Music: Gleshnor

Sugar-coated electronic rasp.

This project started as a test of Ardour 3’s new MIDI and synth-plugin features (still in beta). In this role, it served in uncovering and fixing a number of issues and grew into something a little more ambitious over time.

The kick, bass and lead all come from instances of Calf‘s Monosynth.

When thinking about what I could draw as a cover image, Driddee jumped into my mind. Similar to the music, creating this image was a test run, with Krita. Took a bit to get comfortable with it, but now I’m rather pleased. I need more practice, obviously πŸ™‚

Other formats, the entire Ardour session as well as a track-by-track export (wavpack format) are available via

Creative Commons License
Gleshnor and Driddee by Thorsten Wilms are licensed under a Creative Commons Attribution-ShareAlike 3.0 Unported License.

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Get on Board the Blues – Guicussion Remix

Dave Phillips recently published a great Blues track in a not so great mix and made the material available on request. Since others covered the gentle just bring out what’s there (by Fons Adriaensen) as well as tasteful addition of drums (by Jason Jones), I just had to do something a little different.

Online player, choice of different formats and the entire Ardour session packed up on

All additions are created from the original material, no samples added. Both the original and remix have been produced with pre-release builds of what will become Ardour 3.0.


More music from Dave
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1, 2, 3, 4, Finished!

Yesterday I finalised the international counting track and submitted low-quality versions (1 MB size limit) to the Ubuntu Free Culture Showcase.

I made 2 versions, with and without whistling. The speech melodies inspired me, but the whistling might be found to take away from the counting.

Several formats and the complete Ardour session are available on, everything licensed to the public under Creative Commons Attribution-Share Alike 2.0.

Big thanks to all the contributors:

Sampo Savolainen, Finnish

becks, Italian

Robin Gareus, German

Ken Restivo, US-English

David Paez, Spanish

Gordon JC Pearce MM3YEQ, English, Gaelic

Savvas Z. Radević, Serbian, Greek, French, English

Nils “Steele” Gey, German, Japanese

Maxime Deschildre, French

Comments and remixes welcome!

Woxitron 2

A while ago I published a work-in-progress version of this. My intention was to add melodic parts later on, but today I decided that there’s enough going on already and that my time is better spend working on other tracks.

Woxitron at

Recorded and arranged with Ardour. Mastered with Jamin.

There’s also a tar archive of the Ardour session with wavpacked audio files up there. Remixes are welcome πŸ˜‰

License: CC-BY-SA

We don’t want you


A piece of music about the feeling of being rejected. Don’t worry about me, I just had to let of some steam in a way πŸ˜‰

Online player, MP3, Ogg Vorbis, Flac, all on the Internet Archive.

While all sounds originate from my mouth or household objects, I did mean things to some of them πŸ™‚

Recorded and arranged with Ardour. Mastered with Jamin.

There’s also a tar archive of the Ardour session with wavpacked audio files up there. I would love to hear replacements, additions, remixes … πŸ˜‰

License: CC-BY-SA Statistics

Once in a while I take a look at the number of downloads and whether anyone bothered to add a comment for any of my tracks on I announced all of the newer tracks I didn’t just record and master, but also arranged on Linux, on the Linux Audio Users list and that should explain most of the about 100 to 230 downloads each of them got. Not stellar, but so much more exposure than with my previous method of playing stuff to classmates and relatives who didn’t manage to flee fast enough πŸ˜‰

The other tracks where uploaded in 2 or 3 sprints, so their release dates don’t vary much. But there a few run away tracks among them, approaching or having more than 500 downloads each. I can see no pattern, except that these are among the better ones. Found no pages linking to them, so it must have been word of mouth!?
Relax (595)
Daydreaming (518)
Chordless (486)

On the other end, 3 times pseudo rock (I can see why):
Loud (10)
On the Rocks (12)
Close to the Limit (16)
And an odd one:
Spontaneous Trip (18)

JACK Synthesizer Manager Proposal

Audun Halland and I have been thinking about a set of related problems in the realm of Linux audio. The first result is the following proposal, meant to gather feedback from the community via the LAD and LAU mailing lists.

JSM, the JACK Synthesizer Manager

We propose a programm that acts as a proxy between sequencing software and both software and hardware sythesizers. Among the goals are unified patch selection and making projects more portable.

If we get the impression that the JSM is something that both developers and users will find handy and use, then development might start real soon.

In this text, we avoid going into technical details to foster free thought and discussion.

Use Cases

Patch selection

Goal: Choose patches from all available hardware and software synthesizers.

Giorgio uses a single means to select a patch among all patches of all of his software and hardware synthesizers. He uses meta-data to find the right patch. The right connections are made automatically.

Computer as syntheszier

Goal: Use the computer as a compound synthesizer in a live performance.

Hiromi has her keyboard connected to her laptop live on stage. She uses several soft-synths via keyboard-split and layering. A few selected parameters are bound to the wheels of the keyboard. After each song, she switches from one setup to the next with least effort.


Goal: Exchange projects without having to change settings back and forth.

Alice and Bob take turns on working on a project. They use different hardware but don’t have to manually change connections and choose patches on each turn because of an abstraction layer.

MIDI Interface Ports

The problem with MIDI interface ports is that the hardware on the other side and its setup might change. Or be entirely different if people exchange projects. An abstraction layer can make this more comfortable to handle.

The JSM takes care of the mapping between software ports and MIDI interface ports. It can work on a per MIDI channel level.

Patches and Instrument Definitions

Patches and controllers are chosen by name; the user doesn’t have to deal with cryptic numbers. For kit-programms, name mappings are given (e.g. bass drum on C1).

Patch selection happens by a single means, offering all available patches (JACK apps, plugins, hardware). Making the required MIDI and audio connections is automated as far as possible.


Categories help to find the right patch among many. When exchanging projects, they help to replace unavailable patches with similar ones.

Virtual/Compound Synthesizers

From the outside, the computer can be dealt with like a single compound synthesizer. Different synthesizers can be triggered from ranges on a single keyboard (key splits). Synthesizers can be layered. The whole setup can be switched with programm changes.

JACK to ALSA Bridge

JSM could be the de facto JACK MIDI to ALSA MIDI bridge. No Jack “SYSTEM” midi ports, the jack world only sees the devices offered by JSM.

Audun Halland and Thorsten Wilms