Blue screen with USBSER. SYS in Windows 7. Hi all,I read lots of topics related to usbser. I'm not getting much wiser We have two custom (basically identical) USB CDC devices using a PIC3. MX5. 75. F 5. 12. L chip that show up as virtual serial devices in device manager. Our PC application running on Windows 7 SP1 3. Win. API calls (Create. File, Read. File) to access the virtual COM ports. It is C++ code compiled with MS VC1. SP1 compiler. Using the Read. File function we continuously poll data from the Microchip device. The device is a sensor that is creating new data as soon as the buffer has been emptied completely. Quite randomly we observe blue screens in usbser. Memory dump analysis with Win. Dbg always shows the same call stack: nt! Ki. Trap. 0E+0x. 2cfusbser! Usb. Ser. Try. To.
Complete. Current+0xfusbser! Check. For. Queued. Reads+0xafusbser! Blue screen with USBSER.SYS in Windows 7 Hi all, I read lots of topics related to usbser.sys but I'm not getting much wiser We have two custom (basically identical) USB CDC devices using a PIC32MX575F 512L chip that show up as. Starting in Windows 10, Usbser.sys supports USB Selective Suspend. The property values are stored as little-endian 32-bit integers. Read. Completion+0x. Iopf. Complete. Request+0x. USBPORT! USBPORT. Sometimes it happens after two minutes of continuous data transfer, sometimes it may last half an hour until it happens. It happens on two different PCs but both are running Win. SP1 3. 2bit. We also had portmon (Sysinternals) running but that also didn't give a hint, what went wrong. I pasted the last lines before the crash below the posting. I don't know what to think about the timeouts, as they are in the whole log, not only where the crash happens. It seems to never happen when only one device is connected and it seems to happen quicker when there is an additional third (different) sensor device attached (that is also having a virtual COM port but that one uses FTDI drivers). I also switched to different usbser. Win. 7 SP1 version: 6. SP1- Win. 7 hotfix: 6. Win. 7 (I think) RTM version: 6. Win. XP SP3: 5. 1. With all of these versions, the blue screen happens. I used the Windows XP version because until now the error didn't happen in Windows XP but only in Windows 7. And it happens in Win 7 using the same Win XP driver that worked in XP. Could this be a data rate issue having three devices using virtual COM ports (2 usbser and 1 ftdi)? Why does this happen only in Win. I'm really running out of ideas here. Any settings I should try? Cheersvernal 4. 04.
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Inevitably with a collection made over a number of years - and divided among three venues - balances and perspectives are variable. Hands Across the Sea, recorded in London’s Henry Wood Hall, gets the collection off to a cracking start, but the stereo focus is a little narrow, the acoustic a tad dry. That said, it’s a polished and strangely affecting performance, that recurring tune liable to lodge in one’s mind for hours afterwards. The sound in Woolwich Town Hall is fuller and more reverberant; in fact the latter’s more expansive acoustic suits Semper Fidelis very well, the snap of the snare drum particularly well caught. Even better are Blackheath Concert Halls, where these spacious versions of the Royal Welch Fusiliers and Sabre and Spurs were recorded, albeit three years apart. Really, sonics aren’t a huge issue here, especially when the music is this well played. It won’t efface memories of the Fennell disc - there’s a brightness and brio there that’s hard to beat - but I doubt lovers of this repertoire will feel the music loses anything in translation as it were. Bill Park, Director; Marcus Neiman, Program Notes. It was painful for Sousa to. True, the bass drum in King Cotton would have benefited from less restricted dynamics - this music, poorly represented on SACD, cries out for a decent high- res recording - but the Artillery brass are refined and well articulated, the percussion discreet but easily heard. It’s a disciplined sound, with none of the tubby, sometimes rather florid sound one associates with British bands past and present. The real test of collections such as this is whether they pall after a few tracks; happily that’s not the case here, such is the energy and inventiveness of Sousa’s output. Monty Python fans will recognise The Liberty Bell, played here in an arrangement by James Ord- Hume. It’s wonderfully perky, the