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My main instrument is my voice – singing, rapping, screaming, scatting, beatboxing, playing mouth-saxophone and voice acting. One of my long-term goals is to prove that open source software is capable of producing top quality music, that can achieve commercial success just like the music created with closed-source, proprietary software. There's one longplay that isn't listed above, it's called Jooze (availabile on and it's a work that I don't promote, because I used other people's drum samples, which I don't do any more, as I synthesize all sound by myself. There's also an industrial-ambient soundtrack mini-album (EP?) called The Zone that I wasn't able to upload to Bandcamp due to some technical issues, but it's availabile on Jamendo and YouTube. Also there's a very recent video of me performing solo with the Choir of Warsaw Medical University. The unique aspect of my workflow is that I don't use any drum samples (with a few exceptions) or other people's presets.
I very like distortion as a tool to make my synths more aggressive, harsh, analogue-like and rich. Also I frequently layer a few slightly different versions of one synth, panning them around, detuning slightly, filtering and blending them together.
If you've started you musical journey with FL Studio (like me), you should feel comfortable with LMMS, as it is similar in design.
If you like synthesizers, want to use your old VSTi collection or just drop in some samples and make a beat - go ahead and try it :) You can also download my projects (as I synthesise all stuff, you might need some extra plugins, but no samples) and tear them apart, I really like learning new software this way.
I used to live in a cave - you know - spending hours and hours alone clicking music out of my mind into the computer.
Now I'm leaving the cave and slowly preparing myself for the stages, so reliable live MIDI processing is starting to get important just like the daily piano practice. Also the JACK-ALSA MIDI bridge fails me regularly - I don't quite feel like playing anything fancy live with that right now.
I got an AKAI MPK mini MKI keyboard controller around 2012, but a friend of mine was right about it when he said: “you need a bigger keyboard”. Since I'm always working with headphones, the first serious purchase in the field were Denon AH-D301. Proper studio monitors were way to expensive for me most of my life, but I'm now saving for a pair of Behringer NEKKST K8. The most recently purchased hardware I own (excluding the new Dell laptop) is the M-Audio Oxygen 49 MKIV USB MIDI controller keyboard. After a few years of more and more desperate searching for an unbreakable distribution I settled down with KXStudio. Why do you feel open source is important, and what for you is the most important aspect of Linux audio?
I personally use Blender and Inkscape every day in my regular job and in 2015 I also started supporting the projects I use with small donations from time to time (LMMS, Ardour, Blender, KXStudio, Calf).
Also LMMS is developing nicely, it's made great progress in last year (I made some contribution to that) and I can't wait to see what comes next. It's hard to point something discrete, because that was (and still is) a broadband ocean of resources. Chaos Chimp is a plugin that might be helpful for Linux audio developers – it deliberately causes trouble so you can prepare your software for that eventuality. Sign up to our newsletter and receive monthly updates about the latest news, tutorials, interviews and articles on LMP.

