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So to be safe, I stress-test all new hardware or software in my studio for at least a month before I take it on the road.
If watching laptop music bores some people, watching a musician reboot is even worse. Having a computer fail means a loss of income, and makes for an embarrassing moment if the failure happens during a performance. When I’m on the road, I use my laptop as a music studio, performance instrument, and administration office. Continually upgrading required a substantial financial commitment on my part.
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I worked this way for ten years, faithfully following the upgrade path set forth by Apple and the various developers of the software I used. The computer functioned as both sound design studio and stage instrument. I could build the tools I needed whenever an idea presented itself. Having Max/MSP running on a laptop was the perfect environment for me. But the capacity to work anywhere was enough for me to give up ever owning another desktop computer.įrustrated with the ‘code-compile-listen’ process of working with Csound and wanting to work in real-time, I switched to the graphical multi-media programming language Max/MSP, which necessitated a move back to Apple hardware, so I bought a PowerBook. I created many of the sounds this way for my CD ‘blueCube( )’. It wasn’t fast enough for real-time audio, so I had to render sound files to hard disk using the audio programming language Csound. In 1997, I purchased my first laptop: a woefully-underpowered Compaq Presario.
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The manuals alone took up two or three feet of bookshelf space.įast-forward through a couple of decades of owning Commodore 64s, Apple computers, and PCs. (I still have them, too.) Later, I helped a friend’s father, an executive at IBM, unpack and set up the first personal computer IBM made. I discovered a then-new magazine called Computer Music Journal at the local computer shop and bought every copy I could get my hands on. Inspired by the work of composer David Behrman, I taught myself assembly language and programmed a simple digital sequencer on a KIM-1, single-board microcomputer, controlling an Aries modular synthesizer I had built. I’ve been working with computers since the 1970s.
Jack2 for ardour for windows 10 how to#
Stay tuned, as I’ll have some other stories on how to make your Linux music workflow effective creatively, particularly in regards to leaping over some of the setup hurdles Kim describes. Even if you’re not ready to leave Mac (or Windows) just yet, Kim’s workflow here could help if you’re looking to make a Linux netbook or laptop more productive in your existing rig. Kim puts his current setup in the context of decades of computer work. A particular thanks, as he’s given me some new ideas for how to work with Audacity and Baudline.
This isn’t someone advocating any platform over another: it’s an on-the-ground, in-the-trenches, real-world example of how Kim made this set of tools work in his music, in the studio and on tour. In this case, we turn to Kim Cascone, an experienced and gifted musician and composer with an impressive resume of releases and a rich sens of sound. It’s one thing to talk about operating systems and free software in theory, or to hear from died-in-the-wool advocates of their platform of choice. Here’s a switcher story of a different color: from the Mac, to Linux.
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