Just wanted to drop you a line to say thank you for a great product. I'm traveling around to small churches helping them upgrade their media environments. With little or no budgets, OpenLP has been a great help. I wish I could capture the look on a pastor's face when I tell him it's a free software. Sunday morning I set the up projector, gave a 10 minute lesson to the young lady who does our overheads. Everything went smoothly. She was so excited, the congregation thought it was great, our priest was ecstatic.
Empower Your Church Experience the power of open source in your church with worship presentation software designed to fit how you want to run your service.
Open Source OpenLP is an open-source presentation platform created for use in churches large and small. Remote Control Control your presentations from anywhere using OpenLP's first-of-its-kind remote system. Songs Import songs from a variety of sources, tag verse types, set ordering of verses, add formatting, manage authors, search through songs and even add backing tracks to songs for when your band is on holiday.
Bibles Import Bibles from a number of formats, or even download a few verses you need from a Bible site, display verses in varying formats, easily search verses by scripture reference e. Pictures Import pictures into OpenLP and organise them into folders.
Stage View Built-in stage view accessible from any device with a web browser. Select a platform from the options above. Note: OpenLP only supports the most recent Fedora release. Note: OpenLP only supports Debian unstable. Kudos to OpenLP! Good Work! Fantastic Software! A Huge Blessing! Great Product! Used by churches worldwide! Think about it this way:. Suppose you want to avoid signal overload clipping and you're digitizing something with a decent dynamic range.
Let's say you decide to keep the peaks below -3dB. And let's remember we're not recording sine waves. And finally, let's remember that when we're recording, we're dealing with the actual signal being laid down, not the "perceived loudness" or other useful indicators of volume levels when we're thinking about other aspects of the chain, like listening.
We might find that the quiet spots in a song with decent dynamic range are 50dB below the peaks. So if we're recording with 3dB of headroom above the peaks, we would be dB for the quietest parts. Now 53dB corresponds to almost 9 bits of a signal; so a signal at dB is being represented by only 7 bits if we're working at a 16 bit resolution, versus 11 if we are working at 20 bits resolution and 15 bits if at 24 bits resolution.
Yes you can use dithering and noise shaping but really it's much easier just to record at 24 bits and forget about all that complexity. As to hi-res formats not taking off, hmmm. For me, the short version is "always acquire music at the highest resolution possible", so that you're never disappointed by the choice of a crummy format when you upgrade your equipment later. And this includes making digital copies of your precious vinyl! The nature of digital audio is that "louder" means less distortion with the exception of clipping of course.
If I were to rip albums what I would do is find the song with the highest peak and set the gain so that highest peak was 0dB or Your dB passage will most likely be under or right at the noise floor.
In any event a useful tool for lowering the noise floor after ripping is a downward expander. The nature of digital audio is that 'louder' means less distortion". This is precisely my point as to why it's a good idea to record at 24 rather than 16 bits, in which case -3dB is a great peak value, leaving plenty of dynamic range and not forcing us up against the absolute maximum.
You might be interested in this rationale for staying away from 0dB by John Siau of Benchmark Audio:. I'm not sure where you get that. For example, the Pro-ject RPM 1. Moreover, it's my experience at least that turntable noise tends to occur mostly in the lowest frequencies rumble - I've never used a turntable that introduced broad spectrum noise the way electronics does.
In any case, the record surface noise also has a lot to do with this matter. And it's easy to determine for yourself that music is still audible through record surface noise.
Anyway, I'll come back to my original statement - if you want to archive your ripped LPs at But please record them at the full resolution given by your sound card, allowing a bit extra to avoid any clipping artefacts, and convert them afterward. Just a coda to this; the February Stereophile magazine, in its review of the MBL Noble Line N31, mentions this issue of intersample overs and that device's ability to cope with such a thing, identifying "multiple instances of consecutive samples at 0dBFS that would result in intersample overs" stereophile.
So recording with peaks at 0dBFS - definitely not recommended. Do you have old vinyl records lying around? Here's how to revisit those old favorite tunes by digitizing them. Image credits :. Get the highlights in your inbox every week. Topics Audio and music. Open Music column. About the author. On the technical side of things, I have spent a great deal of my career as a consultant, doing data analysis and visualization; especially spatial data analysis.
I have a substantial amount of related programming experience, using C, awk, Java, More about me. Get started with Zyn-Fusion, an open source synthesizer. Play a digital orchestra with Linux Sampler. The velour cleaning pads, sitting on the lid of the cleaner in the lower part of the image, slide into the vertical slots just visible in the middle of the well, one on each side, and groom both sides of the record at the same time.
Once your records are clean and fully dry, grab some nice new record sleeves to put them in. Remember, they came from the factory with two dirty records inside.
The image below shows the two records in their new sleeves, ready to be recorded or put away :. Once I finished cleaning "Electric Ladyland," I cleaned two additional new records sitting in the pile of recent acquisitions.
The image below shows the particles of grunge that washed off the four record surfaces that I cleaned in this session:. The diagram below shows my basic recording chain, in schematic form:. Of course, open source software is involved in digitizing the vinyl record. As I mentioned previously, I use Audacity for this purpose. Next, let's check a few configuration details. With a bit of experimenting, I discover that the maximum sample rate supported by my built-in sound card is 48kHz and the maximum bit depth is 16 bits.
Gotta find that Xonar before I do any more of this. Once the transfer and editing is completed, you can then reduce the recording to CD quality or lower. A few interesting things are visible in the above image. First, and most important, look at the top signal trace. The highest amplitude sounds, or peaks, disappear above 1. This is called clipping , and it introduces a nasty harsh distortion into the sound. Second, the bottom signal trace looks quite odd in the first image—the peaks seem quite asymmetrical less in the -ve direction and in both, the overall level seems lower.
This is also visible on the level meters on the top of the screen in the second image—notice the top channel shows some content in the -9 to -6 range yellow , whereas the bottom does not. In the end, using the level meters as a guide, I set the recording level for peaks slightly below 0. Six Degrees Records is having its usual seasonal sale. Older units all had this. If you only have a turntable, or you don't want to lug your stereo equipment to where the computer is, you can also do well with a USB audio-input device that includes a phono pre-amp.
It's only CD quality 48KHz, bit , but it's got very clean sound and it is very inexpensive. I've found that there is little benefit to digitizing at high sample rates I know that others will have strong disagreement with me over this , but I would recommend high bit-depth.
Either digitize at bit or convert to bit after digitizing the audio.
0コメント