > > > What has staff-padding to do with the spacing betwen the key signature > and the first note on a line? I did some experiments with the example in > Pauls first email on the problem, Sorry - I got two bugreports confused. -- Han-Wen Nienhuys | [EMAIL PROTECTED] | http://www.xs4all.nl/~hanwen ___ Lilypond-user mailing list [EMAIL PROTECTED] http://mail.gnu.org/mailman/listinfo/lilypond-user
Re: some padding properties broken in 2.1.16 and 2.1.17?
Han-Wen Nienhuys wrote: [EMAIL PROTECTED] writes: I don't think this is the problem: all the objects are tuned only once. t's still broken with \set instead of \override. The attached file produces the same results with 2.1.17 as before. Also there is again no space after a key signature unless there is a time signature. This doesn't look very good and can be confusing to read. I'm back to 2.1.14 until I have workarounds or until it's fixed. As always thanks for all of your great work here, Try setting staff-padding. Does this apply to the vertical spacing of MultiMeasureRestNumber and markup or to the spacing after key signature problem? Either way could you say a little more? The key signature problem exists also in 2.1.14 but I can live with it for the current project which is rearranging some parts for a musical which is in rehearsal now. The markup problem makes the music unreadable and I need a workaround to be able to be able to use anything after 2.1.14. Thanks, Paul ___ Lilypond-user mailing list [EMAIL PROTECTED] http://mail.gnu.org/mailman/listinfo/lilypond-user
Dynamics: \rf
Hi, I am am currently typing a Sonata by Paganini for practice (still a beginner). I miss the dynamic sign "\rf". This was very common in in early 19. century instead of the modern "rfz". Could anyone help me with a workaround? I guess it is possible with textmarkup and fontchange to feta-font. Thank you, Thomas ___ Lilypond-user mailing list [EMAIL PROTECTED] http://mail.gnu.org/mailman/listinfo/lilypond-user
"Meter" position
Thank you for your patience, but I am still at the very beginning...
Maybe I have missed something, but is there an easy way to position
the "meter" indication (e.g. Allegro) left-flushed with the time-
signature? I have tried a workaround with text markup, but I am sure
there is a more elagant solution.
\time 4/4
\key a \major
\property Voice.TextScript \override #'padding = #6
\f r8^\markup {\center<\bold {Allegro
Spiritoso}>}fis''16( e'')\stemUp 8 e'' d'' b'
Thomas
cygwin, 2.1.11
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Re: Find of czech users
Hi, Your English seems pretty good to me and is a hell of a lot better than my Czech!!! Fire away and let's see if we can help! Regards, Ralph - Tribal Data Solutions has moved, please visit our website for more details http://www.tribaldata.co.uk. This e-mail and any attachments are confidential and are sent on the basis of our copyright, e-mail and security policy which can be inspected by visiting http://www.tribaldata.co.uk/policies.asp. If you are not the intended recipient, please notify the sender and delete this message. Thank you. --- ___ Lilypond-user mailing list [EMAIL PROTECTED] http://mail.gnu.org/mailman/listinfo/lilypond-user
Re: Dynamics: \rf
Just use the text markup feature:
c16_\markup{\dynamic rf }
/Mats
Thomas Scharkowski wrote:
Hi,
I am am currently typing a Sonata by Paganini for practice (still a
beginner).
I miss the dynamic sign "\rf".
This was very common in in early 19. century instead of the modern
"rfz".
Could anyone help me with a workaround? I guess it is possible with
textmarkup and fontchange to feta-font.
Thank you,
Thomas
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SE-100 44 STOCKHOLM
Sweden
Phone: (+46) 8 790 8463
Fax: (+46) 8 790 7260
Email: [EMAIL PROTECTED]
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Re: "Meter" position
Try to start the piece with
\property Score.RehearsalMark \set #'self-alignment-X = #left
\mark \markup {\bold "Allegro Spiritoso" }
/Mats
Thomas Scharkowski wrote:
Thank you for your patience, but I am still at the very beginning...
Maybe I have missed something, but is there an easy way to position
the "meter" indication (e.g. Allegro) left-flushed with the time-
signature? I have tried a workaround with text markup, but I am sure
there is a more elagant solution.
