Do you know any Linux plugin to slightly correct the tuning of a single note or a small fragment?
Definitely small movements on EQ is good…We are talking 1dB or less. One way to go about this in a visual way is to have an FFT analyzer plugin that builds a graph for the whole piece so you can see where any frequency peaks occur. Maybe there is an obvious one that can be brought down ever so slightly. The other way, of course, is to split the region just for the offending note and deal with it individually though this might be a little trickier in Ardour without per-region plugins. The other thing to try is a gentle low-pass to see if it tames the higher notes in terms of the harmonics. This might be the most pleasing overall and might give added realism in terms of distance with the added reverb. It’s a delicate balance given the overall excellence of the sound. Just be creative knowing that you can always go back to the original at the click of a button!
Not off the top of my head. I’m assuming you mean something like Melodyne where you can drag individual notes around after pitch analysis? In your case, I’d be tempted to just record another patch as that would be the most natural-sounding. The one thing I’ve never explored in Ardour is general re-pitching so, again, unsure whether you could do this on a per-region basis but sounds like a possibility. Small changes would work and I’ve certainly done similar in Sequoia to good effect when I was stuck with only one take of a section.
I first have to learn how to read the info of the analyzers… 
Other question: Where to do the equalization, at the end? On the master? On every mic? On a new bus?
I need to learn a lot… Sorry. How can I to do this?
I have 4 versions of the end of this piece, but the one I like the most is the one that the penultimate note a bit high.
Melodyne could be fantastic, but a more elemental plugin, manually, could be enough. I will explore the re-pitching if I know how to do it 
https://www.soundonsound.com/sound-advice/q-what-are-filters-and-what-do-they-do
Find a good EQ (like x42-eq, a-eq (built into Ardour) or CALF stuff) and use the low-pass which is generally found on the right-hand side of the plugin GUI. You basically want to create a gentle slope and judge the starting frequency by ear. It might not be exactly what you want in this situation…try lots of different things and be creative. It seems you have a gift for producing good results with unconventional methods so just experiment. I do highly recommend those two books I mentioned in addition to this one:
Obviously any Sound-on-Sound articles are excellent too! Get your basic understanding (and more!) from the literature and from forums like this one and Gearslutz and then continue to think outside the box as necesssary. At least you’d know what the various standard approaches are and why you want to deviate from them.
Autotune from x42 plugins might do the trick. You can automate it to kick in just for certain notes. Or just replace out of tune notes with the same in tune notes from another take. There is pitch shift function built in Ardour, too. You basically create region with the note you want to tune, then select that region, right click and from drop down menu select [name-of-the-region]>Edit>Pitch Shift. If I remember correctly it works fine up to 50 cents (quarter of a tone).
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Excellent. Never used it myself but good to know it is there on a per-region basis.
In my experience with recording flutes - and sitting next to them in the orchestra every day - that HF content is very characteristic for flute playing, some hiss that is formed somehow in the head of the instrument. It is louder with some players, but it is always there, especially when recorded from a few meters distance. Most of the time it occupies narrow frequency band somewhere between 7000 and 10 000 Hz. You need to do some frequency sweep to locate it correctly, it is different for each player. Once located, it is neutralized with merely 4 or 5 dB cut with very narrow Q. This approach will change the overall sound way less then LP filter so I suggest to try that first.
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There is nothing wrong with having EQ on each of those instances if you feel there is a need for it. I think it is important to shape the sound before it reaches reverb, because the reverb will only amplify undesired features. But If you feel (…hear…) there is something that needs to be tweaked after the reverb, just put EQ on the master bus and tweak it. After all, mastering engineers do that all the time.
Great!! I corrected the penultimate note 15 cents down, I think now is better
I tried but maybe I do something wrong the result is awful.
I also tried to correct a bit the equalization a bit.
The reverb is one more time the Clear Hall.
Here is the wav file if you like to listen it
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I can do one better. I sit next to one and also sleep next to one. Thankfully my wife doesn’t hiss during the night though can sometimes talk in her sleep . I digress…
I don’t doubt that the “hiss” is a thing. Though In this situation I do think I hear something unconnected to that to do with overtones from the musical notes themselves, hence only occasionally noticing it. I think it has something to do with the way the recorded sound is mixed with the artificial (but awesome) reverb. In purely natural recordings wouldn’t you expect more of a decline in the HF content with that kind of reverb present? That’s why I suggested a low pass filter. Nothing drastic, just a tapering to blend the recorded flute with the hall verb.
In any case, there’s lots of good stuff being talked about and I’ll be the first to say that I could be entirely wrong in my assumptions. The higher notes that occasionally bother me could be precisely because more air is being used.
