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The Linux digital audio workstation - Part 1

The contemporary DAWdigital audio workstationis a system of hardware and August 8, 2012 software parts assembled to record, edit, and play digital audio and MIDI (Musical This article was contributed Instrument Digital Interface) data. Hardware components include the host computer, one or more interfaces for audio and MIDI I/O, input devices (e.g. a MIDI by Dave Phillips keyboard), and a speaker system for playback. The software componentalso commonly referred to as the DAWis typically a program dedicated to displaying, editing, and saving the captured data. In the world of recording, the DAW is the heart of the digital studio. This article presents a personal sampling of the variety of DAWs available to Linux users. It doesn't explain how to set up Linux to meet the requirements of professional audio, nor does it provide details of installing and conguring the software I present here. Complete information is available at each program's Web site, and many mainstream Linux distributions have sub-projects dedicated to advanced audio conguration. Search Google to nd pointers to distribution-specic documentation regarding system conguration for professional audio. If you're new to the terminology of digital audio, you should consult the comprehensiveand comprehensible glossaries at The Sonic Spot and Sound On Sound. Those lists should suce to dene any unknown or confusing terms you encounter in the article. Common characteristics

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A modern DAW should perform at least the following tasks: Record and edit synchronized multitrack/multichannel audio and MIDI at variable sampling rates and bit depths. Import and export a variety of audio and MIDI le types. Mix new tracks and previously recorded material with sample-accurate timing. Support the use of audio and MIDI processing plugins in various formats. Provide total recall of all session parameters. Manufacturers add interesting features beyond this basic set, but these characteristics meet the minimum requirements for a usable modern DAW. A Linux DAW should oer the basic feature set listed above, with the important addition of JACK support. JACK is an audio server specically designed with pro-audio capabilities, such as multitrack/multichannel recording with realtime eects processing. However, JACK requires an audio back-end, and fortunately the Linux kernel provides the ALSA system. Support for JACK should be considered mandatory for Linux DAWs. From sequencer to HDR to DAW to sequencer In the middle 1980s, the advent of MIDI fueled a phenomenal drive in the development of new hardware and software for digital music and sound production. The MIDI data recordera.k.a. the MIDI sequencerarrived in hard and soft formats, and both did essentially the same things: record (sequence), edit, process, and play back MIDI data. Early drum machines and performance synthesizers included basic sequencers, but MIDIespecially computer-centric MIDIgave new life to the design of the sequencer. By the late 1980s, sophisticated MIDI sequencing programs were available for every popular desktop computer. Those platforms included machines from Apple, Atari, Commodore/Amiga, IBM, and a horde of PC-clone/compatible manufacturers. Some MIDI hardware and software was available for UNIX systems, but few (if any) of the popular commercial programs were ported.

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By the early 1990s, MIDI software capabilities expanded as the capabilities of the host computers advanced. As the hardware grew more powerful, it became possible to create an aordable hard-disk recorder (HDR) designed to run on the new desktop machines. The classic HDR was a standalone digital recorder built to accommodate high-quality analog-to-digital (ADC) and digital-to-analog (DAC) converters for audio I/O. The converters may or may not have been built into the device, and the user would typically need to provide further external support such as mixers and signal processors. These hardware HDRs had been available for desktop recordists but the boxes were often expensive to purchase and maintainparts were rarely o-the-shelf componentsand each machine's internal software was strictly proprietary for the device's operating system and data formats. Fortunately, the increased power and lower entry cost of the general-purpose desktop computer paved the way for the software HDR, which eventually opened the way for the melding of software MIDI sequencer and the software HDRwith mixer and processorsinto a single program called a digital audio workstation, i.e. a DAW. The term "DAW" could be applied equally well to some of the machines built by SGI in the 1990s. Multichannel output was built into the hardware, and software had been developed to take advantage of the sonic possibilities. Unfortunately for SGI, the i386 continued its march forward to desktop dominationalong with other computing niceties such as greatly enhanced video and massive storage capabilitiesuntil the power of an average desktop machine rivaled SGI's bigger iron, at a much lower cost. These days a DAW is also simply called a sequencer, perhaps as an unconscious reminder of the word's original use. Of course the very denition of a digital audio workstation continues to evolve as programs such as Ableton Live and Renoise present characteristics not commonly associated with a conventional DAW. The Linux DAW The blessingor curseof choice is in full eect when it comes to the Linux DAW. The DAW selection in this article is not exhaustive, and my descriptions present only a few salient characteristics of each program. With that admission out of the way, we'll take an alphabetical tour of Linux DAWs. Ardour The Ardour user interface will be familiar to anyone who has worked with the famous Pro

