Limitations-no soundfile import, no MIDI tracks, and no plugin The Non DAW is light on system resources, but it certainly isn't a "superficial"-there's much more to the Non* software than meets theĮye. I recorded aįew tracks, tested playback control (from the Non DAW and from QJackCtl),Īnd got a superficial view of the program. Since the Non DAW is available only in source code, I built and installed Direct ALSA will not work with the Non* suite, though of course the ALSA system is needed by JACK. Incidentally, JACK is absolutely required, as there is no support for any other audio or MIDI system. All dependencies for the Non* programs are commonly found in the software repositories of the mainstream Linux distributions. The family's few dependencies include FLTK for its GUI components, libsndfile for audio file I/O, and liblo for OSC messaging support. By design, the Non DAW is a track-based audio recorder/arranger that outsources its signal routing, mixing, and plugin support to JACK and JACK-aware applications designed for those purposes, such as the other members of the Non* family (the group includes a MIDI sequencer, a mixer, and a session manager). The developer has specified what he wants from a DAW: "non-linear, non-destructive arrangement of portions of audio clips tempo and time signature mapping, with editing operations being closely aligned to this map". The Non DAW is the audio recorder in the set. Open Octave MIDI is a significant fork of the MusE sequencer, a MIDI-only version with many features added specifically for composers working with the large-scale MIDI resources required for orchestral pieces and full-length movie soundtracks.ĭeveloper Jonathan Moore Liles was evidently unhappy with the state of the Linux DAW-and much else in the Linux audio world-so he created his Non* software, a set of programs for recording, mixing, and editing audio and MIDI data. Well-known notation editors for other platforms. Standalone music notation program with a UI similar to those of the Two notable projects have been derived from the MusE project. No audio glitches or xruns (buffer under or over-runs) reported by JACK. My questionable taste in soundfonts, MusE performed like a champion, with Set the track outputs to the synth, and MusE was rocking to Bartok. Loaded a MIDI file of an orchestral piece, invoked MusE's FluidSynth plugin, Some demonstrationįiles are available for study purposes, but they're not very exciting. Problems compiling or configuring the program, and as you might expect fromĪ 2.0 release MusE appears to have no stability issues. I tested MusE 2.0, built locally from its SVN sources. Clearly its developers want a MusE for the 21st century. Has returned, all viable plugin formats are supported, a Python interface has been added for scripted automation control, and so on. MusE-the GUI toolkit has advanced to Qt4, the music notation editor This release can be considered a big milestone for On Jthe team announced the public availability of MusE versionĢ.0 (shown above). Eventually the notation editor was removed, the program's original author moved on to other projects, and MusE development continued as a team project. MusE's MIDI capabilities included piano-roll and event-listĮditors, along with a page for note entry and editing in standard music notation. Included the standard suite of tools for recording and editing audio and Production, and great work is going on in Linux audio development. These are good times for Linux as a platform for audio TakeĪ peek at part 1 for some background and the first fiveĭAWs. This is part 2 of my tour through Linux digital audio workstations (DAWs). This article was contributed by Dave Phillips
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