From: Jörn Nettingsmeier The name "Ardour" came from considerations of how to pronounce the acronym HDR(Hard Disk Recorder). The most obvious attempt sounds like a vowelless "harder" and it then was then a short step to an unrelated by slightly homophonic word: ardour â n 1: a feeling of strong eagerness (usually in favor of a person or cause); "they were imbued with a revolutionary ardor"; "he felt a kind of religious zeal" [syn: ardor, elan, zeal] 2: intense feeling of love [syn: ardor] 3: feelings of great warmth and intensity; "he spoke with great ardor" [syn: ardor, fervor, fervour, fervency, fire, fervidness] â ardour “ n 1: a feeling of strong eagerness (usually in favor of a person or cause); "they were imbued with a revolutionary ardor"; "he felt a kind of religious zeal" [syn: ardor, elan, zeal] 2: intense feeling of love [syn: ardor] 3: feelings of great warmth and intensity; "he spoke with great ardor" [syn: ardor, fervor, fervour, fervency, fire, fervidness] ” Given the work required to develop Ardour, and the personality of its primary author, the name seemed appropriate even without the vague relationship to HDR. Years later, another interpretation of "Ardour" appeared, this time based on listening to non-native English speakers attempt to pronounce the word. Rather than "Ardour", it became "Our DAW", which seemed poetically fitting for a Digital Audio Workstation whose source code and design belongs to a group of collaborators. A track is a concept common to most DAWs, and also used in Ardour. Tracks can record audio or MIDI data to disk, and then replay it with processing. They also allow the audio or MIDI data to be edited in a variety of different ways. In a typical pop production, one might use a track each for the kick drum, another for the snare, more perhaps for the drum overheads and others for bass, guitars and vocals. Ardour can record to any number of tracks at one time, and then play those tracks back. On playback, a track's recordings may be processed by any number of plugins, panned, and its level altered to achieve a suitable mix. A track's type is really only related to the type of data that it stores on disk. It is possible, for example, to have a MIDI track with a synthesizer plugin which converts MIDI to audio. Even though the track remains âMIDIâ, in the sense that its on-disk recordings are MIDI, its output may be audio-only. A track's type is really only related to the type of data that it stores on disk. It is possible, for example, to have a MIDI track with a synthesizer plugin which converts MIDI to audio. Even though the track remains ‘MIDI’, in the sense that its on-disk recordings are MIDI, its output may be audio-only. More details can be found at Working With Tracks. Busses are another common concept in both DAWs and hardware mixers. They are similar in many ways to tracks; they process audio or MIDI, and can run processing plugins. The only difference is that their input is obtained from other tracks or busses, rather than from disk. One might typically use a bus to collect together the outputs of related tracks. Consider, for example, a 3-track recording of a drum-kit; given kick, snare and overhead tracks, it may be helpful to connect the output of each to a bus called âdrumsâ, so that the drum-kit's level can be set as a unit, and processing (such as equalisation or compression) can be applied to the mix of all tracks. One might typically use a bus to collect together the outputs of related tracks. Consider, for example, a 3-track recording of a drum-kit; given kick, snare and overhead tracks, it may be helpful to connect the output of each to a bus called ‘drums’, so that the drum-kit's level can be set as a unit, and processing (such as equalisation or compression) can be applied to the mix of all tracks. A track may contain many segments of audio or MIDI. Ardour contains these segments in things called regions, which are self-contained snippets of audio or MIDI data. Any recording pass, for example, generates a region on each track that is enabled for recording. Regions can be subjected to many editing operations; they may be moved around, split, trimmed, copied, and so on. Given the difficulties in supporting Ubuntu and the limited time/resources of the Ardour team, the
+ Given the difficulties in supporting Ubuntu and the limited time/resources of the Ardour team, the Information on the Ubuntu Studio Mailing Lists. Information on the Ubuntu Studio IRC channel. #ubuntustudio on irc.freenode.net Information on the Ubuntu Studio IRC channel. #ubuntustudio on irc.freenode.net In Ardour, you work in two main windows: the Editor window and the Mixer window. The Editor window includes the editor track "canvas" where you can arrange audio and MIDI data along a timeline. This is the window you will be in while editing and arranging a project. The window has a general "horizontal" sense to it: the timeline flows from left to right, the playhead showing the current position in the session moves from left to right - the window really represents "time" in a fairly literal way. The Mixer window on the other hand represents signal flow and is the window you will probably be using most when mixing a session. It includes elements called "channel strips" for each track and bus in your session. It has a general "vertical" sense to it: signals flow from the top of each channel strip through the processing elements in the strip to reach the output listed at the bottom. It is possible to show a single channel strip in the editor window, and some people find this enough to work on mixing without actually opening the mixer window. Most of the time though, you will want both of these windows at various stages of a session's lifetime - sometimes you'll be focused on editing, sometimes on mixing and possibly some of the time on both. Like (almost) any other program on Linux, Ardour can be started on the command line. replacing /path/to/session with the actual path to your session. You can specify either the session folder or any session file inside the folder (including snapshots). replacing /path/to/new/session with the name of the folder where you want the session stored.
