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Episode: 804
Title: HPR0804: Wayne Myers from Fit and the Conniptions at OggCamp
Source: https://hub.hackerpublicradio.org/ccdn.php?filename=/eps/hpr0804/hpr0804.mp3
Transcribed: 2025-10-08 02:50:00
---
Internet show can intermuse Wayne Myers from the band fit, and the connections recorded
at Oddcamp 11. Following the intermue we play the presentation, and edit in the full
length song, solemn brown, this is an augmented podcast, for the blind, visual impaired, or
for those of us away from a screen. If you would like to help out creating the text
of the Oddcamp presentations for me to read out, then please email admin at hackerpublicraveo.org.
Hello, my name is Ken Farn, and again, we're down in the balls of Oddcamp 11, and I'm here
talking to Wayne Myers, who some of you might know from his contributions to Rat Hole
Radio. How are you doing, Wayne? I'm very well. Not too bad. Enjoying the show. So you just
want to give a presentation, I understand. Yes, I did. I just spoke at a great rambling
length about professional audio production on Linux, and managed to encapsulate everything
I know about it in approximately the first five minutes, after which I sort of rambled
aimlessly for a while, but there were some very interesting questions at the end, so it
wasn't all about it. And you released your music under a creative
realm as licensed, I understand. Yes, absolutely. It's the way that the changes in the music industry
are changing absolutely every aspect of it is something I spend a lot of time thinking
about as a musician. That particularly applies to the legal things around the music and the
licensing, and with a creative common license, there's so many advantages to an unknown
musician like myself that it seems to me to be crazy to choose anything else.
Would you say to people who are worried about somebody taking their music and stealing
it and running off of it? I would say that if people aren't stealing
a music, then there's a problem. It's quite the reverse. A lot of people do worry about
music being stolen, and I think you have to unpick what is meant by stolen. If somebody
is taking your music, releasing it under a different name and then making money from
it themselves, well, yes, that would be a problem. That would be stealing the music. However,
if somebody is downloading my music and listening to it, or if somebody is taking my music and
putting it credited, as I don't know, the audio soundtrack to the game, that's not stealing.
That's brilliant. That means more people will listen to my music. Why should I have a problem
with that? What sort of license do you release it under?
I can't really release it under the, what is it? It's the buy and see essay, share a
like license, which means that you can take my music and you can do what you like with
it, so long as it's credited, and as long as the thing that you use it for is also released
under a similar license. So you can use it in podcasts, so you can use it as background
for a game, or you can use it however you like. And I forgot what the question was.
And do you use the non commercial clause? Do I use the non commercial clause? I do use
the non commercial clause, yes. If you want to use my music in an advert that's going
to be untelling the you're going to make money from, then we need to talk about that.
It will still probably be OK, but the non commercial clause is there for a reason, and that's
what the reason is. So I want to tag on one of your songs to the end of this podcast,
just so people get a flavor of what type of music you have. What song should I pick?
That's a really difficult one. It's like picking your favourite child, I guess.
Absolutely. I guess, possibly number 12 off the album, a track called Solemn Ground,
which is a kind of upbeat bluesy folk rock number, which is pretty much representative
of most of what the album is like, but not all of it. OK, cool. So are you enjoying the
show in general? I certainly am. I feel really bad because I actually managed to completely
mess up my journey here, arrived. Ever so slightly late, the talk was ever so slightly delayed,
so I kind of arrived and gave the talk straight away, sat down and had lunch, and I'm just
about catching my breath and thinking, wow, I'm in a camp, it's great. There's lots of
great stuff going on, and I'm figuring out what I'm going to do next.
OK, thank you very much for the interview, and everybody listen and enjoy the track.
The show is released on the Recreation Commons by SA, and the music is released on the
Recreation Commons by SA. Thank you.
OK, folks, sorry for the slight delay there. So I want to introduce it to Wayne Myers.
I first became aware of Wayne's music randomly when I was searching around, and I heard
a song on band camp, I think it was. I think it was drinking on my own again, it was the
song that I heard, and I thought, that was really good. So I played it on Rahol Radio,
and I got in touch with Wayne, and I found out that he uses Linux to produce his music,
and he knows about programming, and you know, he gets it, it might kind of, you know,
as it's a being. So I was blinded away with that, and you should really check out his music,
he's going to be playing tonight at the party in the cellar, so he's going to hear him playing
and sing in, come down 7 o'clock onwards in the cellar bar, and he's going to tell us now
about producing music on Linux. So please welcome Wayne Myers.
APPLAUSE
Hello, Blasaloo. Firstly, apologies for turning up late. Secondly, obviously, apologies for being here
until I thank you for the introduction, but for having me doubt, I really have been wondering
what am I doing here. I'm not particularly an expert in anything, I'm not particularly an expert
in programming, I'm not particularly an expert in recording music, I'm not particularly an expert
in anything to work with. I have a guide who has successfully used Linux to make now two albums,
and I'm going to talk about that as much as I can. I don't know if anybody is here from the
Linux audio users or Linux audio developers' main list. Anybody who's up? No? Right, good,
I don't have to apologise for having, woo, what a feedback, awesome, I'm going to sound hit.
