4 title: Introduction to Ardour
10 title: Welcome to Ardour
15 title: About Ardour's documentation
19 <h2>Conventions Used In This Manual</h2>
22 This section covers some of the typographical and language conventions used in this manual.
25 <h3>Keyboards and Modifiers</h3>
28 <dfn>Keyboard bindings</dfn> are shown like this: <kbd>s</kbd> or <kbd class="mod1">x</kbd>.
32 <kbd class="mod1">x</kbd> means "press the <kbd class="mod1"> </kbd> key, keep it pressed and then also press the <kbd>x</kbd> key.
36 You may also see key combinations such as <kbd class="mod12">e</kbd>, which mean that you should hold down the <kbd class="mod1"> </kbd> key <em>and</em> the <kbd class="mod2"> </kbd> key, and then, while keeping them both down, press the <kbd>e</kbd> key.
40 Note that different platforms have different conventions for which modifier key (Control or Command) to use as the primary or most common modifier. When viewing this manual from a machine identifying itself as running OS X, you will see <kbd>Cmd </kbd> where appropriate (for instance in the first example above). On other machines you will see <kbd>Ctrl </kbd> instead.
43 <h3>Mouse Buttons</h3>
46 We refer to <a href="/setting-up-your-system/the-mouse">mouse buttons</a> as <kbd class="mouse">Left</kbd>, <kbd class="mouse">Middle</kbd> and <kbd class="mouse">Right</kbd>. Ardour can use additional buttons, but they have no default behaviour in the program.
49 <h4>Mouse click modifiers</h4>
52 Many editing functions are performed by clicking the mouse while holding a modifier key, for example <kbd class="mouse mod1">Left</kbd>.
58 Some GUI elements can optionally be controlled with the mouse wheel when the pointer is hovering over them. The notation for mouse wheel action is <kbd class="mouse">⇑</kbd> <kbd class="mouse">⇐</kbd> <kbd class="mouse">⇓</kbd> <kbd class="mouse">⇒</kbd>.
61 <h4>Context-click</h4>
64 The term <dfn>context-click</dfn> is used to indicate that you should (typically) <kbd class="mouse">Right</kbd>-click on a particular element of the graphical user interface. Although right-click is the common, default way to do this, there are other ways to accomplish the same thing—this term refers to any of them, and the result is always that a menu specific to the item you clicked on will be displayed.
67 <h4>"The Pointer"</h4>
70 When the manual refers to the "pointer", it means the on-screen representation of the mouse position or the location of a touch action if you are using a touch interface.
73 <h3>Other user input</h3>
76 Ardour supports hardware controllers, such as banks of <kbd class="fader">faders</kbd>, <kbd class="knob">knobs</kbd>, or <kbd class="button">buttons</kbd>.
82 Menu items are indicated like this:<br />
83 <kbd class="menu">Top > Next > Deeper</kbd>.<br />
84 Each ">"-separated item indicates one level of a nested (sub-)menu.
87 <h3>Preference/Dialog Options</h3>
90 Choices in various dialogs, notably the Preferences and Properties dialog, are
91 indicated like this:<br />
92 <kbd class="option">Edit > Preferences > Audio > Some
94 Each successive item indicates either a (sub-) menu or a tabbed dialog
95 navigation. The final item is the one to choose or select.
99 If you are requested to deselect an option, you will see something like
101 <kbd class="optoff">Edit > Preferences > Audio > Some other
108 Some dialogs or features may require you to type in some <kbd class="input">data such as this</kbd>. In rare cases, you will be required to perform certain operations at the command line of your operating system:
111 <kbd class="cmd lin">cat /proc/cpuinfo</kbd>
112 <kbd class="cmd mac">sleep 3600</kbd>
113 <kbd class="cmd win">ping www.google.com</kbd>
115 <h3>Program Output</h3>
118 Important messages from Ardour or other programs will be displayed <samp>like this</samp>.
124 Important notes about things that might not otherwise be obvious are shown in this format.
130 Hairy issues that might cause things to go wrong, lose data, impair sound quality, or eat your proverbial goldfish, are displayed in this way.
135 title: Welcome to Ardour!
140 <dfn>Ardour</dfn> is a professional digital workstation for working with audio and MIDI.
143 <h2>Ardour is meant for...</h2>
145 <h3>Audio Engineers</h3>
148 Ardour's core user group: people who want to record, edit, mix and master audio and MIDI projects. When you need complete control over your tools, when the limitations of other designs get in the way, when you plan to spend hours or days working on a session, Ardour is there to make things work the way you want them to.
154 Being the best tool to record talented performers on actual instruments has always been a top priority for Ardour. Rather than being focused on electronic and pop music idioms, Ardour steps out of the way to encourage the creative process to remain where it always has been: a musician playing a carefully designed and well built instrument.
157 <h3>Soundtrack Editors</h3>
160 Sample accurate sync and shared transport control with video playback tools allows Ardour to provide a fast and natural environment for creating and editing soundtracks for film and video projects.
166 Arrange audio and MIDI using the same tools and same workflow. Use external hardware synthesizers or software instruments as sound sources. From sound design to electro-acoustic composition to dense multitrack MIDI editing, Ardour can help.
169 <h2>Ardour features...</h2>
171 <h3>Audio and MIDI Multi-Track Recording and Editing</h3>
174 Any number of tracks and busses. Non-linear editing. Non-destructive (and destructive!) recording. Any bit depth, any sample rate. Dozens of file formats.
177 <h3>Plugins with Full Sample Accurate Automation</h3>
180 AudioUnit, LV2, LinuxVST and LADSPA formats. FX plugins. Software instruments. MIDI processors. Automate any parameters. Physically manipulate them via control surfaces. Distribute processing across as many (or as few) cores as you want.
183 <h3>Transport Sync and External Control Surfaces</h3>
186 Best-in-industry sync to MIDI timecode and LTC. Send and receive MIDI Machine Control. Sync with JACK transport and MIDI clock. Dedicated Mackie Control protocol support, pre-defined mappings for many MIDI controllers plus dynamic MIDI learn. Use OSC to drive almost any operation in Ardour.
189 <h3>Powerful Anywhere-to-Anywhere Signal Routing</h3>
192 Complex signal flows are simple and elegant. Inputs and outputs connect to your hardware and/or other applications. Use sends, inserts and returns freely. Connections can be one-to-many, many-to-one or many-to-many. Tap signal flows at any point. If you can't connect in the way you want with Ardour, it probably can't be done.
195 <h3>Video Timeline</h3>
198 Import a single video and optionally extract the soundtrack from it. Display a frame-by-frame (thumbnail) timeline of the video. Use a Video-monitor window, or full-screen display, of the imported video in sync with any of the available ardour timecode sources. Lock audio-regions to the video: Move audio-regions with the video at video-frame granularity. Export the video, cut start/end, add blank frames and/or mux it with the soundtrack of the current-session.
207 <dfn>Ardour</dfn> allows recording and editing both audio and MIDI data, addin of many different kinds of effects and mixing.
210 <p>Some things Ardour is used for include:</p>
213 <li>Digitally record acoustic/electric instruments or vocals</li>
214 <li>Compose and arrange audio and MIDI tracks</li>
215 <li>Edit live recordings</li>
216 <li>Mix and edit movie soundtracks and dialogue</li>
217 <li>Create sound designs for an arbitrary number of output channels</li>
221 title: Isn't This A Really Complicated Program?
226 There is no point in pretending that Ardour is a simple, easy to use program. The development group has worked hard to try to make simple things reasonably easy, common tasks quick, and hard and/or uncommon things possible. There is no doubt that there is more to do in this area, as well as polishing the user interface to improve its intuitiveness and work flow characteristics.
230 At the same time, multi-track, multi-channel, non-linear, non-destructive audio editing is a far from simple process. Doing it right requires not only a good ear, but a solid appreciation of basic audio concepts and a robust mental model/metaphor of what one is doing. Ardour is not a simple "audio recorder"—it can certainly be used to record stereo (or even mono) material in a single track, but the program has been designed around much richer capabilities than this.
234 Some people complain that Ardour is not "intuitive" to use—its lead developer has <a href="http://community.ardour.org/node/3322">some thoughts on that</a>.
238 title: Why Write a DAW for Linux?
243 It is fairly understandable that existing proprietary DAWs do not run on Linux, given the rather small (but growing) share of the desktop market that Linux has. However, when surveying the landscape of "popular operating systems", we find:
247 <li>older versions of Windows: plagued by abysmal stability and appalling security</li>
248 <li>newer versions of Windows seem stable but still suffer from security problems</li>
249 <li>OS X: an amazing piece of engineering that is excellent for audio work but only runs on proprietary hardware and still lacks the flexibility and adaptability of Linux.</li>
253 Security matters today, and will matter more in the future as more and more live or semi-live network based collaborations take place.
257 Let's contrast this with Linux, an operating system which:
261 <li>can stay up for months (or even years) without issues</li>
262 <li>is endlessly configurable down to the tiniest detail</li>
263 <li>is not owned by any single corporate entity, ensuring its life and direction are not intertwined with that of a company (for a contrary example, consider BeOS)</li>
264 <li>is fast and efficient</li>
265 <li>runs on almost any computing platform ever created, including old "slow" systems and new "tiny" systems (e.g. Raspberry Pi)</li>
266 <li>is one of the most secure operating systems "out of the box"</li>
270 More than anything, however, Ardour's primary author uses Linux and wanted a DAW that ran there.
274 Having written a DAW for Linux, it turned out to be relatively easy to port Ardour to OS X, mostly because of the excellent work done by the JACK OS X group that ported JACK to OS X.
278 Although OS X has a number of disadvantages compared to Linux, its ease of use and its presence in many studios already makes it a worthwhile platform.
282 title: Why is it called Ardour?
287 The name <dfn>"Ardour"</dfn> came from considerations of how to pronounce the acronym <abbr title="Hard Disk Recorder">HDR</abbr>. The most obvious attempt sounds like a vowelless "harder" and it then was then a short step to an unrelated but slightly homophonic word:
291 <dfn>ardour</dfn> n 1: a feeling of strong eagerness (usually in favor of
292 a person or cause); "they were imbued with a revolutionary ardor"; "he
293 felt a kind of religious zeal" [syn: ardor, elan, zeal]<br />
294 2: intense feeling of love [syn: ardor]<br />
295 3: feelings of great warmth and intensity; "he spoke with great ardor"
296 [syn: ardor, fervor, fervour, fervency, fire, fervidness]
300 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.
304 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.
308 title: Why write another DAW?
313 There are already a number of excellent digital audio workstations. To mention just a few: ProTools, Nuendo, Samplitude, Digital Performer, Logic, Cubase (SX), Sonar, along with several less well known systems such as SADIE, SAWStudio and others.
316 Each of these programs has its strengths and weaknesses, although over the last few years most of them have converged on a very similar set of core features. However, each of them suffers from two problems when seen from the perspective of Ardour's development group:
320 <li>they do not run natively on Linux</li>
321 <li>they are not available in source code form, making modifications, improvements, bugfixes by technically inclined users or their friends or consultants impossible.</li>
325 title: Additional Resources
330 In addition to this documentation, you may check a variety of other <dfn>resources</dfn>:
334 <li>the <a href="https://ardour.org/whatsnew.html">Ardour release
336 <li>the <a href="https://community.ardour.org/forums">Ardour
338 <li>information about <a href="https://community.ardour.org/community">Ardour
339 Support</a> via mailing lists and IRC (chat)</li>
343 The <dfn>IRC channels</dfn> in particular are where most of the day-to-day development and debugging is done, and there are plenty of experienced users to help you if you run into problems.
347 Please be prepared to hang around for a few hours, the chat is usually busiest from 19:00 UTC to 04:00 UTC. If you can, keep your chat window open, so that you don't miss a belated answer. Also, don't ask for permission to ask a question, just ask your question with the understanding that the answer (from the "right" people or not) could come seconds, minutes, hours, or never.
352 title: Creating Music with Ardour
356 <p class="fixme"> misplaced</p>
358 Ardour can be used in many different ways, from extremely simple to
359 extremely complex. Many projects will be handled using the following
360 kind of <dfn>workflow</dfn>.
363 <h2>Stage 1: Creating Your Project</h2>
366 The first step is to create a new <dfn>session</dfn>, or open an
367 existing one. A session consists of a folder containing a session file
368 that defines all the information about the session. All media files used
369 by the session can be stored within the session folder.
373 More details on sessions can be found in
374 <a href="/working-with-sessions">Working With Sessions</a>.
377 <h2>Stage 2: Creating and Importing Audio and MIDI data</h2>
380 Once you have a session, you will want to add some audio and/or MIDI
381 material to it, which can be done in one of 3 ways:
385 <li><dfn>Record</dfn> incoming audio or MIDI data, either via audio or MIDI hardware
386 connected to your computer, or from other applications.</li>
387 <li><dfn>Create</dfn> new MIDI data using the mouse and/or various dialogs</li>
388 <li><dfn>Import</dfn> existing media files into the session</li>
391 <dfn>MIDI recordings</dfn> consist of performance data ("play note X at
392 time T") rather than actual sound. As a result, they are more flexible
393 than actual audio, since the precise sound that they will generate when
394 played depends on where you send the MIDI to.<br />
395 Two different synthesizers may produce very different sound in response
396 to the same incoming MIDI data.
399 <dfn>Audio recordings</dfn> can be made from external instruments with
400 electrical outputs (keyboards, guitars etc.) or via microphones from
401 acoustic instruments.
404 Ardour uses the <dfn>JACK Audio Connection Kit</dfn> for all audio and
405 MIDI I/O, which means that recording audio/MIDI from other applications
406 is fundamentally identical to recording audio/MIDI from your audio/MIDI
410 <h2>Stage 3: Editing and Arranging</h2>
412 Once you have some material within the session, you can start to arrange
413 it in time. This is done in one of the two main windows of Ardour, the
414 <dfn>Editor</dfn> window.
417 Your audio/MIDI data appears in chunks called <dfn>regions</dfn>, which
418 are arranged into horizontal lanes called <dfn>tracks</dfn>. Tracks are
419 stacked vertically in the Editor window. You can copy, shorten, move,
420 and delete regions without changing the actual data stored in the session
421 at all—Ardour is a <dfn>non-destructive</dfn> editor. (Almost)
422 nothing that you do while editing will ever modify the files stored on
423 disk (except the session file itself).
426 You can also carry out many <dfn>transformations</dfn> to the contents
427 of regions, again without altering anything on disk. You can alter,
428 move, and delete MIDI notes, and remove silence from audio regions, for
432 <h2>Stage 4: Mixing and Adding Effects</h2>
434 Once you have the arrangement of your session mostly complete, you will
435 typically move on to the <dfn>mixing</dfn> phase. Mixing is a broad term
436 to cover the way the audio signals that your session generates during
437 playback and processed and added together into a final result that you
438 actually hear. It can involve altering the relative levels of various
439 parts of the session, adding effects that improve or transform certain
440 elements, and others that bring the sound of the whole session to a new
444 Ardour will allow you to <dfn>automate</dfn> changes to any mixing
445 parameters (such as volume, panning, and effects controls)—it will
446 record the changes you make over time, using a mouse or keyboard or some
447 external control device, and can play back those changes later. This is
448 very useful because often the settings you need will vary in one part of
449 a session compared to another—rather than using a single setting
450 for the volume, you may need increases followed by decreases (for example,
451 to track the changing volume of a singer). Using automation can make all
452 of this relatively simple.
455 <h2>Stage 5: Export</h2>
457 Once you are really satisfied with the arrangement and mix of your
458 session, you will typically want to produce a single audio file that
459 contains a ready-to-listen to version of the work. Ardour will allow you to
460 <dfn>export</dfn> audio files in a variety of formats (simultaneously in
461 some cases). This exported file would typically be used in creating a CD,
462 or be the basis for digital distribution of the work.
465 Of course sometimes you will want to do export material that isn't finished
466 yet, for example to give a copy to someone else to try to mix on their own
467 system. Ardour will allow you to export as much of a session as you want, at
468 any time, in any supported format.
473 title: Ardour Concepts
479 title: Understanding Basic Concepts and Terminology
484 This section will help you get acquainted with the basic terminology and
485 concepts associated with Ardour. More detailed information on each aspect
486 of the program is provided in later chapters.
491 An <dfn>Ardour session</dfn> is a container for an entire project. A
492 session may contain an arbitrary number of <dfn>tracks</dfn> and
493 <dfn>busses</dfn> consisting of audio and <abbr title="Musical Instrument
494 Digital Interface">MIDI</abbr> data, along with
495 information on processing those tracks, a mix of levels, and everything
496 else related to the project. A session might typically contain a song, or
497 perhaps an entire album or a complete live recording.
500 Ardour sessions are held in directories; these directories contain one or
501 more <dfn>session files</dfn>, some or all of the audio and MIDI data and
502 a number of other state files that Ardour requires. The session file
503 describes the structure of the session, and holds automation data and
507 Ardour's session file is kept in
508 <abbr title="eXtensible Markup Language">XML</abbr> format, which is
509 advantageous as it is somewhat human-readable, and human-editable in a
510 crisis. Sound files are stored in one of a number of optional formats, and
511 MIDI files as <abbr title="Standard MIDI File">SMF</abbr>.
514 It is also possible for Ardour sessions to reference sound and MIDI files
515 outside the session directory, to conserve disk space and avoid
516 unnecessary copying if the data is available elsewhere on the disk.
519 Ardour has a single current session at all times; if Ardour is started
520 without specifying one, it will offer to load or create one.
523 More details can be found at
524 <a href="/working-with-sessions">Working With Sessions</a>.
529 A <dfn>track</dfn> is a concept common to most
530 <abbr title="Digital Audio Workstation">DAWs</abbr>, and also used in
531 Ardour. Tracks can record audio or MIDI data to disk, and then replay
532 it with processing. They also allow the audio or MIDI data to be edited
533 in a variety of different ways.
536 In a typical pop production, one might use a track each for the kick
537 drum, another for the snare, more perhaps for the drum overheads and
538 others for bass, guitars and vocals.
541 Ardour can record to any number of tracks at one time, and then play
542 those tracks back. On playback, a track's recordings may be processed by
543 any number of plugins, panned, and its level altered to achieve a
547 A track's type is really only related to the type of data that it stores
548 on disk. It is possible, for example, to have a MIDI track with a
549 synthesizer plugin which converts MIDI to audio. Even though the track
550 remains MIDI (in the sense that its on-disk recordings are MIDI), its
551 output may be audio-only.
554 More details can be found at
555 <a href="/working-with-tracks">Working With Tracks</a>.