Hovering the mouse pointer over a column heading shows a tool-tip which can be handy to remember what the columns are for. A handy feature of the region list is that its regions can be dragged and dropped into a suitable track in the session. This shows the track/bus groups that exist in the session. These groups allow related tracks to share various properties (such as mute or record enable state). For full details, see the section called âTrack and bus groupsâ. This shows the track/bus groups that exist in the session. These groups allow related tracks to share various properties (such as mute or record enable state). For full details, see the section called
+“Track and bus groups”. The columns in this list are as follows:Busses
Regions
Reporting Issues
-Ubuntu Studio Project
has requested that issues and bug reports related to Ubuntu, Ubuntu Studio and other derivitives be directed to them.Ubuntu Studio Project
has requested that issues and bug reports related to Ubuntu, Ubuntu Studio and other derivitives be directed to them.Contact Information for Ubuntu Studio
Starting Ardour on the command line (Linux)
-
ardour3
+ardour3
ardour3 /path/to/session
+ardour3 /path/to/session
ardour3 -N /path/to/new/session
+ardour3 -N /path/to/new/session
Other Command Line Options
-
-
-
-
diff --git a/_manual/04_ardours-interface/03_introducing-the-editor-window/01_editor-lists/02_region-list.html b/_manual/04_ardours-interface/03_introducing-the-editor-window/01_editor-lists/02_region-list.html
index 59b9cd0..a270ca8 100644
--- a/_manual/04_ardours-interface/03_introducing-the-editor-window/01_editor-lists/02_region-list.html
+++ b/_manual/04_ardours-interface/03_introducing-the-editor-window/01_editor-lists/02_region-list.html
@@ -12,11 +12,11 @@ title: Region List
-
+Editing the time in the transport clocks will reposition the playhead in the same way that various other editing operations will.
@@ -22,7 +22,7 @@ Editing the time in the transport clocks will reposition the playhead in the sam Under theWindows
item in the main menu you will find the "Big Clock" window, which also shows the playhead position in a big, fully resizable window. The big clock is very useful when you need to work away from the screen but still want to see the playhead position clearly (such as when working with a remote control device across, or in another, room). The big clock will also change its visual appearance to indicate when active recording is taking place. Below on the left is a screenshot showing a fairly large big clock window filling a good part of the display, and on the right, the same clock during active recording.
@@ -36,7 +36,7 @@ Having two transport clocks lets you see the playhead position in two different The transport bar also contains a set of 5 clocks that show the current selection range and punch ranges. Clicking on the punch range clocks will locate to either the beginning or end of the punch range. Similarly, clicking on the range clocks will locate to either the beginning or end of the current selection. In this screen shot there is no current selection range, so the selection clocks show an "off" state.
-
+Every clock in Ardour has four different modes it can be set to, each of which displays time using different units. You can change the clock mode by right-clicking on the clock and selecting the desired mode from the menu. Some clocks are entirely independent of any other clock's mode; others are linked so that changing one changes all clocks in that group. The different modes are:
@@ -64,7 +64,7 @@ Note that when set into this "Delta to Edit Point" mode, the transport clocks ca
New values for the clock can be typed from the keyboard after clicking on the relevant clock. Clicking on the clock will show a thin vertical cursor bar just to the right of the next character to be overwritten. Enter time in the same order as the current clock mode - if the clock is in Timecode mode, you need to enter hours, minutes, seconds, frames. So, to change to a time of 12:15:20:15 you would type 1 2 1 5 2 0 1 5
. Each number you type will appear in a different color, from right to left, overwriting the existing value. Mid-edit, after typing 3 2 2 2
the clock might look like this:
-
+To finish the edit, press the enter/return or tab key. To exit an edit without changing the clock press the escape key. If you mis-type an entry so that the new value would be illegal (for example, resulting in more than 30 frames when Timecode is set to 30 frames per second), the clock will reset at the end of the edit, and move the cursor back to the start so that you may begin again.