I don't have to apologise for having failed to send a note there going, I'm doing this talk,
and anyone can tell me some sensible stuff which I should say. There's totally a bunch of
sensible stuff that I should be saying, I'm not going to say that, I apologize again for that.
What I'm going to do is, I'm going to tell you a bit more, go already to tell about myself,
say, do you understand exactly why I am going to do the rest of this? I'm not going to talk about
how I've got to make Linux work for both of the audio. Some other stuff which
you have to know you don't want to have that actually be of any use. I've got random stuff
because this is not going to be the most structured talk you're going to hear of the next week,
another could stop and we can have some lunch. So
first section, second section, I'm not an expert, I already said that. I just turned 40,
that means that I'm old enough to have been in London when the ZX Spectrum came out, got really
excited. I use that for a lot of my kids, I later on need NS.6.0 in 1999 with the 1995 for a bit,
I hated it, that was approximately the point when I started thinking, I really hate when those
times when I really like computers and discovered it, I completely forget how it don't ask me,
but in 1999, I was still 55 with one, which
yeah, it was what it was, I don't know if anybody remembers it, but one, it was a system,
it was a Linux system, it was my fellow Linux system. And at the time I was trying to make music,
I tried making music with it, this was the fourth days of the stuff we have now, which actually
worked, but just purely for historical reference, no, god damn it, I'm going to get a million
nine thing worth it, I give it the talk, trying to seriously type in a URL while talking,
and you get these ones on, causes slab exchange.org, yes, it is still up,
slime exchange. When types in a URL HTTP colon forward slash forward slash W-W-W-W dot
save.change.org. Web site appears on the projector showing a page designed in the 1990s,
the top cell cell in large font, little official slab web pages. And in smaller letters,
welcome to little official slab hard disk recording web pages.
There was a program called Slab, ported to be a digital audio workstation on the looks in
about 10 years ago. The web site was not updated in 2001, it may possibly have worked for some
people, I do not wish to disk, so if you had in 1999, 2000, the most up-to-date possible
machine and the release of sound card and all the way to the kit, it is possible, and I will say
you do how to go into fine-tune colon parameters and stuff like that, you may remember to get
slab to work. I could not, I did something else, I dropped it to nearly work, I made some really,
really awful, awful horrible sound recordings, I had a chip in the sound card, I had the world's
worst micro-profile in the class, 5 pounds from Stanley, I thought, why should I spend my money,
expensive micro-profile? Well you can get something that looks like a micro-profile,
4.5 pounds from Stanley, and I am going to stop looking down and say, I think this is
what I can colonize. And I like to do that from slab, which had problems like one piece of audio
wouldn't line up with another piece of audio, and I didn't know why, this is what I thought.
Anyway, you will be very glad to know that I could not find any of those recordings there,
because they all died, but if you want to get an idea of you better, I don't know if you
would call it, I want to be on task ground, 4.5 pounds of hiss, that is the kind of result you've
got, if you were lucky and you knew what you're doing, and I did not know what I was doing with slab,
but I tried, and I kept trying, and I found out with another stick.
Yes, typing in your well, that was a really good idea. No, I want to do slides, I can't possibly do
slides, I felt it, I have a slide in my life, I'll just type in into where I was going,
Okay, that's it, that was it.
Such a long one, that is just a huge flash, I don't know.
This one is actually still going, no, not that I left it up, it's up here, you know,
When type in a URL, HTTP colon forward slash forward slash www.jasplus.sourceforge.net.
A page appears on the projector with a cloudy blue purple background, and the words,
a jasplus plus midi sequencer, with a menu on the left, and text on the right pane.
Oh, it's in class, it sort of falls like this, it falls like this so much.
Now, this in a midi sequencer, this is the last update that I think in 1998, I
have no idea whatsoever, whether or not it's only good now, it might be, it might not be,
it's a midi sequencer. If you want to get into midi sequencing, you might want to try this out,
I don't know, in 1999-2001 I was playing around with lots of synthesized stuff, I tried this,
I was making really, really bad recordings, but,
fortunately I'm not going to play any of them to you either.