558 <h2 id="busses">Busses</h2>
560 <dfn>Busses</dfn> are another common concept in both DAWs and hardware
561 mixers. They are similar in many ways to tracks; they process audio or
562 MIDI, and can run processing plugins. The only difference is that their
563 input is obtained from other tracks or busses, rather than from disk.
566 One might typically use a bus to collect together the outputs of related
567 tracks. Consider, for example, a 3-track recording of a drum-kit; given
568 kick, snare and overhead tracks, it may be helpful to connect the output
569 of each to a bus called "drums", so that the drum-kit's level can be set
570 as a unit, and processing (such as equalisation or compression) can be
571 applied to the mix of all tracks. Such buses are also called
577 A track may contain many segments of audio or MIDI. Ardour contains
578 these segments in things called <dfn>regions</dfn>, which are
579 self-contained snippets of audio or MIDI data. Any recording pass, for
580 example, generates a region on each track that is enabled for recording.
581 Regions can be subjected to many editing operations; they may be moved
582 around, split, trimmed, copied, and so on.
585 More details can be found at
586 <a href="/working-with-regions">Working With Regions</a>.
591 The details of what exactly each track should play back is described by a
592 <dfn>playlist</dfn>. A playlist is simply a list of regions; each track
593 always has an active playlist, and can have other playlists which can be
594 switched in and out as required.
597 More details can be found at
598 <a href="/working-with-playlists">Working With Playlists</a>.
603 Ardour allows you to process audio and MIDI using any number of
604 <dfn>plugins</dfn>. These are external pieces of code, commonly seen as
605 VST plugins on Windows or AU plugins on Mac OS X. Ardour supports
606 the following plugin standards:
608 <dl class="wide-table">
609 <dt><abbr title="Linux Audio Developers' Simple Plugin API">LADSPA</abbr></dt>
610 <dd>the first major plugin standard for Linux. Many LADSPA plugins are
611 available, mostly free and open-source.</dd>
612 <dt><abbr title="LADSPA Version 2">LV2</abbr></dt>
613 <dd>the successor to LADSPA. Lots of plugins have been ported from
614 LADSPA to LV2, and also many new plugins written.</dd>
615 <dt><abbr title="Virtual Studio Technology">VST</abbr></dt>
616 <dd>Ardour supports VST plugins that have been compiled for Linux.</dd>
617 <dt><abbr title="Audio Units">AU</abbr></dt>
618 <dd>Mac OS X versions of Ardour support AudioUnit plugins.</dd>
621 Ardour has some support for running Windows VST plugins on Linux, but
622 this is rather complicated, extremely difficult for the Ardour
623 developers to debug, and generally unreliable, as it requires to run a
624 large amount of Windows code in an emulated environment.<br />
625 If it is at all possible, you are strongly advised to use native
626 LADSPA, LV2 or Linux VST plugins on Linux, or AU on Mac OS X.
629 More details can be found at
630 <a href="/working-with-plugins">Working With Plugins</a>.
635 title: Basic GUI Operations
640 Ardour offers a number of different ways for you to interact with it.
641 This chapter provides information on basic techniques for <dfn>entering
642 text</dfn>, <dfn>making selections</dfn>, and <dfn>using shortcuts</dfn>.
646 title: Interface Elements
652 <h2>Pull Down Menus</h2>
653 <h2>Pop Up Menus</h2>
654 <h2>Context Menus</h2>
657 <p class="fixme">Add content</p>
665 Almost every available function in Ardour can be executed via a
666 <dfn>key binding</dfn> or <dfn><abbr title="Open Sound
667 Control">OSC</abbr></dfn> command. There are many more functions
668 available than there are keys on even the largest current computer
669 keyboards, so only a subset of them are bound to keys by default.
672 <h2>Key bindings for menu items</h2>
675 Existing key bindings in menus are listed on the right side of the
680 To create a custom key binding for a menu item quickly, navigate to
681 the relevant (sub-) menu, hover over the item with the mouse and press
682 the desired combination of modifiers and key.
686 Ardour will silently re-assign the binding if you use a key
687 combination that is already in use, possibly removing a standard
688 keyboard shortcut without warning you. That might lead to confusion
689 when you ask other users for help, and they explain something in terms
690 of a standard key binding, which will then have a completely
691 different effect on your system.
694 <h2>Key binding editor</h2>
697 For a complete overview of all existing keyboard bindings, go to
698 <kbd class="menu">Window > Key Bindings</kbd>. This widget will let
699 you view and edit even those functions that are not available in the menu,
700 and even remove key bindings altogether.
704 title: Selection Techniques
709 Ardour follows the conventions used by most other computer software
710 (including other DAWs) for <dfn>selecting objects</dfn> in the
711 <abbr title="Graphical User Interface">GUI</abbr>.
714 <h2>Selecting individual objects</h2>
717 Clicking on an object (sometimes on a particular part of its
718 on-screen representation) will select the object, and deselect other
722 <h2>Selecting multiple (similar) objects</h2>
725 A <kbd class="mod1 mouse">left</kbd> click on an object toggles its
726 <samp>selected</samp> status, so using <kbd class="mod1 mouse">left</kbd>
727 on a series of objects will select (or deselect) each one of them. You can
728 construct completely arbitrary selections with this technique.
731 <h2>Selecting a range of objects</h2>
734 In cases where the idea of "select all objects between this one and that
735 one" makes sense, you can select one object and then click
736 <kbd class="mod3 mouse">left</kbd> on another to select both of them as
737 well as all objects in between.
740 <h2>Time range selection</h2>
743 To select a time <dfn>range</dfn> in the Editor,
744 click <kbd class="mouse">Left</kbd> and drag the mouse.
745 A <kbd class="mod1 mouse">Left</kbd> drag then lets you create other
746 ranges and a <kbd class="mod3 mouse">left</kbd> click extends a range
747 to cover a wider area.
750 <h2>Selection Undo</h2>
753 The set of objects (including time range) that are selected at any one
754 time is known as the selection.
755 Each time you select or deselect an object, the new selection is stored in an
757 This stack is cleared each time the content of the timeline changes.
758 If you have built up a complex selection and then accidentally cleared it,
759 choosing <kbd class="menu">Edit > Undo Selection Change</kbd> will restore your previous selection.
760 If you then decide that you had in fact made the correct change, choosing
761 <kbd class="menu">Edit > Redo Selection Change</kbd> will take you back
762 to where you were before you chose <kbd class="menu">Edit > Undo Selection Change</kbd>.
771 By default, Ardour will show helpful <dfn>tooltips</dfn> about
772 the purpose and use of each <abbr title="Graphical User
773 Interface">GUI</abbr> element if you position the pointer
774 over it and hover there for a short while.
775 These little pop-up messages can be a good way to discover the
776 purpose of many aspects of the GUI.
780 Pop-ups can be distracting for experienced users, who may opt to
781 disable them via <kbd class="optoff">Edit > Preferences > GUI >
782 Show tooltip if mouse hovers over a control</kbd>.
786 title: Undo/Redo for Editing
791 While editing, it happens that you apply an unintended change, or make
792 a choice one that you later decide was wrong. All changes to the
793 arrangement of session components (regions, control points) along the
794 timeline can be <dfn>undone</dfn> (and <dfn>redone</dfn> if necessary).
798 The default keybindings are <kbd class="mod1">Z</kbd> for Undo and
799 <kbd class="mod1">R</kbd> for Redo. These match the conventions of most
800 other applications that provide undo/redo.
804 Changes are also saved to the <dfn>session history</dfn> file, so that
805 undo/redo is possible even if you close the session and reopen it later,
806 even if you quit Ardour in between.
810 The maximum number of changes that can be undone can be configured under
811 <kbd class="menu">Edit > Preferences > Misc > Undo</kbd>.
812 The maximum number of changes stored in the history file is a separate
813 parameter, and can also be set in the same place.
817 In addition to the normal undo (which works only on actions that change
818 the timeline), there is a <dfn>visual undo</dfn> which will revert any
819 command that affects the display of the editor window. Its shortcut is
820 <kbd class="mod3">Z</kbd>.
821 There is also an undo for selection. See
822 <a href="/ardours-interface/basic-gui-operations/selection-techniques/">Selection Techniques</a> for more information.
826 Note that changes made to mixer strips, such as turning knobs or changing faders, cannot be undone.
830 title: Using the Mouse
837 Throughout this manual, the term <dfn>click</dfn> refers to the act of pressing
838 and releasing the <kbd class="mouse">Left</kbd> mouse button. This action is used to select objects, activate
839 buttons, turn choices on and off, pop up menus and so forth.<br />
840 On touch surfaces, it also corresponds to a single, one-finger tap on
844 <h2>Right Clicking</h2>
847 The term <dfn>right-click</dfn> refers to the act of pressing and releasing
848 the <kbd class="mouse">Right</kbd> mouse button.
849 This action is used to pop up <dfn>context menus</dfn> (hence the term
850 "context click", which you will also see). It is also used by default in
851 combination with the shift key to delete objects within the editor
856 Some mice designed for use with Mac OS X may have only one button. By
857 convention, pressing and holding the Control key while clicking is
858 interpreted as a right-click by many application..
861 <h2>Middle Clicking</h2>
864 A <dfn>middle-click</dfn> refers to the act of pressing and releasing the
865 <kbd class="mouse">Middle</kbd> mouse button. Not all all mice have a middle click button
866 (see the <a href="/setting-up-your-system/mouse/">Mouse</a> chapter for
867 details). Sometimes the scroll wheel acts as a clickable middle button.
868 This action is used for time-constrained region copying and mapping MIDI
873 Internally, your operating system may identify the mouse buttons as
874 <kbd class="mouse">Button1</kbd>, <kbd class="mouse">Button2</kbd>, and
875 <kbd class="mouse">Button3</kbd>, respectively. It may be possible to
876 invert the order of buttons to accommodate left-handed users, or to re-assign
877 them arbitrarily. This manual assumes the canonical order.
880 <h2>Double Clicking</h2>
883 A <dfn>double click</dfn> refers to two rapid press/release cycles on the
884 leftmost mouse button. The time interval between the two actions that
885 determines whether this is seen as two clicks or one double click is
886 controlled by your system preferences, not by Ardour.
892 A <dfn>drag</dfn> primarily refers to the act of pressing the leftmost
893 mouse button, moving the mouse with the button held down, and then
894 releasing the button. On touch surfaces, this term also corresponds to
895 a single one-finger touch-move-release action.
899 Ardour also uses the middle mouse button for certain kinds of drags,
900 which will be referred to as <dfn>middle-drag</dfn>.
906 There are many actions in Ardour that can be carried out using a mouse
907 button in combination with a <dfn>modifier key</dfn>. When the manual
908 refers to <kbd class="mod1 mouse">Left</kbd>, it means that you should first
909 press the <kbd class="mod1"></kbd> key, carry out a left click
910 while <kbd class="mod1"></kbd> is held down, and then finally release the key.
914 Available modifiers depend on your platform:
917 <h3>Linux Modifiers</h3>
920 <li><kbd>Ctrl</kbd> (Control)</li>
921 <li><kbd>Shift</kbd></li>
922 <li><kbd>Alt</kbd></li>
923 <li><kbd>Mod2</kbd></li>
924 <li><kbd>Mod3</kbd></li>
925 <li><kbd>Mod4</kbd></li>
926 <li><kbd>Mod5</kbd></li>
930 The following section is almost certainly wrong. Will need to be checked
935 Mod2 typically corresponds to the <kbd>NumLock</kbd> key on many systems.
936 On most Linux systems, there are no keys that will function as modifiers
937 Mod3, Mod4 or Mod5 by default, but they can be setup using
938 <dfn>xmodmap(1)</dfn>. This can be rather useful.
941 <h3>OS X Modifiers</h3>
944 <li><kbd>Cmd</kbd> (Command, "windmill")</li>
945 <li><kbd>Ctrl</kbd> (Control)</li>
946 <li><kbd>Alt</kbd> (Option)</li>
947 <li><kbd>Shift</kbd></li>
950 <h2>Scroll Wheel</h2>
953 Ardour can make good use of a <dfn>scroll wheel</dfn> on your mouse, which can be
954 utilized for a variety of purposes. Scroll wheels generate vertical
955 scroll events, <kbd class="mouse">⇑</kbd> (ScrollUp) and
956 <kbd class="mouse">⇓</kbd> (ScrollDown). Some also emit horizontal
957 events, <kbd class="mouse">⇐</kbd> (ScrollLeft) and
958 <kbd class="mouse">⇒</kbd> (ScrollRight).
962 When appropriate, Ardour will differentiate between these two different
963 scroll axes. Otherwise it will interpret ScrollDown and ScrollLeft as
964 equivalent and similarly interpret ScrollUp and ScrollRight as equivalent.
968 Typically, scroll wheel input is used to adjust
969 <dfn>continuous controls</dfn> such as faders and knobs, or to scroll
970 vertically or horizontally inside a window.
973 <p class="fixme">Should add some mention of drag & drop operations; the "Dragging" section above doesn't mention it at all.</p>
976 title: Cut and Paste Operations
981 The <dfn>clipboard</dfn> is a holder for various kinds of objects (regions,
982 control events, plugins) that is used during <dfn>cut-and-paste
989 A <dfn>cut</dfn> operation removes selected objects and places them in the
990 clipboard. The existing contents of the clipboard are overwriten.<br />
991 The default key binding is <kbd class="mod1">x</kbd>.
997 A <dfn>copy</dfn> of the selected objects are placed in clipboard. There is
998 no effect on the selected objects themselves. The existing contents of the
999 clipboard are overwritten. <br />
1000 The default key binding is <kbd class="mod1">c</kbd>.
1006 The current contents of the clipboard are <dfn>paste</dfn>d (inserted)
1007 into the session, using the current <dfn>edit point</dfn> as the
1008 destination. The contents of the clipboard remain unchanged—you
1009 can paste the same item multiple times. <br />
1010 The default key binding is <kbd class="mod1">v</kbd>.
1014 title: Deleting Objects
1019 Within the Editor window (and to some extent within the Mixer window too),
1020 there are several techniques for <dfn>deleting</dfn> objects (regions,
1021 control points, and more).
1024 <h2>Using the mouse and keyboard</h2>
1026 Select the object(s) and then press the <kbd>Del</kbd> key.
1027 This does <strong>not</strong> put the deleted object(s) into the cut
1028 buffer, so they cannot be pasted elsewhere.
1031 <h2>Using normal cut and paste shortcuts</h2>
1033 Select the object(s) and then press <kbd class="mod1">x</kbd>. This puts
1034 the deleted object(s) into the cut buffer so that they could be pasted
1038 <h2>Using just the mouse</h2>
1040 By default, <kbd class="mouse">Shift Right</kbd> will delete the
1041 clicked-upon object. Like the Del key, this does <strong>not</strong>
1042 put the deleted object(s) into the cut buffer.
1045 The modifier and mouse button used for this can be controlled via
1046 <kbd class="menu">Edit > Preferences > User Interaction >
1047 Delete using ...</kbd>. Any modifier and mouse button combination can
1053 title: Starting Ardour
1058 There are several ways of <dfn>starting Ardour</dfn>, which may vary
1059 depending on which platform you are using it.
1063 <li>double-click the Ardour icon in your platform's file manager (e.g.
1064 Nautilus on Linux, Finder on OS X)</li>
1065 <li>double click on an Ardour session file in your platform's file manager</li>
1066 <li>on Linux, you can also start Ardour <a
1067 href="/ardours-interface/starting-ardour/starting-ardour-from-the-command-line">on the command line</a></li>
1071 When Ardour is run for the very first time, a special dialog is displayed
1072 that will ask you several questions about your setup. You will not be asked
1073 these questions again, but you can always modify your choices via the
1074 <kbd class="menu">Edit > Preferences</kbd> dialog.
1078 If you want to use JACK, in general, it is sensible to start <em>before</em> you run Ardour. This is not necessary, but will provide you with more control and options over JACK's operation. You can start JACK through its <abbr title="Command Line Interface">CLI</abbr>, or using a <abbr title="Graphical User Interface">GUI</abbr> program, like <a href="https://qjackctl.sourceforge.io/">QjackCtl</a> or <a href="http://kxstudio.linuxaudio.org/Applications:Cadence">Cadence</a>.
1082 If you open Ardour without specifying an existing session it will display
1083 the <kbd class="menu">Session > New...</kbd> dialog and the <kbd class="menu">Audio/MIDI Setup</kbd> dialog. See <a href="/working-with-sessions/new-session-dialog/">New/Open Session Dialog</a> for a description of those dialogs.
1087 title: Starting Ardour From the Command Line (Linux)
1088 menu_title: Starting from Linux Cmdline
1093 Like (almost) any other program on Linux, Ardour can be started on the
1094 command line. Type the following command in a terminal window:
1096 <kbd class="cmd lin">ardour5</kbd>
1098 To start Ardour with an existing session:
1100 <kbd class="cmd lin">ardour5 <em>/path/to/session</em></kbd>
1102 replacing /path/to/session with the actual path to your session. You can
1103 specify either the session folder or any session file inside the folder,
1104 including snapshots.
1107 To start Ardour with a new, named session:
1109 <kbd class="cmd lin">ardour5 -N <em>/path/to/session</em></kbd>
1111 <h3>Other Command Line Options</h3>
1115 title: Keyboard and Mouse Shortcuts
1121 title: Default Keyboard Bindings
1122 menu_title: Key Bindings
1127 Almost every available function in Ardour can be bound to a keyboard
1128 shortcut (and those few that cannot will usually respond to an <a
1129 href="/using-control-surfaces/controlling-ardour-with-osc/"><abbr
1130 title="Open Sound Control">OSC</abbr> command</a>). Ardour comes with a
1131 rich set of default <dfn>key bindings</dfn> for the most commonly used
1135 <p>These bindings strive to be <dfn>mnemonic</dfn>, that is, easy and intuitive
1136 to remember, and follow widely accepted conventions. As a general rule,
1137 the first letter of an operation will be used for as a shortcut, if
1138 available. This does not necessarily lead to the best ergonomics for
1139 rapid editing—there are alternative binding sets for that—but it does make it simpler for newcomers to remember some of the most
1140 useful ones, for example<br />
1141 <kbd>S</kbd> for <kbd class="menu">Region > Edit > Split"</kbd>
1143 <kbd>P</kbd> for <kbd class="menu">Transport > Playhead > Playhead to Mouse</kbd>.
1147 Almost every key binding in Ardour can be changed in <kbd class="menu">Window > Key Bindings</kbd>.
1151 The conventions for using modifier keys (<kbd class="mod1">‌</kbd>, <kbd
1152 class="mod2">‌</kbd>, <kbd class="mod3">‌</kbd> etc.) differ among platforms, so we provide different default bindings for each.