diff --git a/_manual/04_ardours-interface/06_meters.html b/_manual/04_ardours-interface/06_meters.html index cc8041d..7f8e583 100644 --- a/_manual/04_ardours-interface/06_meters.html +++ b/_manual/04_ardours-interface/06_meters.html @@ -110,7 +110,7 @@ Settings for the peak and rms+peak meters as well as VU meter standards are in-
+@@ -119,7 +119,7 @@ Depending the Edit > Preferences > GUI > Mixer Strip settings, the mete
- +
@@ -136,8 +136,8 @@ The following figure shows all available meter-types in Ardour 3.4 when fed with
-
-+ +
Due to layout concerns and consistent look&feel all meters available in Ardour3 itself are bar-graph type meters. @@ -145,5 +145,5 @@ Corresponding needle-style meters - which take up more visual screen space - are
-
-+ +
diff --git a/_manual/06_working-with-markers/02_creating-range-markers.html b/_manual/06_working-with-markers/02_creating-range-markers.html index 7a8737f..4939806 100644 --- a/_manual/06_working-with-markers/02_creating-range-markers.html +++ b/_manual/06_working-with-markers/02_creating-range-markers.html @@ -8,6 +8,6 @@ title: Creating Range MarkersRages are essentially two Location Markers the are grouped together to mark the beginning and end of a section in the timeline.
To create a Range
on the timeline, right click on the Range Markers
Ruler
at the top of the Timeline
then select New Range
. Two markers with the same name will appear along the ruler. Both marks can be moved along the timeline by clicking and dragging them to the desired location.
-
+
AATranslator is a Windows application that can convert sessions/projects from many diffferent DAWs into other formats. At the present time (December 2012), it can read and write Ardour 2.X sessions, and can read Ardour 3 sessions.
The program runs very well on Linux using Wine (a Windows environment for Linux). There are equivalent solutions for running Windows applications on OS X, but we have no experience with them at this time. Ardour users have reported great results using AATranslator on Ardour 2.X sessions.
The AATranslator website has full details on which formats/DAWs it supports, but they include ProTools, Live, Reaper, OMF, AAF and many more.
- + diff --git a/_manual/10_working-with-tracks/04_controlling-track-appearance/01_layering-display.html b/_manual/10_working-with-tracks/04_controlling-track-appearance/01_layering-display.html index be800a5..f5485ec 100644 --- a/_manual/10_working-with-tracks/04_controlling-track-appearance/01_layering-display.html +++ b/_manual/10_working-with-tracks/04_controlling-track-appearance/01_layering-display.html @@ -8,10 +8,10 @@ title: Layering DisplayArdour allows arbitrary layering of regions - you can stack as many regions you wish over a given position. By default, the editor windows overlaps the regions. The overlapping layers saves vertical space.
However, this display mode can be confusing for tracks with many overdubs, because its not always entirely clear how the overdubs are all layered with respect to each other. Although there are other methods of moving particular regions to the top of an overlapping set, and although Ardour also has playlists to let you manage takes a bit more efficiently than just continually overdubbing, there are times when being able to clearly see all regions in a track without any overlaps is reassuring and useful.
Here is an image of a track with a rather drastic overdub/overlap situation, viewed in normal "overlaid" mode:
- +To change this display, right click on the track header, and you'll see this menu:
- +You will see that there are two choices for "Layers": overlaid (currently selected) and stacked. Click on stacked and the track display changes to this:
- +You can still move regions around as usual, and in fact you can even drag them so that they overlay each again, but when you release the mouse button, things will flip back to them all being stacked cleaning. This display mode works best when you use sensible track heights. The number of "lanes" for the track is determined by the maximum number of regions existing in any one spot throughout the track, so if you have really stacked up 10 overdubs in one spot, you'll end up with 10 lanes. Obviously, using a large track height works much better for this than a small one.
