There were too many things to say to squeeze them onto a single insert page on a CD, so I am taking advantage of the space I have on this blog to list my acknowledgements and also to talk about the process of recording this album.
I will start with the acknowledgements to spare those who might not be interested in the technical details, though those details are cool, I swear! 😉
- This album would not exist if it were not for the help and patience of my dear husband, and for the most laid-back (and super fantastic, seriously solidly sleeping) baby.
- I want to thank my musician father for his feedback on songs when I thought the auditory “vision” was going astray. I love that we have music and songwriting in common.
- I appreciate the graphic design advice given to me by my step-dad. This was rather tricky since he is not connected to the Internet and I had to describe to him, over the phone, what I wanted to accomplish on the album cover. Luckily he is a great (retired) designer, as well as a musician, so he gets it.
- I am ever so grateful to my friend Jen Boone for helping with the photo shoot for the album cover. She is the first friend I made when we recently moved to Louisiana and we’ve not known each other very long. However, she was quick to lend a hand when I wanted to drive to an unfamiliar area of town to do a series of self portraits in front of an abandoned building. The word “abandoned” inspired a “YOU WANT TO GO ALONE AND TAKE THE BABY WHERE?” when I told my husband what I wanted to do. Jen was happy to babysit during the shoot, and to give me feedback on when the wind was blowing my dress just right. 🙂
- And YOU. If you are reading this, it might be because you bought the album and saw the link to my blog. Thank you! Supporting musicians is what allows them to keep making more music. ❤
Other liner notes:
- “Dusk to Dawn” originally appeared on my 2010 album The Soundtrack to Your Demise. Because that album is very different from the rest of my music, I thought it might be nice to attempt a dreamy piano version of the rhythmic, beat-heavy, and synth-driven original. I’m really happy with the piano arrangement.
- The song title, “The Medium,” refers to a concept in the Legends of Muirwood series by Jeff Wheeler. Though this song is in fact about that concept, it is also about my general spiritual beliefs.
- “Make Him Mine” is directly inspired by The Wheel of Time series by Robert Jordan (written by Robert Jordan and completed by Brandon Sanderson after Jordan’s passing.) If you’ve read the first three (of 14) books, you know whose point of view I am taking. It’s not spoiler-y, just in case you are avoiding spoilers.
Now for the technical stuff:
- I am so very pleased to say that this album was recorded using entirely open source (FREE) software. I used Ardour 3 as my Digital Audio Workstation (DAW) and used Yoshimi and Qsampler for my MIDI sound fonts. I ran all these programs using 64-bit Ubuntu Studio 13.10, a Linux-based operating system (again, all free.)
- For the beautiful grand piano sound, I used the open source Maestro Concert Grand piano sound font provided by Mats Helgesson.
- I did not have any guest musicians appear on this album. I like to think I am rather resourceful at getting my keyboard (via MIDI) to sound as much like other instruments as possible. I try not to push those boundaries too hard though; I am still a piano player at heart.
- My keyboard, an old Casio Privia, has a huge selection of drum presets, and it is amazing what a lot of time, patience, and clever editing can do to make boring, repetitive drum tracks a whole lot more interesting. For the record, in hindsight, it may have taken the same amount of time to just hire someone to play drums and record them. I ran into a few snags that had me searching dozens of presets for just the right boom/crash combo with a cymbal that was not too long and not too short. Painful.
- If you are still reading this, you may enjoy some of my previous blogs about setting up my studio and using MIDI in Ardour. I also wrote a post on the specs of Ardour (though my blog post was written for the previous version of Ardour, it is still good for the basics.)
It’s been a while since I posted about recording in Ardour. Well, it’s been a while since I recorded, but I have been working on new music daily for the last month.
It took a couple of days, but I’m flying through all the connections at start-up now. (I use QSampler for my MIDI sound fonts in addition to analog instrument tracks.)