\time 4/4
\key a \major
\property Voice.TextScript \override #'padding = #6
\f r8^\markup {\center<\bold {Allegro
Spiritoso}>}fis''16( e'')\stemUp 8 e'' d'' b'
Thomas
cygwin, 2.1.11
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Royal Institute of Technology
SE-100 44 STOCKHOLM
Sweden
Phone: (+46) 8 790 8463
Fax: (+46) 8 790 7260
Email: [EMAIL PROTECTED]
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Text *not* attached to note ?
Hello. Is there a way to add text to a staff, other than making it superscript or subscript of a note? The point is that I have a sequence of notes that is recurring, so that I use a variable to store them, but I want to add a different text to (the begininning or end of) that sequence each time it appears, hence I can't add the text inside the variable definition. Best regards, Gilles ___ Lilypond-user mailing list [EMAIL PROTECTED] http://mail.gnu.org/mailman/listinfo/lilypond-user
Re: Text *not* attached to note ?
Of course! The trick is to use a simultaneous line of
invisible notes that you can attach the text to. Just make
sure to keep them in the same Voice context as the actual music,
otherwise you might get collisions between note heads and text.
Example:
mymusic = \notes \relative c' {\repeat unfold 5 {c d e f}}
myannotations = \notes{ s1^"First bar" | s1*2 | s1^"Fourth bar" |}
\score{
\new Voice <<
\mymusic
\myannotations
>>
}
/Mats
[EMAIL PROTECTED] wrote:
Hello.
Is there a way to add text to a staff, other than making it superscript or subscript
of a note?
The point is that I have a sequence of notes that is recurring, so that I use a variable
to store them, but I want to add a different text to (the begininning or end of) that
sequence each time it appears, hence I can't add the text inside the variable definition.
Best regards,
Gilles
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Mats Bengtsson
Signal Processing
Signals, Sensors and Systems
Royal Institute of Technology
SE-100 44 STOCKHOLM
Sweden
Phone: (+46) 8 790 8463
Fax: (+46) 8 790 7260
Email: [EMAIL PROTECTED]
WWW: http://www.s3.kth.se/~mabe
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Re: Text *not* attached to note ?
This is a typical case where Lilypond functions would come as
a useful addition to variables. The text would be a parameter,
in something such as:
MySeq(x) = \notes {a^\x b c d a a}
Perhaps the right way of dealing with this would be to handle
them as symbolic macros rather than true functions.
Besides, if we ever need recursion, we can always revert to
Scheme :-)
Is this so bizarre that I'm the only Lilypond user who thinks
this might prove useful ?
Cheers,
Darius/
Quoting [EMAIL PROTECTED]:
> Hello.
>
> Is there a way to add text to a staff, other than making it superscript or
> subscript
> of a note?
> The point is that I have a sequence of notes that is recurring, so that I use
> a variable
> to store them, but I want to add a different text to (the begininning or end
> of) that
> sequence each time it appears, hence I can't add the text inside the variable
> definition.
>
> Best regards,
>
> Gilles
>
>
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>
>
>
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Re: My own wishlist...
Tue, 3 Feb 2004 15:58:07 +0100, Han-Wen a dit :
> [EMAIL PROTECTED] writes:
>> A cheap functionality, which would prove very useful in
>> practice, would be the ability to declare Lilypond stuff
>> in scheme, as in:
>>
>> (map myfunc {\notes { a b c d | a b c d}})
>>
>> which would be equivalent to:
>>
>> tempvar0981 = \notes { a b c d | a b c d}
>>
>> (map myfunc tempvar0981)
>>
>> Since we already have the ability to declare
>> Scheme stuff within LilyPond, allowing for the
>> reverse might be enough for most applications
>>
>> Is this just nonsense, or is this reasonable to implement
>> (I don't know whether one can plug language extensions in
>> GUILE...) ?
> I don't know how it can be done. Perhaps our Scheme macro expert can
> chip in some ideas. Nicolas?
sorry for the delay, I was not at home.
What is easy, is to write a set of scheme operators that would reflect
common LilyPond commands, for instance:
(context-property-override Voice Stem thickness 2.0)
==> \property Voice.Stem \override #'thickness = #2.0
or: (skip "1.*4/3") ==> s1.*4/3
etc.
Actually, I have started to build such a library on a per need basis
for my scores. I am considering contributing a complete set of these
scheme operators, aiming at programatically building any music
expressions.
As for reading a lilypond expression in scheme, it is not trivial. I
once tried to hack my lilypond-program so that the lilypond-language
compiler could be called within scheme via a call to a C function in a
lily shared library, without real success. I didn't know enough of
lilypond internals. It is feasible, however, but when I discovered
what the \apply command could do, I definitely got rid of the idea of
using lilypond expression in scheme. \apply is enough -- if you don't
have to call a function with several music arguments. Some kind of
multi-arguments apply would be cool.
\apply-3 #bass-part
{ ...bass notes... }
{ ...figures... }
> In the meantime, you can achieve the same thing with apply, albeit a
> little more verbose
> \apply #(lambda (m)
> ..more stuff.. )
> \notes { a b c d | a b c d}
What could be also usefull is some specialized mapping functions:
\apply #(lambda (music)
(map-if mus:note?
(lambda (note) (..do something on a note..))
music))
\notes { a b c d | a b c d}
where `map-if' would look deeply into `music', and for each element
satisfying the predicate (eg. `mus:note?') would apply the function
on it.
Oh, this is not very beautiful for a LilyPond score... macrology may
help:
\apply #(with-note-mapping (note)
(..do something on a note..))
\notes { a b c d | a b c d}
etc.
nicolas
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Re: Text *not* attached to note ?
Fri, 6 Feb 2004 18:17:03 +0100, darius a dit :
> This is a typical case where Lilypond functions would come as
> a useful addition to variables. The text would be a parameter,
> in something such as:
> MySeq(x) = \notes {a^\x b c d a a}
> Perhaps the right way of dealing with this would be to handle
> them as symbolic macros rather than true functions.
> Besides, if we ever need recursion, we can always revert to
> Scheme :-)
> Is this so bizarre that I'm the only Lilypond user who thinks
> this might prove useful ?
There has been several times on this list requests of this kind of
TeX-like `macros', and the general answer was: use scheme. I think
that LilyPond's extensibility with scheme is under-used. The main
reason is that it's not very convenient, now, to build music
expressions in scheme. I remember few weeks ago Paul asking how to
parametrize an expression like:
\property Voice.TextScript \override #'padding = #x
the parameter--^^^
With a little extra music-expression-maker library, a possible
solution was:
#(define*-public (text-pad pad #:optional once)
(ly:export
(mus:context-override Voice TextScript padding pad #:once once)))
And then, you could use it in a \notes block:
\score {
\notes {
c'^"salut"% normal padding
#(text-pad 3.0 #t) c'^"salut" % 3.0 padding, once
c'^"salut"% normal padding
#(text-pad 4.0) c'^"salut" c'^"salut" % 4.0 padding, always
}
}
You can do amazing things in scheme, which as built-in support for
functions, macros, etc, so there is no need of lilypond functions.
I plan to work on a library and documentation of 'lilypond in scheme'.
(I hope that might be useful).
nicolas
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Re: My own wishlist...
May I respectfully agree with the premise, but disagree with the
conclusion. Everything can be done in Scheme, I guess that this
is clear at this stage. After all, significant parts of Lilypond are
entirely written in this language.
However, Scheme is a sometimes arcane language.
Did not LISP stand for Lots of Insane Stupid Parenthesis ? If Lisp
(or Scheme, or even ML) is your computing lingua franca, I guess
you feel perfectly ok with Scheme. My understanding of Scheme is at
best cultural, and while I can decypher existing Scheme code in Lilypond
without too much trouble, it is also very clear to me that writing this
kind of stuff requires far more proficiency than what I can show, and
even more importantly, a deep understanding of Lily's internals,
My question - I would not dare call it a request... - was related to
something I see as very unsophisticated. My belief, and a number of
messages on this mailing list seem to agree with me on this matter -
is that a simplistic function-like facility would prove immensely
useful, even for users who are not committed up to a point where Scheme
becomes a viable option. In other words, IMHO, this function/macro/routine/
template stuff ought to be part of Lilypond, just as << \\ >> is a
shorthand for something more arcane. It would be a way of making Lilypond
even more usable to describe music in a structure and abstract way, which
is, in my view, its more important asset.
I do understand however that implementing this might not be a simple
task at all. This is why I am trying to see what might be a reasonable
set of simplifying assumptions that would make a basic version of such
a feature reasonably easy to provide, leaving more sophisticated stuff
to Scheme.
As an interesting meta-question, I always wondered in how far Lilypond
users were software people, or at least, technically oriented people.