diff --git a/_manual/10_working-with-tracks/05_controlling-track-ordering/01_track-ordering-and-remote-control-ids.html b/_manual/10_working-with-tracks/05_controlling-track-ordering/01_track-ordering-and-remote-control-ids.html index f255f07..266293f 100644 --- a/_manual/10_working-with-tracks/05_controlling-track-ordering/01_track-ordering-and-remote-control-ids.html +++ b/_manual/10_working-with-tracks/05_controlling-track-ordering/01_track-ordering-and-remote-control-ids.html @@ -14,7 +14,7 @@ title: Track Ordering and Remote Control IDsÂ
diff --git a/_manual/10_working-with-tracks/10_track-and-bus-groups.html b/_manual/10_working-with-tracks/10_track-and-bus-groups.html index 4dbacb6..ab5362c 100644 --- a/_manual/10_working-with-tracks/10_track-and-bus-groups.html +++ b/_manual/10_working-with-tracks/10_track-and-bus-groups.html @@ -7,7 +7,7 @@ title: Track and Bus GroupsTracks and busses can be put into groups. You can set members of a group can to share various settings - useful for managing tracks that are closely related to each other. Examples might include tracks that contain multiple-microphone recordings of a single source (an acoustic guitar, perhaps, or a drum-kit).
You can group tracks and busses in various ways. In the editor window, a track's controls might look like these:
- +The green tab to the left of the track header indicates that this track is in a group called âFredâ. You can drag these tabs to add or remove tracks from a group.
To edit the properties of a group, context-click (right-click) on its tab and choosing Edit Groupâ¦. This opens the track/bus group dialog, which is also used when creating new groups:
- +Click on the color selector button to change a group's colour. This affects the colour of the group's tab in the editor and mixer windows. The color does not affect the color of the group members unless you also enable the shared Color
property.
An existing media file is used as a the source for a region, but is not copied or modified in any way.
You can choose to import or embed the files in your session selecting or de-selecting the "Copy file to session" option in the Import dialog window.
-the file will be imported in the audio/MIDI folder of your session
-the file won't be copied.
+the file will be imported in the audio/MIDI folder of your session
+the file won't be copied.
If it doesn't work you can uncheck Preferences > Misc > Session Management > Always copy imported files
.
Tags are stored when the input box loses focus, there is no reason to explicitly "save" them.
diff --git a/_manual/12_adding-pre-existing-material/03_searching-for-files-using-tags/02_searching-with-tags.html b/_manual/12_adding-pre-existing-material/03_searching-for-files-using-tags/02_searching-with-tags.html index 911567c..31def53 100644 --- a/_manual/12_adding-pre-existing-material/03_searching-for-files-using-tags/02_searching-with-tags.html +++ b/_manual/12_adding-pre-existing-material/03_searching-for-files-using-tags/02_searching-with-tags.html @@ -14,6 +14,6 @@ title: Searching With TagsFiles which have been "tagged" with the input terms will appear in the results window. You can audition these files and apply tags to them from this window.
diff --git a/_manual/12_adding-pre-existing-material/05_import-dialog.html b/_manual/12_adding-pre-existing-material/05_import-dialog.html index 09f8893..24b66cf 100644 --- a/_manual/12_adding-pre-existing-material/05_import-dialog.html +++ b/_manual/12_adding-pre-existing-material/05_import-dialog.html @@ -6,7 +6,7 @@ title: Import Dialog - +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:
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.
diff --git a/_manual/14_signal-routing/02_comparing-aux-sends-and-subgroups.html b/_manual/14_signal-routing/02_comparing-aux-sends-and-subgroups.html index f300a61..41a8b66 100644 --- a/_manual/14_signal-routing/02_comparing-aux-sends-and-subgroups.html +++ b/_manual/14_signal-routing/02_comparing-aux-sends-and-subgroups.html @@ -10,7 +10,7 @@ title: Comparing Aux Sends and SubgroupsSubgroups remove the original signal routing to the main mix, but create a new one that delivers the output of the subgroup bus to the main mix instead.
The following two diagrams compares the signal flow when using subgroups and when using aux sends:
- +Notable exceptions are aux sends and connections to the monitor bus (if you are using one): these cannot be controlled from a patchbay, and are basically not under manual control at all.
The patchbay presents two groups of ports; one set of sources (which produce data), and one of destinations (which consume data). Depending on the relative number of each, the sources will be placed on the left or the top of the dialogue, and the destinations on the right or the bottom. Thus, in general, signal flow is from top or left to right or bottom.
Both sources and destinations are divided up into groups, with each group being given a tab. Click on the appropriate tab to show the ports in each group (âArdour Bussesâ, âArdour Tracksâ and so on).