The reason for posting today though, is because it seems I have found my computer’s limit. She’s not a new machine, and she’s feeling the strain. It turns out that 15 tracks, of which 8 have one plug-in each, and one that has two plug-ins, are more than she can take. Playback is stuttering. It exports just fine, but when I go back to listen, make notes and edit, I have to mute or bypass the reverb on at least 5 tracks. Okay, so I like lots of harmonies. DON’T JUDGE ME. 😉
Before recording in Ardour on a Linux computer, it was common for my songs to have 15-25 tracks on average. I really like a full, complex sound. The last CD I put out, and the first to be recorded on this computer in Ardour, was very basic: vocals, piano, drums and bass. I wanted the album to sound the way my songs sound when performed live. The songs had 5-6 tracks at the most, so I never even considered what my computer could handle.
Looks like there might be a hardware upgrade in my near future. I will keep you posted.
I spent the weekend getting all my packages up-to-date and trying to familiarize myself with Ardour 3 beta 5*. I then spent the last three days recording MIDI keyboard parts and vocals for my upcoming EP.
I got a lot of my information from a video tutorial I found on Ardour’s website. It was made back when Ardour 3 was still in alpha, but I did find it useful as far as getting proper signal flow between various programs using JACK. Upon opening Ardour 3 beta, I did notice that there were quite a few changes to the program since the video was made, but I would still recommend the tutorial, especially if this is your first time recording using MIDI. Unfortunately, the demonstrator is using a USB connection for his MIDI keyboard (guess he did not have a MIDI cable?) but I was able to translate that into what I would need to do to use a MIDI connection with a little thought.
I found that constantly opening a new session and forcing myself to establish those connections again and again was the best way to solidify the process. Sure, I was slow at first, but now I just open all my programs and connect them with out thinking. In the end I used Ardour 3, JACK, QjackCtl (a JACK GUI) and Qsampler (a Linux Sampler GUI) to record my keyboard parts and vocals.
I was pleasantly surprised by a few of the changes to the newest version of Ardour. Here are a few of the things that I loved:
- Having just come from several months of using ProTools 9, then 10, I see that some of my favorite little details from ProTools are now integrated. I love that there is now a “smart tool” that changes your mouse icon into a different tool depending on where you are in the track. It really saves time when you do not have to keep going to the tool bar to change to the select/move object tool or the select/move range tool.
- If the way QjackCtl is presented is difficult for you to visualize, I really like having the alternate, more graphic interface that is available right in Ardour. Click on the “Window” tab, check the boxes for “Audio Connection Manager” and for “MIDI Connection Manager” and it shows those same JACK connections between hardware and software, but in a different way. In the beginning, I referred to both just to double check that I had everything set up correctly. In the end, I used the QjackCtl interface more, but I like them both.
- The dialogue window for exporting makes it a no-brainer for those who might not know about sample rates etc. Want to make a CD-ready track? Select the option for CD in the edit window and it automatically sets your parameters to a 44.1kHz, 16bit WAV file. Want to amend that? All the other options are clearly marked and easy to see. You can even add dither at this point. I think it is nice to be able to just click one button and go if you are not trying to do something unusual.
- One of my favorite little surprises was something so small and yet it is one of the things I was the most excited about. I was trying to edit one of my vocal tracks. I didn’t like how I sang a phrase, so I wanted to replace it with another take. When I went to line up the preferred version in my working track, I placed the new take on top of the old one and it was translucent. It was SO EASY to line up the takes because I could see one wave form through the other. If you are zoomed in, lining them up takes literally a second or two. I love this feature. So simple! So intuitive!
I will be sure to post more of my thoughts as I continue to record additional songs and play more with my MIDI options. I plan to try to program a very simple drum part for one song that will not have a live drummer, and I will mess around with some ambient sounds as well.
*I am currently running Ardour 3.0.0 svn13084 on 64 bit Ubuntu Studio 12.04
I just wanted to make a quick post to let you know that over the last few days I have been playing with the beta of Ardour 3 with hit and miss success, but just realized last night that I did not have the most recent version, and some of my supporting packages were really out-dated.