Everytime I show my score to a musician, he/she
finds them beautiful - and, as a matter of principle, I never use anything
but Lilypond's default - and asks for more information about the software
I use. Then, after showing Lilypond and its input format,
depending on whether he/she is computer literate, I am told
that I spend too much time with computers (which is obviously
true) or that I come from a different planet altogether (which is
perhaps true as well :-) )
Cheers,
Darius.
Quoting Nicolas Sceaux <[EMAIL PROTECTED]>:
> Tue, 3 Feb 2004 15:58:07 +0100, Han-Wen a dit :
>
> > [EMAIL PROTECTED] writes:
> >> A cheap functionality, which would prove very useful in
> >> practice, would be the ability to declare Lilypond stuff
> >> in scheme, as in:
> >>
> >> (map myfunc {\notes { a b c d | a b c d}})
> >>
> >> which would be equivalent to:
> >>
> >> tempvar0981 = \notes { a b c d | a b c d}
> >>
> >> (map myfunc tempvar0981)
> >>
> >> Since we already have the ability to declare
> >> Scheme stuff within LilyPond, allowing for the
> >> reverse might be enough for most applications
> >>
> >> Is this just nonsense, or is this reasonable to implement
> >> (I don't know whether one can plug language extensions in
> >> GUILE...) ?
>
> > I don't know how it can be done. Perhaps our Scheme macro expert can
> > chip in some ideas. Nicolas?
>
> sorry for the delay, I was not at home.
>
> What is easy, is to write a set of scheme operators that would reflect
> common LilyPond commands, for instance:
>
> (context-property-override Voice Stem thickness 2.0)
> ==> \property Voice.Stem \override #'thickness = #2.0
>
> or: (skip "1.*4/3") ==> s1.*4/3
> etc.
>
> Actually, I have started to build such a library on a per need basis
> for my scores. I am considering contributing a complete set of these
> scheme operators, aiming at programatically building any music
> expressions.
>
> As for reading a lilypond expression in scheme, it is not trivial. I
> once tried to hack my lilypond-program so that the lilypond-language
> compiler could be called within scheme via a call to a C function in a
> lily shared library, without real success. I didn't know enough of
> lilypond internals.
> It is feasible, however, but when I discovered
> what the \apply command could do, I definitely got rid of the idea of
> using lilypond expression in scheme. \apply is enough -- if you don't
> have to call a function with several music arguments. Some kind of
> multi-arguments apply would be cool.
>
> \apply-3 #bass-part
> { ...bass notes... }
> { ...figures... }
>
> > In the meantime, you can achieve the same thing with apply, albeit a
> > little more verbose
>
> > \apply #(lambda (m)
> > ..more stuff.. )
> > \notes { a b c d | a b c d}
>
> What could be also usefull is some specialized mapping functions:
>
> \apply #(lambda (music)
> (map-if mus:note?
> (lambda (note) (..do something on a note..))
> music))
> \notes { a b c d | a b c d}
>
> where `map-if' would look d
Re: My own wishlist...
[EMAIL PROTECTED] writes: > My question - I would not dare call it a request... - was related to > something I see as very unsophisticated. My belief, and a number of > messages on this mailing list seem to agree with me on this matter - > is that a simplistic function-like facility would prove immensely Nice and dandy, but why does it have to be in Lilypond? There are tons of macro processors that will do your job. -- Han-Wen Nienhuys | [EMAIL PROTECTED] | http://www.xs4all.nl/~hanwen ___ Lilypond-user mailing list [EMAIL PROTECTED] http://mail.gnu.org/mailman/listinfo/lilypond-user
Fwd: Re: My own wishlist...