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On another note, I just purchased a Lenovo Ideapad S540 direct from Lenovo’s site. I think I got a good deal which includes 8th gen i5, 12GB ram and a 256GB PCIe SSD. I hope that it is as quiet as advertised. I didn’t need a monster machine but something that could handle 2 to 8 channels of audio at 44.1k/24 or on occasion 96k/24 from a dedicated USB interface or my MixPre6. I looked into the field recorder + Korg control surface + ipad/smart keyboard etc and suddenly it seemed less hassle and money to just go the laptop route. I already have the Furman power conditioner rack unit so now I’m on the lookout for a great 8-channel interface…
No, I am bassoonist😃
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Yes, that was exactly my idea, to share our experience with @Aleph so he can learn about EQ qicker then experimenting on his own for years. We were all beginners at some point, and I am first to admit I picked a lot of interesting new ideas from this thread.
If you have thousands of dollars available, check, Merging Technologies Hapi, Grace m108 or Mytek 8x192 ADDA with usb card. For under $1000 Arturia Audio Fuse 8pre looks interesting… For $200 you can get used M-Audio Fast Track Ultra 8R from ebay (I have got one… It doesn’t bring any kind of magic to the table, but it is useable if you are on budget). All of these work with Linux, too.
Hahaha. Great!! Is she a professional flutist?
I get sometimes “xruns”, maybe should I improve the RAM? Or for a RT kernel?
Great people on this forum!!! Can you tell us the orchestra? I have been playing on a woodwind quintet for years, I love the basson.
I will share with you my web page:
www.luisorden.com
I did a new equalization for the “hiss”:
On the master I did a low pass HF and a narrow 2700Hz down 8db.
I’ve not had any xruns to speak of since moving to AntiX (17 but new version 19 just released!). The key thing that stabilized everything for me was not a RT kernel but low-latency Liquorix kernel. I’ve read in various places that low latency is generally better these days. Just to note, I had to choose a slightly older version of Liquorix for my own desktop system as the latest made my mouse cursor move really slowly. One minor version back fixed that and gave me the best performance I’ve had on any system including Windows 7/10 and MacOS. AntiX + Liquorix + KXStudio repos = awesome! Sometimes for capture on location, I’ll boot up an AVLinux live thumb drive and I get great results recording to the laptop HD.
Would you be able to re-submit the Syrinx performance but with the EQ added? That way I’ll get a great sense of how things have changed for better or worse 
I wish. I could spend everything on an interface but unless I’m sat here with a pair of Schoeps (I’m not ) I worried whether it would be money well spent. I have used various 8-channel Focusrite devices over the years: Saffire Pro 40, Saffire 56, first-gen 18i20 and the only ones sat here now are a 2-channel Clarett and a representative sample of the Behringer UMC family (204HD, 404HD and 1820). I chose them after lots of listening to the preamps and, in the case of the Behringer units, compatibility with Linux. I’m not disappointed at all but I’ve also not had to use them professionally since I’ve had at my disposal a modded Marantz PMD661 and more recently a Zoom F8 and MixPre6 ii both of which can double as a interfaces.
I love Merging stuff and I have my eye on one of the new Anubis interface/monitor/does-it-all devices. It only has two mic preamps but ability to add to via two external via line-ins. However great it sounds, the GUI looks really complicated and I probably won’t use 90% of the functionality. I’m wondering whether a 3rd gen Scarlett 18i20 is the way to go ($500) or pick up a Zoom F8n or whatever next gen will be given the ability to record to SD as well as simultaneously stream via USB. I’ve always had back-up devices with me on location but I’ve never run two systems simultaneously…
The thing I’ve tried to live by for most of my life so far (turning 39 tomorrow!) is that there is always something new to learn about anything and from anyone. I’m glad we have yet another space to talk classical workflow! My weakness, being totally honest, is that I use my gut (and gut only) for live recording. I think about where it would sound best, have a quick listen walking back and forth down the aisle, use an appropriate stereo setup for the SRA and call it good. I rarely pull the stand back down to adjust (essentially only if I see that the mic array has slipped position). I suppose I’ve just been lucky so far that it never comes out like a complete mess. I just have a great dislike for fiddling with equipment when musicians and early audience members are pottering around. For session stuff, I’ll take my time and walk around the room (or at least walking up and down the center) cupping my hands behind my ears etc and looking like a fool…Once I find the good point (is cupping hands behind ears even worth it?!) I just make sure the height of the stand is tall enough to “see” the middle of the ensemble thus creating some semblance of balance and reducing strong reflections directly bouncing off the often un-carpeted floor.
Talking of stands, I’ve used a trusty Falcon Eyes light stand from the UK for years (goes to just about 12 feet with the cool air-cushioned sections for pull-down). I don’t need sandbags (!) and it is super light to carry around too. It’s silver and wider diameter than any mic stand I know but nobody’s complained so far even when I insist it needs to be in the center behind the conductor. I use a Grace Design 60cm stereo bar with added center-mount (absolutely outrageous price!) but the cute little measuring tape they include softens the blow somewhat. I lost one of the tiny angle screws last year and I was able to replace it but it cost me $15