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Tools DAW. The interface model is loosely based on the multitrack tape recording paradigm in which recorded tracks are arranged in vertical order, much like the individual bands of a multitrack tape. Of course the similarity is primarily visualthe technology of hard-disk recording diers profoundly from its tape-based ancestrybut the tape-based interface model is deeply embedded in the contemporary digital recording industry. Ardour is currently available in two distinct versions. The 2.x series is the stable public release track, but it lacks some of the features considered essential in a modern DAW. The soon-to-be-public 3.x series includes just about everything you can nd in a DAW, including extensive MIDI support, the feature most notably missing in the 2.x releases. Of course Ardour synchronizes with external hardware and software by various means, including MTC (MIDI Time Code), MIDI Clock, and JACK. Open Sound Control (OSC) messaging is also supported, giving Ardour the opportunity to control or be controlled by other OSC-savvy programs. Plugin support is extensive, though both the 2.x and 3.x lack support for the DSSI plugin API. Native Linux VST plugins are welcome, and it is possible to compile a version of Ardour that will host native Windows VST plugins. This capability is not unique to Ardour and, like any other Linux DAW with such support, its performance will vary according to initial conditions. Those conditions include the version of Wine used during the build, the conformance of the plugins to Windows programming standards, and the availability of required DLLs. Copy-protection schemes, especially hardware-based keys, are almost certain to block the use of the protected plugins. Unfortunately none of the DAWs reviewed here include integrated video capabilities, but Robin Gareus and Luis Garrido are working to ll that gap with their Xjadeo project. Xjadeo is essentially a video display (shown in the Ardour screen shot above) that slaves to JACK or MTC, and all SMPTE framerates supported by Ardour are likewise supported by Xjadeo. It is not an editor, but it is incredibly useful, and I suspect that at some point in Ardour's development Xjadeo will be fully integrated into the DAW. Ecasound Developer Kai Vehmanen has developed his great ecasound DAW since 1995, the same year I began using Linux. Ecasound is a complete DAW with no GUI at all, a remarkable achievement in today's visually-dominated world of sound and music software. I must emphasize the "complete" aspect of ecasoundas far as I can tell it has every feature common to all DAWs,

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including MIDI and synchronization capabilities, and its command-line interface guarantees a unique position among its more colorful brethren. Given its text-based UI, ecasound has some very appealing aspects to the recordist. Above all, the program is fast, and its happy lack of a dependency-laden GUI gives it an edge in the stability department. Ecasound can also be extensively and elaborately scriptedin essence you can dene the program's available capabilities on a per-project basis. For example, I use a simple ecasound script when I want to record something very quickly and with high quality. Typically I'll then import my ecasound-recorded tracks into Ardour for detailing, arrangement, and the nal mix. In truth, I could script ecasound to do all that too, but I like to keep everyone busy in my studio. By the way, if you must have a GUI for ecasound take a look at Joel Roth's Nama or Luis Gasparotto's TkEca. Both programs provide GUIs for nearly complete control over ecasound's powers. And if you need to be convinced that ecasound can be used to make real music, check out the music of Julien Claassen. Though its native UI is humble and unassuming, ecasound is awesomely powerful. I've used it for so long and for so many purposes I simply can't imagine my Linux audio life without it. In my opinion, the compleat Linux studio requires ecasound. EnergyXT2 EnergyXT2eXT2 to its usersis an inexpensive cross-platform, commercially available DAW designed chiey by Joergen Aase. It is a complete DAW with the expected audio and MIDI record/edit/playback functions, though the demo version (shown at left) comes with restricted recording and le-saving capabilities. Conguration and installation is uncomplicated, and the demo version worked out of the box for me on my AV Linux 5.0.1 system. I loaded the demo songs and played them without xruns (JACK-speak for audio buer over or under-runs) or other audio discontinuities being reported by JACK, but I expect that kind of stability from a mature application (I tested version 2.6). eXT2's plugin support is limited to native Linux VSTs, of which fortunately we have quite a few these days. However,

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it partially atones for that limitation by including a built-in synthesizer/sampler and a very nice multi-eects processor. The full version of energyXT2 also bundles 400+ loops and 32 instruments from Loopmasters, so there are plenty of goodies to get you started. EnergyXT2 is a popular program that's easy to learn and master. If you do get stuck there's plenty of help available within the program and on-line. See the unocial eXT2 Wiki and the energyXT2 forum at KVR-audio for opinions, suggestions, and advice from eXT2 users world-wide. LMMS LMMSa.k.a. the Linux MultiMedia Studiohas its roots in the design philosophy behind programs such as the original FruityLoops and GarageBand. Those programs were designed to get the user into making music as quickly and eciently as possible. Like the programs it is modeled on, LMMS proves that eciency does not necessarily arrive at the expense of power. (For examples, see the compositions of Louigi Verona.) Be assured, LMMS is a true DAW. It is a lot of fun to play with, but it is no mere toy. LMMS is designed for loop-based composition. You can record and import audio and MIDI loops, or you can manually enter your own MIDI loops on a piano-roll display. Alas, there is no automated time/pitch stretching. Plugin support is limited to the LMMS internal plugins and plugins in LADSPA or Windows VST formats, but it must be noted that the LMMS internal plugins sound pretty good to my ears. I think they look pretty good too. Control automationgraphic curve control of signal processing parametersis a strength of the program. LMMS provides excellent graphic control curve editing, a necessary feature for accurately synchronizing sweeps and other eects to your material. Check out some of the demo songs to hear and see how easily LMMS handles the task. In early versions, LMMS had problems with its JACK support, but recent releases have mitigated those problems. LMMS is perfectly comfortable in an ALSA-only environment, though; on my systems, I get better performance from LMMS with pure ALSA anyway. Your mileage may vary. With its colorful and well-organized GUI, LMMS presents itself as an upbeat environment for making music. At

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development version 0.4.9, LMMS still shows some rough edges, but its usability rates high. It works out of the box, it's very easy to learn, and it's great fun. The LMMS interface is unlike any other presented in this article, but I nd it attractive and conducive to productivity. Mixbus I thought about including Mixbus in my description of ArdourMixbus is based on the Ardour 2.x release seriesbut it is in a class of its own and deserves separate treatment. Mixbus is a commercially-available cross-platform DAW created by Harrison Consoles, a company dedicated to the manufacture of some of the most prestigious audio mixing desks in the professional recording industry. Harrison's Web site lists the many famous musicians whose work has been mixed on Harrison boards, and it suces to say that the list is very impressive. Obviously Harrison's technology is much-esteemed, but it's also costly. Harrison mixing desks are high-end professional products with fully professional price tags to match, so there was much anticipation about the company's release of a software DAW that took the editing and GUI capabilities from Ardour2 and blended those features with elements of a Harrison mixing console. The result is the mixer par excellence for serious Linux audio production. The track editor is recognizably from Ardour, but the mixer section is all Harrison, with built-in EQ, compression/limiting, a K-meter, and a very cool saturation control. The sound quality is remarkable to my ears, and I've begun to use Mixbus as the master mixer in my workow. I'm not exaggerating when I claim that everything I record elsewhere is signicantly improved by remixing it in Mixbus. Other reviewers have fallen all over themselves with praise for the program, and I'll willingly join the crowd. For its relatively low priceminiscule when compared to Harrison's hardwarethere is no better deal in the indispensable Linux audio arsenal. If you intend to do serious mixing then you need Mixbus. The Mixbus development plans include the adoption of features from Ardour3, including a complete suite of MIDI functions. With those extensions Mixbus may well become one of the most powerful DAWs on any platform. These are exciting times for the serious Linux-based recordist. Outro

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There are more attractions on the tour, but we've run out of room for them this time. Join me next week for Part 2 of this article as I nish this short stroll through the land of the Linux DAW. I'll also introduce an upcoming program that may have a profound inuence on Linux audio applications development. Or it may not. Tune in next week to catch the buzz. (Log in to post comments) The Linux digital audio workstation - Part 1 Posted Aug 10, 2012 13:09 UTC (Fri) by hppnq ( supporter , #14462) [Link] Thanks Dave, great article! The Linux digital audio workstation - Part 1 Posted Aug 13, 2012 7:36 UTC (Mon) by yodermk (subscriber, #3803) [Link] Yeah, this is exactly the kind of thing I want to see more of on LWN. It might be considered mildly disturbing that non-free software was recommended. I guess whether that is a good thing depends on whether this publication is primarily about Linux, or primarily about free software. I was under the impression it has shifted over the years from the former to the latter. I'm not really complaining though - it's good to know what is available on Linux, even if I would choose a non-free option only as a last resort. More articles on creative-type programs and their development would be great. The Linux digital audio workstation - Part 1 Posted Aug 14, 2012 9:56 UTC (Tue) by njwhite (subscriber, #51848) [Link] Agree entirely. I'd also like to add a pedantic note that it'd be nice to note explicitly which programs were proprietary, and not fall into the easy trap of just saying "commercial" when you mean proprietary. After all, free software can and should be commercially viable; I believe Ardour is a commercial project for the main developer, for example.

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Author's reply Posted Aug 18, 2012 12:28 UTC (Sat) by StudioDave (subscriber, #84346) [Link] Greetings, In future articles I will take your advice re: proprietary vs. commercial. The distinction is valid and important. You wrote that "I believe Ardour is a commercial project for the main developer" and you are close to the mark. IIRC Mac users can purchase a ready-made binary for OSX or download the source code for free and build it themselves (apparently a non-trivial task, considerably moreso building for Linux). Linux source code and binaries remain free as in FSF-dened free. A Windows version may someday appear, my guess is that it will be available a similar fashion to the Mac version. The chief developer, Paul Davis, relies on user contributions to keep the project going (it's a big project), but Paul intends that Ardour will always be licensed under the GPL. You will never need to purchase the source code. Best, dp Author's reply Posted Aug 18, 2012 12:39 UTC (Sat) by njwhite (subscriber, #51848) [Link] Thanks Dave. > The chief developer, Paul Davis, relies on user contributions to keep the project going (it's a big project), but Paul intends that Ardour will always be licensed under the GPL. You will never need to purchase the source code. I thought that was the case. Good for Paul! When I mentioned it as a good example of a "commercial" free software project, I meant specically a project that the main developer(s) seek to sustain themselves nancially with, while remaining free software.

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Author's reply Posted Aug 18, 2012 14:54 UTC (Sat) by raven667 (subscriber, #5198) [Link] I'd like to see more of this kind of thing, there are too many popular and fundamental projects that have no sustainable funding model. If the developer isn't making a living o their open source work then they are really operating as a tax on some other professional work and are having to make unnecessary personal sacrice to make it all work. Even with their sacrice it's often not enough. A developer shouldn't have to choose between an open source license and making a living. Author's reply Posted Aug 20, 2012 18:11 UTC (Mon) by StudioDave (subscriber, #84346) [Link] A quick note. This statement re: compiling Ardour on the Mac : "apparently a non-trivial task, considerably moreso building for Linux" should have read: "apparently a non-trivial task, considerably moreso than building for Linux" Apologies for the confusion. dp

Copyright 2012, Eklektix, Inc. Comments and public postings are copyrighted by their creators. Linux is a registered trademark of Linus Torvalds

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