Everything should be up-to-date and I am about to test it out as soon as I post this blog.
I am really excited about the new incorporated MIDI features, and got a nice taste of their ease of use before I did all the package updates. It is still in beta, so if needed, I plan to submit bug reports etc. It is nice to know that you have a voice when using open source software.
Here is the latest information on the Ardour 3 Beta 5 release.
Stay tuned. I hope to have some new songs for you to hear soon!
As I previously posted, I really wish Ardour 2 came in a box so that I could quickly reference its specs and get an overview of what it can do for me. Well, this “box” – even a virtual one – does not exist, so I made one.
I present to you, the Ardour 2.8.12 “box”:
- In Ardour, you have the choice of recording in 16 bit integer, 24 bit integer, or 32 bit floating point formats.
- Ardour supports the following native file formats: Broadcast WAVE, WAVE, WAVE64, and CAF.
- Ardour can import over a dozen libsndfile-supported file formats including, WAV, WAV64, AIFF, CAF, RAW, Ogg, and FLAC.
- Ardor exports to WAV, WAV64, AIFF, CAF, RAW, Ogg Vorbis, and FLAC.
- The number of tracks that can be recorded at one time in Ardour is only limited by what your hardware can handle.
- Ardour utilizes a 32 bit floating point mixer and has bit-for-bit fidelity for 24 bit samples.
- It has total automation and a large selection of plugins.
- You can mix as many tracks as your hardware can handle.
DSP (Digital Signal Processing, aka plugins):
- Mixbus is recommended on Ardour’s homepage (for a fee of $219.) However, for the adventurous, the official Ardour website lists dozens of sites where users can download free plugin packages…though they admit some are better than others. The official website also lists a few recommended plugins in various categories.
- The operating system determines which plugins work best:
- In OS X, you can use AudioUnit, LADSPA and LV2 plugins. AU plugins with Cocoa or Carbon GUIs are both supported. As of Ardour 2.8.5, Ardour provides tempo and meter information to AU plugins.
- In Linux, as of Ardour 2.5, you can use LADSPA and LV2 plugins. In the current version of Ardour (beginning with version 2.8.3) plugins that use the LV2 external GUI extension get their own custom GUI displayed, rather than the generic one offered by Ardour itself. Some Windows VST plugins work in Linux, though not all will function correctly and they can make Ardour unstable. It is, after all, software created for a different operating system so you cannot depend on it.
- Ardour 2 is not a MIDI sequencer (although that function is implemented in Ardour 3, which is currently in beta testing.)
- For both OS X and Linux, there are free-of-charge tools for making connections between MIDI hardware and “virtual” MIDI ports like the ones that Ardour creates and uses.
- On OS X, Ardour developers recommend Pete Yandell’s MIDI Patchbay.
- On Linux, a wide variety of tools are available including QJackctl, aconnect, Patchage, and more.
- Ardour is closely integrated with JACK, a computer sound system which is a hub for all of your audio hardware and software. It can even connect to other computers. JACK lets numerous audio programs run simultaneously, and even exchange information, while still operating at a low latency. This functionality is a major advantage of using Ardour.
- In Linux, JACK uses ALSA to interface with audio hardware (and FFADO for FireWire audio hardware). In Mac OS X, it uses CoreAudio.
- JACK is designed to operate at a low latency and this can be fine-tuned in the JACK configuration. A new Ardour session will automatically use the current JACK configuration for its settings.
- Choosing the correct latency setting depends on several factors: your computer hardware, the audio driver you are using, the sample rate you are using, and the amount of audio data being processed.
- In addition, Ardour offers automatic latency compensation for plugins.
- Ardour offers three forms of dither: Rectangular, Shaped, and Triangular.
- In addition to its other features, Ardour can be used in mastering a project because its use of JACK allows you to connect to free open source programs such as JAMin (JACK Audio Mastering interface).