The IF part offers a lot of ways to pick up an event, though. The syntax is quite restrictive in that each rule has to fit on a line - i.e. One can either use one of the existing files under that directory or create a new one, which is what I did just to keep things tidy.Įntries in udev rule files rely on an IF-THEN syntax where the IF part indicates in what circumstances the rule should trigger and THEN stipulates what should be done. Debian's wiki happens to have a very nice udev page which explains that all one needs to do is to put a line in a file under /etc/udev/rules.d. The system-du-jour for reacting to hotplug events in Linux is currently udev. I knew that Linux can react to USB hot-plug events and this reaction can be configured so I decided to make QSynth start and stop automagically. It used to be even more obnoxious since I had to manually start and exit the QSynth software. The same goes for winding things down after playing. Setting up a playing session is a silly affair involving the instrument itself, my notebook, a pair of headphones, 2 cables and 4 connectors. I was happy with my setup but after a while I started craving a little convenience. In part 1 and part 2 of my Akai odyssey, I've described getting the EWI to produce sound and configuring fluidsynth (plus QSynth) for optimum performance without latency. Come to think of it, I'd probably bet on Richard Galliano in any constellation at all. I wouldn't mind seeing Mare Nostrum again if they happen to stick together for some time. In conclusion, I spent a most pleasant evening, as I usually do amid the Art-Deco splendor of the Konzerthaus. He seemed to adjust his instrument after about four numbers which made him sound much better and rescued my overall impression of the concert. His notes were distinctly sharp, so much so that I can't honestly believe it was intentional. I can definitely state, however, that at the start of the concert he wasn't attuned to his band-mates. Perhaps I simply wasn't attuned to his mood that night. I wish I could say the same about Paolo Fresu but his playing somehow went right past me. Regardless of the tune, he always has interesting things to play and I don't think he's capable of producing a single boring note. He is one of those improvisers who play as if they were talking, so natural and fluent is his melodic concept. He dominated the stage without imposing himself in the least, simply by virtue of his consummate musicianship. Fresu contributing a more reserved, conservative jazz phraseology.Īnd yet, it was largely Galliano's show all night. Galliano embroidering melodic lines in his trademark style and Mr. Lundgren laying heartfelt backgrounds reminiscent of the likes of Debussy, Mr. The individual musicians' temperaments contrasted each other nicely, with Mr.
The gentlemen filled almost two hours with pleasing romantic tunes which nevertheless packed plenty of substance. The trio featured the God of Jazz Accordion himself, Richard Galliano, along with Sardinian trumpetist Paolo Fresu and Swedish pianist Jan Lundgren. The musicians call themselves Mare Nostrum, apparently due to the fact they all come from countries with substantial shorelines.
CHANGE THE MAC START UP TO VERBOSE IN MAME EMULATOR SERIES
On February 21, the venerable Konzerthaus in Vienna welcomed a peculiar trio as part of its series "Jazz im Konzerthaus".