This work is licensed under a Creative Commons Attribution-ShareAlike 4.0 International License. Ported to Drupal for the Open Source Community by Drupalizing, a Project of More than (just) Themes. Since my early years I dreamed about a keyboard – I was staring at the shiny Casio workstations with floppy disk drives exposed in stores. A good showcase are three tracks from my album “Static”: “Beepson Junior”, “I gotta tell you something” and “Not The End”.
It was included in LMMS demo songs (minus the vocal sample) and was promoted on it's main page for over a year.
Also my work was completely done by intuition, “by ear” as I didn't receive formal music training. I try to start my work by laying down a chord progression, and build the bass and lead lines on top of that. I frequently use a few types of distortion, I filter that, pan it left and right and mix in a small amount of that distorted and filtered signal with the dry original. It has 16 parts (one for each MIDI channel) each part has 3 effect slots, plus there are 4 global send effects and 8 insert effect to use for a single part or master channel. It lacks some functionality and has bugs (like everything), but it can let you make great sequenced music. I did my older stuff with Audacity, but it's not really designed for music production, it's for general sound editing and works great in that field. There are just a few tracks that contain material I actually played on a keyboard (Hammond solo in "Spin" for instance - it's a trick recording I performed that in 4 times slower tempo, so it's a cheat anyway, also I used an AKAI MPK mini). My current plan is to use Ardour 4 for realtime audio routing, processing and effect control plus x42 MIDI filter plugins to filter the signals and drive multiple virtual instruments with one m-audio Oxygen 49 (MKIV) MIDI keyboard controller. In Catia (an audio & MIDI patchbay program) I can have green, red and even orange MIDI ports. I chose it, as it was a highly portable and economic all-in-one sound capture device that I'm using for field recording, line recording of live events or electric instruments, and as a stereo home-studio microphone.
Recently I switched to a Dell Lattitude 3550 shipped with Ubuntu 14.04 LTS with i7, 8GB of RAM and 1TB disk drive, FHD display (lots of pixels!). I guess the collaborative project with Combustible Lemonade will be mixed and mastered with them.
It's the Gospel of software, the good news, the freedom and joy of serving each other without demanding a pay.
It's capable of 95% of what I need, and it's very convenient to use for creating complex, layered sounds with lots of motion, effects and detail.
I really like using Synaptic (a popular graphical package manager) to search for tools I need to get something done, or just putting in random tags and looking for interesting titles or descriptions. In April 2015 I finally started following that dream – I bought a MIDI controller keyboard and in May 2015 I started attending individual piano lessons. This made me think a lot about what may destroy my voice and if I want to carry on performing this way. I mastered this in Audacity, all tracks are made with MODPLug Tracker (OpenMPT) using various free VSTs and VSTis. The inspirations include classical music, jazz, progressive rock, and various flavours of EDM like drum&bass.

If you're into recording vocals or live instruments, or combining this with sequenced electronic stuff - or even scoring a movie - Ardour is gonna make you happy. So I'd like some clean up in this field, simplifying things, making MIDI signals universally understood across all Linux audio processes, just like SIGKILL is. I had to resolder the wires inside one headphone, I turned the muffs inside out and added dampeners made from scotch, because the rig was making clapping noises when I was walking quickly wearing the headphones. So instead of reinstalling my system as an ultimate fix, I started reporting bugs and providing feedback to developers. I think our global mentality as software users is slowly changing from “I pay therefore I demand” to “I value therefore I support”.
I think Paul Davis is the father of Linux pro audio and without JACK and Ardour, there'd be little room for serious studio work on Linux.
I think all that can help people who are new to Linux audio to discover the power and get going.
I'd like to draw more attention to stability, crash recovery, backups, autosave, and making software catastrophe-resistant. Report problems, get to know the people who create the software, use your talents to push it forward. If you go for Ardour 4 (available from KXStudio repositories) you don't need to setup JACK and can go with pure ALSA. As for KXStudio that I'm using for a year now - I value it's powerful and convenient KDE desktop, fantastic set of cutting-edge tools available through it's own repositories, good support and custom applications that are developed for it. I think very interesting things will emerge as this mentality spreads – Blender seems to be the biggest self-funding open source project that's showing new possibilities for other FLOSS projects. I now scream sporadically and I don't want to make my music rely on this type of performance. Combustible Lemonade is mostly responisble for the composition, I'm doing the sound design. Sometimes I start a track humming a lead or bass line, putting it quickly into the sequencer and working around that. I was thinking about getting Zoom H2n, but I decided that the old one is still fine and I don't need a new recorder. I used Ubuntu Studio, Crunchbang Linux, Debian, Gentoo, 64 Studio, Linux Mint, AV Linux, ArtistX and KXStudio. Some vocalists seem to be scream-proof (Mike Patton, Robert “Litza” Friedrich) but I don't seem to be one of them.
Early on I decided I want to develop a recognizable sound, and the synthesizers are one way of achieving that. I used to change the distribution every time something broke and I wasn't able to fix it (it has to work elsewhere!). Extrapolating this formula means open source projects can pay programmers to work full-time on the software. However I value screaming as an extremely powerful musical device when used sparingly and carefully.

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