From: Jörn Nettingsmeier
The file will be imported and copied
- into your session, and placed at the position when the drag ended.
+ into your session, and placed at the position where the drag ended.
If the sample rate differs from the current session rate, it is displayed
- in red, which indicates that the file must be resampled before importing,
- which is controlled by the Conversion quality
+ in red, which indicates that the file must be resampled before
+ importing.
+ Resampling is controlled by the Conversion quality
option described below.
When recording, it is important to hear yourself, and to hear any pre-recorded tracks that you are performing with.
-Audio recorders typically have the ability to "monitor" (i.e. listen to) the tracks that are armed for recording, while playing back the tracks that aren't. In the days of analog tape recording, this was performed with relays and other analog audio switching devices. Digital recorders have the same feature, but may impart some latency (delay) between the time you make a noise and the time that you hear it come back from the recorder.
-The latency of any conversion from analog to digital and back to analog is about 1.5-2 milliseconds. Some musicians claim that even the basic A/D/A conversion time is objectionable. However even acoustic instruments such as the piano can have approximately 3ms of latency, due to the time it takes sound to travel from the instrument to the musician's ears. Latency below 5ms should be suitable for a professional recording setup. Because 2ms are already used in the A/D/A process, you must use extremely low "buffer sizes" in your workstation I/O setup to keep the overall latency below 5ms. Not all computer audio systems are able to work reliably at such low buffer sizes.
-For this reason it is sometimes best to use an external device to monitor yourself while recording to digital medium. Many professional studios use a mixing console for this feature. Many computer I/O devices have an "monitoring" function built-in (although this is typically only for 1 or 2 channels). In either case, the monitoring hardware may be digital or analog. And in the digital case you will still have the A-D-A conversion latency of 1-2ms.
- -There are three basic ways to approach monitoring:
- -With this approach, Ardour plays no role in monitoring at all. Perhaps the recording set-up has an external mixer which can be used to set up monitor mixes, or perhaps the sound-card being used has some âlisten to the inputâ-style feature. This approach often has the advantage of zero or near-zero latency. On the other hand it requires external hardware, and the monitoring settings are not saved with the session.
- - -Some sound cards have the ability to mix signals from their inputs to their outputs with zero- or low-latency. Furthermore, on some cards these features can be controlled by JACK. This is a nice arrangement, if the sound card supports it, as it combines the convenience of having the monitoring controlled by Ardour with the low latency operation of doing it externally.
- - -With this approach all monitoring is performed by Ardour; it makes track inputs available at track outputs, under the influence of various controls. This approach will almost always have more routing flexibility than JACK-based monitoring. The disadvantage is that there will be a latency between the input and the output. The size of the latency depends largely on the JACK buffer size that is being used.
- - -There are three main settings which affect how monitoring is performed. The first is Edit > Preferences > Audio > Record monitoring handled by
. There are two or three options here, depending on the capabilities of your hardware:
The other two settings are more complex. One is âTape machine modeâ, in the same dialog, and the other is âMonitoring automatically follows transport state (âauto-inputâ)â setting in Session Properties.
-Monitoring is also somewhat dependent on the state of the track's record-enable button, the session record-enable button, and whether or not the transport is rolling.
- -If Ardour is set to âexternal monitoringâ, the explanation of Ardour's monitoring behaviour is simple: it does not do any. In the other two modes, things are more complex.
- -This section describes what happens when Ardour is not set to tape-machine mode.
-Consider first the case where a track is record-enabled. In this situation, Ardour always monitors the live input unless the session is not record-enabled, auto-input is enabled, and the transport is rolling.
-When a track is not record-enabled, the track will play back its contents from disc unless the transport is stopped and auto-input is enabled. In this case, the track monitors its live input.
- -In tape-machine mode, things are slightly simpler; when a track is record-enabled, its behaviour is the same as in non-tape-machine mode: it always monitors the live input unless the session is not record-enabled, auto-input is enabled, and the transport is rolling.
-When a track is not record-enabled, however, the track will always just play back its contents from disk; the live input will never be monitored.
- ++ When recording, it is important that performers hear themselves, and to + hear any pre-recorded tracks they are performing with. + Audio recorders typically let you monitor (i.e. listen to) + the input signal of all tracks that are armed for recording, and playing + back the unarmed tracks. +
+ +{% children %} diff --git a/_manual/13_recording/01_monitoring/01_latency-considerations.html b/_manual/13_recording/01_monitoring/01_latency-considerations.html new file mode 100644 index 0000000..505e26a --- /dev/null +++ b/_manual/13_recording/01_monitoring/01_latency-considerations.html @@ -0,0 +1,41 @@ +--- +layout: default +title: Latency Considerations +menu-title: Latency +--- + ++ In the days of analog tape recording, the routing of monitor signals was + performed with relays and other analog audio switching devices. Digital + recorders have the same feature, but may impart some + latency + (delay) between the time you make a noise and the time that you hear it + come back from the recorder. +
++ The latency of any conversion from analog to digital and back to + analog is about 1.5–2 ms. Some musicians claim that even the + basic A/D/A conversion + time is objectionable. However even acoustic instruments such as the piano + can have approximately 3 ms of latency, due to the time the sound + takes to travel from the instrument to the musician's ears. Latency below + 5 ms should be suitable for a professional recording setup. Because + 2 ms are already used in the A/D/A process, you must use extremely low + buffer sizes in your workstation I/O + setup to keep the overall latency below 5ms. Not all + computer audio systems + are able to work reliably at such low buffer sizes. +
+
+ For this reason it is sometimes best to route the monitor signal
+ through an external mixing console while recording, an approach taken by
+ most if not all professional recording studios. Many computer I/O devices
+ have a hardware mixer built in which can route the monitor signal "around"
+ the computer, avoiding the systemlatency.
+ In either case, the monitoring hardware may be digital or analog. And in
+ the digital case you will still have the A-D-A conversion latency of
+ 1–2 ms.
+
There are three basic ways to approach monitoring:
+ +When using external monitoring, Ardour plays no role in + monitoring at all. Perhaps the recording set-up has an external mixer which + can be used to set up monitor mixes, or perhaps the sound-card being used + has a "listen to the input" feature. This approach yields zero or near-zero + latency. On the other hand it requires external hardware, and the monitoring + settings are less flexible and not saved with the session.
+ +Some sound cards have the ability + to mix signals from their inputs to their outputs with very low or even zero + latency, a feature called hardware monitoring. + Furthermore, on some cards this function can be controlled by JACK. This is a nice arrangement, + if the sound card supports it, as it combines the convenience of having the + monitoring controlled by Ardour with the low latency operation of doing it + externally. +
+ +With the software monitoring approach, all monitoring is + performed by Ardour — it makes track inputs available at track + outputs, governed by various controls. This approach will almost always have + more routing flexibility than JACK-based monitoring. The disadvantage is + that there will be some latency between the input and the output, which + depends for the most part on the JACK buffer size that is being used. +
+ +{% children %} \ No newline at end of file diff --git a/_manual/13_recording/01_monitoring/03_monitor-setup-in-ardour.html b/_manual/13_recording/01_monitoring/03_monitor-setup-in-ardour.html new file mode 100644 index 0000000..224d7b2 --- /dev/null +++ b/_manual/13_recording/01_monitoring/03_monitor-setup-in-ardour.html @@ -0,0 +1,56 @@ +--- +layout: default +title: Monitor Setup in Ardour +menu-title: Setup in Ardour +--- + +Ardour has three main settings which affect how + monitoring is performed. The first is + Edit > Preferences > Audio > + Record monitoring handled by. There are two or three + options here, depending on the capabilities of your hardware. +
+The other two settings are more complex. One is + Tape machine mode, found in the + same dialog, and the other is the + Session > Properties > Monitoring + automatically follows transport state setting. +
++ Monitoring also depends on the state of the track's record-enable button, +the session record-enable button, and on whether or not the transport is +rolling. +
+ ++If Ardour is set to external monitoring, the explanation of +Ardour's monitoring behaviour is simple: it does not do any. +
+ ++ When Tape-Machine mode is off, and a track is armed, + Ardour always monitors the live input, except in one case: + the transport is rolling, the session is not recording, and + auto-input + is active. In this case only, you will hear playback from an armed track. +
++ Unarmed tracks will play back their contents from disc, unless the + transport is stopped and auto-input is enabled. + In this case, the track monitors its live input. +
+ ++ In Tape-Machine mode, things are slightly simpler: when a + track is armed, its behaviour is the same as in non-tape-machine mode. +
++ Unarmed tracks however will always just play back their contents from + disk; the live input will never be monitored. +
+ +{% children %} diff --git a/_manual/13_recording/02_track-recording-modes.html b/_manual/13_recording/02_track-recording-modes.html index 41e4492..774e517 100644 --- a/_manual/13_recording/02_track-recording-modes.html +++ b/_manual/13_recording/02_track-recording-modes.html @@ -2,23 +2,15 @@ layout: default title: Track Recording Modes --- - - - -"Recording mode" is a per-track property (audio tracks only) that affects the way that recording new material on top of existing material ("overdubbing") operates in that track. Ardour offers 3 different recording modes:
-To change the recording mode of a track, right click on its track header to get the context menu:
- -Below is a screenshot that shows the subtly different results of an overdub in normal and non-layered mode. Both tracks were created using identical audio data.
-The upper track is in normal mode, and the overdub (the middle shorter region, selected) has created a new region which if you look carefully has been layered on top of the the existing (longer) region.
-The lower track is in non-layered mode, and rather than overlay the overdub region, it split the existing region and inserted the new one in between.
- -Non-layered mode is extremely useful when combined with push/pull trimming.
++ The Recording mode is a per-track property (applies to audio + tracks only) that affects the way that recording new material on top of + existing material ("overdubbing") operates in that track. +
++ See Track modes + for a detailed explanation. +
+ +{% children %} \ No newline at end of file