1156 title: Mnemonic Bindings for Linux
1162 A printable cheat-sheet with the mnemonic bindings for <dfn>Linux</dfn>
1163 is available for download in
1164 <a href="/files/a3_mnemonic_cheatsheet.pdf">US Letter</a> and
1165 <a href="/files/a3_mnemonic_cheatsheet-a4.pdf">A4</a> paper format.
1169 This set of bindings assumes an en_US keyboard. However, most if not all
1170 bindings will also work on other keyboards when you use the
1171 <kbd>AltGr</kbd> to compose those glyphs that are not directly accessible.
1174 <h2>Transport & Recording Control</h2>
1176 <dl class="bindings">
1177 <dt>destroy last recording</dt>
1178 <dd><kbd class="mod1">Del</kbd></dd>
1179 <dt>engage record</dt>
1180 <dd><kbd class="mod3">r</kbd></dd>
1181 <dt>fast forward</dt>
1182 <dd><kbd class="mod3">→</kbd></dd>
1183 <dt>loop play (the loop range)</dt>
1184 <dd><kbd class="">l</kbd></dd>
1186 <dd><kbd class="mod3">←</kbd></dd>
1187 <dt>set playhead position</dt>
1188 <dd><kbd class="">p</kbd></dd>
1189 <dt>start recording</dt>
1190 <dd><kbd class="mod3">Space</kbd></dd>
1191 <dt>stop (keep loop/range play)</dt>
1192 <dd><kbd class="mod12">Space</kbd></dd>
1193 <dt>stop and destroy</dt>
1194 <dd><kbd class="mod1">Space</kbd></dd>
1195 <dt>toggle auto play</dt>
1196 <dd><kbd class="">5</kbd></dd>
1197 <dt>toggle auto return</dt>
1198 <dd><kbd class="">6</kbd></dd>
1199 <dt>toggle click (metronome)</dt>
1200 <dd><kbd class="">7</kbd></dd>
1201 <dt>toggle playhead follows edits</dt>
1202 <dd><kbd class="mod3">F</kbd></dd>
1203 <dt>toggle playhead tracking</dt>
1204 <dd><kbd class="mod1">F</kbd></dd>
1205 <dt>toggle roll</dt>
1206 <dd><kbd class="">Space</kbd></dd>
1207 <dt>toggle selected track rec-enable </dt>
1208 <dd><kbd class="mod3">b</kbd></dd>
1209 <dt>toggle selected track solo status</dt>
1210 <dd><kbd class="mod2">s</kbd></dd>
1211 <dt>transition to reverse</dt>
1212 <dd><kbd class="mod3">↓</kbd></dd>
1213 <dt>transition to roll</dt>
1214 <dd><kbd class="mod3">↑</kbd></dd>
1217 <h2>Session & File Handling</h2>
1219 <dl class="bindings">
1220 <dt>add track(s) or bus(ses)</dt>
1221 <dd><kbd class="mod13">n</kbd></dd>
1222 <dt>export session</dt>
1223 <dd><kbd class="mod4">e</kbd></dd>
1224 <dt>import audio files</dt>
1225 <dd><kbd class="mod1">i</kbd></dd>
1226 <dt>open a new session</dt>
1227 <dd><kbd class="mod1">n</kbd></dd>
1228 <dt>open a recent session</dt>
1229 <dd><kbd class="mod13">o</kbd></dd>
1230 <dt>open an existing session</dt>
1231 <dd><kbd class="mod1">o</kbd></dd>
1233 <dd><kbd class="mod1">q</kbd></dd>
1234 <dt>save session</dt>
1235 <dd><kbd class="mod1">s</kbd></dd>
1236 <dt>snapshot session</dt>
1237 <dd><kbd class="mod13">s</kbd></dd>
1238 <dt>toggle selected track MIDI input</dt>
1239 <dd><kbd class="mod2">i</kbd></dd>
1242 <h2>Changing What's Visible</h2>
1244 <dl class="bindings">
1245 <dt>fit tracks vertically</dt>
1246 <dd><kbd class="">f</kbd></dd>
1247 <dt>move selected tracks down</dt>
1248 <dd><kbd class="mod1">↓</kbd></dd>
1249 <dt>move selected tracks up</dt>
1250 <dd><kbd class="mod1">↑</kbd></dd>
1251 <dt>scroll down (page)</dt>
1252 <dd><kbd class="">PgDn</kbd></dd>
1253 <dt>scroll down (step)</dt>
1254 <dd><kbd class="">↓</kbd></dd>
1255 <dt>scroll up (page)</dt>
1256 <dd><kbd class="">PgUp</kbd></dd>
1257 <dt>scroll up (step)</dt>
1258 <dd><kbd class="">↑</kbd></dd>
1259 <dt>toggle editor window mixer</dt>
1260 <dd><kbd class="mod3">e</kbd></dd>
1261 <dt>visual undo</dt>
1262 <dd><kbd class="mod3">z</kbd></dd>
1263 <dt>zoom height to selected region(s)</dt>
1264 <dd><kbd class="mod12">z</kbd></dd>
1265 <dt>zoom height and time to selected region</dt>
1266 <dd><kbd class="mod2">z</kbd></dd>
1268 <dd><kbd class="">=</kbd></dd>
1270 <dd><kbd class="">-</kbd></dd>
1273 <h2>Window Visibility</h2>
1275 <dl class="bindings">
1276 <dt>toggle locations dialog</dt>
1277 <dd><kbd class="mod2">l</kbd>(ell)</dd>
1278 <dt>focus on main clock</dt>
1279 <dd><kbd class="kp">÷</kbd></dd>
1280 <dt>maximise editor space</dt>
1281 <dd><kbd class="mod12">f</kbd></dd>
1282 <dt>switch between editor & mixer window</dt>
1283 <dd><kbd class="mod2">m</kbd></dd>
1284 <dt>show rhythm ferret window </dt>
1285 <dd><kbd class="mod2">f</kbd></dd>
1286 <dt>toggle big clock</dt>
1287 <dd><kbd class="mod2">b</kbd></dd>
1288 <dt>toggle color manager</dt>
1289 <dd><kbd class="mod2">c</kbd></dd>
1290 <dt>toggle editor window</dt>
1291 <dd><kbd class="mod2">e</kbd></dd>
1292 <dt>toggle global audio patchbay</dt>
1293 <dd><kbd class="mod2">p</kbd></dd>
1294 <dt>toggle global midi patchbay</dt>
1295 <dd><kbd class="mod23">p</kbd></dd>
1296 <dt>toggle key bindings editor</dt>
1297 <dd><kbd class="mod2">k</kbd></dd>
1298 <dt>toggle preferences dialog</dt>
1299 <dd><kbd class="mod2">o</kbd></dd>
1300 <dt>toggle preferences dialog</dt>
1301 <dd><kbd class="mod13">p</kbd></dd>
1304 <h2>Editing with Edit Point</h2>
1307 Most edit functions operate on a single <dfn>Edit Point</dfn> (EP). The edit
1308 point can be any of: playhead (default), the mouse or an active marker.
1309 The choice of edit point (by default) also sets the <dfn>Zoom Focus</dfn>.
1312 <dl class="bindings">
1313 <dt>EP to next region sync</dt>
1314 <dd><kbd class="">;</kbd></dd>
1315 <dt>EP to prev region sync</dt>
1316 <dd><kbd class="">'</kbd></dd>
1317 <dt>cycle to next grid snap mode</dt>
1318 <dd><kbd class="">2</kbd></dd>
1319 <dt>cycle to next zoom focus</dt>
1320 <dd><kbd class="">1</kbd></dd>
1321 <dt>insert from region list</dt>
1322 <dd><kbd class="">i</kbd></dd>
1323 <dt>insert time</dt>
1324 <dd><kbd class="mod1">t</kbd></dd>
1325 <dt>move EP to playhead</dt>
1326 <dd><kbd class="mod2">↵</kbd></dd>
1327 <dt>next EP w/marker</dt>
1328 <dd><kbd class="mod1">`</kbd></dd>
1329 <dt>next EP w/o marker</dt>
1330 <dd><kbd class="">`</kbd></dd>
1332 <dd><kbd class="">k</kbd></dd>
1334 <dd><kbd class="">j</kbd></dd>
1335 <dt>trim region end to edit point</dt>
1336 <dd><kbd class="mod3">}</kbd></dd>
1337 <dt>trim region start to edit point</dt>
1338 <dd><kbd class="mod3">{</kbd></dd>
1339 <dt>trim region to end of prev region</dt>
1340 <dd><kbd class="mod1">j</kbd></dd>
1341 <dt>trim region to start of next region</dt>
1342 <dd><kbd class="mod1">k</kbd></dd>
1343 <dt>use previous grid unit</dt>
1344 <dd><kbd class="">3</kbd></dd>
1345 <dt>use next grid unit</dt>
1346 <dd><kbd class="">4</kbd></dd>
1347 <dt>use previous grid unit</dt>
1348 <dd><kbd class="mod1">3</kbd></dd>
1349 <dt>use next musical grid unit</dt>
1350 <dd><kbd class="mod1">4</kbd></dd>
1353 <h2>Aligning with the Edit Point</h2>
1356 <dfn>Align operations</dfn> move regions so that their start/end/sync
1357 point is at the edit point. <dfn>Relative</dfn> operations just align the first
1358 region and moves other selected regions to maintain relative positioning.
1361 <dl class="bindings">
1362 <dt>align end(s)</dt>
1363 <dd><kbd class="mod2">a</kbd></dd>
1364 <dt>align start(s)</dt>
1365 <dd><kbd class="mod14">a</kbd></dd>
1366 <dt>align start(s) relative</dt>
1367 <dd><kbd class="mod4">a</kbd></dd>
1368 <dt>align sync points</dt>
1369 <dd><kbd class="mod3">a</kbd></dd>
1370 <dt>align sync points (relative)</dt>
1371 <dd><kbd class="">a</kbd></dd>
1372 <dt>range end to next prev edge</dt>
1373 <dd><kbd class="mod1">></kbd></dd>
1374 <dt>range end to next region edge</dt>
1375 <dd><kbd class="">></kbd></dd>
1376 <dt>range start to next region edge</dt>
1377 <dd><kbd class="mod1"><</kbd></dd>
1378 <dt>range start to prev region edge</dt>
1379 <dd><kbd class=""><</kbd></dd>
1382 <h2>Edit Point Playback</h2>
1384 <dl class="bindings">
1385 <dt>play edit range</dt>
1386 <dd><kbd class="mod2">Space</kbd></dd>
1387 <dt>play from EP & return</dt>
1388 <dd><kbd class="mod4">Space</kbd></dd>
1389 <dt>play selected region(s)</dt>
1390 <dd><kbd class="">h</kbd></dd>
1392 <h2>Region Operations</h2>
1394 <dl class="bindings">
1395 <dt>duplicate region (multi)</dt>
1396 <dd><kbd class="mod3">d</kbd></dd>
1397 <dt>duplicate region (once)</dt>
1398 <dd><kbd class="mod2">d</kbd></dd>
1399 <dt>export selected region(s)</dt>
1400 <dd><kbd class="mod14">e</kbd></dd>
1401 <dt>increase region gain</dt>
1402 <dd><kbd class="">^</kbd></dd>
1403 <dt>move to original position</dt>
1404 <dd><kbd class="mod2">o</kbd></dd>
1405 <dt>mute/unmute</dt>
1406 <dd><kbd class="mod1">m</kbd></dd>
1408 <dd><kbd class="">n</kbd></dd>
1409 <dt>nudge backward</dt>
1410 <dd><kbd class="kp">–</kbd></dd>
1411 <dt>nudge forward</dt>
1412 <dd><kbd class="kp">+</kbd></dd>
1413 <dt>quantize MIDI notes </dt>
1414 <dd><kbd class="">q</kbd></dd>
1415 <dt>reduce region gain</dt>
1416 <dd><kbd class="">&</kbd></dd>
1418 <dd><kbd class="mod2">r</kbd></dd>
1419 <dt>set fade in length</dt>
1420 <dd><kbd class="">/</kbd></dd>
1421 <dt>set fade out length</dt>
1422 <dd><kbd class="">\</kbd></dd>
1423 <dt>set region sync point</dt>
1424 <dd><kbd class="">v</kbd></dd>
1426 <dd><kbd class="">s</kbd></dd>
1427 <dt>toggle fade in active</dt>
1428 <dd><kbd class="mod1">/</kbd></dd>
1429 <dt>toggle fade out active</dt>
1430 <dd><kbd class="mod1">\</kbd></dd>
1432 <dd><kbd class="mod2">t</kbd></dd>
1435 <h2>Generic Editing</h2>
1437 <dl class="bindings">
1439 <dd><kbd class="mod1">c</kbd></dd>
1441 <dd><kbd class="mod1">x</kbd></dd>
1443 <dd><kbd class="">Del</kbd></dd>
1445 <dd><kbd class="mod1">v</kbd></dd>
1447 <dd><kbd class="mod1">r</kbd></dd>
1449 <dd><kbd class="mod1">z</kbd></dd>
1455 There are a few functions that refer to an <dfn>Edit Range</dfn>. The
1456 current edit range is defined using combinations of the possible edit
1457 points: <dfn>playhead</dfn>, <dfn>active marker</dfn>, or <dfn>mouse</dfn>.
1460 <dl class="bindings">
1461 <dt>all after playhead</dt>
1462 <dd><kbd class="mod13">p</kbd></dd>
1463 <dt>all before playhead</dt>
1464 <dd><kbd class="mod1">p</kbd></dd>
1465 <dt>all enclosed by edit range</dt>
1466 <dd><kbd class="mod1">u</kbd></dd>
1467 <dt>all present in edit range</dt>
1468 <dd><kbd class="">u</kbd></dd>
1469 <dt>convert edit range to range</dt>
1470 <dd><kbd class="">F6</kbd></dd>
1471 <dt>invert selection</dt>
1472 <dd><kbd class="mod3">i</kbd></dd>
1473 <dt>select all after EP</dt>
1474 <dd><kbd class="mod13">e</kbd></dd>
1475 <dt>select all before EP</dt>
1476 <dd><kbd class="mod1">e</kbd></dd>
1477 <dt>select all in loop range</dt>
1478 <dd><kbd class="mod1">l</kbd></dd>
1479 <dt>select all in punch range</dt>
1480 <dd><kbd class="mod1">d</kbd></dd>
1481 <dt>select everything</dt>
1482 <dd><kbd class="mod1">a</kbd></dd>
1483 <dt>select next track/bus</dt>
1484 <dd><kbd class="mod2">↓</kbd></dd>
1485 <dt>select previous track/bus</dt>
1486 <dd><kbd class="mod2">↑</kbd></dd>
1489 <h2>Defining Loop, Punch Range and Tempo Changes</h2>
1491 <dl class="bindings">
1492 <dt>set loop range from edit range</dt>
1493 <dd><kbd class="">]</kbd></dd>
1494 <dt>set loop range from region(s)</dt>
1495 <dd><kbd class="mod2">]</kbd></dd>
1496 <dt>set punch range from edit range</dt>
1497 <dd><kbd class="">[</kbd></dd>
1498 <dt>set punch range from region(s)</dt>
1499 <dd><kbd class="mod2">[</kbd></dd>
1500 <dt>set tempo (1 bar) from edit range</dt>
1501 <dd><kbd class="">0</kbd></dd>
1502 <dt>set tempo (1 bar) from region(s)</dt>
1503 <dd><kbd class="">9</kbd></dd>
1507 title: Mnemonic Bindings for OS X
1512 A <a href="/files/a3_mnemonic_cheat_sheet_osx.pdf">printable cheat sheet</a>
1513 for these bindings is available for download.
1516 <h2>Transport & Recording Control</h2>
1517 <dl class="bindings">
1518 <dt>destroy last recording</dt>
1519 <dd><kbd class="mod1">Del</kbd></dd>
1520 <dt>engage record</dt>
1521 <dd><kbd class="mod3">r</kbd></dd>
1522 <dt>fast forward</dt>
1523 <dd><kbd class="mod3">→</kbd></dd>
1524 <dt>loop play (the loop range)</dt>
1525 <dd><kbd class="">l</kbd></dd>
1527 <dd><kbd class="mod3">←</kbd></dd>
1528 <dt>set playhead position</dt>
1529 <dd><kbd class="">p</kbd></dd>
1530 <dt>start recording</dt>
1531 <dd><kbd class="mod3">space</kbd></dd>
1532 <dt>stop (keep loop/range play)</dt>
1533 <dd><kbd class="mod12">space</kbd></dd>
1534 <dt>stop and destroy</dt>
1535 <dd><kbd class="mod1">space</kbd></dd>
1536 <dt>toggle auto play</dt>
1537 <dd><kbd class="">5</kbd></dd>
1538 <dt>toggle auto return</dt>
1539 <dd><kbd class="">6</kbd></dd>
1540 <dt>toggle click (metronome)</dt>
1541 <dd><kbd class="">7</kbd></dd>
1542 <dt>toggle playhead follows edits</dt>
1543 <dd><kbd class="mod3">f</kbd></dd>
1544 <dt>toggle playhead tracking</dt>
1545 <dd><kbd class="mod1">f</kbd></dd>
1546 <dt>toggle roll</dt>
1547 <dd><kbd class="">space</kbd></dd>
1548 <dt>toggle track rec-enable </dt>
1549 <dd><kbd class="mod3">b</kbd></dd>
1550 <dt>toggle track solo status</dt>
1551 <dd><kbd class="mod2">s</kbd></dd>
1552 <dt>transition to reverse</dt>
1553 <dd><kbd class="mod3">↓</kbd></dd>
1554 <dt>transition to roll</dt>
1555 <dd><kbd class="mod3">↑</kbd></dd>
1557 <h2>Session & File Handling</h2>
1558 <dl class="bindings">
1559 <dt>add track(s) or bus(ses)</dt>
1560 <dd><kbd class="mod13">n</kbd></dd>
1561 <dt>export session</dt>
1562 <dd><kbd class="mod1">e</kbd></dd>
1563 <dt>import audio files</dt>
1564 <dd><kbd class="mod1">i</kbd></dd>
1565 <dt>open a new session</dt>
1566 <dd><kbd class="mod1">n</kbd></dd>
1567 <dt>open a recent session</dt>
1568 <dd><kbd class="mod13">o</kbd></dd>
1569 <dt>open an existing session</dt>
1570 <dd><kbd class="mod1">o</kbd></dd>
1572 <dd><kbd class="mod1">q</kbd></dd>
1573 <dt>save session</dt>
1574 <dd><kbd class="mod1">s</kbd></dd>
1575 <dt>snapshot session</dt>
1576 <dd><kbd class="mod13">s</kbd></dd>
1577 <dt>toggle sel. track MIDI input</dt>
1578 <dd><kbd class="mod2">i</kbd></dd>
1580 <h2>Changing What's Visible</h2>
1581 <dl class="bindings">
1582 <dt>fit tracks vertically</dt>
1583 <dd><kbd class="">f</kbd></dd>
1584 <dt>move selected tracks down</dt>
1585 <dd><kbd class="mod1">↓</kbd></dd>
1586 <dt>move selected tracks up</dt>
1587 <dd><kbd class="mod1">↑</kbd></dd>
1588 <dt>scroll down (page)</dt>
1589 <dd><kbd class="">PgDn</kbd></dd>
1590 <dt>scroll down (step)</dt>
1591 <dd><kbd class="">↓</kbd></dd>
1592 <dt>scroll up (page)</dt>
1593 <dd><kbd class="">PageUp</kbd></dd>
1594 <dt>scroll up (step)</dt>
1595 <dd><kbd class="">↑</kbd></dd>
1596 <dt>toggle editor window mixer</dt>
1597 <dd><kbd class="mod3">e</kbd></dd>
1598 <dt>toggle last 2 zoom states</dt>
1599 <dd><kbd class="mod3">z</kbd></dd>
1600 <dt>zoom height to selected region(s)</dt>
1601 <dd><kbd class="mod1">Control+z</kbd></dd>
1602 <dt>zoom height and time to selected region</dt>
1603 <dd><kbd class="mod2">z</kbd></dd>
1605 <dd><kbd class="">=</kbd></dd>
1607 <dd><kbd class="">-</kbd></dd>
1609 <h2>Window Visibility</h2>
1610 <dl class="bindings">
1611 <dt>toggle locations dialog</dt>
1612 <dd><kbd class="mod2">l</kbd></dd>
1613 <dt>focus on main clock</dt>
1614 <dd><kbd class="kp">÷</kbd></dd>
1615 <dt>maximise editor space</dt>
1616 <dd><kbd class="mod12">f</kbd></dd>
1617 <dt>rotate editor & mixer window</dt>
1618 <dd><kbd class="mod2">m</kbd></dd>
1619 <dt>show rhythm ferret window </dt>
1620 <dd><kbd class="mod2">f</kbd></dd>
1621 <dt>toggle big clock</dt>
1622 <dd><kbd class="mod2">b</kbd></dd>
1623 <dt>toggle color manager</dt>
1624 <dd><kbd class="mod2">c</kbd></dd>
1625 <dt>toggle editor window</dt>
1626 <dd><kbd class="mod2">e</kbd></dd>
1627 <dt>toggle global audio patchbay</dt>
1628 <dd><kbd class="mod2">p</kbd></dd>
1629 <dt>toggle global midi patchbay</dt>
1630 <dd><kbd class="mod23">p</kbd></dd>
1631 <dt>toggle key bindings editor</dt>
1632 <dd><kbd class="mod2">k</kbd></dd>
1633 <dt>toggle preferences dialog</dt>
1634 <dd><kbd class="mod2">o</kbd></dd>
1635 <dt>toggle preferences dialog</dt>
1636 <dd><kbd class="mod13">p</kbd></dd>
1639 <h2>Editing with Edit Point</h2>
1641 Most edit functions operate on a single <dfn>Edit Point</dfn> (EP). The
1643 point can be any of: playhead (default), the mouse or an active marker.
1644 The choice of edit point (by default) also sets the <dfn>Zoom Focus</dfn>.
1647 <dl class="bindings">
1648 <dt>EP to next region sync</dt>
1649 <dd><kbd class="">;</kbd></dd>
1650 <dt>EP to prev region sync</dt>
1651 <dd><kbd class="">'</kbd></dd>
1652 <dt>cycle to next grid snap mode</dt>
1653 <dd><kbd class="">2</kbd></dd>
1654 <dt>cycle to next zoom focus</dt>
1655 <dd><kbd class="">1</kbd></dd>
1656 <dt>insert from region list</dt>
1657 <dd><kbd class="">i</kbd></dd>
1658 <dt>insert time</dt>
1659 <dd><kbd class="mod1">t</kbd></dd>
1660 <dt>move EP to playhead</dt>
1661 <dd><kbd class="mod2">Return</kbd></dd>
1662 <dt>next EP w/marker</dt>
1663 <dd><kbd class="mod1">^</kbd></dd>
1664 <dt>next EP w/o marker</dt>
1665 <dd><kbd class="">`</kbd></dd>
1667 <dd><kbd class="">k</kbd></dd>
1669 <dd><kbd class="">j</kbd></dd>
1670 <dt>trim region end to edit point</dt>
1671 <dd><kbd class="mod3">}</kbd></dd>
1672 <dt>trim region start to edit point</dt>
1673 <dd><kbd class="mod3">{</kbd></dd>
1674 <dt>trim region to end of prev region</dt>
1675 <dd><kbd class="mod1">j</kbd></dd>
1676 <dt>trim region to start of next region</dt>
1677 <dd><kbd class="mod1">k</kbd></dd>
1678 <dt>use previous grid unit</dt>
1679 <dd><kbd class="">3</kbd></dd>
1680 <dt>use next grid unit</dt>
1681 <dd><kbd class="">4</kbd></dd>
1682 <dt>use previous grid unit</dt>
1683 <dd><kbd class="mod1">3</kbd></dd>
1684 <dt>use next musical grid unit</dt>
1685 <dd><kbd class="mod1">4</kbd></dd>
1688 <h2>Aligning with the Edit Point</h2>
1690 <dfn>Align operations</dfn> move regions so that their start/end/sync
1691 point is at the edit point. <dfn>Relative</dfn> operations just align
1692 the first region and moves other selected regions to maintain relative
1696 <dl class="bindings">
1697 <dt>align end(s)</dt>
1698 <dd><kbd class="mod2">a</kbd></dd>
1699 <dt>align start(s)</dt>
1701 <dt>align start(s) relative</dt>
1702 <dd><kbd class=""></kbd></dd>
1703 <dt>align sync points</dt>
1704 <dd><kbd class="mod3">a</kbd></dd>
1705 <dt>align sync points (relative)</dt>
1706 <dd><kbd class="">a</kbd></dd>
1707 <dt>range end to next prev edge</dt>
1708 <dd><kbd class="mod1">></kbd></dd>
1709 <dt>range end to next region edge</dt>
1710 <dd><kbd class="">></kbd></dd>
1711 <dt>range start to next region edge</dt>
1712 <dd><kbd class="mod1"><</kbd></dd>
1713 <dt>range start to prev region edge</dt>
1714 <dd><kbd class=""><</kbd></dd>
1717 <h2>Edit Point Playback</h2>
1719 <dl class="bindings">
1720 <dt>play edit range</dt>
1721 <dd><kbd class="mod2">Space</kbd></dd>
1722 <dt>play from EP & return</dt>
1723 <dd><kbd class="mod1">Space</kbd></dd>
1724 <dt>play selected region(s)</dt>
1725 <dd><kbd class="">h</kbd></dd>
1727 <h2>Region Operations</h2>
1728 <dl class="bindings">
1729 <dt>duplicate region (multi)</dt>
1730 <dd><kbd class="mod3">d</kbd></dd>
1731 <dt>duplicate region (once)</dt>
1732 <dd><kbd class="mod2">d</kbd></dd>
1733 <dt>export selected region(s)</dt>
1735 <dt>increase region gain</dt>
1736 <dd><kbd class="">^</kbd></dd>
1737 <dt>move to original position</dt>
1738 <dd><kbd class="mod2">o</kbd></dd>
1739 <dt>mute/unmute</dt>
1740 <dd><kbd class="mod1">m</kbd></dd>
1742 <dd><kbd class="">n</kbd></dd>
1743 <dt>nudge backward</dt>
1744 <dd><kbd class="kp">–</kbd></dd>
1745 <dt>nudge forward</dt>
1746 <dd><kbd class="kp">+</kbd></dd>
1747 <dt>quantize MIDI notes </dt>
1748 <dd><kbd class="">q</kbd></dd>
1749 <dt>reduce region gain</dt>
1750 <dd><kbd class="">&</kbd></dd>
1752 <dd><kbd class="mod2">r</kbd></dd>
1753 <dt>set fade in length</dt>
1754 <dd><kbd class="">/</kbd></dd>
1755 <dt>set fade out length</dt>
1756 <dd><kbd class="">\</kbd></dd>
1757 <dt>set region sync point</dt>
1758 <dd><kbd class="">v</kbd></dd>
1760 <dd><kbd class="">s</kbd></dd>
1761 <dt>toggle fade in active</dt>
1762 <dd><kbd class="mod1">/</kbd></dd>
1763 <dt>toggle fade out active</dt>
1764 <dd><kbd class="mod1">\</kbd></dd>
1766 <dd><kbd class="mod2">t</kbd></dd>
1769 <h2>Generic Editing</h2>
1771 <dl class="bindings">
1773 <dd><kbd class="mod1">c</kbd></dd>
1775 <dd><kbd class="mod1">x</kbd></dd>
1777 <dd><kbd class="">Del</kbd></dd>
1779 <dd><kbd class="mod1">v</kbd></dd>
1781 <dd><kbd class="mod1">r</kbd></dd>
1783 <dd><kbd class="mod1">z</kbd></dd>
1788 There are a few functions that refer to an <dfn>Edit Range</dfn>. The
1789 current edit range is defined using combinations of the possible edit
1790 points: <dfn>playhead</dfn>, <dfn>active marker</dfn>, or<dfn>mouse</dfn>.
1793 <dl class="bindings">
1794 <dt>all after playhead</dt>
1795 <dd><kbd class="mod13">p</kbd></dd>
1796 <dt>all before playhead</dt>
1797 <dd><kbd class="mod1">p</kbd></dd>
1798 <dt>all enclosed by edit range</dt>
1799 <dd><kbd class="mod1">u</kbd></dd>
1800 <dt>all present in edit range</dt>
1801 <dd><kbd class="">u</kbd></dd>
1802 <dt>convert edit range to range</dt>
1803 <dd><kbd class="">F6</kbd></dd>
1804 <dt>invert selection</dt>
1805 <dd><kbd class="mod3">i</kbd></dd>
1806 <dt>select all after EP</dt>
1807 <dd><kbd class="mod1">Shift+e</kbd></dd>
1808 <dt>select all before EP</dt>
1809 <dd><kbd class="mod1">e</kbd></dd>
1810 <dt>select all in loop range</dt>
1811 <dd><kbd class="mod1">l</kbd></dd>
1812 <dt>select all in punch range</dt>
1813 <dd><kbd class="mod1">d</kbd></dd>
1814 <dt>select everything</dt>
1815 <dd><kbd class="mod1">a</kbd></dd>
1816 <dt>select next track/bus</dt>
1817 <dd><kbd class="mod2">↓</kbd></dd>
1818 <dt>select previous track/bus</dt>
1819 <dd><kbd class="mod2">↑</kbd></dd>
1821 <h2>Defining Loop, Punch Range and Tempo Changes</h2>
1822 <dl class="bindings">
1823 <dt>set loop range from edit range</dt>
1824 <dd><kbd class="">]</kbd></dd>
1825 <dt>set loop range from region(s)</dt>
1826 <dd><kbd class="mod2">]</kbd></dd>
1827 <dt>set punch range from edit range</dt>
1828 <dd><kbd class="">[</kbd></dd>
1829 <dt>set punch range from region(s)</dt>
1830 <dd><kbd class="mod2">[</kbd></dd>
1831 <dt>set tempo (1 bar) from edit range</dt>
1832 <dd><kbd class="">0</kbd></dd>
1833 <dt>set tempo (1 bar) from region(s)</dt>
1834 <dd><kbd class="">9</kbd></dd>
1841 title: System Configuration
1847 title: Ardour Systems
1853 title: The Right Computer System for Digital Audio
1854 menu_title: The Right Computer System
1859 It would be nice to think that you could just go and buy any computer,
1860 install a bit of software on it and start using it to record and create
1861 music. This idea isn't wrong, but there some important details that it
1865 Any computer that you can buy today (since somewhere around the end of
1866 2012) is capable of recording and processing a lot of audio data. It
1867 will come with a builtin audio interface that can accept inputs from
1868 microphones or electrical instruments. It will have a disk with a huge
1869 amount of space for storing audio files.
1872 When you are recording, editing and mixing music, you generally want to
1873 work with very little <dfn>latency</dfn> between the time that
1874 a sound is generated and when you can hear it. When the audio signal
1875 flows through a computer, that means that the computer has to be able to
1876 receive the signal, process it and send it back out again as fast as
1878 And that is where it becomes very important <em>what</em> computer system
1879 you have, because it is <strong>absolutely not</strong> the case that any
1880 computer can do this job well.
1883 Routing audio through a computer will always cause some delay, but if it
1884 is small, you will generally never notice it. There are also ways to work
1885 in which the delay does not matter at all (for example, not sending the
1886 output from the computer to speakers).
1889 The latency that you want for working with digital audio is typically in
1890 the 1–5 ms range. For comparison, if you are sitting 1 m
1891 (3 ft) from your speakers, the time the sound takes to reach your
1892 ears is about 3 ms. Any modern computer can limit the delay to
1893 100 ms. Most can keep it under 50 ms. Many will be able to get
1894 down to 10 ms without too much effort. If you try to reduce the delay
1895 on a computer that cannot meet your goal, you will get clicks and
1896 glitches in the audio, which is clearly extremely undesirable.
1899 <h2>Hardware-related Considerations</h2>
1900 <dl class="wide-table">
1901 <dt>Video interface</dt>
1902 <dd>Poorly engineered video interfaces (and/or their device drivers) can
1903 "steal" computer resources for a long time, preventing the audio interface
1904 from keeping up with the flow of data</dd>
1905 <dt>Wireless interface</dt>
1906 <dd>Poorly engineered wireless networking interfaces (and/or their device
1907 drivers) can also block the audio interface from keeping up with the flow
1909 <dt><abbr title="Universal Serial Bus">USB</abbr> ports</dt>
1910 <dd>If you are using an audio interface connected via USB, and sometimes
1911 even if you are not, the precise configuration of your system's USB ports
1912 can make a big difference. There are many cases where plugging the
1913 interface into one port will work, but using different USB port results
1914 in much worse performance. This has been seen even on Apple systems.
1916 <dt>Internal USB Hubs</dt>
1917 <dd>Ideally, you'd like your USB ports to all connect directly to the
1918 main bus inside the computer. Some laptops (and possibly some
1919 desktop systems) come wired with an internal USB hub between the
1920 ports and the system bus, which can then cause problems for various
1921 kinds of external USB devices, including some models of audio
1922 interfaces. It is very difficult to discover whether this is true or
1923 not, without simplying trying it out.</dd>
1924 <dt><abbr title="Central Processing Unit">CPU</abbr> speed control</dt>
1925 <dd>Handling audio with low latency requires that your processor keeps
1926 running at its highest speed at all times. Many portable systems try to
1927 regulate processor speed in order to save power—for low latency
1928 audio, you want this totally disabled, either in the BIOS or at the OS
1930 <dt>Excessive Interrupt Sharing</dt>
1931 <dd>If your audio interface is forced by your computer to share an
1932 interrupt line (basically a way to tell the CPU that something needs
1933 its attention) with too many, or the wrong, other devices, this can also
1934 prevent the audio interface from keeping up with the flow of data. In
1935 laptops it is generally impossible to do anything about this. In many
1936 desktop systems, it is possible at the BIOS level to reassign interrupts
1937 to work around the problem.</dd>
1938 <dt><abbr title="System Management Interrupt">SMI</abbr>s</dt>
1939 <dd>SMIs are interrupts sent by the motherboard to tell the computer
1940 about the state of various hardware. They cannot safely be disabled,
1941 but they can also take a relatively long time to process. It is better
1942 to have a motherboard which never sends SMIs at all— this is
1943 also a requirement for realtime stock trading systems, which have
1944 similar issues with latency.</dd>
1945 <dt>Hyperthreading</dt>
1946 <dd>This technology is becoming less common as actual multi-core CPUs
1947 become the norm, but it still exists and is generally not good for
1948 realtime performance. Sometimes you can disable this in the BIOS,
1949 sometimes you cannot. A processor that uses hyperthreading will be
1950 less stable in very low latency situations than one without.</dd>
1951 <dt>Excessive vibration</dt>
1952 <dd>This doesn't affect the flow of data to/from the audio interface,
1953 but it can cause the flow of data to/from your disk storage to become
1954 <em>much</em> slower. If you are going to use a computer in an
1955 environment with loud live sound (specifically, high bass volume),
1956 make sure to place it so that the disk is not subject to noticeable
1957 vibration. The vibrations will physically displace the head-write
1958 heads of disk, and the resulting errors will force a retry of the
1959 reading from the disk. Retrying over and over massively reduces the
1960 rate at which data can be read from the disk. Avoid this.</dd>
1969 Ardour is designed to work best with a <dfn>three button mouse</dfn>
1970 equipped with a <dfn>scroll wheel</dfn>.
1974 It can be used with a two button mouse or touchpad, but at least two key
1975 operations will not (easily) be available to you:
1979 <li>time-constrained region copying</li>
1980 <li><a href="/using-control-surfaces/midi-learn/"><abbr title="Musical
1981 Instrument Digital Interface">MIDI</abbr> bindings</a>
1982 created by "learning" them from incoming MIDI data</li>
1986 You are strongly encouraged to invest in a three-button mouse. You will
1987 find that a good quality mouse (especially one with a weighted,
1988 latchable scroll wheel) will make your use of Ardour vastly more
1989 efficient. They are cheap, and time is not.
1993 For more detailed instructions, see
1994 <a href="/ardours-interface/basic-gui-operations/using-the-mouse/">Using the mouse</a>.
2005 title: Setting Up Your System
2010 Using a general purpose computer for recording digital audio is not
2011 trivial. This chapter will guide you through the basic steps and help
2012 you with some of the most common pitfalls on the way to a reliable and
2013 powerful audio workstation.
2017 title: Platform Specifics
2021 <h2>Platform Specifics</h2>
2024 This section of the manual collects together the collective wisdom
2025 of the user community regarding details of using Ardour on various
2035 <dfn>Ubuntu Linux</dfn> is the most popular variety of Linux in use on desktop
2036 and laptop systems. It has the backing of a for-profit corporation
2037 (Canonical Inc.), a defined philosophy and a huge and
2038 worldwide user base. As a result, it is a common platform for people
2039 who want to use Ardour and other tools for music creation and
2043 <h2>High Level Recommendations for Ubuntu Users</h2>
2045 Currently, installing pro audio applications on vanilla Ubuntu requires
2046 some configuration, in order for the user to gain realtime privilege
2048 Ubuntu Studio, which is an official flavor of Ubuntu, and thus shares
2049 the repositories with Ubuntu, has this already configured.