bells nicely done, but it’s the sparkling renditions of Hail to the Spirit of Liberty and the baton- twirling High School Cadets that will surely win Sousa - and this band - some new admirers. The rest of disc one is just as exhilarating; Fairest of the Fair - winsome in parts, ebullient in others - The Thunder and The Washington Post more subtly scored than their macho titles might suggest. Buy King Cotton by John Philip Sousa/Brion & Schissel at jwpepper. Sousa's Greatest Marches / Brion, Royal Artillery Band Sousa / Brion / Royal Artillery Band. Notes and Editorial Reviews. King Cotton sheet music. Tenor Saxophone, Baritone Sa sheet music by John Philip Sousa. Sell sheet music on your website and earn cash when you join our. Dedicated to The March King and his works. The John Philip Sousa Home Page has been the #1 resource for Sousa information on the web for 15 years now. King Cotton Royal Artillery Band. Program notes by Keith Brion are freely based. Sousa went one better with the formation. One of Sousa best marches made from Sousa’s original traveling band parts by noted Sousa experts Loras Schissel and Keith Brion. Includes copious program notes and. The only real disappointment is Sousa’s calling- card, The Stars and Stripes Forever; it’s rather distant and, despite some rousing moments in the final straight, it’s no match for the likes of Fennell, Fiedler, Kunzel and others. One dullish track out of seventeen ain’t bad, although the start of disc two - Nobles of the Mystic Shrine - is also a tad underwhelming. The bass is rather boomy and ill- defined, but at least the percussion is well caught. And if you’re expecting The Invincible Eagle to follow you’ll be sorely disappointed; the third track on this disc is in fact the first of Sousa’s Quotations, subtitled . No matter; this and The Diplomat are superbly sprung, the variety and symphonic thrust of this pair reminiscent of Supp. Two terrific performances and glorious apotheoses, on their own enough to make this a must- have collection. And goodness, the brush of cymbals in the peppy Picador is thrilling, the piece played with more ease and affection than we’ve heard thus far. This is the sound of a band having fun, and I daresay the rollicking Jack Tar will raise a few smiles as well. The players really seem to be hitting their stride at last, with a string of foot- tapping tunes, from the fizzy America First to the high- spirited whistles of The Atlantic City Pageant via the goosebump- inducing sound of Auld lang syne, as used in The Ancient and Honorable Artillery Company. There are other nuggets here too, among them the Spanish- inspired La Flor di Sevilla, which has splendid bounce and verve. And may I sneak in a . It’s a riotous piece, worthy of Charles Ives, and it’s rousingly played to boot. Speaking of sound- effects, the gunfire of Bullets and Bayonets is very well managed - shades of Strauss’s Auf der jagd. The ringing clarion calls of The Naval Reserve - complete with somewhat distant chorus - brings this compendium to a terrific close. Listening to Fennell for the first time in years I was struck by the general swiftness and knife- edge precision of his readings, the fabled Mercury sound not as fulsome or as dynamically challenging as I’d remembered. I’m pleased to say this Naxos twofer stands up very well alongside Fennell’s classic. And at this - or any other - price point, these discs are an absolute steal. Huzzahs all round.- - Dan Morgan, Music. Web International. Performing Arts Encyclopedia, Library of Congress. I heard the first performance of John Philip Sousa's The Black Horse Troop. I was eleven years old. My father had taken me to a concert by Sousa's. Band at the Public Auditorium in Cleveland, Ohio. At the end of the concert. Sousa turned and faced the audience. This was obviously a signal, for the whole. Troop A of the Ohio National Guard Cavalry- -The Black Horse Troop- -walked. Standing at attention behind. Band, they faced the audience as Sousa led his musicians in the first performance. Their reception as they made their way to the stage was wild enough. The Black Horse. Troop was like nothing I had ever heard. It was probably Sousa's 1. By the time that I- -and about 6. National High School Band. Orchestra at the Bowl at Interlochen, Michigan, in July 1. Mr. Sousa. was no longer the exceptionally gifted physical conductor who had once ignited. Otis Skinner, declared that he. Those of us there who did the playing