I work in an electronic music studio. I'd love to use Linux, but the apps just aren't there.
The fact that there's almost no development community addressing this potentially enormous market amazes me to no end.
But, until then, I'll use Windows. Not because it's great, but because it has the apps I need.
"I have yet to see better output from a computer program, Finale can't even compare."
Unless, of course, you want your music to look published.
LilyPond is cute but it looks exactly nothing like typeset music. Try Score, Sibelius, or yes, even Finale if you know how to use it.
Don't believe me? Try submitting your LilyPond output to a publisher.
Linux advocacy is fine, but let's be sure to reality check every once in a while - there are some things that Linux simply doesn't do better yet. Period.
Good luck running Cubase in an emulator. Your latency will be HORRIBLE. To run properly, Cubase requires direct access to your audio system - that's the whole purpose of the ASIO standard.
And for now, there's no app on Linux that even comes close to Cubase, Nuendo, Logic, not to mention all of the incredible virtual synth apps (Reaktor, Reason, etc.)
Sorry, but Csound is not an alternative. Incredible power + lousy, non-real-time interface = inefficient workflow. Sure guys like Autechre use it - but for raw sound design, not composition.
This record company should be made an example of - someone with very high-end audio equipment should record the full contents of this CD, encode them, and ACTIVELY distribute them on the net.
The fact that the music is crap shouldn't stop us. Let's make this the most pirated CD in history.
I don't want to pick nits, but there's TONS of room for creative input in the world of 12-tone music. Schoenberg's matrices were only that - a collection of potential row forms that were related but could be freely deployed in a work.
Later on, of course, the so-called "post-Webern" serialists tried to apply that sort of organizational scheme to additional parameters (orchestration, rhythm, timbre, etc.)
But choice never went away. The closest we got (maybe) was in Xenakis's computer-generated music based on stochastic theory or in Cage's chance music.
Wasn't there an article somewhere (perhaps here) a few months ago about how, despite the slowdown in the tech sector, the online porn industry was still thriving?
Provided you're not overcome with guilt about the moral issues, there are probably plenty of jobs out there.
Slashdot Mirror
I work in an electronic music studio. I'd love to use Linux, but the apps just aren't there.
The fact that there's almost no development community addressing this potentially enormous market amazes me to no end.
But, until then, I'll use Windows. Not because it's great, but because it has the apps I need.
"I have yet to see better output from a computer program, Finale can't even compare."
Unless, of course, you want your music to look published.
LilyPond is cute but it looks exactly nothing like typeset music. Try Score, Sibelius, or yes, even Finale if you know how to use it.
Don't believe me? Try submitting your LilyPond output to a publisher.
Linux advocacy is fine, but let's be sure to reality check every once in a while - there are some things that Linux simply doesn't do better yet. Period.
"There are indeed multiple sequencer projects for Linux which provide a similar user interface to Cakewalk."
Sure. Brahms LOOKS like any of the Pro-Tools modeled sequenecers. But what can it DO?
Name one Linux app with the power of any of Steinberg's products (Cubase, Nuendo, etc.) I'll help you. There are none. Period.
Good luck running Cubase in an emulator. Your latency will be HORRIBLE. To run properly, Cubase requires direct access to your audio system - that's the whole purpose of the ASIO standard.
And for now, there's no app on Linux that even comes close to Cubase, Nuendo, Logic, not to mention all of the incredible virtual synth apps (Reaktor, Reason, etc.)
Sorry, but Csound is not an alternative. Incredible power + lousy, non-real-time interface = inefficient workflow. Sure guys like Autechre use it - but for raw sound design, not composition.
This record company should be made an example of - someone with very high-end audio equipment should record the full contents of this CD, encode them, and ACTIVELY distribute them on the net.
The fact that the music is crap shouldn't stop us. Let's make this the most pirated CD in history.
in video and pro-audio care a lot.
An extra chunk of processor cycles = more effects plugins, virtual instruments, etc. This is a big deal for folks with native studio setups.
You're not going to notice a difference in Word but I sure as HELL would notice a difference in Cubase.
http://www.mp3.com/vanderrohe
Later on, of course, the so-called "post-Webern" serialists tried to apply that sort of organizational scheme to additional parameters (orchestration, rhythm, timbre, etc.)
But choice never went away. The closest we got (maybe) was in Xenakis's computer-generated music based on stochastic theory or in Cage's chance music.
Provided you're not overcome with guilt about the moral issues, there are probably plenty of jobs out there.