2050 Other distributions, such as KXStudio, and Dreamstudio are largely based
2051 on Ubuntu, and like Ubuntu Studio, has these settings preconfigured, while
2052 also containing customized versions of Ubuntu packages, which often are
2056 <h2>Installing Ardour</h2>
2058 There may be unintended differences, and even bugs in Ubuntu native
2059 packages, as a result of a different building method. For this reason,
2060 Ardour developers highly recommend you to install the official
2061 ready-to-run version of the program that you can get from <a
2062 href="https://community.ardour.org/download">ardour.org</a>, as Ubuntu native
2063 packages are not supported in official Ardour forums or other
2067 Follow these steps to install the latest version of Ardour.
2069 <li>Download the latest release from <a href="https://community.ardour.org/download">
2070 ardour.org</a>.</li>
2071 <li><kbd class="mouse">Right+Click</kbd> the downloaded file and choose
2073 <li>Click the Permissions tab and check the option "Allow this file to
2074 run as a program"</li>
2075 <li>Close the dialog and double-click the file.</li>
2076 <li>Follow the prompts.</li>
2080 <h2>Problems with the interaction between PulseAudio and JACK</h2>
2082 <h3>Background Info</h3>
2084 Like many distributions, Ubuntu has decided to use <dfn>PulseAudio</dfn> as the
2085 default audio system. PulseAudio is a rich and capable system that
2086 provides excellent services for typical users of Linux on the
2087 desktop. However, it is not capable of the type of performance that
2088 tools like Ardour require and in particular does not offer the
2089 possibility of sending audio between applications that can make the
2090 Linux audio environment a very interesting one.
2093 This would not be a problem if it were not for the fact that JACK
2094 will not run correctly (if at all) if it needs to use the same
2095 soundcard/audio interface that PulseAudio is using. And since on
2096 Ubuntu, PulseAudio is configured by default to always use the
2097 (typically single) audio interface on your computer, this is a bit
2101 The developers of JACK and PulseAudio got together in 2009 and
2102 agreed upon a mechanism by which PulseAudio and JACK could cooperate
2103 in their use of a single soundcard. Whether or not PulseAudio is running by
2104 default, when JACK starts up it sends out a request to use the
2105 soundcard. If PulseAudio is running, it will give up its use of the
2106 soundcard to allow JACK to take over (and can optionally be told to
2107 route its own audio through JACK). When JACK finishes, it sends out
2108 another message, and PulseAudio can once again use the soundcard
2111 <h3>What is the problem?</h3>
2113 The specific issues known at this time for all flavors of Ubuntu
2114 12.04 and 12.10 are:
2117 <li>a bug in PulseAudio that causes it not to give up the
2118 soundcard when JACK asks
2119 (<a href="https://bugs.launchpad.net/ubuntu/+source/pulseaudio/+bug/1163638">LP:
2121 fixed in Ubuntu 13.04).</li>
2126 <samp>Cannot start JACK</samp> (though see the next section for other
2132 These bugs do not affect releases from 13.04, and earlier releases
2133 (12.04 and 12.10) are in the process of being fixed.
2136 <h2>Problems with JACK configuration</h2>
2138 <h3>What is the problem?</h3>
2140 To function as intended, JACK needs to run with access to two
2141 operating system facilities called <dfn>realtime scheduling</dfn> and
2142 <dfn>memory locking</dfn>. This means that you, the user who starts JACK, must be
2143 allowed access to these facilities. By default, Ubuntu does create a
2144 user group that has this permission but—it does not put new
2145 users into this group by default. Read more about why <a href="https://wiki.ubuntu.com/Audio/TheAudioGroup">here</a>.
2146 Consequently, you will not have permission to run JACK in the way you should.
2150 A message like <samp>Cannot lock down memory</samp> in the output from JACK as
2151 it starts up. This output may be hidden in the Messages window of
2152 QJackctrl (aka JACK Control), so you should check there.
2157 Make sure the file /etc/security/limits.d/audio.conf exists. If it is
2158 named /etc/security/limits.d/audio.conf.disabled, rename it to the former.
2161 <kbd class="cmd lin">sudo usermod -a -G audio
2162 <em>YOUR-LOGIN-NAME</em></kbd>
2164 Then log out and log in again. On Ubuntu Studio the user is a member of audio
2165 group by default, but not on other official flavors.
2168 <h2>Reporting Issues</h2>
2171 Given the difficulties in supporting Ubuntu and the limited time/resources
2172 of the Ardour team, the <dfn>Ubuntu Studio Project</dfn> has requested that
2173 issues and bug reports related to Ubuntu, Ubuntu Studio and other
2174 derivitives be directed to them.
2177 <h3>Contact Information for Ubuntu Studio</h3>
2179 <p><a href="http://ubuntustudio.org">The Ubuntu Studio Homepage</a></p>
2181 <p><a href="http://ubuntuforums.org/forumdisplay.php?f=335">The Ubuntu Studio Forums.</a></p>
2183 <p><a href="https://help.ubuntu.com/community/UbuntuStudio/MailLists">Information on the Ubuntu Studio Mailing Lists.</a></p>
2185 <p><a href="https://help.ubuntu.com/community/UbuntuStudio/IRC">Information on the Ubuntu Studio IRC channel.</a> #ubuntustudio on irc.freenode.net</p>
2188 title: Microsoft Windows
2193 <dfn>Microsoft Windows</dfn> is not currently officially supported. If you are
2194 willing to live with bugs and <b>help to test</b> this platform, read on.
2197 <h2>Installing Ardour</h2>
2201 <li>Download the latest windows build from <a href="http://nightly.ardour.org/">
2202 the nightly build page</a>.</li>
2203 <li>Run the installer and follow the prompts.</li>
2207 <h2>How to help</h2>
2211 <li>Hang out in #ardour-windows on irc.freenode.net. You may ask questions
2212 there and if you can, answer questions that others have.</li>
2213 <li>Keep an eye on the <a href="https://community.ardour.org/forum/27"> Windows
2214 forum</a> and contribute to the discussions there.</li>
2215 <li>Update this manual via pull requests on <a href="https://github.com/Ardour/manual">github<a/>.</li>
2225 Under <dfn>KDE Plasma 5</dfn>, plugin and various other windows will not stay
2226 on top of any main window; therefore a workaround is required.
2229 <h2>Workaround for ancillary windows not staying on top in KDE Plasma 5</h2>
2232 In order to force ancillary windows in Ardour to stay on top, the following
2233 steps are necessary:
2237 <li>Launch the <kbd class="menu">System Settings</kbd> application.</li>
2238 <li>Open <kbd class="menu">Workspace > Window Managment</kbd>.</li>
2239 <li>Select <kbd class="menu">Window Rules</kbd> in the left-hand sidebar. It
2240 should default to the <kbd class="menu">Window matching</kbd> tab.</li>
2241 <li>Click on the <kbd class="button">New...</kbd> button.</li>
2242 <li>On the line that says <kbd class="menu">Window class (application)</kbd>,
2243 set the combo box to <kbd class="menu">Substring Match</kbd> and type <kbd
2244 class="user">ardour</kbd> in the text entry field.</li>
2245 <li>In the list box that is labeled <kbd class="menu">Window types:</kbd>,
2246 click on the option <kbd class="menu">Dialog Window</kbd>, then press and
2247 hold <kbd>Ctrl</kbd> while clicking on the second option <kbd
2248 class="menu">Utility Window</kbd>.</li>
2249 <li>Select the <kbd class="menu">Arrangement & Access</kbd> tab.</li>
2250 <li>Check the box next to the <kbd class="menu">Keep above</kbd> option. On
2251 the same line, select <kbd class="menu">Force</kbd> from the combo box, then
2252 click on the <kbd class="menu">Yes</kbd> radio button for that line.</li>
2253 <li>Click on the <kbd class="button">OK</kbd> button to dismiss the dialog.
2258 At this point you can close the <kbd class="menu">System Settings</kbd>
2262 <h3>Background Info</h3>
2265 <a href="https://bugs.kde.org/show_bug.cgi?id=172615#c26">According to one of
2266 the lead KDE developers</a>, they are not willing to follow the <abbr
2267 title="Inter-Client Communication Conventions Manual">ICCCM</abbr> standard
2268 for utility windows. Apparently they are alone in this understanding, as
2269 plugin windows on Ardour under Linux work out of the box on every other <abbr
2270 title="Window Manager">WM</abbr> out there.
2274 Under KDE 4, there was a workaround in Ardour (<kbd class="menu">Preferences
2275 > Theme > All floating windows are dialogs</kbd>) that would "trick"
2276 KDE into forcing certain window types to be on top of their parent windows,
2277 but this no longer works under KDE Plasma 5.
2288 title: Connecting Audio and MIDI Devices
2292 <p class="fixme">Add content</p>
2295 title: Using More Than One Audio Device
2300 Ardour will only ever deal with a single <dfn>audio device</dfn>. If you
2301 want to use more than one, you have two choices:
2306 If you want to use Ardour to start JACK (which handles all
2307 audio I/O) you will need to create a "fake" audio device on your
2308 computer the represents all the multiple devices you wish to
2309 use. How to do this is platform dependent and described below.
2312 Use a different tool to start JACK and manage all the devices.
2317 Ardour is fundamentally designed to be a component in a
2318 pro-audio/music creation environment. Standard operating practice
2319 for such setups involves using only a single digital <dfn>sample
2320 clock</dfn> (something counting off the time between audio samples).
2321 This means that trying to use multiple independent soundcards is
2322 problematic, because each soundcard has its own sample clock, running
2323 independently from the others. Over time, these different clocks
2325 out of sync with each other, which causes glitches in the audio. You
2326 cannot stop this drift, although in some cases the effects may be
2327 insignificant enough that some people might not care about them.
2331 Thus in an ideal world you should not use multiple independent
2332 soundcards but instead use a single device with a single clock and all
2333 the inputs, outputs and other features that you need.
2337 Of course, a lot of people don't live in an ideal world, and believe
2338 that software should make up for this.
2343 In CoreAudio, <dfn>aggregate devices</dfn> provide a method to use
2344 multiple soundcards as a single device. For example, you can
2345 aggregate two 8-channel devices so that you can record 16 channels
2350 If you are using a <em>single</em> typical 3rd party
2351 audio interface (such as those from Apogee, RME, Presonus, and many
2352 others), <em>or</em> you are using JackPilot or a similar
2353 application to start JACK, you do not need to worry about this.<br />
2354 You will need to set up an aggregate device only if either
2355 of the following conditions are true:
2358 <li>You want to use two entirely separate
2359 devices <em>and</em> want to start JACK using Ardour.</li>
2360 <li>You want to use your <dfn>builtin audio device</dfn> <em>and</em>
2361 want to start JACK using Ardour.</li>
2362 <li>You want to use more than two entirely separate devices</li>
2366 In the case of your builtin audio device, you will need to create
2367 an aggregate device that combines "Builtin Input" and "Builtin
2368 Output" into one device.
2371 The precise instructions for creating an aggregate device on OS X
2372 have varied from one released to another. Please read <a href="https://support.apple.com/en-us/HT202000">https://support.apple.com/en-us/HT202000</a>
2377 Please see the instructions at <a href="http://jackaudio.org/faq" title="http://jackaudio.org/faq">http://jackaudio.org/faq</a>
2388 title: Preferences and Session Properties
2393 Ardour splits its configuration options into two categories:
2397 Global <dfn>preferences</dfn> control general workflow and system
2398 configuration, and should apply to all sessions. They are located in
2399 <kbd class="menu">Edit > Preferences</kbd> and stored in
2400 Ardour's <dfn>user configuration file</dfn> in your home directory.
2402 <li><dfn>Session properties</dfn> control aspects of the workflow or
2403 configuration that pertain to the current session only. You can find them
2404 in <kbd class="menu">Session > Properties</kbd>, and they will be stored
2405 in the session file.
2410 title: Global Preferences Dialog
2411 menu_title: Global Preferences
2416 These preferences apply to all Ardour sessions.
2419 <img src="/images/a4_preferences_misc.png" alt="ardour preferences
2423 title: Global Misc Tab
2424 menu_title: Misc Tab
2429 This tab contains settings that do not belong on the other tabs.
2432 <img src="/images/a4_preferences_misc.png" alt="preferences
2438 <strong>DSP CPU Utilization</strong> sets how many cpu processors can be
2439 used to do signal processing. It can be set to use one up to all
2451 <strong>Limit undo history</strong> sets how many commands can be
2452 undone using <kbd class="mod1">Z</kbd> or
2453 <kbd class="menu">Edit > Undo</kbd>.
2459 <strong>Save undo history</strong> sets how many commands are saved so
2460 they are available to be undone after reopening the session.
2466 <strong>Verify removal of last capture</strong> when enabled prompts to
2467 verify removal the last recording capture when
2468 <kbd class="menu">Edit > Remove Last Capture</kbd> is executed.
2474 <strong>Make periodic backups of the session file</strong> will create
2475 a backup session file after changes to the timeline. The backup file is
2476 the session name followed by <em>.ardour.bak</em>. The backup can be
2477 used to recover from crashes when the session had not been explicitly
2486 <dfn>Session Management</dfn>
2491 <strong>Always copy imported files</strong> selects, and then disables
2492 changes to, the <em>Copy files to session</em> option in the
2493 <a href="/adding-pre-existing-material/import-dialog/">
2494 Add Existing Media</a> dialog.
2500 <strong>Default folder for new sessions:</strong> defalts the folder
2501 where Ardour will create new session folders. This is used in the
2502 <em>Session Setup</em> dialog displayed by
2503 <kbd class="menu">Session > New</kbd>.
2509 <strong>Maximum number of recent sessions:</strong> determines how many
2510 of the last opened sessions shows in the
2511 <em>Recent Sessions</em> dialog displayed by
2512 <kbd class="menu">Session > Recent</kbd>.
2525 <strong>Click audio file:</strong> sets a user defined sound to be
2526 played when Ardour's metronome is enabled in the
2527 <a href="/controlling-playback/using-the-transport-bar/">
2533 <strong>Click emphasis audio file:</strong> sets an optional different
2534 metronome sound to be played on the downbeat.
2539 <strong>Click gain level:</strong> allows the metronome's click sounds
2540 to be boosted or attenuated.
2548 <dfn>Automation</dfn>
2553 <strong>Thinning factor</strong> ranges from 0 to 1000 with larger
2554 values sending fewer automation changes. Thinning is like lossy
2555 audio compression, removing data that is less likely to be noticed,
2556 although the more you remove the more likely the loss will be noticed.
2557 The advantage to thinning is reduced CPU usage.
2562 <strong>Automation sampling interval</strong> ranges from 1 to
2563 1000 ms. Determines how frequently the automation input is
2564 sampled. The shorter the interval the higher the accuracy but also
2565 the higher the CPU requirements.
2573 title: Transport Tab
2574 menu_title: Transport Tab
2579 This tab contains settings that relate to the behavior of the
2580 <a href="/controlling-playback/using-the-transport-bar">Transport Bar</a>
2581 and <a href="/synchronization/">Synchronization</a>.
2584 <img src="/images/a4_preferences_transport.png" alt="preferences
2590 <strong>Keep record-enable engaged on stop</strong> leaves the global
2591 record-enable engaged after transport is stopped. Does not affect track
2592 level record-enable which is never changed on stop.
2598 <strong>Play loop is a transport mode</strong> changes the behavior of the
2599 loop button, turning it into a toggle. When enabled, the loop button does
2600 not start playback but forces playback to always play the loop. Looping
2601 stays engaged when the transport is stopped. Playback continues where the
2602 transport stopped and continues to loop.
2605 When disabled, the loop button starts playing the loop but stop then
2606 cancels loop playback.
2611 <strong>Stop recording when an xrun occurs</strong> will stop the transport
2612 when an xrun occurs during recording, ensuring no audible glitches are
2618 <strong>Create markers where xruns occur</strong> will create a new
2619 <a href="/working-with-markers/">marker</a> when an xrun occurs during
2620 recording at the location of the xrun. This marks where possible xruns
2621 might produce audible glitches when stopping on xruns is disabled.
2626 <strong>Stop at the end of the session</strong> causes the transport to
2627 stop during playback when it reaches the end marker. Behavior during
2628 recording is not changed.
2633 <strong>Do seamless looping</strong> removes any clicks that might
2634 otherwise be audible when the transport moves from the end of the loop
2635 range back to the beginning.
2640 <strong>Disable per-track record disarm while rolling</strong>, when
2641 enabled, will not allow the any track's record-enable to be disarmed
2642 during record, preventing accidentally stopping the recording of a take.
2647 <strong>12dB gain reduction during fast-forward and fast-rewind</strong>
2648 when enabled will reduce the unpleasant increase in perceived volume
2649 that occurs when fast-forwarding or rewinding through some kinds of audio.
2654 <strong>Sync/Slave</strong>
2658 <strong>External timecode source</strong> determines which external
2659 source to use when Ardour is using an external
2660 <a href="/synchronization/">synchronization</a> source. Depending
2661 on the timecode source chosen, additional preference options are
2667 <strong>Match session video frame rate to external timecode</strong>
2668 controls the value of the video frame rate <em>while chasing</em>
2669 an external timecode source.
2672 When enabled, the session video frame rate will be changed to match
2673 that of the selected external timecode source.
2676 When disabled, the session video frame rate will not be changed to
2677 match that of the selected external timecode source. Instead, the
2678 frame rate indication in the main clock will flash red and Ardour
2679 will convert between the external timecode standard and the session
2685 <strong>Sync-lock timecode to clock</strong> can disable drift
2689 When enabled, Ardour will never varispeed when slaved to external
2690 timecode. Sync Lock indicates that the selected external timecode
2691 source shares clock-sync (Black & Burst, Wordclock, etc) with
2692 the audio interface. This options disables drift compensation.
2693 The transport speed is fixed at 1.0. Vari-speed LTC will be ignored
2697 When disabled, Ardour will compensate for potential drift regardless
2698 if the timecode sources shares clock sync.
2703 <strong>Lock to 29.9700 fps instead of 30000/1001</strong>, when
2704 enabled, will force Ardour to assume the external timecode source
2705 uses 29.97 fps instead of 30000/1001.
2706 SMPTE 12M-1999 specifies 29.97 df as 30000/1001. The spec
2707 further mentions that drop-frame timecode has an accumulated error
2708 of -86 ms over a 24 hour period. Drop-frame timecode would
2709 compensate exactly for an NTSC color frame rate of 30 * 0.9990 (i.e.
2710 29.970000). That is not the actual rate. However, some vendors use
2711 that rate—despite it being against the specs—because the
2712 variant of using exactly 29.97 fps has zero timecode drift.