4all.nl Quoting Han-Wen Nienhuys <[EMAIL PROTECTED]>: > [EMAIL PROTECTED] writes: > > My question - I would not dare call it a request... - was related to > > something I see as very unsophisticated. My belief, and a number of > > messages on this mailing list seem to agree with me on this matter - > > is that a simplistic function-like facility would prove immensely > > Nice and dandy, but why does it have to be in Lilypond? There are tons > of macro processors that will do your job. > Good point. As a matter of fact, I currently use m4. It does the job, but... - error reporting is a pain, as line numbers are desynchronized - integration is a pain, as Lilypond's and m4's syntax conflict, for instance, on the meaning of commas. Hence, lots of escaping is required. - emacs or jEdit integration and modes do not work well Agreed, these are minor complains, but they make my scores barely readable to a "normal" Lilypond user. - This mail sent through IMP: http://horde.org/imp/ ___ Lilypond-user mailing list [EMAIL PROTECTED] http://mail.gnu.org/mailman/listinfo/lilypond-user
Re: Find of czech users
Zbyněk Burget scripsit: > is here somebody from Czech or Slovak? I need help with some little > problems in lilypond and my english is ... no very good :-( > Is here somebody who can help me? Maybe I can help you. / Ja Vam mozna mohu pomoci. I am czech and use LilyPond. / Jsem Cech a uzivam LilyPond. Best regards / S pozdravem Milan Horak ___ Lilypond-user mailing list [EMAIL PROTECTED] http://mail.gnu.org/mailman/listinfo/lilypond-user
HYIP Investment dTxtd
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Screwed-Up MIDI
I've been working on an orchestral score for a few months now, and it
sounds great on MIDI. Just today I made a few tweaks to establish a new
\global. Now when I play generated MIDIs, it sounds fine...except for
one voice, solo violin. Instead of sounding like a violin, it uses
gunshots, and the timing is off. Looking at the score, you'd think
nothing changed from before.
\context StaffGroup ="solo_group" <<
\context Staff ="solo" <<
\property Staff.midiInstrument = #"violin"
\property Staff.instrument = \markup { \center < Violino Solo > }
\property Staff.instr = \markup { \center < "V.S." > }
\barlines
\theSolo
>>
>>
Before, \barlines was \global. Today I broke \global into \barlines and
\spacing so single parts wouldn't have the spacing of the full score.
I've done this to other parts, so there's no reason for this one
instrument to act up alone.
Thoughts?
Will Oram
spamguy ^^AT^^ foxchange.com // william.oram ^^AT^^ cwru.edu // AIM
spamguy21
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Screwed-Up MIDI
[EMAIL PROTECTED] writes: > I've been working on an orchestral score for a few months now, and it > sounds great on MIDI. Just today I made a few tweaks to establish a new > \global. Now when I play generated MIDIs, it sounds fine...except for > one voice, solo violin. Instead of sounding like a violin, it uses > gunshots, and the timing is off. Looking at the score, you'd think > nothing changed from before. Your violin staff or voice ends up on Channel 10 - which is the percussion channel. Can you double check that you hear the same thing on other MIDI players? If yes, send a .ly snippet that reproduces the problem. -- Han-Wen Nienhuys | [EMAIL PROTECTED] | http://www.xs4all.nl/~hanwen ___ Lilypond-user mailing list [EMAIL PROTECTED] http://mail.gnu.org/mailman/listinfo/lilypond-user
Re: Screwed-Up MIDI
Let me merge both responses into one mail. On Feb 6, 2004, at 7.03 PM, Han-Wen Nienhuys wrote: [EMAIL PROTECTED] writes: I've been working on an orchestral score for a few months now, and it sounds great on MIDI. Just today I made a few tweaks to establish a new \global. Now when I play generated MIDIs, it sounds fine...except for one voice, solo violin. Instead of sounding like a violin, it uses gunshots, and the timing is off. Looking at the score, you'd think nothing changed from before. Your violin staff or voice ends up on Channel 10 - which is the percussion channel. Can you double check that you hear the same thing on other MIDI players? If yes, send a .ly snippet that reproduces the problem. I first tried it using MightyMIDI (a freeware Mac app), which has normally played 2.1.17 .midis fine. After it first happened, I tried it with QuickTime Player...same thing. Again, this is rather odd considering I didn't make changes to the channel structure. If you're looking for a .ly snippet, what did you have in mind? Graham Percival wrote: IIRC, we saw this bug a couple of months ago, but I can't recall what the solution was. 1) What version of LilyPond are you using? 2) How many MIDI tracks do you have? The problem I'm thinking of had to do with using 16 tracks (or 15, with an added "master" track, or something like that), which confused LilyPond or the MIDI playback software or something like that. 1) 2.1.17, latest available for Mac at this moment. 2) 14. The order is woodwinds, brass, timpani, solo violin (the only trouble), strings. Will Oram spamguy ^^AT^^ foxchange.com // william.oram ^^AT^^ cwru.edu // AIM spamguy21 ___ Lilypond-user mailing list [EMAIL PROTECTED] http://mail.gnu.org/mailman/listinfo/lilypond-user
