音乐家从苹果OS X换用到Ubuntu

[ubuntuabc]

linux桌面的市场份额，我个人以为在中国大陆应略高于mac

去mac中文论坛看看注册用户数就知道了。

[yechao1989]

linux桌面的市场份额，我个人以为在中国大陆应略高于mac

去mac中文论坛看看注册用户数就知道了。

黑苹果的人很多的...

[百草谷居士]

老大，如果你全用正版的软件，你买的起吗？
国内只要用win的人，个人有多少在使用正版软件！

很多买品牌电脑的人都是用正版Windows的。当然也有人把Vista格掉改装D版XP的。

不要说价格！几千块的Office专业版你说贵，199的家庭版你也不会买；几千块钱的Windows旗舰版你说贵，399的家庭版你也不会买。

不要一说windows就是很贵，我家的一台电脑是预装的vista，正版。office是openoffice免费正版，其实也很少使用。杀毒软件是随机预装的正版。图像处理是购买的正版photoimpact很便宜的。什么播放器之类的都是免费正版的。还有什么游戏之类的也不是盗版。我检查了一下，没有一款盗版软件。

其实家庭电脑根本不需要太多收费软件，只是有些人神经兮兮地非要什么msoffice，什么photoshop，好像自己真是大师一样。事实上家庭电脑拒绝盗版并不需要花费太多，关键是盗版已经成为一种习惯，一种情结。

[ms99ster]

服装质量专家从微软Windows换用到Ubuntu。

人家已经买了，是不用好不好

[ms99ster]

老大，如果你全用正版的软件，你买的起吗？
国内只要用win的人，个人有多少在使用正版软件！

很多买品牌电脑的人都是用正版Windows的。当然也有人把Vista格掉改装D版XP的。

不要说价格！几千块的Office专业版你说贵，199的家庭版你也不会买；几千块钱的Windows旗舰版你说贵，399的家庭版你也不会买。

不要一说windows就是很贵，我家的一台电脑是预装的vista，正版。office是openoffice免费正版，其实也很少使用。杀毒软件是随机预装的正版。图像处理是购买的正版photoimpact很便宜的。什么播放器之类的都是免费正版的。还有什么游戏之类的也不是盗版。我检查了一下，没有一款盗版软件。

其实家庭电脑根本不需要太多收费软件，只是有些人神经兮兮地非要什么msoffice，什么photoshop，好像自己真是大师一样。事实上家庭电脑拒绝盗版并不需要花费太多，关键是盗版已经成为一种习惯，一种情结。

忽然有一天需要一款软件，你是在网上下载一个盗版还是去商店买张正版的安装光盘回来？就是网上支付等等又有几人愿意使用，有很多人还不想也不会使用网银。

[luojie-dune]

忽然想要一个东西，就去盗版——什么心态？

[jandyzhu]

老大，如果你全用正版的软件，你买的起吗？
国内只要用win的人，个人有多少在使用正版软件！

很多买品牌电脑的人都是用正版Windows的。当然也有人把Vista格掉改装D版XP的。

不要说价格！几千块的Office专业版你说贵，199的家庭版你也不会买；几千块钱的Windows旗舰版你说贵，399的家庭版你也不会买。

不要一说windows就是很贵，我家的一台电脑是预装的vista，正版。office是openoffice免费正版，其实也很少使用。杀毒软件是随机预装的正版。图像处理是购买的正版photoimpact很便宜的。什么播放器之类的都是免费正版的。还有什么游戏之类的也不是盗版。我检查了一下，没有一款盗版软件。

其实家庭电脑根本不需要太多收费软件，只是有些人神经兮兮地非要什么msoffice，什么photoshop，好像自己真是大师一样。事实上家庭电脑拒绝盗版并不需要花费太多，关键是盗版已经成为一种习惯，一种情结。

忽然有一天需要一款软件，你是在网上下载一个盗版还是去商店买张正版的安装光盘回来？就是网上支付等等又有几人愿意使用，有很多人还不想也不会使用网银。

忽然有一天需要一千块钱，你是到邻居家偷抢还是拿自己的存折去银行排队取回来？就是ATM等等又有几人愿意使用？有很多人还不想也不会使用ATM。

[jandyzhu]

忽然想要一个东西，就去盗版——什么心态？

无知无畏

[fejich]

哦～盗版用惯了

[sevk]

钱不是万能的。

[lu8010252]

老大，如果你全用正版的软件，你买的起吗？
国内只要用win的人，个人有多少在使用正版软件！

很多买品牌电脑的人都是用正版Windows的。当然也有人把Vista格掉改装D版XP的。

不要说价格！几千块的Office专业版你说贵，199的家庭版你也不会买；几千块钱的Windows旗舰版你说贵，399的家庭版你也不会买。

不要一说windows就是很贵，我家的一台电脑是预装的vista，正版。office是openoffice免费正版，其实也很少使用。杀毒软件是随机预装的正版。图像处理是购买的正版photoimpact很便宜的。什么播放器之类的都是免费正版的。还有什么游戏之类的也不是盗版。我检查了一下，没有一款盗版软件。

