Quick Note: My foo_openmpt has been renamed to foo_openmpt54. You'll need to uninstall the previous one and install the new one separately to get future changes. The update checker cannot do this for you.
You may need to reset the filter setting, since it's probably the only default you changed.Enjoy the real configuration dialog (you'll need to change your settings from defaults again) [...]I did not had to update the settings, those were transferred from v0.4.0-pre.3+1 to v0.4.0-pre.3+2. It might be noteworthy that I update foobar2000 and user components manually only, except for the initial installation of foobar2000 which probably makes a difference regarding the preservation of the settings.
This crash bug has been fixed by shifting to use of proper STL shared_ptr for the module instances that are shared with the pattern viewer, rather than attempting to use my own piss-poor reference counting mess.[...] enjoy the new pattern visualization [...]Awesome! After all these years we get to have a live pattern viewer. That's a neat surprise. Thank you very much!
I'd like to suggest a couple items regarding the pattern visualization. I leave it to your expertise and motivation whether these are feasible, of course:Currently, the highlight bar is just an InvRect. I could add more color customization, or even change it so it's a custom inverse that only inverts the brightness and not the hue, or so the alpha level can be customized.
2. Font, style and size customization (foobar2000 default UI settings seem not to apply)It needs to be a fixed width font, for obvious reasons. Style and size can be customized, I guess. They're currently inherited from the dialog defaults. I need to make them inherit from the panel settings.
3. Option for continuous pattern displayCurrently, it only renders one pattern at a time, and it can only know what the current pattern is. Knowing future or past patterns would require charting out the entire song, and I don't know if there's a fast way to do that with libmodplug. I could ask their developers if there's a way to do that easily. Considering that there are modules that progress in a non-linear fashion, and even progress backwards.
4. Display presets for 4/8/16/32/64 channels with varying detail (similar to Impulse Tracker UI)It currently changes detail automatically, depending on how many channels the song has, and how wide you make the window.
5. Context menu allowing for quick change of continuous pattern display and channel presetsYeah, I could add a context menu, but then I'd need to add the settings you mentioned. I'd also need to add font settings, and restrict that dialog to displaying fixed width fonts, defaulting to what it currently has hard coded, Lucida Console.
Hi kode54,This is up to libmodplug and its subsong detection capability. I could discard short subsongs, but then what if someone actually does want short subsongs? Please report this one to the OpenMPT project, as it is an issue in their library. I can report it for you, though.
2. Could you make pattern visualization for Columns UI ?I make no guarantees, as I don't use Columns UI, and I have no components on hand to base a Columns UI dockable panel on.
Thanks EpicForever for all of your assistance.👍👍👍👍👍
ESLs are tricky.
In most cases, the impedance varies from a high in the bass to a low in the highs by about a factor of 9 or 10 to 1. They are fundamentally different from a speaker in a box, whose impedance curve is a pretty good map of its efficiency (hence in many cases best driven by a voltage source for flat frequency response). The impedance curve of an ESL is not based on the resonance of a driver in a box; essentially its based on a capacitor; so if one is to put out a given x sound pressure at 30Hz, the speaker needs the same power to do that as it does at 10KHz.
This means that ESL manufacturers have to resort to some tricks depending on what part of the market they cater to. Martin Logan for example keeps their impedances low- about 4 ohms in the bass, resulting in about 0.5 ohms at 15 or 20KHz. The latter impedance is so low that the speaker cable often becomes a factor in the driving impedance, which I suspect is by intention, in order to limit the current that the amp makes so as not to be as bright. If the amp driving the speaker is a voltage source and is able to act that way when driving a Martin Logan, you can see that there will be too much energy at high frequencies. Since a lot of solid state amps run into troubles with these impedances they get away with it; its helpful that there is not a lot of energy up there.