at the rehearsals and concerts had. He made what we thought were the right motions, and when he did we. In this last summer of his life he was seventy- seven. He was their obvious idol. We young school musicians. Sousa's example. But there it was, the. Sousa was drawn inevitably into all of this as the honored guest conductor. He gave his name to causes that would. Among those exemplary leaders. Director of Bands at the. University of Illinois, Albert Austin Harding (1. He took what Sousa. Sousa responded to Harding's devotion to bands and to his expertise. Urbana campus and guest conducting Harding's. Illinois Concert Band. Their friendship- -together with the impact on music education that Joseph E. I was there. for the second visit, described above, and for this occasion he honored all. Interlochen campers with a march written just for us; number 1. The preparation that preceded his arrival. Harding who was quick to notice several details. These were subsequently approved by Sousa and. Harding also suggested. Sousa style to have the trombones join the solo cornets. When he went back to the trombone section. Sousa smilingly. approved. Sousa conducted the premiere of The Northern Pines on Sunday. July 2. 7, 1. 93. Harding had assigned me the honor of playing bass. Such are my personal and youthful observations of Sousa. Much has been written. Sousa's autobiography was published in 1. Aptly titled Marching Along. The book is 3. 65 pages. Then, however. he provides the following statements: Marches, of course, are well known to have a peculiar appeal to me.. A. march stimulates every center of vitality, wakens the imagination.. It must be as free from padding as a marble statue.. I suppose every composer has a somewhat similar experience. With me the thought comes, sometimes slowly, sometimes with. The idea gathers force in my brain and takes form not only. It must be complete before I. Benevolent circumstance had placed him in a time and society where. But his words, however candid, are no match for his marches- -except, perhaps. The time which Sousa had spent as a. Washington and Philadelphia. A seven- year slice of that time had been spent first as an apprentice. U. S. Songs were. Because. of the innate flair for showmanship that would soon make him and his Band a. Sousa made a superb match. How all of those early professional experiences found their way into Sousa's. He could. choose the best of what he saw and heard, carefully avoiding imitation; he was. Sousa discovered very early in his life as a composer that what he had to offer. Once his marches in their basic. March King. And while his gift and its fruits were. From among all the. I have always sensed the presence of the lighter character. Austrian marches from pit or parade ground to be present in his early achievements. Our Flirtations (1. Sousa march was born. It was also the year he became leader of the Marine. Band. Each of these continued. He was to borrow from it for the rest of. A few of its very attractive resources include an introduction and. Sound Off from 1. Sousa was obviously headed in the. Semper Fidelis (1. Sousa's perfect . He had been conducting for eight years when he wrote. Regimental review calls for a no- nonsense, solid, one- two cadence undergirding. The object of the regimental march is to move lots of organized pairs. In the overview of his enormous output it is obvious, however, that Sousa conceived. Sousa's. music is for the feet rather than for the head. He had two years left with. Marine Band, during which David Blakely came into his life as manager for. At the end of the second tour Sousa was ready to leave. Marines and reach for the money Blakely offered him to form his own band. Up to this point Sousa was anything but a good business man. He had the poorest. Harry Coleman, making Coleman rich. His financial success only began with the Blakely contract. Their brief but highly. Blakely's sudden death in 1. The contract. caused Sousa the anxiety of a court suit that ruled mostly in favor of Blakely's. Sousa was obviously very good for business, management notwithstanding. Band. was. Sousa's day was band day in the United States. It was the time of the horse- drawn. Everything that was John Philip. Sousa could be considered a fair representation of what America was- -or. His marches, generously sprinkled throughout his programs as encores to the. His was. the pop music of his day; he was the rock super star; his Band was the big money. But he went everywhere as an entertainer. The. symphony orchestra and the opera company would wait their turn to dominate the. Sousa's time. His Band also flourished because, it is said, he always paid the highest wages. In securing such services, in. He depended on these men to bring to his Band. Sousa. Band- -especially his marches. Rehearsals, we are told, were rare after. The next two of his marches to be. I can. well imagine that the great man- -however sophisticated at this point- -was. Band at the train that took them where. Frequently, this is still the case for those who make their. The first of these marches is Manhattan Beach (1. It was the money- -obviously. Cotton States Exposition in Atlanta that kept Sousa's Band. And while the receipts guaranteed his survival. In its late nineteenth- century heyday, New Yorkers flocked to the Manhattan. Beach Hotel, a nearby and well- known Brooklyn summer resort. Foremost among. the musical attractions appearing in concert at the amphitheater there in the. John Philip Sousa Band. The hotel has long. Sousa march. And while the Band's players were probably enjoying the diversions of Manhattan. Beach, Sousa was busy composing the march he would take with him to their. Cotton States Exposition in Atlanta; the. King Cotton is dated . He did have a seemingly endless reservoir. King Cotton. for instance, has that same infectiously happy sounding drive which makes The. High School Cadets and Manhattan Beach such successful pieces. Each of his marches had its own individual character. By now Sousa had really hit his stride; the next. El Capitan and The Stars and Stripes Forever. The one would bring him fame, lasting and unlimited, establishing an indelible. American people and those high principles on which the. This would extend beyond any geographical center. The. Stars and Stripes Forever would also far transcend the borders of the customary. And for our purpose in this. El Capitan March- -like all the marches that precede. Sousa march. mold. This was another vital factor in his galloping conquest of the public. His touring had become international, and his literary. March production held. The Free Lance. His leanest. The Fairest of the Fair was his only composition. But, if it was to be that kind of year, Sousa could not have come. Then there is a lull in top- notch creativity lasting for about six. But when the First World War reached out to involve the United States. Sousa volunteered his services to train bands for the Navy in which he served. The exemplary march to come from this period was The U. S. Field Artillery. March (1. 91. 7) written at the request of artillery officer Lt. George Friedlander. Sousa had met at lunch in company with Secretary of the Navy Josephus Daniels. Liking the tune. Sousa simply gave it his treatment and the result, far beyond what Lt. Friedlander. had hoped for, was another booming Sousa success! Since the Blakely. Sousa's principal publisher had been the John Church Company. Presser). As a newcomer to the Sousa success, Mr. Fox was the lucky recipient. Sabre and Spurs (1. The Gallant Seventh (1. Sousa had written since Semper Fidelis. This was followed by the concert- oriented and novel Nobles of the Mystic. Shrine (1. 92. 3), which is unique in that it has a part for the harp and its. B- flat minor. There are. Percussion instruments, the triangle, and the tambourine are. Shrine marching music. Sousa wrote this for his fellow Shriners of Almas. Temple. He also contributed two of his best . The horse lover in Sousa was a vein that ran very deep. The Black Horse Troop is a classic among Sousa's 1. Having completed this brief survey of Sousa's career and marches, I would. How does one write about a Sousa march? The idea has baffled me for years as. I have strived, futilely I fear, to provide reading guides to record listeners. While Sousa was fully aware of his credibility as a writer, he mostly avoided- -save. The Stars and Stripes Forever. When in his autobiography, Sousa asks how. I have seen but two full scores. Sousa's marches, photocopies of the holographs of The Black Horse Troop. The Fairest of the Fair. Lacking this, I have long resorted to. Moving about from one part and section to the next, with. I can study the music both from an overall view and. It is a tedious but necessary business. Those of us who conduct Mr. All of these are experience, to. 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