2719 <strong>LTC Reader</strong> specifies which incoming port will provide
2724 <strong>LTC Generator</strong>
2728 <strong>Enable LTC generator</strong>, when enabled Ardour will
2729 output an LTC timecode signal on it's <em>LTC-out</em> port.
2734 <strong>Send LTC while stopped</strong>, when enabled Ardour will
2735 continue to send LTC information even while the transport (playhed) is
2741 <strong>LTC generator level:</strong> specifies the peak volume of
2742 the generated LTC signal in dbFS. A good value is 0dBu^=-18dbFS in an
2743 EBU calibrated system.
2752 menu_title: Editor Tab
2757 This tab contains settings that affect behavior in the <dfn>Editor</dfn>
2758 window when <a href="/editing-and-arranging">Editing and Arranging</a>.
2761 <img src="/images/a4_preferences_editor.png" alt="preferences
2767 <strong>Allow dragging of the playhead</strong>, when enabled, allows
2768 dragging the playhead with the mouse in the <strong>Editor</strong> window.
2773 <strong>Move relevant automation when audio regions are moved</strong>,
2774 when enabled, causes automation data to stay with a region when the
2775 region is moved inside the playlist. When disabled, the automation is
2776 not affected by movement of regions.
2781 <strong>Show meters on tracks in the editor</strong>, when enabled, shows
2782 a small meter in the <strong>Editor</strong> window with each track. The
2783 meter is shown in the left side area along with the track name and buttons.
2788 <strong>Display master-meter in the toolbar</strong> when enabled displays
2789 a small copy of the master bus meter in the toolbar.
2794 <strong>Default fade shape:</strong> sets which
2795 <a href="/editing-and-arranging/create-region-fades-and-crossfades/">
2796 fade shape</a> is the default.
2801 <strong>Regions in active edit groups are edited together:</strong> sets
2802 the criteria to see if editing actions apply to tracks grouped together
2808 <strong>Make rubberband selection rectangle snap to the grid</strong> when
2809 enabled uses the grid when
2810 <a href="/editing-and-arranging/select-regions/">selecting regions</a>
2811 with a rubberband rectangle.
2816 <strong>Show waveforms in regions</strong> when enabled shows a visual
2817 representation of the region's audio waveform. Changes to this setting
2818 take affect after restarting Ardour.
2823 <strong>Show gain envelopes in audio regions:</strong> sets the criteria
2824 for displaying the gain envelope in audio regions.
2829 <strong>Waveform scale:</strong> when waveforms are shown in audio region
2830 they can be displayed using a <em>linear</em> or a <em>logarithmic</em>
2832 See <a href="/working-with-tracks/controlling-track-appearance/waveform-display/">
2833 Waveform disply</a>.
2838 <strong>Waveform shape:</strong> when waveforms are shown in audio region
2839 they can be displayed using a <em>traditional</em> or a <em>rectified</em>
2841 See <a href="/working-with-tracks/controlling-track-appearance/waveform-display/">
2842 Waveform disply</a>.
2847 <strong>Waveform Clip Level (dBFS):</strong> sets the level at which the
2848 waveform shown in an audio region will be drawn in red to indicate
2849 clipping. Setting lower than 0.0 dBFS can be useful if any tool in
2850 the audio chain has problems near 0.0 dBFS.
2855 <strong>Show waveform for audio while it is being recorded</strong> when
2856 enabled, will draw the audio waveform in regions being recorded. When
2857 disabled only a region block will be drawn while recording reducing CPU
2863 <strong>Show zoom toolbar</strong> when enabled shows a toolbar for
2864 zoom functions. When disabled the zoom commands are still available
2865 with keyboard short-cuts and the View menu. Changes to this setting
2866 take affect after restarting Ardour.
2871 <strong>Update editor window during drags of the summary</strong> when
2872 enabled the contents of the editor window will redraw the tracks area
2873 as the selection rectangle in the summary area is moved or resized. The
2874 summary area is at the bottom of the editor and shows an overview of all
2875 regions on the timelime.
2880 <strong>Name new markers</strong> when enabled, popup a dialog when a new
2881 <a href="/working-with-markers/">marker</a> is created. This allows
2882 markers to be named as they are created.
2887 <strong>Auto-scroll editor window when dragging near its edges</strong>
2888 when enabled will scroll the editor window automatically when dragging a
2889 region. This can make it easier to see where to position the region.
2894 <strong>After splitting selected regions, select</strong> determines which,
2895 if any, regions are selected after a split operation. The options are no
2896 regions, the regions created by the split, and if more than one region
2897 was selected to start with, the existing selection and the new regions.
2898 Changes to this setting take affect after restarting Ardour.
2905 menu_title: Audio Tab
2910 This tab contains settings for handling audio.
2913 <img src="/images/a4_preferences_audio.png" alt="preferences
2919 <strong>Buffering</strong> settings determine how many seconds of audio
2920 off of disk will be buffered in memory. Longer settings reduce the risk
2921 of buffer under-runs but consume more memory. The default value is
2928 <strong>Playback</strong> sets how many seconds of audio Ardour will
2929 buffer during playback.
2934 <strong>Recording</strong> sets how many seconds of audio Ardour will
2935 buffer during recording.
2943 <strong>Monitoring</strong>
2948 <strong>Record monitoring handled by:</strong> determines whether
2949 Ardour provides monitoring of incoming audio or whether
2950 monitoring is provided by hardware. See
2951 <a href="/recording/monitoring/">Monitoring</a> for more information.
2956 <strong>Tape machine mode</strong> when enabled defaults new audio
2957 tracks to tape machine mode. See
2958 <a href="/working-with-tracks/track-types/">Track Types</a>
2959 for more information.
2967 <strong>Conection of tracks and busses</strong>
2972 <strong>Auto-connect master/monitor busses</strong>
2977 <strong>Connect track inputs:</strong>
2982 <strong>Connect track and bus outputs:</strong>
2990 <strong>Denormals</strong> are a specific type of very small numbers that
2991 can cause issues with CPU consumption when using some plugins in some
2995 Ardour provides two methods of handling the issue. Try different
2996 combinations of these settings to to find the setting that minimizes CPU
3002 <strong>Use DC bias to protect against denormals</strong> adds a small
3003 constant value to numbers to move the numbers away from zero.
3008 <strong>Processor handling</strong>, if the computer's hardware
3009 supports it, offers two methods that can be used individually or
3010 combined. Flush to zero and denormals are zero.
3018 <strong>Plugins</strong>
3023 <strong>Silence plugins when the transport is stopped</strong>
3028 <strong>Make new plugins active</strong> when enabled, will activate
3029 a plugin when it is added to a track or bus
3030 <a href="/working-with-plugins/processor-box/">Processor Box</a>.
3038 <strong>Regions</strong>
3043 <strong>Enable automatic analysis of audio</strong>
3048 <strong>Replicate missing region channels</strong>
3056 title: Solo/Mute Tab
3057 menu_title: Solo/Mute Tab
3062 This tab contains settings that affect the use of
3063 <a href="/mixing/muting-and-soloing/">solo, muting</a>, and
3064 <a href="/mixing/panning/">panning</a>.
3067 <img src="/images/a4_preferences_solomute.png" alt="preferences
3073 <strong>Solo</strong>
3078 <strong>Solo-in-place mute cut</strong> sets the attenuation of the
3079 the other tracks when another track is soloed in place. This setting
3080 is also available from the <strong>Mixer</strong> monitor section.
3085 <strong>Solo controls are Listen controls</strong> when enabled the
3086 soloed track is soloed only on the monitor bus, the master fader mix
3087 is not affected by the solo. This option can also be set by enabling
3088 pre-fader listen or after-fader listen in the <strong>Mixer</strong>
3094 <strong>Listen Position:</strong> determines what is listened to when
3095 the solo controls are used as listen controls. The options are
3096 after-fader or pre-fader.
3101 <strong>PFL signals come from:</strong> determines whether the
3102 pre-fader listen position is before or after the pre-fader processors.
3107 <strong>AFL signals come from:</strong> determines whether the
3108 after-fader listen position is before or after the after-fader
3114 <strong>Exclusive solo</strong> when enabled will only solo that last
3115 track selected for solo. Previously soloed tracks will be un-soloed.
3116 This setting is also available from the <strong>Mixer</strong> monitor
3122 <strong>Show solo muting</strong> when enabled outlines the mute
3123 button on tracks and busses when another track is soloed.
3128 <strong>Soloing overrides muting</strong> when enabled allows a track
3129 to be heard when it is soloed while muted. This setting is also
3130 available from the <strong>Mixer</strong> monitor section.
3138 <strong>Default track/bus muting options</strong> sets the muting options
3139 for a newly created tracks or bus. The mute options for an existing track
3140 or bus are changed by the right-click context menu on a mute button.
3145 <strong>Mute affects pre-fader sends</strong> when enabled pre-fader
3146 sends will be muted by default.
3151 <strong>Mute affects post-fader sends</strong> when enabled post-fader
3152 sends will be muted by default.
3157 <strong>Mute affects control outputs</strong> when enabled control
3158 outputs are muted by default.
3163 <strong>Mute affects main outputs</strong> when enabled main outputs
3164 are muted by default.
3172 <strong>Send Routing</strong> affects
3173 <a href="/signal-routing/aux-sends/">aux and external sends</a>.
3178 <strong>Link panners of Aux and External Sends with main panner by
3179 default</strong> When enabled, sends follow the channel panner.
3182 When disabled, sends can panned independently of the channel panner
3183 and fader. Double clicking the send in the processor box toggles
3184 the main panner and fader between the aux send and the channel.
3193 menu_title: MIDI Tab
3198 This tab contains settings related to the use of MIDI inside Ardour.
3201 <img src="/images/a4_preferences_midi.png" alt="preferences
3207 <strong>MIDI read-ahead time</strong>
3213 <strong>Send MIDI Clock</strong> when enabled Ardour will generate MIDI
3214 clock on the <code>ardour:MIDI clock out</code> JACK port.
3220 <strong>Send MIDI Time Code</strong> when enabled Ardour will generate MIDI
3221 time code on the <code>ardour:MTC out</code> JACK port.
3227 <strong>Percentage either side of normal transport speed to transmit MTC:</strong> MIDI time code generation will be disabled when the transport speed is
3228 greater than normal sped plus this percentage or less than normal minus
3235 <strong>Obey MIDI Machine Control commands</strong> when enabled Ardour
3236 will respond to MIDI Machine Control commands received on the
3237 <code>ardour:MMC in</code> JACK port.
3243 <strong>Send MIDI Machine Control commands</strong> when enabled Ardour
3244 will send MIDI Machine Control commands on the <code>ardour:MMC out</code>
3251 <strong>Send MIDI control feedback</strong>
3257 <strong>Inbound MMC device ID:</strong> is the only device ID Ardour will
3258 respond to when an MMC command is received on the
3259 <code>ardour:MMC in</code> JACK port.
3265 <strong>Outbound MMC device ID:</strong> is the MIDI device ID Ardour will
3266 use when it sends MMC commands.
3272 <strong>Initial program change:</strong> Ardour will send a MIDI program
3273 change message on the <code>ardour:MMC out</code> JACK port when a session
3274 is loaded and whenever this field is changed. A value of -1 is for don't
3275 send any program change message.
3281 <strong>Display first MIDI bank/program as 0</strong>
3287 <strong>Never display periodic MIDI messages</strong>
3293 <strong>Sound MIDI notes as they are selected</strong>
3299 <strong>Midi Audition Synth</strong>
3305 title: User Interaction Tab
3306 menu_title: User Interaction Tab
3311 This tab contains settings that affect the user's interaction with
3312 <a href="/ardours-interface">Ardours interface</a>.
3315 <img src="/images/a4_preferences_interaction.png" alt="preferences
3316 user interaction tab"/>
3321 <strong>Use translations</strong>
3326 <strong>Keyboard</strong>
3331 <strong>Edit using:</strong> Use this keyboard and mouse combination
3332 to edit a region's name, and for audio, the region gain.
3337 <strong>Delete using:</strong>
3342 <strong>Insert note using</strong> Using this mouse and keyboard
3343 combination allows MIDI note drawing while the <strong>Editor</strong>
3349 <strong>Ignore snap using:</strong> This mouse and keyboard combination
3350 temporarily changes the
3351 <a href="/editing-and-arranging/snap-to-the-grid/">snap mode</a> to
3352 <strong>No Grid</strong>.
3357 <strong>Keyboard layout:</strong>
3365 title: Control Surfaces Tab
3366 menu_title: Control Surfaces Tab
3371 This tab contains settings for control surfaces. Also see
3372 <a href="/using-control-surfaces/">Using Control Surfaces</a>.
3375 <img src="/images/a4_preferences_control_surfaces.png" alt="preferences
3376 control surfaces tab"/>
3379 Enable a <dfn>Control Surface Protocol</dfn> and double-click on it to edit
3380 protocol specific settings. Enable feedback to allow Ardour to send position
3381 information back to a control surface.
3385 <strong>Control surface remote ID:</strong> can follow the order of the mixer
3386 or be user assigned.
3391 menu_title: Video Tab
3396 This tab contains settings related to handling of Video.
3399 <img src="/images/a4_preferences_video.png" alt="preferences
3405 <strong>Advanced Setup (remote video server)</strong>
3410 <strong>Video Server URL:</strong>
3415 <strong>Video Folder:</strong>
3422 <strong>Show Video Export Info before export</strong>
3427 <strong>Show Video Server Startup Dialog</strong>
3434 menu_title: Plugins Tab
3439 This tab contains settings that control the discovery and availability of
3443 <img src="/images/a4_preferences_plugins.png" alt="preferences
3449 <strong>General</strong>
3454 <strong>Scan for Plugins</strong> will initiate an immediate scan of
3455 the system for available plugins.
3460 <strong>Always Display Plugin Scan Progress</strong> When enabled a
3461 popup window showing plugin scan progress is displayed for indexing
3462 (cache load) and discovery (detect new plugins).
3467 <strong>Scan Time Out</strong> Specify the default timeout for plugin
3468 instantiation in 1/10 seconds. Plugins that require more time to load
3469 will be blacklisted. A value of 0 disables the timeout.
3477 <strong>VST</strong>
3482 <strong>Clear VST Cache</strong> Remove all VST plugins from the list
3483 of plugins available to be inserted into the processor box.
3488 <strong>Clear VST Blacklist</strong> Make blacklisted VST plugins
3489 available to be added to the processor box.
3494 <strong>Scan for [new] VST Plugins on Application Start</strong> When
3495 enabled new VST plugins are searched, tested and added to the cache
3496 index on application start. When disabled new plugins will only be
3497 available after triggering a 'Scan' manually.
3502 <strong>Linux VST Path:</strong> Launch a dialog to manage the
3503 directories that will be searched for Linux VST plugins.
3517 This tab contains settings that affect
3518 <a href="/ardours-interface/">Ardour's Interface</a>.
3521 <img src="/images/a4_preferences_gui.png" alt="preferences
3527 <strong>Graphically indicate mouse pointer hovering</strong>
3532 <strong>Use name highlight bars in region display</strong> When enabled the
3533 region name is displayed, in the editor, in it's own bar at the bottom of
3534 the region. When disabled, the region name is display at the top of the
3535 region, possibly over audio waveforms or MIDI notes.
3540 <strong>Font scaling</strong> allows the display size of some text in the
3541 user interface to be scaled up or down. May require a restart to take
3547 <strong>Update transport clock display at FPS</strong> when enabled the transport clock
3548 will update at the synchronization framerate instead of the default 100 ms rate.
3553 <strong>Lock timeout</strong> Lock GUI after this many idle seconds (zero to never
3554 lock). GUI may also be locked with <kbd class="menu">Session > Lock</kbd>. When
3555 locked a dialog will display a "Click to unlock" button.
3560 <strong>Mixer Strip</strong> Enable (checked) or disable (unchecked) display of
3561 controls in the mixer strip. Controls whose display can be toggled are
3562 <strong>Input</strong>, <strong>Phase Invert</strong>,
3563 <strong>Record & Monitor</strong>, <strong>Solo Iso/Lock</strong>,
3564 <strong>Output</strong>, and <strong>Comments</strong>.
3569 <strong>Use narrow strips in the mixer by default</strong> When enabled, new mixer
3570 strips are created in narrow format. When disabled, they are created in wide format.
3571 Existing mixer strips width can be toggled with the width control at the top left of
3579 menu_title: Metering Tab
3584 This tab contains settings that affect <a href="/ardours-interface/meters/">
3585 Metering</a> in Ardour.
3588 <img src="/images/a4_preferences_metering.png" alt="preferences
3594 <strong>Peak hold time:</strong> Some meter types that have a peak
3595 indicator that has a user controlled hold time. The options are off, short,
3601 <strong>DPM fall-off:</strong>
3606 <strong>Meter line-up level; 0 dBu:</strong>
3611 <strong>IEC1/DIN Meter line-up level; 0 dBu:</strong>
3616 <strong>VU Meter standard:</strong>
3621 <strong>Peak threshold[dBFS]:</strong>
3626 <strong>LED meter style</strong>
3633 menu_title: Theme Tab
3638 This tab contains settings that change the visual appearence of Ardour.
3641 <img src="/images/a4_preferences_theme.png" alt="preferences
3647 <strong>Restore Defaults</strong> When clicked will change all settings
3648 on the Theme tab back to Ardour's default values.
3653 <strong>All floating windows are dialogs</strong> When enabled Ardour will
3654 use type "Dialog" for all floating windows instead of using type
3655 "Utility" for some of them. This may help usability with some
3656 window managers. This setting requires a restart of Ardour to take effect.
3661 <strong>Transient windows follow front window</strong> When enabled
3662 transient windows will follow the front window when toggling between the
3663 editor and mixer. This setting requires a restart of Ardour to take effect.
3668 <strong>Draw "flat" buttons</strong> When enabled button controls
3669 in the user interface will be drawn with a flat look. When disabled button
3670 controls will have a slight 3D appearence.
3675 <strong>Blink Rec-Arm buttons</strong> When enabled the record-armed
3676 buttons on tracks will blink when they are armed but not currently
3677 recording. When disabled the record-armed buttons on tracks will be
3678 outlined in red instead of blinking.
3683 <strong>Color regions using their track's color</strong> When enabled
3684 the background color of regions in the editor will be displayed using the
3685 the color assigned to the track. When disabled the default region
3686 background color will be used.
3691 <strong>Show waveform clipping</strong> When enalbled the waveform
3692 displayed will show peaks marked in red if they exceed the clip level. The
3693 Waveform Clip Level is set with a slider on the Preferences
3694 <a href="/preferences-and-session-properties/preferences-dialog/editor/">
3700 <strong>Icon Set</strong> Changes the mouse cursor icons used to indicate
3701 different tool modes in the editor. An example would be the icons used to
3702 indicate whether the cursor will select a region or change the length of a
3708 <strong>Waveforms color gradient depth</strong> Determines how much
3709 gradient effect is applied to audio waveforms displayed in the editor.
