Check out Rosegarden from NOBASURA on Vimeo.

‘Rosegarden’ will be screening at FPS Fest – Directed by Candace Meyer with styling by Charlotte Stokes, makeup by Jon Hennessey and hair by Tania Becker.

FPS Fest is a film screening event that explores the transition from still photography to motion. The once separate industries of still photography and motion filmmaking are intersecting across a number of realms; from new technology to new demands from clients, today’s image makers are finding a new world in motion. FPS Fest provides information and stimulation about technology, techniques, and strategies to take on the future of a changing industry.

Film Photo Synthesis – November 17th, 2009 @ 6pm

ROOT Brooklyn 131 North 14th, Williamsburg, Brooklyn, New York

FPS Fest is presented by Dripbook, Resource Magazine, and ROOT Capture.

Candace Meyer, Charlotte Stokes, Jon Hennessey and Tania Becker set out one morning at the absolute break of dawn and then back again at the brink of dusk, to shoot this story with Lizbell model Dasha.  The images from that day are lovely, but stay tuned…the Rosegarden video is even lovelier. (or see it here now)

                                                    Click here: YouTube – CitySt.Paul VetsGarden

Sun. 27Sept09
WRATH OF GOD TURBULENCE OF NATURE AND ST.PAUL’S
VETERANS ROSE GARDEN

http://sharonagmn2010.blogspot.comand Tax/Election Charges against Ramsey County Auditor Mark Oswald, Judge John Vandenorth Google Lawmen Cases MN 62cv09-1163 « Sharon4anderson’s Weblog et al,

We have to live every day as our last as it may be just that.
Sharia4Law aka Shewolfeagle aka Sharon4

Finally cooperation from Christopher.Channing@courts.state.mn.us  Ramsey Co. tel: 651-266-8260  File’s82-1292Taxes 1982 SharonAnderson,BernicePeterson et al Homesteads at 1058 Summit Ave and 309 Pelham Blvd. St.Paul,MN

Copies of documents may be emailed to you, upon request to Mr. Channing.   You may access the docket of the file you reference below by going to www.mncourts.gov.  Other than that, access to the court file and documents (physical file or images via our public terminal) are available on the 6^th floor of the courthouse.   Thank you, Sharon.    Lynae K.E. Olson    Civil Division Administrator   Second Judicial District   St. Paul, MN  55042   (651) 266-8255   lynae.olson@courts.state.mn.us

http://crimes-against-humanity.blogspot.com

Visto che oggi non avevo nulla da fare, tranne che studiare per un esame per martedì (no comment), ho pacchettizzato l’ultima versione di Nted, la 1.6.1, per ubuntu jaunty. Per chi non lo sapesse è un potentissimo editor di spartiti che lettore midi incluso.

Demo di nted

Questa release corregge alcuni bug e porta alcune modifiche nell’algoritmo di posizionamento dei simboli per una maggiore precisione.

Inoltre porta con sé tutti i miglioramenti della versione 1.6.0, quindi una toolbox per i simboli separata (azzo davvero comoda, bravi!), e la riscrittura totale del modulo dei midi, in particolare nell’importazione e nell’esecuzione delle terzine (triplets).

Come al solito il pacchetto deb, sia per i386 che per and64, è già presente nel mio repository PPA (guarda ina lto);

potete scaricarlo anche direttamente da qui:

http://ppa.launchpad.net/melchiorre/ppa/ubuntu/pool/main/n/nted/nted_1.6.1-1_i386.deb

http://ppa.launchpad.net/melchiorre/ppa/ubuntu/pool/main/n/nted/nted_1.6.1-1_amd64.deb

Se lo volete anche per hardy o intrepid ibex fate un fischio.

]]> http://curitibaneando.wordpress.com/2009/04/22/1744/ Wed, 22 Apr 2009 15:29:38 +0000 Barbara Kirchner http://curitibaneando.wordpress.com/2009/04/22/1744/

Esta partitura foi editada no Rosegarden e no LilyPond - software livre

Penso melhor seria não te ver

Colméias em luta por flores mortas

Zangões sem ferrão para morrer

Rainhas que não querem ser reprodutoras

E voam como libélulas frescas ao amanhecer

E voam como libélulas frescas ao amanhecer

E derretem rainhas abelhudas com rugas na testa

sem netos pra lhes dar de comer

em seu tempo de descansar

O corpo como um castelo mal assombrado de areia

O corpo como um castelo mal assombrado de areia

Tomado por demônios dominós que caem

com uma dedada na nuca

em correntes assustadoras

de rangimento de dentes e esfregar de cotovelos doloridos

(Thadeu Wojciechowski, Octavio Camargo e Barbara Kirchner)

Clicando na partitura você ouve ABELHAS

Interfaces – Orquestra Organismo

Erstellt: 02/04/2009 um 13:55

Rosegarden hat ein Update auf die Version 1.7.3 erhalten –

diesmal wurden hauptsächlich Fehler und Probleme behoben.

Dieses Update hat ein paar kritische Track bezogene Abstürze behoben, welche Anwender in den letzten paar Monaten gemeldet hatten. Weitere Verbesserungen sind ein optimiertes Multi-Track Recording für transponierte Instrumente.

Es wird erwartet, dass dies die letzte Veröffentlichung des KDE/Qt3 basierten Rosegarden sein wird. Alle Arbeiten für diesen Code wurden unterbrochen und der Fokus wird von nun auf dem neuen Qt4 basierten ‘Thorn’ liegen. Dieser soll noch in diesem Jahr veröffentlicht werden.

Neue Eingeschaften in v1.7.3.:
- Rosegarden kann Live Program und Bank Changes empfangen die zum Beispiel von einem MIDI Keyboard gesendet wurden.
- Rosegarden Handbuch Update durch Shelagh Manton.

Weitere Informationen unter www.rosegardenmusic.com

Sagt uns Eure Meinung zu diesem Produkt auf unseren Audiofanzine Foren.

Un ulteriore aggiornamento alla versione 1.7.3 per Rosegarden, software sequencer/midi per la creazione di audio. (Licenza: GPL, OS: Intrepid Ibex 32/64bits, Formato: deb).

Fonte/Download: GetDeb

Rosegarden ha actualizado su programa epónimo a la versión 1.7.3. Es una versión que se dedica a corregir errores, como fallos relacionados con las pistas que los usuarios han experimentado desde varias versiones. Añade también correcciones menores, como una mejor grabación en multipistas con transposición de instrumentos, según Rosegarden.

Incluye además los principios incompletos de varios proyectos de mejora que han sido aplazados porque el equipo de Rosegarden se centra ahora en Qt4.

Esta actualización debería de ser la última de Rosegarden KDE/Qt3. Se ha suspendido el desarrollo de este programa y el esfuerzo enfoca ahora hacia Rosegarden Qt4 “Thorn” que la marca espera lanzar en 2009.

Nuevas funcionalidades en v1.7.3 :

• Rosegarden puede responder al instante a los cambios de programa y de bancos trasmitidos, por ejemplo, de un teclado MIDI
• Actualización de Handbook por Shelagh Manton.

Más información en el sito de Rosegarden.

I,ve been trying out Rosegarden recently and get an error message each time regarding the setting of realtime priority. It suggests I run “sudo modprobe snd-rtctimer” in a terminal but this returns  “Module snd_rtctimer not found.”and as a quick web search had not come up with any specific help I installed “linux-rt” and its related bits, as mentioned at https://wiki.ubuntu.com/RealTime/Hardy on the old ‘puter and i’m just rebooting it now to see what has happened…………..

En Hongkiat.com publicaron una lista con 25 editores de audio gratuitos, desde los conocidos Audacity y Ardour hasta el Rosegarden o el hiper completo LMMS.

El listado incluye la descripción de las principales características de cada programa, pero, eso sí, está en inglés. De cualquier forma, prácticamente con ver la captura de cada programa te podés hacer una idea de para qué sirve.

Hay software para PC, Linux y Mac.

La dirección: hongkiat.com/blog/25-free-digital-audio-editors

Vía MadBoxpc

UPDATE: El amigo Ismael Valladolid Torres tradujo al español el artículo original en Linux AV

最近幫忙人家搞好了 KORG 數碼鋼琴/電子琴用 Roland 的 MIDI cable 接上了 Ubuntu 的電腦，MIDI sequencer 是使用 Rosegarden，算是很方便！像我這樣第一次碰上的新手在設定的過程中，除了不能使用 Roland 的專屬驅動程式來使用”advanced mode”以外，大致也沒有大問題，在 Rosegarden 之中改一下音效裝置也不難，我在十五分鐘內就搞定了。朋友跟我說起，這樣真的比起 Window$ 上玩音樂划算許多（最貴就是硬體方面）。另外一位懂得彈琴的朋友這幾天也就錄下了好幾首音樂。

Rosegarden 可把音效輸出交給外置的 MIDI 裝置，或者是系統內的 soundfont 負責（使用 Timidity++），後者會有點麻煩的，原因是在 Ubuntu 預設使用的 soundfont，似乎並不是每樣樂器也齊備。（有興趣跟進 Ubuntu 上的 soundfont 問題，可以看看 http://brainstorm.ubuntu.com/idea/14409/）再者，就是有點遲緩的狀況，這主要是 CPU 占用也蠻高的（看來將要試試用雙核心 CPU 跑跑 64 位元的 Ubuntu Studio 好了）。

那位懂得彈琴的朋友大概要找些樂譜吧？找 PDF 譜還好，因為進了公有領域或者自由授權的音樂不少都會用這個格式，不過，聽說網上流行一種專屬編譜軟體的格式，叫做 .ove，我對這方面考據不多，只知道那個專屬軟體叫”Overture”，然後我搜了一大遍，知道那是沒有 Linux 版的。過了一、兩二天，和一位懂得音樂的朋友交流起來，他還是修讀電腦的，問起他有關轉換樂譜格式的問題……

當我說到那個 Rosegarden 替我省了一點錢的時候……

「為甚麼不用 Overture，有免費的版本噢？」
「我因為是用 Linux 的……」我解釋道。
「Windows 也是免費的噢！」
「……嗯，怎麼免費？……」
「Windows 有 cracked（破解）版的嘛！」

我沒有和他糾纏在自由軟體和專屬軟體的問題上，只記得我介紹過 PDF Creator 給他，他便說用 Overture 輸出不了，我就沒有考證下去了。

還是我跟一位有興趣從事音響工程的朋友志趣相投，他玩電吉他的，最近打算安裝 Ubuntu Studio，前天我還介紹他有個叫做 Hydrogen 的自由打鼓機器軟體，隨意按幾下就可以叮叮咚咚的，豈不快哉？

所以說，沒有了這些軟體／格式自由，也就玩音樂的機會也不存在。

Richard Stallman 雖然不認為藝術也該是自由的（他太保守？），但認為傳遞藝術（複製）品的媒介卻是應該自由的。我覺得，既然音樂說是要洗滌人類的心靈，釋放身心枷鎖。假如連樂譜格式這麼基本的東西也不能自由，表演者又怎能自由？可以嗎？

Un ulteriore aggiornamento alla versione 1.7.2 per Rosegarden, software sequencer/midi per la creazione di audio. (Licenza: GPL, OS: Ubuntu Hardy 32/64bits, Formato: deb).

Fonte/Download: GetDeb

Nuova versione per Rosegarden, software sequencer/midi per la creazione di audio. (Licenza: GPL  OS: Ubuntu Hardy 32/64bits).

Fonte: GetDeb

Les transcribo la nota que Marcos Guglielmetti escribió en Master Magazine.

RedPanal.com por medio de Mariana Baraj invita a participar de un evento un tanto extraño en su clase: el Primer Concurso de Música Colaborativa organizado por el mismo sitio web.

Este portal de Internet ha levantado su castillo en las nubes del cielo de la cultura libre, aquella que subsiste entre ondas electromagnéticas en el aire que todos respiramos, entre cables transoceánicos, fibra óptica, circuitos y satélites. En un sitio tan maravilloso y virtual, sostenido por la tecnología de la comunicación y la información, los músicos se dan cita y se igualan. No hay fronteras, más que aquellas económicas y las que tienen que ver con el conocimiento y habilidades de cada uno.

La llamada cultura libre se basa en la idea de que el arte debe ser compartido para poder existir. En verdad, la industria tecnológica del siglo XX nos trajo hasta aquí, destruyó en los hechos el poder de las grandes editoriales culturales, logrando que niños y niñas puedan realizar una mejor tarea a la hora de compartir cultura (mediante Ares, eMule, Bittorrent, Wikipedia, etc.) de lo que lo haría una gran empresa.

El potencial creativo está, entonces, también en la red, en los contactos informáticos, en los pensamientos y sentimientos compartidos a distancia o cerca nuestro, con la voz de boca a oído, con la cuerda de la guitarra vibrando en el aire directo hacia nosotros, o mediante redes informáticas. Sea como fuere, cada uno va escuchando su propio pensamiento y el de otro que quizá jamás hubiera llegado a conocer.

A partir del material en texto y audio disponible en RedPanal se convoca a este evento que formará parte del próximo “Encuentro: Cultura Libre y Música Colaborativa“, el 30 de agosto de el Centro Cultural de España, Buenos Aires, Argentina.

Las bases y condiciones se encuentran en el sitio web, ya mismo podemos comenzar a participar.

Personalmente recomiendo el software libre Ardour y Rosegarden para crear música, dado que utilizar software privativo para crear cultura libre es completamente contradictorio con las formas y los ideales de lo que se intenta construir.

Si no podemos estudiar, compartir, modificar y mejorar el software ¿qué sentido tiene la cultura libre que es un derivado del movimiento del software libre?

Dette er vel litt på sidelinja når det gjelder grafikk, men her om dagen jeg fikk fikk lyst til å prøve å lage noen egne musikk-snutter til en animasjon, og installerte ‘Rosegarden’, som er et kjempeflott program for å lage egne komposisjoner.

Det var ingen enkel sak å få lyd ut av ‘Rosegarden’ på SuSe 10.3 systemet mitt, så jeg tenkte jeg skulle fortelle litt om hvordan jeg fikk det til. Takk til mye god informasjon fra Kamatsu, som har skrevet en svært nyttig artikkel om MIDI på Suse-Wiki!.
I denne artikkelen forklarer han at lyd-arkitekturen ALSA (som jo er standarden for Linux når det gjelder lyd-komponering) bare støtter maskinvare-synthesizere!
Han forteller også at dersom man ikke har et gammelt eller dyrt/avansert lydkort så er MIDI-musikken man hører på et Windows-system vanligvis generert av en software-synthesizer, dvs. at lyder laget av programvare blir sendt til lydkort som PCM-data istedefor at MIDI-data blir sendt til lydkortet. For å få MIDI-lyd ut av lydkortet vha. ALSA må man installere en software-synthesizer. Kamatsu forteller videre i sin artikkel om hvordan man bruker en software-synthesizer som heter ‘Timidity’ til å starte opp som en ALSA-server ved oppstart av Linux-systemet, og hvordan man oppretter en forbindelse mellom Timidity og Rosegarden slik at man kan komponere musikk på et Linux SuSe 10.3 system.

Ved et søk i installasjonsprogrammet ‘Yast’ fant jeg ut at ‘Timidity’ allerede var installert. Det eneste jeg behøvde å gjøre var å starte software-sythesizeren som en server. Dette ble gjort ved å kjøre kommandoen ‘timidity -iA &’ i et konsollvindu. (Kommandoen ‘killall -9 timidity’ stopper serveren). Når jeg så startet opp ‘Rosegarden’ behøvde jeg bare å velge Timidity som ‘General MIDI Device’ og ‘MIDI software device 2, 3 etc.’ i dialog-vinduet ‘Manage MIDI Devices’.

Jeg hadde imidlertid problemer med å få ‘Rosegarden’ til å opprette forbindelse med ‘JACK’-serveren. JACK er en lydserver som bl.a. forbinder programmer med lydkortet, og jeg fikk opp feilmeldinger om at ‘Rosegarden ‘ ikke klarte å finne JACK. Etter litt leting og søking fant jeg ut at det var installert 2 ulike versjonsnummer av ‘jackd’ og ‘libjack’ på systemet. Dette førte til at den ene versjonen overstyrte versjonen som Rosegarden hadde pathen til. Så jeg avinstallerte alle jack-komponentene + Rosegarden i Yast, og installerte så jack-komponentene (versjonene fra DVD’en, ikke fra Packman-katalogen) på nytt, og deretter også Rosegarden. Dette løste problemet, og det kom lyd ut av Rosegarden! Da ble det julaften i stua!
Timidity hadde bare lyder (såkallte ’soundfonts’) av piano, gitar og tromme, så de eneste lydene jeg klarte å lage melodier av var disse preinstallerte lydene som følger med Trinidity. Jeg måtte laste ned flere soundfonts, og lastet ned zip-pakken ‘Musica Theoria 2′ (av JeffD) fra http://www.sf2midi.com/ , anbefalt av Kamatsu. Etter å ha lastet ned soundfonten endret jeg navnet på den til ’soundfont.sf2′, fordi dette ville gjøre det lettere å installere den.
Soundfonten ble installert i Timidity vha. følgende kommandoer:

$ cd ~
$ su
Password:
# cp soundfont.sf2 /usr/share/timidity
# gedit /usr/share/timidity/timidity.cfg

De tre første linjene er kommandoene for å endre brukermodus til root-bruker.

Den fjerde linja kopierer soundfont-pakka fra hjemmekatalogen til katalogen ‘usr/share/timidity’.

Den siste kommandoen er for å åpne Timidity’s konfigurasjonsfil i teksteditoren ‘gedit’. I konfigurasjonsfila ble følgende seksjon editert:

source piano+guitar.cfg
source drums.cfg

endret til:

source piano+guitar.cfg
source drums.cfg
soundfont /usr/share/timidity/soundfont.sf2Dette legger soundfont-pakken til listen over lyder som Timidity kan bruke.

Konfigurasjonsfila ble lagret, og vips ble det sus over lydene i Rosegarden! Hurra!

En ting å huske på i Rosegarden: For at instrument-navnene skal stemme overens med lydene, så bør man sette opp pathen til soundfontfila i ‘Configure Rosegarden -> MIDI -> General’.

For mer utfyllende informasjon om hvordan man setter opp MIDI på en Suse 10.3 Linux-boks, så les mer i Kamatsu’s fine artikkel på susewiki .

Sono sempre stato molto contento di fare il blogger per passione. Ho sempre sostenuto che le soddisfazioni più grandi si ottengono dalla volontà di gratifica degli utenti, e non dai banner pubblicitari. Immaginate ora la mia reazione quando mi è arrivata una email del genere:

ArtistX 0.5 e’ uscita, solo perche’ mi sono piaciuti i tuoi articoli…

Ciao,

Marco Ghirlanda

Se non la immaginate, vi posso dire che mi ha fatto un grandissimo piacere. Nel mio piccolo, molto molto piccolo, ho contribuito a tenere viva una distribuzione fantastica. Che bello!

E quindi eccola: ArtistX 0.5!

Il cilindro è quasi più elegante del cubo…

L’ultima volta che ne avevo parlato, si trattava della versione 0.3 ed era basata su Gnome. Ora è basata su Kde, ma alla fine non cambia molto (sono due DE ottimi); quella che cambia è la dotazione software. Già prima aveva all’incirca due migliaia di software grafici, artistici, eccetera di tutti i generi. Ora il numero si attesta sui 2500 circa!

Inoltre sono tutti molto aggiornati, e l’unico inconveniente che può capitare ad un utente è che… c’è troppa roba.

Non perdete questa occasione, provatela. È veramente eccezionale, qualsiasi artista più o meno esperto troverà pane per i suoi denti, e tutto ciò di cui possa sentire la necessità.

Chiudo facendo i complimenti a Marco, che da anni porta avanti questo progetto. Ancora una volta, un’ottimo lavoro!

My band is in “pre-pro” (preproduction) for our new CD (hopefully) – and I am demoing up one of the tracks to show to the appropriate bigwigs.

Last time around, we all used Cakewalk Sonar and related Windows tools for this, but this time around I am sticking with Ardour / Hydrogen / Rosegarden. Not only does this have to work for me, but I also have to convince the other band members that I’m not just being ornery by refusing to use Sonar.

Prep

I had already roughed out this song a while back in Sonar and given it to our singer. In turn, he went and re-did the song at home in all MIDI stuff so he could change the arrangement up and add some guide vocals.

He gave me his version and wanted me to then record real instruments (except drums, which we always use programmed on demos). I had a couple of weeks to get ready before he would be coming over to record the second cut of vocals (this time with actual lyrics).

The first thing I did was read a bit of the Ardour manual and I needed to figure out how to lay down a basic drum track to record along with. Before I would use something like NI Battery and do the drums inside Sonar, but Ardour doesn’t do a lot of MIDI stuff (yet).

I also fiddled around with JACK (and related system settings), trying to get a lower latency, but I wasn’t able to get better than 17.4ms without xruns. This is acceptable, but I would like to have been able to get it lower.

Hydrogen

As it turns out, it was easy enough for me to use Hydrogen to create a simple click pattern which I just repeated for the duration to record guitar. There were a couple of very simple meter changes (4/4 – 6/4 – 4/4) that were no problem to handle in both Ardour and Hydrogen.

Once the scratch guitar was down, I went into Hydrogen a created about 18 small drum patterns which I could arrange to cover the song. There was no point in getting too much in detail with the drums at this point, because I would be passing off the “real” programming to our drummer later on.

The only tricky point about working with Hydrogen I ran into was at first I thought each “square” in the matrix represented a measure, but it doesn’t – it represents how 1 instance of the specified pattern. This means if you have a short or long pattern, the number of squares may not match up numerically with the measure you are on in Ardour. For example, at the end of this process, my song in Ardour ends at measure 117, but in Hydrogen, the last “square” is 100. This is because a few of my patterns have a size of “12″ rather than the “normal” “4″.

Two other minor points about Hydrogen – it does NOT tempo-sync with Ardour. At first, I was going to work out the intro at a slower tempo, but I gave up on this idea (for a number of different reasons, not just due to Hydrogen). And also the “size” / “resolutions” of patterns is a bit confusing at first – for example, it was not immediately obvious to me how to get a “6 measure” pattern. The confusion cleared up with a few minutes worth of twiddling though.

Recording, Part 1

This was just me laying down guitars, bass and a few other things. My recording set-up is pretty simple: Line 6 POD XT for guitars and bass, a Roland GR-30 for a fake samishin, and a spot of fake piano for some backing.

Once you spend a moment or two working with JACK connections, routing things make sense – and Ardour handles a lot of that for you.

Overall, the recording process went really well – in fact, I recorded the whole thing twice, because the singer wanted me to change the tempo, so I just re-recorded everything. I want to stress I am very happy with Ardour so far … however, there were a few minor problems I ran into:

A small submix problem in Ardour

The only real headscratcher I ran into at this stage was submixes. For example, I like to record each little segment of guitar on a separate track. One track for the verse, one for pre-chorus, one for chorus and so on. This means I ended up with 12 tracks for “Guitar 1″.  So, I want all these tracks to go through some bus or submixer somewhere before hitting the master so I can mute them or whatever.

On the channel strip, there is a button for the the output, but the only bus options I had were “out 1+2″ or “Master Out”. As it turns out, if you select “Edit” there, you get a dialog where you can chose the outputs you want from a list of available connections, and you just set say “out 1″ to “ardour: GTR1/in 1″ and “out 2″ to “ardour: GTR1/in 2″.

However, the channel strip shows “Output”, rather than the bus you select. The behavior I expected was that all busses would appear as options alongside “out 1+2″ and “Master Out”, and then the selected bus would show on the channel strip button. Not a big deal, but I only figured all this out because someone on IRC assured me this was the way Ardour worked.

A small range problem in Ardour

One of the things you can set up in Ardour are Loop Ranges (to repeatedly loop over a section) and Punch Ranges (to punch in/out of recording). You basically highlight an area, select which type of range you want, and Bob’s your uncle.

However, numerous times I had small problems like choosing to make the range a Punch Range, but it would say “Loop” (even though the markers indicated Punch) and the area would not be highlighted – perhaps the highlight would stay on the last Range, even though the markers were moved or deleted.

Sometimes I simply could not get a Punch Range, and I would have to re-start Ardour. When I restarted, the range would usually be there as the correct type.

This probably happened every dozen times or so – enough that I got a little nervous everytime I had to create a new range.

Mysterious recordings in Ardour

I’m not sure if I was fat-fingering something, but quite often an extremely brief region would appear at the start of one or more tracks – almost always less than one beat in length. It would be like I recorded a really short guitar take there at the very start. No big deal, easy enough to delete, but strange.

Recording, Part 2

With the backing tracks (so to speak) in place, it was time for some vocals!

By now, I was gaining a bit of familiarity with Ardour and feeling much more confident than just a week ago. I set up a couple of new busses for vocals and choruses, and got ready.

A small metronome problem in Ardour

Right away when we started recording, the vocalist asked for a click track. Since I have perfect timing and rhythm, I hadn’t used a click yet in Ardour <g>.

Although there is a big old “CLICK” button right on the main interface, I couldn’t get any sound from the click. I eventually had to search online and found I needed to adjust the outputs for the click from Window > Preferences > Click. Not where I was looking, but easy enough once you know it.

Next thing, he wanted a different sound on the click. Try as I might, I could NOT get Ardour to take the sounds we wanted to use as a click. Browsing to them and previewing them worked fine, but after clicking on “Apply”, nothing changed – “internal” remained the option there. (I was trying to use .wav files as the sound source, and a brief Google didn’t turn up any help).

We gave up on that and just made do with the default sounds. Overall, this wasted about 10 minutes. I’ll take half the blame because it was the first time and I didn’t know where the click options were – however the not being able to set a custom sound for the click was pretty disappointing.

Repeat

The vocals are recorded much like the guitars – each little part on its own track. For the “main” vocals I ended up with 16 tracks. Each time I created a new track I had to go Edit the input and output options of the channel to make sure it was picking up on the correct input capture, and set the output to the VOX bus I created.

If the bus output thing worked like I expected (and mentioned above) this would have been much easier. Or, possibly, if when creating a new track you had the option to copy the ins/outs of the last track you created or something similar – that would smooth out the workflow I think. No biggie, just a minor point.

Other minor problems

Once I somehow deleted the vocal take unknowingly. It took the singer several tries to get a take he was happy with and somehow I wiped it out. Even looking through the “Regions” sidebar, I could not find it. Not sure what happened there.

Similar stuff happened to me from time to time, for example the selection mode would change from the little hand “Select/Move Objects” to something else and I would be trying to grab a region, but ended up doing something like trimming it where I clicked at or something.

Some (or all?) of this was probably me fatfingering a command keystroke unknowingly.

Ardour crashed to desktop once. Hydrogen crashed to desktop once.

Stage One Complete!

All that being said, it’s now time to move on to the next stage.

I ended up with 58 tracks / 7 busses (not counting drums as they are still in Hydrogen for now).

I will do a simple rough mix now so I can give it to the guys at our next band meeting. I will also export the drums to MIDI, so I can give them to our drummer to use as a start if he wants. I’m not sure yet how he will get the drums back to me – as MIDI or as audio.

Similarly, we have a percussionist that plays electronic drums – so we need that part as well. This is usually a simpler drum track – in this song it will be Taiko drums and related percussion instruments. I will have to pull those samples over somehow and maybe create a custom drum set in Hydrogen.

Se você tiver dificuldades de seguir os passos abaixo, eu compilei o dssi-vst0.8 e fiz um pacote .db para Ubuntu que pode ser encontrado aqui.

Bem, escrevo este artigo pois demorei um pouco a “descobrir” como realizar a compilação do DSSI-VST para Linux para rodar instrumentos virtuais VST via DSSI.

Há um tempo que migrei definitivamente do Windows para o Linux, mas sentia dificuldades para ter bons programas e instrumentos no meu novo sistema operacional. Resolvi isso com a descoberta do FluidSynth (que carrega SoundFonts) e o DSSI-VST (que carrega instrumentos VSTi). Ambos os instrumentos são carregados através do Rosegarden, que uso para seqüenciar.

Então, vamos ao que interessa.

No Ubuntu 8.04, instalei o DSSI-HOST-JACK, que tem a função de carregar os instrumentos DSSI.

# apt-get install dssi-host-jack

Em seguida, instalei o DSSI do FluidSynth para carregar os SoundFonts no Rosegarden.

# apt-get install fluidsynth-dssi

Agora veio a parte mais difícil: compilar o DSSI-VST (DSSI que com função de VST Host).

Para isso, instale antes o Wine, e tenha certeza que ele está funcionando.

# apt-get install wine

Acesse o site dos desenvolvedores do DSSI-VST (http://dssi.sourceforge.net/download.html) e clique em dssi-vst.

Faça o download da versão mais nova e descompacte.

Os dois parágrafos seguintes são dispensáveis, mas altamente recomendáveis.

Não precisa, mas, se quiser, baixe o VST SDK Header (original da Steinberg). Crie uma subpasta “vstsdk2.4″ dentro da pasta onde foi descompactado o DSSI-VST e descompacte o VST SDK.

Se isso for feito, edite o arquivo “Makefile” da pasta do dssi-vst colocando um “#” no início da linha “CXXFLAGS    = -Ivestige -Wall -fPIC” e retirando o “#” da linha “#CXXFLAGS    = -I./vstsdk2.4/pluginterfaces/vst2.x -Wall -fPIC”. Salve.

Agora vamos resolver as dependências.

Instale o header do dssi, do wine, do liblo e do ALSA

# apt-get install dssi-dev wine-dev liblo0-dev libasound2-dev

Provavelmente você não tem o compilador gcc instalado, então instale.

# apt-get install gcc

Bem, depois de resolvidas todas as dependências, vamos compilar.

Através do terminal, acesse a pasta onde foi descompilado o DSSI-VST e digite “make”. Esse processo irá compilar o programa. Se der tudo ok, digite “make install” e pronto, você terá o DSSI-VST instalado!

Para carregar algum VST você pode simplesmente digitar (no terminal):

$ vsthost nomedovst.dll

Para carregar através do Rosegarden, crie uma pasta chamada “vst” (tudo minúsculo) no seu diretório home/voce (ex.: /home/voce/vst) e salve seus VSTis lá.

Pronto! Espero ter contribuído.