其实家庭电脑根本不需要太多收费软件，只是有些人神经兮兮地非要什么msoffice，什么photoshop，好像自己真是大师一样。事实上家庭电脑拒绝盗版并不需要花费太多，关键是盗版已经成为一种习惯，一种情结。

有人是学习ps、cad、3d等软件的，windows下也有免费的可以代替，还是花钱买这么多个东西？？？？

[brglng]

想知道他用什么软件制作音乐？据我所知，Ubuntu下就只有Ardour之类的工作站软件，比起Windows上的SONAR、Cubase实在是不专业，更不用跟Mac上的Logic、Pro Tools相比了。Linux上要弄个VST的支持都麻烦得要死，而LADSPA插件总是不如VST更专业、更好用。另外Windows和Mac上还有Finale和Sibelius这样的专业制谱软件，Linux上现有的制谱软件没有一个能达到前者的出版级水平。

如果这个音乐家不需要这样的专业软件，那另当别论。。。。

[luojie-dune]

工具是人用的，音乐是心生的。。。再好的工具也是工具。。。

[luojie-dune]

http://createdigitalmusic.com/2009/08/0 ... m-cascone/


Getting Past Ubuntu Audio Complexities

There are a few differences between how audio works on Mac OS X and how it works on Ubuntu Linux. OS X uses the Core Audio and Core MIDI frameworks for audio and MIDI services, respectively. All applications requiring audio services on OS X talk to Core Audio, which mixes and routes multiple audio streams to the desired locations. Core Audio is simple, monolithic, and easy to set up, and all the end-user controls are accessible from one panel. You can even create a single aggregate device from multiple sound cards if you need more inputs or outputs than one sound card can supply. To Apple’s credit, Core Audio and the applications that make use of it are the reason why you see so many laptop musicians seated behind glowing Apple logos on stage.

On Ubuntu, audio is a rather different story. Apple’s slogan ‘Think Different’ would be good advice for musicians encountering Ubuntu’s audio setup for the first time. Audio in Ubuntu can appear at first to be a confusing jumble of servers, layers, services, and terminology. Go to System->Preferences->Sound, click on the Devices tab, and check out the pulldown menu next to ‘Sound Events’ at the top of the panel. You will see various acronyms, possibly including cryptic-looking technologies like OSS, ESD, ALSA, JACK, and Pulse Audio. These acronyms represent a byzantine tangle of conflicting technologies that over time, and due to political reasons or backwards compatibility, have ended up cohabiting with one another. ‘Frankenstein’ might be an accurate metaphor here.

Thankfully, there is a simpler way, which is the combination of ALSA [a high-performance, kernel-level audio and MIDI system] and JACK [a system for creating low-latency audio, MIDI, and sync connections between applications and computers]. The battle-scarred among us have learned to ignore all the other audio cruft bolted on to Ubuntu and just use ALSA and JACK. One can think of the ALSA/JACK stack, the heart of most pro Linux studios, as the Core Audio of Linux and in my opinion Jack should be the first thing installed on any musicians laptop. I’d go so far as to suggest placing it in the Startup Applications so it’s always running.

jackstartup
Qjackctl (labeled JACK GUI) in Ubuntu/GNOME’s Startup Applications Preferences panel.

The ALSA/JACK combination is a little more complex to set up and tweak than Apple’s Core Audio, but there’s a lot of good information online. [Ed.: ALSA, JACK, and the real-time Linux kernel also have some advantages over Mac OS X that can be worth the effort. While JACK has been ported to Mac, Linux has more JACK-aware tools, which is necessary for transport sync. Just as importantly, once configured, you can build rigs with Linux that have greater low-latency performance than may be practical on Mac or Windows. In other words, while it may require an investment of time, it can be both free and better! -PK]

jackdiag_t
This diagram, albeit dated, shows how Jack and ALSA work together. Please note that Jack does currently support MIDI. Click through for full-sized version. Courtesy Jörn Nettingsmeier; used by permission.
Workflow

Over the past ten years, I’ve developed a workflow that has worked well in the studio and on the road. Since I created most of my tools in Max/MSP, they could shape-shift to fit any musical task I encountered. A sound mangling tool I’d written for studio use, for instance, I could then adapt for a performance with Tony Conrad. I modified parts of my performance patch for sound installations. This environment served me well over the years – until recently, when my aesthetic focus changed from using randomness in my work to taking a more deterministic approach. This happened to coincide with my change of operating systems.

I do a lot of location recording while on tour. My rig consists of an Olympus LS-10 digital recorder and an Audio Technica AT-822 single-point stereo microphone. I record at 96kHz/24-bit to a 16GB SDHC card in the LS-10. When I want to audition sound files in the field, I use my netbook’s SDHC reader, renaming sound files directly on the card. I can look at some of the files in Baudline if I need to check for low-frequency rumble or technical anomalies. I have come to use Baudline on a daily basis.

baudlinedesk_t
A typical Baudline session. Click through for full-sized version.