3710 Values range from 0.00, no graident effect, to 0.95, maximum effect.
3715 <strong>Timeline item gradient depth</strong> Determines how much
3716 gradient effect is applied to the backgrounds of regions displayed in the
3717 editor. Values range from 0.00, no graident effect, to 0.95, maximum
3723 <strong>Colors</strong> The color of an item in the user interface is
3724 determined by which named color is assigned to it, the color displayed for
3725 each named color in the palette, and in some cases, the transparency of
3731 <strong>Items</strong> Each display item has a named color assigned to
3732 it from the palette. Example color names are
3733 "meter color9" and "color 4".
3736 Click on an item's color example to change the named color choice.
3741 <strong>Palette</strong> Hover over a color to display it's name. Click
3742 on a color to open a color chooser dialog.
3747 <strong>Transparency</strong> Some items have a transparency value.
3748 Transparency can be changed from opaque to totally transparent.
3756 title: Session Properties Dialog
3757 menu_title: Session Properties
3761 <img src="/images/a4_session_properties_timecode.png" alt="session properties dialog"/>
3764 This dialog allows you to change settings for the current session. These
3765 settings are initially set from the template used to create the session. To
3766 open the dialog use <kbd class="menu">Session > Properties</kbd>
3771 menu_title: Timecode Tab
3775 <img src="/images/a4_session_properties_timecode.png" alt="session properties timecode tab"/>
3778 This tab is used to change how Ardour interprets and manipulates timecode.
3783 Timecode Settings lets you set the number of frames per second
3784 and pull up/down to match the timecode used other synchronized systems.
3787 External Timecode Offsets allows Ardour to a fixed offset from other
3788 synchronized systems. <dfn>Slave Timecode offset</dfn> adds the
3789 specified offset to the recieved timecode (MTC or LTC).
3790 <dfn>Timecode Generator offset</dfn> adds the specified offset to
3791 the timecode generated by Ardour (so far only LTC).
3794 Jack Transport / Time Settings determines whether Ardour controls
3795 Bar|Beat|Tick and other information for Jack.
3801 menu_title: Sync Tab
3805 <img src="/images/a4_session_properties_sync.png" alt="session properties sync tab"/>
3808 This tab is used to modify the timecode settings when working with video to
3809 use the imported video's timecode settings instead of the session defaults.
3814 menu_title: Fades Tab
3818 <img src="/images/a4_session_properties_fades.png" alt="session properties fades tab"/>
3821 Change how Ardour works with region crossfades.
3826 <dfn>Destructive crossfade length</dfn> is used when an operation on a
3827 region is destructive, such as when recording in a track is in tape mode.
3830 When <dfn>Region fades</dfn> <strong>active</strong> is checked, the
3831 region fades set up in the mixer are used during playback. When unchecked,
3832 the fades are ignored.
3835 When <strong>Region fades visible</strong> is checked the region fades are visible
3836 in the the <strong>Editor</strong>.
3842 menu_title: Media Tab
3846 <img src="/images/a4_session_properties_media.png" alt="session properties media tab"/>
3849 Change how sound is stored on disk. These options do not change how sound is handled
3855 <dfn>Sample format</dfn> defaults to 32-bit floating point, the same as
3856 the internal representation. 24 and 16-bit integer representation are
3860 <strong>File type</strong> options are WAVE, WAVE-64, and CAF.
3865 title: Locations Tab
3866 menu_title: Locations Tab
3870 <img src="/images/a4_session_properties_locations.png" alt="session properties locations tab"/>
3873 These options add file locations that will be searched to find the audio and
3874 midi files used by the session. This is useful when the files have been
3875 imported into the session but not copied into the session.
3879 To add a location, navigate to the directory where the files are stored.
3880 Drill down into the directory and then click open. The directory will
3881 show up in the dialog. The remove button next to the added directory can be used
3882 to remove it from the search path.
3886 title: Filenames Tab
3887 menu_title: Filenames Tab
3891 <img src="/images/a4_session_properties_filenames.png" alt="session properties filenames tab"/>
3894 This tab is used to change how Ardour names recorded regions.
3895 If <dfn>Prefix track number</dfn> is selected a unique number will appear on each track
3896 in the <dfn>Editor</dfn> window and will prefix the region name. If the track number
3897 is 2 and the region would have been Gtr-1.1 with track number prefix turned on the region
3898 will be named 2_Gtr-1.1 instead. See XX for base of the region name.
3902 If <dfn>Prefix take name</dfn> is selected and the <dfn>Take name</dfn> has Take1 the region
3903 will have the name Take1_Gtr-1.1 instead. If both boxes are checked the name will be
3904 Take1_2_Gtr-1.1 instead.
3908 When <dfn>Prefix take name</dfn> is enabled, the first time a track is recorded it will
3909 have the specified take name. When recording is stopped, any trailing number on the
3910 end of the take name will incremented by 1. If the track name specified doen't have
3911 a number on the end, the number 1 will be suffixed.
3915 title: Monitoring Tab
3916 menu_title: Monitoring Tab
3921 Provides options affecting monitoring.
3924 <img src="/images/a4_session_properties_monitoring.png" alt="session properties monitoring tab"/>
3927 The <strong>Track Input Monitoring automatically follows transport state</strong>
3928 affects how input monitoring is handling. See
3929 <a href="/recording/monitoring/monitor-setup-in-ardour/">Monitor Setup in Ardour</a>.
3932 <img class="left" src="/images/a4_monitoring_section.png" alt="monitoring section"/>
3935 The 'Use monitor section' displays an extra section in the <strong>Mixer</strong>
3936 window that is modelled on the similiarly named section on large analog consoles.
3940 title: Meterbridge Tab
3941 menu_title: Meterbridge Tab
3946 The meters from audio tracks always display in the <dfn>Meterbridge</dfn>.
3947 This tab changes what additional controls are also displayed.
3950 <img src="/images/a4_session_properties_meterbridge.png" alt="session properties meterbridge tab"/>
3954 <dfn>Route Display</dfn> has options for showing midi tracks, busses, and the master bus.
3957 <dfn>Button Area</dfn> has options for adding record enable, mute, solo, and input monitor buttons.
3960 <dfn>Name Labels</dfn> adds the track name and, if numbers are enabled on the filenames tab, the number.
3964 <img src="/images/a4_meterbridge_full.png" alt="image of meterbidge with all options on"/>
3967 title: Session Misc Tab
3968 menu_title: Misc Tab
3973 This tab has several things that don't fit on the other tabs.
3976 <img src="/images/a4_session_properties_misc.png" alt="session properties misc tab"/>
3980 <dfn>MIDI Options</dfn>
3983 If <dfn>MIDI region copies are independent</dfn> is selected, when a
3984 MIDI region is copied or duplicated, the new region is not linked to
3985 the region it was copied from. If it is not selected, the copied regions
3986 are linked and any editing of one of the linked regions changes all
3987 of the linked regions.
3990 The <dfn>Editor</dfn> can be configured to handle overlapping MIDI notes
3993 <li>never allow them</li>
3994 <li>don't do anything in particular</li>
3995 <li>replace any overlapped existing notes</li>
3996 <li>shorten the overlapped existing note</li>
3997 <li>shorten the overlapped new note</li>
3998 <li>replace both overlapping notes with a single note</li>
4004 <dfn>Glue to bars and beats</dfn>
4006 <li>New markers can be glued to bars and beats</li>
4007 <li>New regions can be glued to bars and beats</li>
4011 Settings from the session properties dialogs can be saved to the
4012 default session template.
4024 title: Controlling Ardour with OSC
4025 include: controlling-ardour-with-osc.html
4031 title: Controlling Ardour with OSC (Ardour 4.7 and Prior)
4032 include: controlling-ardour-with-osc-4.7-and-prior.html
4038 title: OSC Feedback With Ardour
4043 Feedback from the Ardour to the the control surface is very useful for
4044 a number of things. Motor faders need to know where the the track
4045 they have been attached to is at before they were assigned otherwise
4046 the DAW fader will jump to where the controller fader is. Likewise,
4047 the buttons on each strip need to know what their value is so they can
4048 light their LED correctly. Transport controls should let you know if
4049 they are active too. This is what feedback is all about.
4053 Ardour does feedback by sending the same path back that is used to
4054 control the same function. As such any controls that have feedback
4055 have a parameter that is the value of the control or it's state
4056 (on or off). In the case of OSC paths listed on the main OSC page
4057 as having no parameter, if they have feedback, they will also work
4058 with a 1 for button press and 0 for button release. This is because
4059 many OSC controllers will only use exactly the same path for feedback
4060 as for control. For example:
4063 <dl class="bindings">
4064 <dt><kbd class="osc">/transport_stop</kbd></dt>
4068 <p>can be used also in the form:</p>
4070 <dl class="bindings">
4071 <dt><kbd class="osc">/transport_stop <em>press</em></kbd></dt>
4072 <dd>where <em>press</em> is an int/bool indicating if the button is pressed or not.</dd>
4076 The feedback does not have the same meaning as the control message.
4077 Where the button release sent to Ardour will be ignored and has no
4078 meaning. Both states have meaning in feedback to the controller.
4079 The feedback will be:
4082 <dl class="bindings">
4083 <dt><kbd class="osc">/transport_stop <em>state</em></kbd></dt>
4084 <dd>where <em>state</em> is an int/bool indicating if the transport is stopped or not.</dd>
4087 With feedback turned on, OSC control commands that try to change a
4088 control that does not exist will get feedback that resets that control
4089 to off. For example, sending a /strip/recenable to a buss will not work
4090 and Ardour will try to turn the controller LED off in that case. Also
4091 note that Pan operation may be limited by pan width in some cases.
4092 That is with pan width at 100% (or -100%) there is no pan position
4096 It may come as a surprise, but feedback often generates more network
4097 traffic than control itself does. Some things are more obvious like
4098 head position or meters. But even a simple button push like transport
4099 start sends not only a signal to turn on the play LED, but also one to
4100 turn off the stop LED, the Rewind LED, the Fast Forward LED and the
4101 Loop LED. That is still minor, think instead of a surface refresh
4102 such as happens when the surface is first connected and then most of
4103 that happens every time the fader strips are banked. This is why
4104 feedback is enabled in sections so that as little feedback as is
4105 actually needed is sent. This is also a consideration if the surface
4106 is connected via wifi.
4108 <h2>List of OSC feedback messages</h2>
4110 <h3>Feedback only</h3>
4112 These messages are feedback only. They are sent as status from Ardour
4113 and some of them may be enabled separately from other feedback. See:
4114 <a href="/using-control-surfaces/controlling-ardour-with-osc/calculating-feedback-and-strip-types-values/">
4115 Calculating Feedback and Strip-types Values.</a>
4118 See strip section below for info about ssid and wrapping it into the
4119 path. Also /master and /monitor support what the /strip does.
4122 In the case where Gainmode is set to position, the track name will
4123 show the dB value while values are changing.
4125 <dl class="bindings">
4126 <dt><kbd class="osc">/strip/name <em>ssid</em> <em>track_name</em></kbd></dt>
4127 <dd>where <em>track_name</em> is a string representing the name of the track</dd>
4128 <dt><kbd class="osc">/session_name <em>session_name</em></kbd></dt>
4129 <dd>where <em>session_name</em> is a string representing the name of the session</dd>
4130 <dt><kbd class="osc">/strip/meter <em>ssid</em> <em>meter</em></kbd></dt>
4131 <dd>where <em>meter</em> is a value repesenting the current audio level.
4132 (the exact math used is determined by the feedback bits set)</dd>
4133 <dt><kbd class="osc">/strip/signal <em>ssid</em> <em>signal</em></kbd></dt>
4134 <dd>where <em>signal</em> is a float indicating the instantaneous
4135 audio level is -40dB or higher.</dd>
4136 <dt><kbd class="osc">/position/smpte <em>time</em></kbd></dt>
4137 <dd>where <em>time</em> is a string with the current play head time. Seconds as per smpte.</dd>
4138 <dt><kbd class="osc">/position/bbt <em>beat</em></kbd></dt>
4139 <dd>where <em>beat</em> is a string with the current play head bar/beat.</dd>
4140 <dt><kbd class="osc">/position/time <em>time</em></kbd></dt>
4141 <dd>where <em>time</em> is a string with the current play head time. Seconds are in milliseconds</dd>
4142 <dt><kbd class="osc">/position/samples <em>samples</em></kbd></dt>
4143 <dd>where <em>samples</em> is a string with the current play head position in samples.</dd>
4144 <dt><kbd class="osc">/heartbeat <em>LED</em></kbd></dt>
4145 <dd>where <em>LED</em> is a float that cycles 1/0 at 1 second intervals.</dd>
4146 <dt><kbd class="osc">/record_tally <em>state</em></kbd></dt>
4147 <dd>Some record enable is true or "ready to record". For a "Recording" sign at studio door.</dd>
4150 <h3>Transport Control</h3>
4151 <dl class="bindings">
4152 <dt><kbd class="osc">/transport_stop <em>state</em></kbd></dt>
4153 <dd><em>state</em> is true when transport is stopped</dd>
4154 <dt><kbd class="osc">/transport_play <em>state</em></kbd></dt>
4155 <dd><em>state</em> is true when transport speed is 1.0</dd>
4156 <dt><kbd class="osc">/ffwd <em>state</em></kbd></dt>
4157 <dd><em>state</em> is true when transport is moving forward but not at speed 1.0</dd>
4158 <dt><kbd class="osc">/rewind <em>state</em></kbd></dt>
4159 <dd><em>state</em> is true when transport speed is less than 0.0</dd>
4160 <dt><kbd class="osc">/loop_toggle <em>state</em></kbd></dt>
4161 <dd><em>state</em> is true when loop mode is true</dd>
4162 <dt><kbd class="osc">/cancel_all_solos <em>state</em></kbd></dt>
4163 <dd>Where <em>state</em> true indicates there are active solos that can be canceled.</dd>
4166 <h3>Recording control</h3>
4167 <dl class="bindings">
4168 <!--dt><kbd class="osc">/toggle_punch_in</kbd></dt>
4170 <dt><kbd class="osc">/toggle_punch_out</kbd></dt>
4172 <dt><kbd class="osc">/rec_enable_toggle <em>state</em></kbd></dt>
4173 <dd>Master record enabled.</dd>
4176 <h3>Master and monitor strips</h3>
4178 Master and monitor strips are similar to track strips but do not use
4179 the SSID. Rather they use their name as part of the path:
4181 <dl class="bindings">
4182 <dt><kbd class="osc">/master/gain <em>dB</em></kbd></dt>
4183 <dd>where <em>dB</em> is a float ranging from -193 to +6 representing the actual gain of master in dB</dd>
4184 <dt><kbd class="osc">/master/fader <em>position</em></kbd></dt>
4185 <dd>where <em>position</em> is an int ranging from 0 to 1023 representing the fader control position</dd>
4186 <dt><kbd class="osc">/master/trimdB <em>dB</em></kbd></dt>
4187 <dd>where <em>dB</em> is a float ranging from -20 to +20 representing the actual trim for master in dB</dd>
4188 <dt><kbd class="osc">/master/pan_stereo_position <em>position</em></kbd></dt>
4189 <dd>where <em>position</em> is a float ranging from 0 to 1 representing the actual pan position for master</dd>
4190 <dt><kbd class="osc">/master/mute <em>yn</em></kbd></dt>
4191 <dd>where <em>yn</em> is a bool/int representing the actual mute state of the Master strip</dd>
4192 <dt><kbd class="osc">/monitor/gain <em>dB</em></kbd></dt>
4193 <dd>where <em>dB</em> is a float ranging from -193 to 6 representing the actual gain of monitor in dB</dd>
4194 <dt><kbd class="osc">/monitor/fader <em>position</em></kbd></dt>
4195 <dd>where <em>position</em> is an int ranging from 0 to 1023 representing the fader control position</dd>
4198 <h3>Track specific operations</h3>
4200 For each of the following, <em>ssid</em> is the surface strip ID for the track
4203 Some Surfaces (many Android applets) are not able to deal with more
4204 than one parameter in a command. However, the two parameter commands
4205 below can also be sent as /strip/command/ssid param. Feedback can be
4206 set to match this with the /set_surface/feedback <em>state</em>
4208 href="/using-control-surfaces/controlling-ardour-with-osc/calculating-feedback-and-strip-types-values/">
4209 Calculating Feedback and Strip-types Values.</a>
4212 <dl class="bindings">
4213 <dt><kbd class="osc">/bank_up <em>LED</em></kbd></dt>
4214 <dd>where <em>LED</em> is a bool that indicates another bank_up operation is possible.</dd>
4215 <dt><kbd class="osc">/bank_down <em>LED</em></kbd></dt>
4216 <dd>where <em>LED</em> is a bool that indicates another bank_down operation is possible.</dd>
4217 <dt><kbd class="osc">/strip/name <em>ssid</em> <em>track_name</em></kbd></dt>
4218 <dd>where <em>track_name</em> is a string representing the name of the track
4219 (note there is no coresponding command to set the track name)</dd>
4220 <dt><kbd class="osc">/strip/mute <em>ssid</em> <em>mute_st</em></kbd></dt>
4221 <dd>where <em>mute_st</em> is a bool/int representing the actual mute state of the track</dd>
4222 <dt><kbd class="osc">/strip/solo <em>ssid</em> <em>solo_st</em></kbd></dt>
4223 <dd>where <em>solo_st</em> is a bool/int representing the actual solo state of the track</dd>
4224 <dt><kbd class="osc">/strip/monitor_input <em>ssid</em> <em>monitor_st</em></kbd></dt>
4225 <dd>where <em>monitor_st</em> is a bool/int. True/1 meaning the track is force to monitor input</dd>
4226 <dt><kbd class="osc">/strip/monitor_disk <em>ssid</em> <em>monitor_st</em></kbd></dt>
4227 <dd>where <em>monitor_st</em> is a bool/int. True/1 meaning the track is force to monitor disk,
4228 where both disk and input are false/0, auto monitoring is used.</dd>
4229 <dt><kbd class="osc">/strip/recenable <em>ssid</em> <em>rec_st</em></kbd></dt>
4230 <dd>where <em>rec_st</em> is a bool/int representing the actual rec state of the track</dd>
4231 <dt><kbd class="osc">/strip/record_safe <em>ssid</em> <em>rec_st</em></kbd></dt>
4232 <dd>where <em>rec_st</em> is a bool/int representing the actual record safe state of the track</dd>
4233 <dt><kbd class="osc">/strip/gain <em>ssid</em> <em>gain</em></kbd></dt>
4234 <dd>where <em>gain</em> is a float ranging from -193 to 6 representing the actual gain of the track in dB.</dd>
4235 <dt><kbd class="osc">/strip/fader <em>ssid</em> <em>position</em></kbd></dt>
4236 <dd>where <em>position</em> is an float ranging from 0 to 1 representing the actual fader position of the track.</dd>
4237 <dt><kbd class="osc">/strip/trimdB <em>ssid</em> <em>trim_db</em></kbd></dt>
4238 <dd>where <em>trim_db</em> is a float ranging from -20 to 20 representing the actual trim of the track in dB.</dd>
4239 <dt><kbd class="osc">/strip/pan_stereo_position <em>ssid</em> <em>position</em></kbd></dt>
4240 <dd>where <em>position</em> is a float ranging from 0 to 1 representing the actual pan position of the track</dd>
4242 <h3>Selection Operations</h3>
4244 Selection feedback is the same as for strips, only the path changes
4245 from <em>/strip</em> to <em>/select</em> and there is no <em>ssid</em>.