I like the sound of my time, I'm very lucky, I make music,
I've only started with a 10-year, of course, I can't really rush through this,
I like the experience of working in so-called proper studios, until this day there was a debate
among musicians as to whether or not you want to take your hard-bitten music and spend your money
on proper studio, or whether you want to have a home studio, or whether you want to do some
fun combination of both. And the advantage of a proper studio is you're paying for someone
else who has sold an awful lot of hard problems for you. If you want to come to the recording
video, there's actually hard problems that have been specially shaped from writing the music,
to be able to perform that music that you've written, and it's quite possible to run music,
that it's too hard for you to play, I've certainly done it, there's one studio in my new album
which I had a lovely guitar part, and I still can't play that guitar part, I have to get a friend
and play that guitar part. We haven't even got to any of the hardwares of it yet. Once you can
actually perform the music, you've actually got to start recording it, you've got to be recorded,
with hardwares you actually go to pick that stuff up in a way which is going to work, and it's
going to be done by someone who knows what they're doing. It's all right to have a nice hardwaver
if you have a nice home studio and you don't know what you're doing with it, you're still going
to end up with stuff that sounds like rubbish, I refer you to my first album, which we'll look
at later. However, I better move into the actual meter what we're talking about here, which is
there is a set up, which is what I'm currently using, which definitely does work to give you a
pop-up home studio, and there will also be a professional studio for you again,
and a kind of three parts on the software side, and that is that the digital is your work
station called Arden. There is an audience subsisting called Jack, and there is
either real time or a low latency curve, all of these things are necessary without any one of
those three things unless you can find alternative digital with your work station for Jack,
for Commander, you're going to run into problems. The key thing about audio is every step of the
chain has to be right. From writing the music, to performing the music, to recording the music,
to recording the music on different hardware, to everything a bit of that hardware from
beginning to end from the digital might going into the digital sound card, going into
a machine which is set up in such a way that it doesn't screw up all your audio because there are
machines out there where there's some weird builds and the power supply is too close to this thing
and there's almost hits on the machine and you don't know why, it's because that machine's been
built in a weird way. I'm not a hardware guy, I'm sure they're a hardware guy. Here,
people would have had that problem. Why doesn't the audio work on this box, and it does work on
that box, and it's all components of the same, but it's a bit of a major in this order.
I don't know why that should be, but it does happen, okay, right? Now, you've got the right
music. You've then got to have reasonable software that you can actually use,
to really play that audio, to get it right. You then have to have speakers playing that music
back in so you can actually hear what you're doing, and it's a whole chain of writing a music,
to having the music coming out at the end while you're in the process of making music every
second point where that has to be writing. The point of this talk has to pose is, some people
say, is it possible to have a home studio, yes, it is now important for these, and some people say,
is it possible to have a home studio to be live, because I know lots and lots of people who are
absolutely passionate, sweet software, all sorts of software advocates, for use limits,
but absolutely everything except for their music, because they have found that using other operating
systems seems to work for them, and they've found that it's more difficult on Earth. It isn't
anymore, it has been, it's not. I'll say again, I'm on a track, low latency curl.
There may be other digital audio workstations, I have heard of them, I can't remember them,
but I've heard of them. But I've got used to some of them to talk about them, let's look at the part.
It's pretty, it doesn't have anything you want it to do, and so there are other things that you
want it to do, because...
Wayne Types in a new LHTTP colon forward slash forward slash harder.org.
A modern website appears on the projector showing a pyramid logo incorporating a sound wave
and the words. Harder digital audio workstation, under which is a menu bar and an isometric
screenshot of the harder application. The rest of the page has bullet points about it's features.
He presses the screenshot menu and a complicated graphical interface showing many windows with
various different waveforms. It hasn't had MIDI in it for a while, or in the forever, but they're
adding MIDI, so this is harder. It's super critical. It's a digital audio workstation,
it's your replacement for clone tools, or for logic, or for Q-based, or any of the other
ones. There's loads and loads of these around, there's tons and loads of them.
And I think it's kind of... it works, it doesn't think. All digital audio workstations are much
the same in the same way that all...
Function, image manipulation is basically much the same. The input function shop is all the same
stuff arranged in a different way. And it does everything the Pro Tools, Q-based, and logic do.
It's just you have to load whatever thing it is. And still, in very much in development,
it's changing all the time. Do we have any more screenshots to share?
No, we don't.
Right, never mind. It's been a long time, Phil. How long?
Five, six, seven, eight years. Initially, it was one of the hardest things to
hire. When I started on a 75.1, if you want to do this, it's still going to be a funny
aspect of the company itself. Compiling either has historically been one of the more interesting
things. Phil, the non-expert, or even the expert to compile. I understand that is still the case.
And one of these people that used to compile everything themselves. And now, I'm 40 years old,
I want to use my computer, I don't know if I've spent all my time compiling everything on it.
Which one, I know, is about a studio which comes with a pre-packaged compile version of
Arthur Jack. Real-time kernel, everything you need to go and get going.
The history of Arthur is that a guy called Paul Davis was the second employee of Amazon.
When Amazon started up, he's a very, very fine programmer. He's also a musician. He's also very
into music software. He's also very into music software and pre-software and open source.
Shortly after being the second employee of Amazon, he left and had quite a lot of money,
quite a lot of time on his hands, and devoted his time full-time to Arthur for a while.
Which was going to be designed for the ground up to be Lillip's version of Pro Tools in the same
way that Gimp is Lillip's version of Photoshop. He's done it. But Arthur by itself isn't enough
because that's just the front end to the audio-loveliness that you need to play with.
You need stuff underneath that to be actually working. If you have your phone track and your
base track and you're trying to record it up, it's our track. If you ever record it in your audio
and realise it's fairly important that all three of those stay in sync at all times to the sound
from level from beginning to end even with its 50-minute composition. That turns out to be
rather a hard problem to solve. There is risk and later to use things on pretty much every system
and always has been Paul Davis being a man who doesn't like to lead a problem on the soul.