Re: Screwed-Up MIDI
On Fri, 06 Feb 2004 20:17:01 -0500 Will Oram <[EMAIL PROTECTED]> wrote: > On Feb 6, 2004, at 7.03 PM, Han-Wen Nienhuys wrote: > > Your violin staff or voice ends up on Channel 10 - which is the > > percussion channel. Can you double check that you hear the same > > thing on other MIDI players? If yes, send a .ly snippet that > > reproduces the problem. > > I first tried it using MightyMIDI (a freeware Mac app), which has > normally played 2.1.17 .midis fine. After it first happened, I tried > it with QuickTime Player...same thing. Have you tried it using timidity? (it's not in fink, so you'd need to compile it yourself; if you don't have it installed already, I wouldn't bother installing it.) > If you're looking for a .ly snippet, what did you have in mind? Make a .ly snippet as small as possible but which still demonstrates this bug. I'd start by deleting all but two bars of your piece (on a seperate copy, of course!). If that still shows the problem, then try commenting out some instruments. If that solves the problem, then uncomment those instruments and send us the file. If that doesn't solve the problem, then keep on commenting out stuff until you've found the smallest thing that still has a problem. My bet is that once you comment out an instrument, the problem will be fixed, so you'll want to send us a version of your piece that has one or two bars in each instrument. > Graham Percival wrote: > > IIRC, we saw this bug a couple of months ago, but I can't recall > > what the > > solution was. BTW, here's that original thread I was thinking of: http://mail.gnu.org/archive/html/lilypond-user/2003-11/msg00077.html I can't recall if Mats' suggestion solved it, but that thread contains all I know that might help with this problem. :) HTH, - Graham ___ Lilypond-user mailing list [EMAIL PROTECTED] http://mail.gnu.org/mailman/listinfo/lilypond-user
Re: some padding properties broken in 2.1.16 and 2.1.17?
Han-Wen Nienhuys wrote: [EMAIL PROTECTED] writes: read. I'm back to 2.1.14 until I have workarounds or until it's fixed. As always thanks for all of your great work here, Try setting staff-padding. What has staff-padding to do with the spacing betwen the key signature and the first note on a line? I did some experiments with the example in Pauls first email on the problem, Sorry - I got two bugreports confused. Thanks again Han-Wen for the workaround for the key signature problem (posted in Lilypond Bugs) but does anyone have a solution for the TextScript padding and the MultiMeasureRestNumber padding that I posted at the beginning of this thread? Again this is what keeps me from using the latest versions. Thanks, Paul ___ Lilypond-user mailing list [EMAIL PROTECTED] http://mail.gnu.org/mailman/listinfo/lilypond-user
Re: Screwed-Up MIDI
On Feb 6, 2004, at 10.42 PM, Graham Percival wrote: On Fri, 06 Feb 2004 20:17:01 -0500 Will Oram <[EMAIL PROTECTED]> wrote: On Feb 6, 2004, at 7.03 PM, Han-Wen Nienhuys wrote: Your violin staff or voice ends up on Channel 10 - which is the percussion channel. Can you double check that you hear the same thing on other MIDI players? If yes, send a .ly snippet that reproduces the problem. I first tried it using MightyMIDI (a freeware Mac app), which has normally played 2.1.17 .midis fine. After it first happened, I tried it with QuickTime Player...same thing. Have you tried it using timidity? (it's not in fink, so you'd need to compile it yourself; if you don't have it installed already, I wouldn't bother installing it.) If you're looking for a .ly snippet, what did you have in mind? Make a .ly snippet as small as possible but which still demonstrates this bug. I'd start by deleting all but two bars of your piece (on a seperate copy, of course!). If that still shows the problem, then try commenting out some instruments. If that solves the problem, then uncomment those instruments and send us the file. If that doesn't solve the problem, then keep on commenting out stuff until you've found the smallest thing that still has a problem. My bet is that once you comment out an instrument, the problem will be fixed, so you'll want to send us a version of your piece that has one or two bars in each instrument. One instrument was enough. Then again, 14 tracks should have been enough from the start. No matter. I'll send it someone's way. Thanks. Will Oram spamguy ^^AT^^ foxchange.com // william.oram ^^AT^^ cwru.edu // AIM spamguy21 ___ Lilypond-user mailing list [EMAIL PROTECTED] http://mail.gnu.org/mailman/listinfo/lilypond-user