Back in the studio, using the sound editing program Audacity, I remove voice slates, trim heads and tails, adjust gain and EQ as needed, then save them to a project folder. And because I don’t like surprises in the studio, either, this folder gets backed up onto a remote network drive as well as a local USB drive.

audacitydesk1_t
A typical Audacity session. Click through for full-sized version.

Building my sound library takes weeks or months. During this time, I start filling a notebook with ideas, drawings, plans and marginalia, from which a score emerges. I import all my project sound files into the open-source Digital Audio Workstation Ardour, arranging them to loosely resemble the score in my notebook. Once my Ardour session is set up, I move sounds around, try different effects, create new textures by layering, then render and re-import sub-mixes until the piece starts to take shape. I use a KORG nanoKONTROL as a mixing surface. I assign faders, pans and switches assigned to the DAW allowing me to quickly play around with different mix ideas.

ardourdesk_t
A typical Ardour session. Click through for full-sized version.

Once the piece sounds finished, I mix down to a stereo .WAV file at 24-bit/44.1kHz, without using compression or EQ on the mix bus. Tip: mastering engineers really appreciate getting a raw 24-bit master that hasn’t been fiddled around with by the musician. For performances, I also use Ardour and the nanoKONTROL to do an acousmatic presentation. This version of the Ardour session will have compression and/or EQ on the mix bus, since I want the material to sound more polished. As a side note: I am looking into using the mastering tool JAMin [JACK Audio Mastering Interface] for this purpose in the future.
Sayonara, Apple

After ten years of working on Apple laptops, I’ve left the fold. Not only was the expense of owning and maintaining Apple hardware a key factor in my switch, but the operating system had become a frustration to me. Details like not having a tree-view in the right hand panel of the Finder window slowed me down. Ubuntu, on the other hand, feels more like an operating system made for grown-ups. And what’s especially nice is that Ubuntu scales nicely to the expertise of the user. Your cousin the computer geek or your Grandma can install and use Ubuntu and get as deep as they like. Combine this with the recent rash of cheap, powerful laptops, and Ubuntu’s market share is bound to grow.
A Request

It’s important that kernel and audio application developers (1) ensure all audio creation software has support for JACK, (2) improve and update tools for JACK to make it easy for musicians to install, configure, and use, (3) ship distros with the realtime kernel already tested and configured for use, (4) to integrate the real-time kernel patches into the mainline kernel. [Ed.: On each of these points, distributions and kernel builds are steadily improving, partly thanks to feedback from communities like the music production community. The realtime kernel likely won't be the default, mainline kernel, but it's important to have well-maintained optional packages at the very least. That doesn't mean you have to wait for improvements to happen, though, and in future articles I'll talk a bit about how you can configure your system now to take advantage of this functionality. -PK]

Most importantly, consider paying a subscription to support developers of JACK and your favorite Linux audio software, or, if you can write code, proofread text, write a manual, do a translation, contribute graphic design, or create content; please help by contributing something to the development of the software you use.

I would like to thank Ken Restivo, Mike Rooke, Paul Davis, Philip DeTullio, Jörn Nettingsmeier and Matt Griffen at Canonical Ltd. for advice and inspiration in the writing of this article.

Kim Cascone is a composer, sound artist, touring musician, lecturer and writer. He lives in the San Francisco Bay Area with his wife Kathleen and son Cage.

Links:
http://www.osnews.com/story/6720/Introd ... inux_Audio
http://www.alsa-project.org/main/index.php/Main_Page
http://ardour.org/node
http://audacity.sourceforge.net/
http://www.kokkinizita.net/linuxaudio/
http://www.baudline.com/
http://jackaudio.org/
http://drobilla.net/software/patchage/
http://www.ladspa.org/
http://lv2plug.in/
http://dssi.sourceforge.net/
http://jamin.sourceforge.net/en/about.html
http://linuxaudio.org/
http://www.ubuntu.com/
http://code.goto10.org/projects/puredyne/
http://www.bandshed.net/AVLinux.html
http://rt.wiki.kernel.org/index.php/Main_Page
http://www.pulseaudio.org/
http://developer.apple.com/audio/overview.html

Corrections / clarifications:

Ed.: I originally claimed that JACK Transport sync is not possible on the Mac OS X port of JACK. As kindly pointed out by a reader, this is not correct. JACK Transport-aware applications on the Mac will work.

Subtler issues:

Kim noted two annoyances with the Finder. One is wanting to type paths directly. On the Mac Finder, you need to invoke a keyboard shortcut prior to doing so. On Ubuntu’s default file manager (GNOME’s Nautilus), you can simply begin typing. There was some disagreement about to whether that really constitutes a notable difference, but suffice to say, you do have a greater range of choice and customization on an open source operating system.

Secondly, Kim argued that you could pull out a drive without having to go to a lot of trouble unmounting it first. At least one commenter argues that risks data loss, and given that users may be using something like FUSE to access foreign file systems like NTFS or the Mac’s own HFS+, I don’t yet know what the exact details will be. As I said in comments, however, Nautilus and the command line eject function for me are quicker and more effective than similar unmounting on Windows and Mac, so I still notch this one for Linux. -PK

[photor]

看来哪个国家的音乐家都比天朝的音乐家穷