We're in line for the answer without getting half of the problem that needs to be solved here
and vote a thing called Jack which is this which are going to show you the website at all
because that's really going to help.
Jack Paul, you have to talk to him.
Wayne Types in a new RLHTTP colon forward slash forward slash
accordio.org a modern website appears on the projector showing a logo of a microphone
jack with the words jack audio connection kit. To the right is a menu bar and under is the words
what is Jack? Followed by text.
Well that comes up. I'll tell you this about Jack to follow as I know about it.
Jack is your pro-ordio audio subsets. It does not come installed by default or even available by
defaults on most computers. That's a reason for that most people don't need synchronization between
applications running audio in real time for the sample. You don't need that if you're playing
games, you don't want to pop. You could do it immediately. You only need that if you're recording audio
or you're missing audio. I've been asked in the past how do you run Jack and Pulse audio
together and not be an expert? My answer is I don't know. I looked at the various discussions
online about this and there are people that are trying to run Pulse sound jack together with
a project somewhere to plug something into something else and have them both run it.
Which I don't understand because they're both audio subsets and Pulse is an audio subsets and
which is your everyday thing. It lets you do stuff which I packed and they're not possible to be
quite honest. I like to record audio so I kind of remove Pulse from machines and I'm recording
audio on them. That is a very easy way of avoiding problems if you have to audio subsets which
are going to have a lot of conflicts. Otherwise there's a thing called PA you suspend up.
Which suspend is Pulse when you're running jack stuff. No one's been able to get the
money together. Why do you want to audio subsets and wanting to get them with a little like having
to window management running together? Technically you could probably do it but they may be a project
I have to window management running together. They're probably a really really good joke I can
make there about some particular way of management which effectively it is to window management running together.
But I'm not going to make it. Maybe even suspend the last three years of being embedded myself in
audio but I've done a lot of stuff which is not a week and I think one way here I'm going to be scared.
I can't make any of the changes I should be able to make because I was not able to tell you.
But jack. There you go. Everything is an audio subsets into pro audio. Everything
plugs into it. They've learned about the software which plugs into it.
And everything is synchronized all the way to the sample level which is what you want to
means. You can do what you need to do when you're recording music which is completely forget
about the playing computer and get all the recording music. It's incredibly hard unless you're
very lucky to have your engineer head and your musician head on at the same time. There's so many
times where I've been trying to record something and I really got it right playing it and then I look
at the computer I think I can't even remember how that works. My context which my head and I
assess everything out. I find out the hard one, I find out jack and I get everything right.
Maybe there's some problem and I fix the problem and I come back to guitar and I come back to play.
It's very difficult to do. Well you want to stuff which works as well as possible. This is why
the friends of Michael, they're the exact ones I refer to earlier who you win those for that.
Stop still to this day. Do that. It's because you have to be incredibly pragmatic when you're
recording or when you're making music because the goal is at that point to make the best
for music possible. Anything else is going to stand in the way.
There's some notes here about how to solve. I'm not going to say anything about how to solve.
It's there. It works as long as it works if you ever have to delve into setting up two sound
cards at once. That's the thing. I really hope it's not better since the last time I had to do that.
There are worse in taxes than Alza. I don't know if anybody has a UC sound.
But I think I'll still send my own configuration and you're getting that grain of thought.
Basically, the syntax for Alza is based on growth. Only they can have a growth habit to
straightforward. They decide to make it even more counter-intuitive. However,
if you have a grip or a hand, what you can do is when you have out of 11 problems,
bang your head on a grip or a bit and come back to it. Eventually it can be solved. It can be
solved. You can't have two sound cards at once addressing individually or so. I understand
that it is also the thing that you've known about. It works well and gets you better.
If anyone can say, oh yes, it has an issue that would be great, but I don't know.
Well, it's underneath that low latency kernel. You can't still do this day well.
You might be doing that. I used to do. I spent an awful lot of time well in my kernel. I'm very
looking at the music that I've made. Now I use, like I say, an anti-studio which gives you
clean patch kernels that do the low latency. You have real time stuff that you want.
There's no reason why a stock kernel should be optimized for pro-audio. They're not.
If you've got a really, really, super, super duper machine, maybe you'll get away with
another stock kernel, but maybe you won't. That's why there are real time and low latency patches,
which means that obviously your audio, when you're recording it, and playing back everything
synchronized to the sample level, has one time. Nothing is worse than playing a really good tape
that you're recording and looking at machines will realize the machines will look like it's
something kicked in. It shouldn't have kicked it. That can be kicked at the kernel level.
That's what the real time kernel is for. The main four,
knowing what you're doing when you record.
I finally got a Dixon setup on the list of about 2004. I didn't record anything Dixon
on it for some years after that. Dealing about computers and getting
used to doing thingy one is great, but there's a whole world degree in audio engineering.
Get to your limit setup right. It's just going to be the first part of that.
If you're already doing what you're doing, then you can set up limits to B,
you're not going to replace them with four quotes or stuff, whatever. Otherwise,
stuff like where to put mics, stuff like how plug-in things, what leads to use,
spending money on leads to about to be important. Again, every step of the show,
getting a decent mic, upgrading from the turnedie mic to older than FN58. I couldn't
afford one. I got a Sennheiser S-M58, not got in the German Sennheiser shape for 30 quid
cheaper. They're great, but it still wasn't quite good enough for some applications. I've
now got a condenser mic, which is pretty good for just about everything. Though I have a friend
who is a very fine musician, you should look him up. I've looked up his website and he doesn't
have one at the moment. He's one of those guys who plays bass guitar and drums on guitar
at the same time. He plays bass on the low of three strings, he's strong for top three strings,
and he's drumming for it. He's a bugger to record. His story about recording his own guitar
technique. To cast a lot of the story very short, he had to go out and get a very expensive £1,000
mic to do it. If you look at a lot of microphones, and you're not particularly in audio, he might think,
why are there microphones on £10 and no microphones on £2? Because they are. What do you do with
£2,000? The answer is you record really, really difficult to record stuff like Nick, he's on
a acoustic guitar like bass and drums and guitar, and he's £250,000. He found the noise of the
movie, so we shouldn't have been able to. He didn't, he just came out and found him rubbish.
To the two broad level, I don't know the subject, it works. I don't know why I'm not an audio
part where he, but I'm telling you that the magic is going on inside and like that.
There are reasons for these things and it's just all very strange.
I've got to the stage in my notes where it says, I'm only halfway through, and I don't know about you.
I bought a little sound in my own voice, and he was with me.
Really? Oh man.
So, audio time for time.
Following which, I'm going to cut the rest of my talk incredibly short.
I'm hoping that there are people there that are sitting there thinking, I can't believe they've got this guy to give this talk and not me, I could have done it so much better.
I'm so much more about the subject than either. I'm sure there will be some time to meet you.
So, I really, really do hope that people say, you should have said things, I'll be like, thank you obviously for that.
It's a very kind of data environment, but this is your I'm about to play on a thin warning.
Of course, if it comes out sound, it's showing a lot more of it.
But...
It's on the tube recorded on the notes.
There is a picture of a blonde woman holding a glass of red wine standing by a tree next to a slow-flowing stream in an arc and forest.
The right column has the discography of the band showing some nail images of the band.
Wayne clicks play and the song begins. Only one verse is played.
We have edited the full length song here, which we got from HTTP colon forward slash forward slash music.coniptions.org slash track slash solemn round.
All were lost, all were found, all were saved, all were bound to secrecy.
On some ground, love was gone, love was here, love was gone, love was here, love was we band, we band in my bed.
Love was we band in my bed, love was we band, we band in my bed.
Love was we band in my bed, love was gone, love was gone, love was gone, love was gone, love was gone, love was gone.
Yeah, I was so old, dreams passed like wind, all lost, all found, the shadows don't play.
On some ground, so far away, far far far away.
On some ground, so far away, far away, all were saved, all were saved, all were saved, all were saved.
All were lost, all were found, all were saved, all were bound to secrecy.
On some ground, so far far far away, all were saved, all were saved, all were saved, all were saved.
Quite a lot for that, anyway, so it can be down on your land, probably thinking, oh my god, that was awful.
And if I even think about it for the sake of it is, is it if that was awful, the beast that it was awful, was absolutely nothing to do with the hardware that we recorded or the software that we recorded.
If it was awful, it was entirely nothing. And music being an incredibly subjective thing, I thought, well I could find lots and lots of other stuff across genres that I've also recorded on with it.
And whatever I choose I'm going to be able to think, oh that's great. And I was going to be thinking, oh that's wonderful.
So I chose that. I don't have got to do the rest of my notes because this really is beginning to get to the sun's hopeful of what I do know.
Oh my god, there's a drum machine used, it's called Hydrogen. It's a drum machine, it runs the Linux, it's great.
It's really okay. You can use drum fonts. If you want a drum machine, there's that.
When it comes to mixing, there's two plug-in APIs, three, lots of plug-in APIs that Arda has.
Last but was the first one, this is now the first Linux Linux one. There's a whole bunch of plug-ins.
It seems like EQ and compression of Beaver, if you're trying to make music, but with only EQ and compression of Beaver bar, then you're kind of stuffed.
My only recordings on sound rubbish because I didn't know what EQ and compression of Beaver were like.
More recently recordings sound rubbish because I still don't really know what they are, but I'm trying to find out.
I'm feeling with them and it turns out that you can do amazing things with EQ and compression of Beaver.
How would you live with a really really good recording made by people, mixed by people who don't know what they're doing?
It's CDPU and compression of Beaver and the other effects as well, but you do need plug-ins.
You also need the plug-ins to be usable, and if you're very lucky, then you'll be able to use the standard old skill last but plug-ins, which aren't very practical, shall we say, if you ever try to use them.
The more recent native literature I'll be to attempt to address this.
And in course of mixing, I wrote some album, I actually did a thing which I'd never done before.
I needed an EQ, the word. I had all kinds of free EQs, and they probably worked to give you what you were doing with them, but I did also teach myself to learn to EQ.
And I found myself going to this website.
It's DSP.
Which is the website of the Linux DSP.
Wow, you can do that.
I was not going to tell you.
This will be the cover list.
The left column first, the menus.
Both columns and screenshots of Eric Williser software showing knobs and levels.
Wayne Click on a screenshot, and a graphic appears with four large dials, and three small ones all in a simulated rack layout.
This will bring the cover list.
The Linux DSP.com.
And I make plug-ins for Linux.
Audio plug-ins.
And there.
Trial quality.
And I'm really printing.
And what's the screenshot?
Come on.
Change up.
Click.
Is that a screenshot, man?
It's pretty.
It's visually oriented in the same way in the actual hardware boxes that they're based on.
Which means you forget about the box.
You forget about everything else.
Turning the knobs to the right place.
And I did a thing which I've never done before.
It's only using Linux.
I bought some Linux software because it's not free.
It's not open source.
This is the state you have to buy in.
And then I had neat view that I could use.
I finished making help.
Because at some point, over the last few years, I switched from being obsessive about Linux.
And it's also being obsessive about the user.
And I wasn't going to let the one obsession get in the way.
I do understand that there are three versions of this kind of thing.
Which are in development.
And I tried one of them before I ended up going to Linux DSP and buy it.
But it had this problem.
It didn't work.
And I have not.
I have done programming over the years.
I've probably turned it off.
I don't really do it very much anymore.
And I wanted to finish it out and not delve into this EQ that didn't work.
I make it work because audio programming is hard.
There's a way that I'm saying this, which is,
I'm actually, to this day, slightly embarrassed that I actually bought a minute.
I wonder what I'm saying.
It's just going on one hand.
Because these guys are building a business based on the military to justify.
But not the other hand.
Open source 3 is not.
And the LV2 API allows you to make this kind of thing.
And so if anybody is in the...
I'm going to sit down and do more for a lot of audio development.
The thing, which as far as I know, is the thing that is brilliant is pretty flugging.
Pretty flugging so that I can load in the flugging and I can refuse the flugging.
And I forget about the maths.
And I forget about everything else.
And if anyone who's formerly in the DSP.
But never mind.
It worked.
It was great.
It cost money, which I was going to have.
Next thing, maths 3.
And I'm asking Mitchell to choose.
You have to have the maths that there's people jam in, which is mastering software.
It's free.
It's black art after black art here.
Mitting is itself quite a black art once you start.
I have to spend a year recording my last album 2 years trying to get it mixed.
Because I've since done doing it myself.
I've said it had someone in the audience doing it.
I then finally got to say it was all done.
Having it mastered.
Having all the tracks.
Tweaked volume lines so that they all appear psychologically.
Because you can't do this programmatically.
It's a bit of a same volume level.
To have remaining problems in the mix ironed out.
To have the sound flow dealt with such that.
The same recording would sound good on really, really, really practice speakers.
And really, really, really good speakers.
And there are people who devote their lives to being mastery engineers.
And if you want to do that, then you can probably do that on Lillips as a people jam in.
I try not to tell you anything about it.
I haven't gone there.
I didn't go there.
I pay you to go.
I know what he's doing to master my album.
And I strongly recommend you do the same.
Unless you want to be a mastery geek.
Which is fine.
But it won't leave at all for a lot of time for the mixing people.
There's only going to be tons of people to be.
And there are people out there who do quite a deal to mastery.
But yeah, jam in.
Other stuff, which I'm going to squeeze through.
This is now, you'll be glad to know, come towards the end.
There's a program called Little Daffity, which is a basic sound file editor.
You probably haven't on your machine already.
If you don't, you can still let them out.
If you're in any way doing anything with audio, it's just there.
It also lets you do Buster already mastery when you finish your mix.
That's what you call a candidate mix.
If you need too many mixing tutorials, you'll find that it will recommend
you mix everything to the very level level.
So you have headwood.
You then export that.
You've got a very, very quiet audio file.
You want to share it with your friends.
But I'll give them a audacity.
Do a very, very quick buff.
Mastering a job.
Audacity lets you do that.
You can, and that's safer at home as well.
Other other stuff is an audio dish.
Another top and another top and another audio dish.
Not mentioned.
Use the, if you're actually making arrangements inviting out dots.
That kind of thing.
Working with musicians who need to add that part.
But now that the thing will be used for likes of ideas.
I need three.
People have been saying things about various little stuff.
Whether it's likes of ideas, only three for some time.
New school, I promise you, actually is.
It's just work.
It's like, um, the pin whistle part on my album.
I tend to have a new school centre to the guy who's something about the file.
Um, it's also a really good thing.
Just, on the music, it's level to have.
It's like wanting to write and not have a word processor.
Um, you're very into your music.
Like, music, music.
It's, for the car, it's talking rubbish.
It doesn't hurt to use the musician.
When you're for the car, you can say things like that.
Um, and, um, being with your number for the car.
I mean, read my music.
Um, which brings you off the next thing.
There's a programmable G-tip.
It's a metronome.
You may already have a metronome.
Um, you're doing music.
Um, seriously.
On the level where you want to record it.
Um, you may have a metronome.
It may be a very old metronome.
It may be the metronome you have when you're 11.
You play a piano and it's a pop-up metronome.
We keep time anymore.
G-tip is a very, very simple G-tip play app.
Um, it's a metronome.
It's really because of all the old software
and it looks like you don't get to practice with.
Um, because it's just, you forget about it.
It's there.
And, last thing.
Am I going to mention the play.
Throw it open to questions.
Including what are you doing.
Why didn't you cut it short as soon?
Wayne Types in a U-R-L-H-T-T-P colon forward slash forward slash Linux Audio.org.
A modern website appears on the projector
showing a logo of a penguin singing and the words Linux Audio.org.
On the right column is a menu bar and the center introduces the site
and there's a lot of news.
Wayne clicks on the members link in the menu,
which displays a long list of members.
Her names are hyperlinks,
and there is a one-line description under each.
There is a repository.
I don't need my manager who does things.
Of everything that I've mentioned.
And more importantly, everything that I should have mentioned,
but I didn't mention what I didn't know about it.
Then I've already owned up all very difficult to remember names.
I can't quite figure out what the consortium bit means always about.
And I don't care.
All the major stuff that you need to know about and the upcoming stuff
which you will need to know about until you hear the big letter this thing is here.
This definitely used to be a kind of list of software type site.
It isn't anymore.
I don't know.
But it's all good stuff.
There you go, Alsa, Arrogant or Deccency.
Will you fire this up on your own machine?
The scroll down will see the rest of the page.
Yes, bank account.
When you finally got something worth releasing,
and you release it on bank account,
and it lets you handle your own licensing thing,
that's a whole lot of tools.
Possibly a lot of companies.
And absolutely last leaf.
I've briefly mentioned C sound before.
I don't know how many people here have played the C sound.
If you haven't played the C sound,
and you're into music,
play the C sound.
It is a programming language with a syntax from hell,
which will make you feel really good about yourself when you're might a pulse group
to write a C sound school to make the music.
And if you're really, really, really clever,
you can sometimes have to C sound stuff directly,
but I don't think anyone does that.
And I did say I was 40 that's why I said pulse group.
And that's pretty much everything I know.
Audio is hard, but everything I forget is the change,
the end of the chain, and you can have a little bit of the minute.
My apologies for the disjointed talk.
I haven't just spent most of this week writing it,
I guess I've had a bit of a funny week with that.
I'm happy you're laughing off.
Adjustification on its ears,
that was a joke there, which I completely walked straight by.
Never mind.
But yes.
Are there any questions?
Yeah.
I don't know, I've got a mic.
Oh, you've got a mic.
Yeah, you said you used Ubuntu Studio
with the World Time Town,
or one of the low-density ones.
Yeah, no, since they didn't actually ship that
with the newest versions of Ubuntu Studio at the moment.
Because I just installed them today,
but you have to use a PTA,
so I wonder which one you use.
I use whatever version of Ubuntu Studio.
I used to be a guy that knew what version
of the system I was running,
and lastly, as I stopped being,
I installed Ubuntu Studio
when I got my final money machine,
even a half ago.
I installed whatever the latest version was there,
it was there.
Instead of taking it away,
I have to tell you,
that sucks.
I was looking for the audio distribution.
Well, I was looking at about three different ones.
Oh, right.
Low-lacency, real-time,
and another preemptive, yeah.
And there's probably about two different PTAs
of each one, and I just want to wish my years.
Right.
I've been on that for a long time.
Yeah, yeah, yeah.
Does anyone want to answer that one?
No, I don't want to.
If you use Ubuntu Studio,
it will be easier than my version.
Huh?
It went away, I'm fed, fed.
Okay, I think I'm on 10 out of 4.
So, um...
It took a while.
It's possible that it took a while
because you don't really get on today's
sync within the machine.
But on the other hand,
I don't trust that.
I don't trust anything
when it comes to recording audio
because he's only got to be one month
in the middle of a great take,
and you're afraid stuff out the window.
Um...
I've been told the real time
of the little bits over the top low-lacency is fine.
Ingo non-nar is, I believe, the name of the guy
that's been my single low-lacency patches.
I look up whatever he said,
mostly recently,
and do what he suggests
because he's been, you know,
by single patch,
you only know what to do.
Um...
And I can't believe I said that
with Ubuntu Studio.
On the other hand...
I have to say,
um...
I did have initial pickups
when I was using Ubuntu Studio
because I was trying to record them
you know, last minute tracks on the album
and I kept getting buffer over Ubuntu.
And the ones that kept crapping out on the album
were like,
what hell is going on?
What have I done?
Well...
I had been really stupid,
and then I checked,
and I realised that I had a real time,
and I just wasn't mining it.
Because it was there,
but it wasn't actually...
I don't know if he booted into it by default
and I've been tired
and emotional the last time I booted.
Um...
And, um...
Yeah, sorry.
We booted into the actual
audio.
Get up early.
Everything worked.
Nothing there.
Um...
So, um...
Damn.
I can't wait for the video.
That was ridiculous.
Well, I think we said it still.
Um...
I think I didn't really worry about it.
Um...
Any other question?
Yeah, I just wanted to drop it
because you mentioned CSound.
Yeah.
I just wanted to drop a level of knowledge
and knowledge about it before I...
What you know, CSound was used
to make the interegex noise.
I don't know if anyone's familiar with it.
Eh...
That's that.
Oh, it's made in CSound.
Thank you.
Um...
You mentioned about, you know,
like the pretty interfaces
from plug-in to stuff,
that you said you've had to make a compromise
to, you know, buy software.
Yeah.
Um...
See, my music background is not,
um...
It was, um...
It's college degrees attack.
Yeah.
Study, um...
So, um...
So, um...
When I looked into Linux Audio,
I found, uh...
When I looked at it,
it's been kind of lacking
in the user interface department.
As you say,
when you want to get down to making music,
you don't want to be messing around with,
you know, slide the bars
that have no relevance to what they're doing.
Um...
Do you find that a lot
with, uh...
Linux Audio software,
the graphic use,
and the basis,
and just the way that it works,
it's more games towards,
like you say,
the engineer had rather
than a musician had.
Um...
You know,
is that very common,
or is that just a preconception?
I've found this block correct, then.
Um...
It used to be common.
Um...
When I first started playing with it,
I found a great audio editor,
great in the sense
of that's a great thing,
not great in the sense
that you never,
ever wanted to use it,
called FND.
Um...
which was a project goal
of which was to be
an E-max core audio.
Um...
And, oh, that didn't even
have to use it with the title.
Oh, it's great.
And then I tried to actually
edit some audio in it.
Um...
I...
It's not...
I couldn't even
own the audio in it.
It was just...
It was...
Yeah.
That was 10 years ago.
Um...
Anthroposal was
made sure that
while the GUI
isn't pretty,
it is functional,
um...
in it's official.
Um...
And they'll get
pretty, but it's kind of...
is the functional thing.
Um...
The main problem
is, um...
is the plug-ins.
Um...
And that is the...
Possibly the most important part
of the talk is the bit
which I skipped only
because I can not be correct,
but I don't really know
that much about it,
but the plug-in API
for ARDA
and for Jack
and for literature,
which are a general,
which used to be
the last step,
which didn't have
anything in it
that you could hook into
to make stuff
pretty,
and visual,
and something that I found
engineer could actually use.
Um...
Has now been superseded
by LV2.
Um...
And LV2
has got all that graphical
goodness,
which was what the
stuff I bought
does use.
And...
I haven't gone hunting
for new plug-in
within a year.
Um...
So I don't know
what new free stuff is
out there that uses LV2,
but I do know that
a point of LV2 was
to make stuff which
looked good,
which in the case of
the volume itself,
where, as you say,
you don't want to mess
around with slider,
where it's actually
powered on,
because it's a hyperbolic,
and having to do math
instead of just
set it there,
and it worked.
So, I've...
I've got...
I've got many ARDs
and super-front-divine
is very, like,
it's hard for
a guy.
And, you know,
he's always an
army, he needs...
he needs to use
an open source software
to do the music.
He does require
to understand that, you know,
from a musician's
perspective, you know,
I need...
I'm an electronic music
guy, so I'm
running virtual studio
instruments.
That's a...
I don't know.
It was played by Steinberg
a long time ago.
We have been quite familiar
with it.
It's industry standard
for, like,
virtual instruments,
as well.
Well, well.
The last time I checked,
like, ARD or
does it really
support VSTs?
Oh, well,
then you need to check
again.
I don't have experience
of it myself,
but I do know that ARD
does have VSTs
or has done for...
Well, we talked about it
for four years.
In the last year,
I heard people
are actually getting
into work and
funding VST plugins
on the wine and stuff.
Yeah, that's...
That's my issue,
like, running stuff
through wine.
I don't like having to
run, you know,
or do it for ready
for this kind of increased
latency.
No, totally.
That's what I'm
talking about.
You're right.
I mean,
and that's always
going to be a problem
until there are
native VST plugins
for Linux.
You're not going to be able
to use those plugins
unless you,
you know,
give up some of the
machine to run in wine,
which, when you're doing
audio is,
that means that you've
just lost half
in that plugin
for possibly years.
And your mix is
going to...
Yeah, I mean,
yeah.
And that will
not be sold
if I was, I know,
nor is it going to be.
We'll see how good the
LD2 has happened then.
Okay, all right.
Thanks.
I think we might have
to leave it there,
so we don't get too much
into lunch.
But thanks very much, honey.
Come here.
Listen to me.
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