Sound Labs, at the other extreme (and capable of true 20-20KHz operation) are as much as 30 ohms in the bass, and to drive them with solid state takes a rather large amp despite the speaker being relatively efficient (you can see that a mic placed at 1 meter from the speaker will not pick up all that the driver radiates; for such speakers a more accurate value will be the measured sensitivity + 6db, which is experienced at a greater distance from the speaker). For example a 600 watt amp can only make about 150 watts in the bass on a Sound Lab- and not surprisingly, a lot of solid state amps tend to be bass shy on this speaker. Tube amps on the other hand can make power into loads like that so its not uncommon to see a 150 or 200 watt tube amp keep up easily with a 600 watt amp in this case.
This is not the case with ML and a number of others as their impedance does not favor tube amps at all. With the higher impedance ESLs it is common knowledge that you need an amp that can make voltage. At this link you can view the impedance curve of the old ESL57 (2nd post):
With most speakers employing a permanent magnet, the magnetic field can sag a bit as current is put through the voice coil. According to a friend in the industry (who makes drivers for a lot of OEMs in the US) Alnico, while the weakest magnet used, also sags the least so has a certain following amongst audiophiles. An ESL's motive force is unaffected by the amplifier's current to move the diaphragm (since it derives from a high voltage power supply), and so the argument is that the driver is thus faster and lower distortion. Its certainly not about the diaphragm being as light as air, although because of their size, they don't need much excursion, like any planar.
The old Quads made by Peter Walker were reputed to be one of the lowest distortion speakers made for many years.
Some ESLs are quite fragile- the old Quad ESL57 could only handle about 35 watts and if you drove it too hard it would arc and damage the panel. Modern Quads have protection circuits. Overall ESLs can enjoy quite a loyal following so its common to hear about their owners going through quite a bit of hell to keep them alive and playing.
Last post by kode54 -
As I already replied to your other topic, re-download them and re-install them.
Last post by andy o -
Hmm that's interesting. I used to have Westone UM2 and Shure E4c and now I have Shure SE420s and didn't really notice the difference though I never really paid attention to it cause I never used them for exercise. Might be the cabling, which was one of the things I liked about the Westone over the Shure SE420s, but I'm more concerned with internal body sounds. I guess that's not really microphonics. With the IEMs I got including the Sony ones, I can hear low thumps every time I take a step, plus the breathing if I'd be running. Do you not have a problem exercising with them?
There is some good info in the Wiki article; I was just hoping for more direct details and numbers. What it has is fairly vague, though at least it sort of addresses a few things like air load. I have heard a fair number of electrostatics in my travels, and the main problem seems to be building large panels in such a manner that you don't get excessive amounts of comb filtering (which is a characteristic of the Martin-Logans, among others). The low mass is definitely good in some ways, although no one seems to talk about the limitation - which is that they can easily be over-damped if the electrostatic force generated is insufficient. But numbers are hard to find, and I was hoping someone had done the math already and shared it.
Actually, you want a high voltage amp for electrostatics, since current demands by the driver are (or should be) minimal; if a transformer is used, in fact, stepping up the voltage to the level required by the diaphragms reduces the current delivered to the speaker by a comparable amount. The problem is usually the reactive load causing heating in the output devices, and a higher current amp is more likely to be designed to tolerate that or at least have better protection against reactive loads, such as a Zobel network.
And it's not so much that I'm looking for a massless speaker as hoping to cut through all the audiophool and marketing gibberish about electrostatics. They definitely have advantages, but also sonic disadvantages, and there don't seem to be many people willing to call them out on that. Mostly it's manufacturers trying to sell them.
Last post by Claus Contraption -
So about a week ago, I decided to update a bunch of stuff for my Foobar setup (running on Linux via Wine), and long story short, I found that almost all of them caused more problems that they solved and needed to be reverted, and the worst of these were the updates for foo_midi (v2.0.21) and foo_gep (v1.213, I think), both of which were rendered unusable because the updated versions are apparently only compatible with the beta version of Foobar, which itself worked precisely once upon initial installation and then never worked again. Since I hadn't thought to backup the previous versions of my plugins, I've had to revert to old versions of both (foo_midi v1.254 and foo_gep v1.203) that I had originally downloaded rather than updated directly via the built-in updater, and in the case of foo_midi, that meant losing a lot of features.
Last post by kode54 -
Re-download them both.
Does anybody have or know of a fairly simple script for an input box?