The groups that are used are as follows:
diff --git a/_manual/15_editing-and-arranging/03_what-regions-are-affected.html b/_manual/15_editing-and-arranging/03_what-regions-are-affected.html index 007ab2b..21af5cd 100644 --- a/_manual/15_editing-and-arranging/03_what-regions-are-affected.html +++ b/_manual/15_editing-and-arranging/03_what-regions-are-affected.html @@ -19,7 +19,7 @@ title: What Regions Are Affected?To use Region starts/ends/syncs/bounds as snap choices, you must have either -
If you are moving items on a track, and only the current track is selected, then you will only be able to snap to other regions on the same track. This means that enabling Edit > Preferences > Editor > Link Selections of Regions and Tracks
will make the "Region" grid units unusable. Avoid the use of this option if you are going to use any of the Region grid units.
Normally when you trim regions by dragging with the mouse, it affects only the selected regions. Their lengths are directly affected by the trim operation, but nothing else is. Sometimes though, you'd like to trim a region that directly adjoins another, and keep this relationship the same - you're not trying to make one of the regions extend over the other - you'd like the junction to move in one direction or the other as part of the trim. This requires trimming both regions on either side of the junction, in opposite directions. Push/Pull trim, activated by pressing shift key before starting the drag, will do just that. Here's a few pictures to show the difference in the results of a normal trim and push/pull trim. First, the initial situation:
- +Now lets look at what happens after we trim the right hand (selected) region by dragging its starting position earlier:
- +You can see that it now overlaps the earlier region and a crossfade has been created between them.
Lets look now at what happens if we do the same trim, but using shift-drag to turn it into a push-pull trim instead:
- +There is no overlap, and the end of the earlier region has been moved along with the start of the later region, so that they still directly adjoin each other.
diff --git a/_manual/15_editing-and-arranging/10_separation/01_separate-under.html b/_manual/15_editing-and-arranging/10_separation/01_separate-under.html index 0a65160..520b686 100644 --- a/_manual/15_editing-and-arranging/10_separation/01_separate-under.html +++ b/_manual/15_editing-and-arranging/10_separation/01_separate-under.html @@ -7,8 +7,8 @@ title: Separate UnderYou may have a situation where you've positioned one region over another, and you just want to cut the lower region so that it directly adjoins both ends of the overlapping one, with no overlaps. To do this, select the upper region, then choose Edit > Separate > Separate Under
. This will split the lower region so that it no longer overlaps the upper region at all. Here is an example where we start with a short region placed so that it overlaps a longer region:
When we perform the Separate Under edit, the lower region splits in two, with boundaries exactly positioned at the edges of the upper region:
- +If the upper region covers only one end of the lower region, then this operation is equivalent to Trim to Next or Trim to Previous, depending on which end is covered.
diff --git a/_manual/15_editing-and-arranging/11_strip-silence-from-audio-regions.html b/_manual/15_editing-and-arranging/11_strip-silence-from-audio-regions.html index f90f857..279ba03 100644 --- a/_manual/15_editing-and-arranging/11_strip-silence-from-audio-regions.html +++ b/_manual/15_editing-and-arranging/11_strip-silence-from-audio-regions.html @@ -8,6 +8,6 @@ menu_title: Stripping SilenceFrom the region context menu choose Edit > Strip Silence
to detect silence (based on a user-chosen threshold in dBFS), split a region based on the boundaries of the silent segments, and remove the silence. You can also specify a minimum length for silence - useful when editing very percussive material and just needing to automatically trim the ends of a region. The dialog looks like this:
The edit applies to all selected regions, allowing batch processing. You can also see in the screenshot how the main editor window is used to show silent segments and report the number and durations of the shortest segments.
diff --git a/_manual/15_editing-and-arranging/12_edit-midi/04_add-new-notes.html b/_manual/15_editing-and-arranging/12_edit-midi/04_add-new-notes.html index 0938c76..25b2d46 100644 --- a/_manual/15_editing-and-arranging/12_edit-midi/04_add-new-notes.html +++ b/_manual/15_editing-and-arranging/12_edit-midi/04_add-new-notes.html @@ -10,7 +10,7 @@ title: Add New NotesSo, to summarize:
Accessed via the "q" key, the dialog includes:
Sometimes you'll want to edit MIDI data directly from a connected MIDI device like a music keyboard or pad controller. Sometimes you'll want to use the mouse. Sometimes you'll want the fine-grain control, precision and speed of entry that comes from using a custom note entry dialog.
The step entry dialog is accessed via a right click context menu on the rec-enable button (its there because step entry is related to recording MIDI data. You cannot simultaneously step edit and record MIDI via the track's MIDI port.
- +The dialog (quite closely modelled on Logic's) contains:
This chapter covers the following: