This is my first post. I am having an issue with the latest version of Notion (6.4.462, 64-bit) on my MacBook Pro (Mojave 10.14.1 (18B75)), though I also experienced this issue with High Sierra, as well. When I go to Notion < Preferences < Audio < Audio Devices and try to select "Sam's AirPods," I get this error message: "The audio device 'Sam’s AirPods' could not be opened. The required sample rate is not available." This happens with sample rate set to 44.1 and 48 kHz. If I try to drag the buffer size, which I normally keep maxed out at 1024 samples, it just shoots all the way to 0.
I tried deleting Notion from the /Applications folder and reinstalling from the website, and that worked once, but then the issue reoccured, and reinstalling hasn't fixed it since then. I've also tried deleting the Notion and Notion Music folders in /Users/samvillano/Library/Application Support/ and then reinstalling, and I am still having the issue.
Anyone else had this issue? I have also installed background music to control apps' volumes individually (https://github.com/kyleneideck/BackgroundMusic), though I recall having this issue before installing that, and I haven't used it in months.
I do not have a pair of Airpods to do experiments, but I did a bit of research on the problem and have two suggestions . . .
(1) Based on what I call the "Isolating Rule", I suggest uninstalling the Background Music utility. It might have some type of influence, but perhaps not. Either way, uninstalling it removes a variable in the audio chain, which helps to isolate the problem specifically to the Airpods and the Airpods' hardware driver and software interface. If you get the Airpods working, then you can install Background Music and determine if everything works with Background Music installed. Consider this to be a temporary activity done to simplify and to focus . . .
(1) Since it appears likely that the problem is a matter of the Airpods' default sample rate not being one of the two sample rates that NOTION 6 supports (44.1-kHz and 48-kHz), I suggest you determine whether you can change the Output sample rate of the Airpods, which if possible is done in the "Audio Devices" window of the "Audio MIDI Setup" utility application for Mac OS X, which you can find by doing a Spotlight search . . .
]NOTE: This is how the "Audio Devices" window of the "Audio MIDI Setup" utility application looks when I have the MOTU 828mk3 Hybrid external digital audio and MIDI interface device selected as the input and output device for the Mac Pro here in the sound isolation studio, where in this image the "Output" tab is selected . . . ]
When you have successfully connected the Airpods to your Mac via Bluetooth, they should appear as a device in Audio MIDI Setup--observing that I write "should" only because I do not have a pair of Airpods to use to confirm this . . .
If it's possible to change the sample rate for Airpods, then this is where you can do it . . .
Observe that there are both "Input" and "Output" configuration options, so if you plan to use your Airpods as an audio input device as well as an audio output device, then you probably need to set both the "Input" and "Output" sample rates to something that works with your digital music production software and so forth . . .
This is a bit of a guess, but Apple certainly is well aware that its customers use the Mac for digital audio production and that the two most typical sample rates are 44.1-kHz and 48-kHz, where the former is standard CD audio quality and the latter is standard audio quality for video . . .
There are people who consider themselves to be audiophiles and suffer from the delusion that higher sample rates do something useful, but one only can hope that you are not affected by this delusion . . .
Nevertheless, being an audiophile is not all bad, since while it is an expensive activity, if you want to understand the Beatles, Elvis Presley, Frank Sinatra, and the Big Band music of the 1940s, then having an audiophile quality turntable and monaural, vacuum-tube amplification sound system with correspondingly well-selected loudspeakers that are calibrated with a full-range (20-Hz to 20,000-Hz) flat frequency response curve at 85 dB SPL measured with a dBA weighting or at 90 dB SPL measured with a dBC weighting in a neutrally tuned listening room is the only way to accomplish this worthy goal--unless. with respect to the Beatles, Elvis Presley, and Frank Sinatra, (a) you happened to be present in the 1950s and 1960s and heard their vinyl records played on a Wurlitzer jukebox and (b) you have an eidetic audio memory . . .
Another way to have what I call the "Elvis Epiphany" is to listen to the 1956 "Elvis Presley" album on CD played through an audiophile quality car audio system at full volume with both bass and treble boosted to the maximum for about 100 hours, although not all at the same time . . .
[NOTE: In this context, "full volume" is 85 dB SPL measured with a dBA weighting or 90 dB SPL measured with a dBC weighting . . . ]
Eventually, you will have the required epiphany, especially if it's a monaural CD . . .
[NOTE: This is monaural, which is correct for 1950s. It needs to be monaural, and this is very important. Listen to it over and over until you can determine with high accuracy when Elvis sings "yeah" during Shorty Long's piano solo, as well as the reason Elvis does this. Understand that there is no overdubbing and that everything is played and sung in real-time on the fly, all at the same time . . . ]
[NOTE: This is stereo, and it's a great song to study to discover how to use a condenser microphone, compressor-limiter, and reverberation. This might be an RCA ribbon microphone, but the principles for vocalists "working" the microphone, compressor-limiter, and reverberation unit are the same, where in this context "working" refers to the technique vocalists discover after doing a bit of studio recording, which specifically refers to their being able to exert significant control over the way the compressor-limiter and reverberation units behave based on the vocalist controlled singing dynamics and proximity to the microphone. I suggest the possibility of this being an RCA ribbon microphone because of the deep nasal vocal tone, which is unique to this microphone and is distinctly different from the vocal tone in other Elvis recordings. Elvis recorded at RCA studios, so it's logical that RCA microphones were used frequently, but this does not change my perspective on the combination of condenser microphone, compressor-limiter, and reverberation, with a bit of finely tuned echoes to move it forward to modern times. According to Scotty Moore (Elvis' guitar player during the early years), Elvis frequently used a Shure Unidyne 55S microphone, which is a dynamic microphone--neither a condenser nor a ribbon microphone . . . ]
[NOTE: This is stereo, and it's the reason I state unequivocally that Elvis was the greatest operatic tenor of the 20th century . . . ]
Lots of FUN!
P. S. You might wonder why it's important to understand intimately the way a bunch of mostly dead vocalists were recorded over half a century ago . . .
The reason is that the rules have not changed significantly, and except for a bit more attention to finely tuned digital echoes, the rules continue to work fabulously . . .
The Surf Whammys
Sinkhorn's Dilemma: Every paradox has at least one non-trivial solution!
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