4246 there are some extra feedback and commands that will be listed here.
4248 <dl class="bindings">
4249 <dt><kbd class="osc">/select/n_inputs <em>number</em></kbd></dt>
4250 <dd>where <em>number</em> number of inputs for this strip</dd>
4251 <dt><kbd class="osc">/select/n_outputs <em>number</em></kbd></dt>
4252 <dd>where <em>number</em> number of outputs for this strip</dd>
4253 <dt><kbd class="osc">/select/comment <em>text</em></kbd></dt>
4254 <dd>where <em>text</em> is the strip comment</dd>
4255 <dt><kbd class="osc">/select/solo_iso <em>state</em></kbd></dt>
4256 <dd>where <em>state</em> is a bool/int representing the Actual solo isolate state of the track</dd>
4257 <dt><kbd class="osc">/select/solo_safe <em>state</em></kbd></dt>
4258 <dd>where <em>state</em> is a bool/int representing the actual solo safe/lock state of the track</dd>
4259 <dt><kbd class="osc">/select/polarity <em>invert</em></kbd></dt>
4260 <dd>where <em>invert</em> is a bool/int representing the actual polarity of the track</dd>
4261 <dt><kbd class="osc">/select/pan_stereo_width <em>width</em></kbd></dt>
4262 <dd>where <em>width</em> is a float ranging from 0 to 1 representing the actual pan width of the track</dd>
4263 <dt><kbd class="osc">/select/send_gain", <em>sendid</em> <em>send_gain</em></kbd></dt>
4264 <dd>where <em>sendid</em> = nth_send, <em>send_gain</em>is a float
4265 ranging from -193 to +6 representing the actual gain in dB for the send</dd>
4266 <dt><kbd class="osc">/select/send_fader", <em>sendid</em> <em>send_gain</em></kbd></dt>
4267 <dd>where <em>sendid</em> = nth_send, <em>send_gain</em>is a float
4268 ranging from 0 to 1 representing the actual position for the send as a fader</dd>
4269 <dt><kbd class="osc">/select/send_name <em>sendid</em> <em>send_name</em></kbd></dt>
4270 <dd>where <em>send_name</em> is a string representing the name of the buss
4271 this send goes to.</dd>
4273 <h3>Menu actions</h3>
4275 Every single menu item in Ardour's GUI is accessible via OSC. However,
4276 there is no provision for returning the state of anything set this way.
4277 This is not a bad thing as most menu items either do not have an on/off
4278 state or that state is quite visible. Binding that affect other parameters
4279 that OSC does track will show on those OSC controls. Examples of this
4280 might be track record enable for tracks 1 to 32, play or stop.
4284 title: Calculating Feedback and Strip-types Values
4289 <em>/set_surface</em> has two values the user needs to calculate before
4290 use. In general these will not be calculated at run time, but
4291 beforehand. There may be more than one button with different values
4292 to turn various kinds of feedback on or off or to determine which
4293 kinds of strips are currently viewed/controlled.
4297 Both ,<em>feedback</em> and <em>strip-types</em> use bitsets to keep
4298 track what they are doing. Any number in a computer is made out of
4299 bits that are on or off, but we represent them as normal base 10
4300 numbers. Any one bit turned on will add a unique value to the
4301 number as a whole. So for each kind of feedback or strip type
4302 to be used, that number should be added to the total.
4305 <h3>strip_types</h3>
4308 strip_types is an integer made up of bits. The easy way to
4309 deal with this is to think of strip_types items being worth a number and
4310 then adding all those numbers together for a value to send.
4311 Strip Types will determine What kind of strips will be included in
4312 bank. This would include: Audio, MIDI, busses, VCAs, Master, Monitor
4313 and hidden or selected strips.
4349 Selected and Hidden bits are normally not needed as Ardour defaults to
4350 showing Selected strips and not showing Hidden strips. The purpose of
4351 these two flags is to allow showing only Selected strips or only
4352 Hidden strips. Using Hidden with other flags will allow Hidden strips
4353 to show inline with other strips.
4356 Some handy numbers to use might be: 15 (all tracks and buses), 31
4357 (add VCAs to that). Master or Monitor strips are generally not useful
4358 on a surface that has dedicated controls for these strips as there are
4359 /master* and /monitor* commands already. However, on a surface with
4360 just a bank of fader strips, adding master or monitor would allow
4361 access to them within the banks. Selected would be useful for working
4362 on a group or a set of user selected strips. Hidden shows strips the
4366 Audio Aux? say what? I am sure most people will have noticed that they
4367 can find no <em>Aux</em> strips in the Ardour mixer. There are none.
4368 There are buses that can be used a number of ways. From analog days,
4369 in OSC a bus is something that gets used as a sub mix before ending up
4370 going to Master. An auxiliary bus is used like a separate mixer and
4371 it's output goes outside the program or computer to be used as:
4372 a monitor mix, a back up recording, or what have you. In OSC where
4373 controller strips may be limited, it may be useful not to use up a
4374 strip for an aux that is not really a part of the mix. It is also
4375 useful to get a list of only aux buses if the control surface is a
4376 phone used to provide talent monitor mix control on stage. Each
4377 performer would be able to mix their own monitor. The user is free
4378 to enable both buses and auxes if they would prefer.
4382 <p>Feedback is an integer made up of bits. The easy way to
4383 deal with this is to think of feedback items being worth a number and
4384 then adding all those numbers together for a value to send.
4388 1 - Button status for strips.
4391 2 - Variable control values for strips.
4394 4 - Send SSID as path extension.
4397 8 - heartbeat to surface.
4400 16 - Enable master section feedback.
4403 32 - Send Bar and Beat.
4409 128 - Send meter as dB (-193 to +6) or 0 to 1 depending on gainmode
4412 256 - Send meter a 16 bit value where each bit is a level
4413 and all bits of lower level are on. For use in a LED strip. This
4414 will not work if the above option is turned on.
4417 512 - Send signal present, true if level is higher than -40dB
4420 1024 - Send position in samples
4423 2048 - Send position in time, hours, minutes, seconds and milliseconds
4426 8192 - Turn on extra select channel feedback beyond what a /strip supports
4430 So using a value of 19 would turn on feedback for strip and master
4431 controls, but leave meters, timecode and bar/beat feedback off.
4435 title: Parameter Types in OSC
4440 An OSC message is laid out in this form:
4444 /path/of/command type parameter
4448 The type is there to indicate what the parameter is. This gives
4449 the idea that parameter types are quite strict and if the command
4450 requires an Integer <em>"i"</em> then the controller had better send it.
4451 However, the checking of the parameter type is left to the receiving
4456 What this means in practical terms is that the surface can get away
4457 with sending the wrong type of parameter. There are some places
4458 where that just doesn't make sense. For example, a parameter that
4459 is specified as a Float with a range of 0 to 1, could be sent as
4460 an Integer, but would only have full scale and minimum value with
4461 nothing in between. This is not much use for a fader, though ok for
4466 There are a number of OSC controllers based on iOS and Android
4467 tablets that only send or receive parameters as floats or text.
4468 These controllers should have no problem sending bool or int values
4469 as floats. Ardour will interpret the values as required.
4473 title: Selection/Feedback Expansion Considerations in OSC
4478 Ardour does not send every possible feedback value for each channel.
4479 It does send expanded information on the selected channel. There are
4480 also extra commands for the selected strip. All the feedback and
4481 select commands have their own path <em>/select</em>.
4482 This means that for the selected channel the surface does not have to
4483 keep track of the strip ID. The /select strip will follow the
4484 "current mixer strip" in the GUI editor window.
4487 There are two major uses for this:
4489 <li>Single strip control surfaces. Using
4490 <em>/access_action Editor/select-next-route</em> or
4491 <em>/access_action Editor/select-prev-route</em>
4492 to step through the mixer strips.</li>
4493 <li>Using a "Super strip" section of knobs to control parts
4494 of the strip that are changed less often such as polarity, sends or
4495 plugin parameters.</li>
4499 Selection in Ardour's OSC implementation are complicated by the
4500 possibility of using more than one OSC controller at the same time.
4501 User "A" may select strip 4 and use a selected controller to make
4502 changes to that strip. User "B" may subsequently select strip 7 to
4503 make changes on. This leaves user "A" making changes to strip 7
4504 which they did not choose.
4508 For this reason Ardour offers local expansion aside from the GUI
4509 selection. Local expansion only affects the one OSC controller. GUI
4510 selection is global and affects all controllers using GUI selection
4515 In general, in a one user situation where that one user may use either
4516 the OSC surface or the GUI, using GUI based selection makes the most
4517 sense. This is the default because this is the more common use.
4521 When there is more than one operator, then expansion only is the
4522 mode of choice. It may make sense for one of the surfaces to
4523 use GUI selection where the operator is also using the GUI for some
4524 things. However, the set up should be carefully analyzed for the
4525 possibility of selection confusions. Expansion should be
4526 considered the <em>safe</em> option.
4530 It is always ok to use expansion on the surface even in a one
4531 user scenario. This allows the user to use GUI and surface selection
4536 It is also possible to use both if desired. /strip/select will ways
4537 set the GUI select, but /strip/expand will set the select feedback
4538 and commands locally without changing the GUI select. Another
4539 /strip/expand or a /strip/select will override that expand command
4540 and releasing the /strip/expand or /select/expand (setting it to 0 or
4541 false) will set the /select set of commands/feedback back to whichever
4542 strip the GUI has selected at that time. This could be used to switch
4543 between the GUI select and the local expand to compare two strips
4548 title: Using the OSC Setup Dialog
4553 Starting with Ardour 5.1 OSC has a graphic setup dialog. This dialog
4554 can be accessed from Preferences->Control Surfaces. Select OSC and
4555 click on the Show Protocol Settings.
4559 The Ardour OSC dialog has three tabs. The main tab, the Strip Types
4560 tab and the Feedback tab.
4564 Many OSC devices get their IP from a DHCP making it difficult to set
4565 an IP in Ardour's OSC settings. Therefore, most of the settings are
4566 <em>default</em> settings. Values are set and the next OSC surface to
4567 send a /set_surface* message to Ardour will use those settings. An OSC
4568 surface that has previously sent a message to Ardour will retain the
4569 settings it already had. The <em>Clear OSC Devices</em> will reset all
4570 device settings. A <em>/refresh</em> message will both reset the
4571 device settings as well as set that device to any new settings. The
4572 Use of <em>/set_surface</em> will override all settings except
4576 <h2>Dialog settings</h2>
4578 <h3>OSC setup tab</h3>
4581 <img alt="the OSC configuration dialog"
4582 src="/images/osc-dialog.png">
4585 <h4>Connection:</h4>
4588 This field is informational only. It shows where Ardour will receive
4589 OSC messages. The system Name and the Port are the most important parts.
4595 This drop down allows the choice of Auto or Manual outbound port
4596 setting. The default Auto port mode, will send OSC messages back to
4597 the port messages from that surface are received from. This setting
4598 allows two surfaces on the same IP to operate independently. However,
4599 there are a number of OSC control surfaces that do not monitor the
4600 same port they send from and in fact may change ports they send from
4601 as well. Manual allows the outgoing port (the port the surface will
4602 receive on, to be manually set. In Manual port mode only one control
4603 surface per IP can work. Most phone or tablet OSC controllers like
4604 touchOSC or Control need Manual port mode. More than one controller
4605 can be used so long as each has it's own IP.
4608 <h4>Manual Port:</h4>
4611 This is an Entry box for setting the outgoing port when in
4618 This sets the default bank size for the next surface to send a
4619 <em>/set_surface/*</em> OSC message. Bank size 0 (the default) sets
4620 no banking and allows controlling all strips included in strip_types
4627 Sets the faders (and sends faders) feedback math to position where a
4628 value between 0 and 1 represents the fader position of the same fader
4629 in the mixer GUI or dB where the feedback from fader movement will be
4630 returned as a dB value. When the Gain Mode is set to position, the
4631 /*/name feedback for the channel will show dB values in text while the
4632 fader is being adjusted and then return the the name text.
4636 For debugging purposes this allows logging either good OSC messages
4637 Ardour receives or invalid messages received or none.
4641 Ardour now allows the use of preset settings. The default settings
4642 used are the settings from the last session or the factory defaults
4643 the first time OSC is enabled. As soon as any of these settings are
4644 changed, the Preset will change to "User" and the new settings will be
4645 save to the osc directory Ardour configuration directory as
4646 <em>user.preset</em>. This preset file can be renamed for future use.
4647 It is suggested to also change the name value inside to avoid confusion
4648 in the preset listing. Ardour will ship with some of it's own presets
4649 that go with some popular OSC control and map combinations.
4651 <h4>Clear OSC Devices</h4>
4653 This button clears operating device profiles so that Ardour will reset
4654 all devices settings to use the new defaults from changed settings. a
4655 device may still override these new settings with the /set_surface set
4656 of commands. The reason for setting defaults settings is that some OSC
4657 controllers are not able to send more than one parameter at a time and
4658 so having correct defaults allows one "Connect" button rather than 4.
4660 <h3>Default Strip Types tab</h3>
4662 <img alt="the Default Strip Types tab"
4663 src="/images/osc-strip-types.png">
4666 This allows selecting which of Ardour's mixer strips will be available
4667 for control. The Factory default is all strips except master, monitor
4668 and hidden strips. If it is desired to only see input tracks the
4669 others can be deselected. It is also possible to change these settings
4670 from the control surface. A set of buttons could select showing only
4671 inputs or only buses. If a group is selected in the GUI then showing
4672 only selected strips will show only that group. Showing hidden tracks
4673 is handy for cases where a groups of tracks that grouped to a bus or
4674 controlled by a VCA are hidden, but one of those tracks needs a tweak.
4677 <h3>Default Feedback tab</h3>
4680 <img alt="the Default Feedback tab"
4681 src="/images/osc-feedbackdefault.png">
4685 This allows setting up which controls provide feedback. The Factory
4686 default is none. If the controller is unable to receive feedback, this
4687 should be left blank. In the case of metering, Metering as a LED strip
4688 only works if Metering as a Float is disabled.
4692 title: Querying Ardour with OSC
4697 In order to make a custom controller that knows what strips Ardour
4698 has, the controller needs to be able to query Ardour for that
4699 information. These set of commands are for smarter control surfaces
4700 That have the logic to figure out what to do with the information.
4701 These are not of value for mapped controllers like touchOSC and
4702 friends. The controller will need to send these queries to ardour
4703 as often as it needs this information. It may well make sense to use
4704 regular feedback for things that need to be updated often such as
4705 position or metering.
4706 Here are the commands used to query Ardour:
4709 <dl class="bindings">
4710 <dt><kbd class="osc">/strip/list</kbd></dt>
4711 <dd>Ask for a list of strips</dd>
4712 <dt><kbd class="osc">/strip/sends <em>ssid</em></kbd></dt>
4713 <dd>Asks for a list of sends on the strip <em>ssid</em></dd>
4714 <dt><kbd class="osc">/strip/receives <em>ssid</em></kbd></dt>
4715 <dd>Asks for a list of tracks that have sends to the strip <em>ssid</em> points to</dd>
4716 <dt><kbd class="osc">/strip/plugin/list <em>ssid</em></kbd></dt>
4717 <dd>Asks for a list of plug-ins for strip <em>ssid.</em></dd>
4718 <dt><kbd class="osc">/plugin/descriptor <em>ssid</em> <em>piid</em></kbd></dt>
4719 <dd>Asks for a list of descriptors for plug-in <em>piid</em> on strip <em>ssid</em></dd>
4722 <h3>A list of strips</h3>
4725 <code>/strip/list</code> asks Ardour for a list of strips that the
4726 current session has. Ardour replies with a message for each
4727 strip with the following information:
4731 <li>Number of inputs</li>
4732 <li>Number of outputs</li>
4733 <li>Muted (bool)</li>
4734 <li>Soloed (bool)</li>
4735 <li>Ssid (strip number)</li>
4736 <li>Record enabled (bool)</li>
4738 After all the strip messages have been sent, one final message is
4741 <li>The text <code>end_route_list</code></li>
4742 <li>The session frame rate</li>
4743 <li>The last frame number of the session</li>
4746 <p class="note">A bus will not have a record enable and so a bus message
4747 will have one less parameter than a track. It is the controllers
4748 responsability to deal with this.
4751 <h3>A list of sends</h3>
4753 <code>/strip/sends <em>ssid</em></code> asks Ardour for a list of
4754 sends for strip number ssid. The reply is sent back to the
4755 controller as one message with the following information:
4757 <li>Ssid that information is for</li>
4758 <li>Each send's information:</li>
4760 <li>The send's target bus ssid</li>
4761 <li>The send's target bus name</li>
4762 <li>The send id for this strip</li>
4763 <li>The send gain as a fader possition</li>
4764 <li>The Send's enable state</li>
4769 The controller can tell how many sends there are from the number of
4770 parameters as each send has 5 parameters and there is one extra for
4774 <h3>A list if tracks that send audio to a bus</h3>
4776 <code>/strip/receives <em>ssid</em></code> will return a list of
4777 tracks that have sends to the bus at the ssid. The reply will
4778 contain the following information for each track conntected to this
4781 <li>The ssid of the track sending</li>
4782 <li>The name of the sending track</li>
4783 <li>The id of the send at that track</li>
4784 <li>It's gain in fader possition</li>
4785 <li>The send's enable state</li>
4789 <h3>A list of plug-ins for strip</h3>
4791 <code>/strip/plugin/list <em>ssid</em></code> will return a list of
4792 plug-ins that strip ssid has. The reply will contain the following
4795 <li>Ssid that information is for</li>
4796 <li>Each plugin's information:</li>
4798 <li>The plug-in's id</li>
4799 <li>The plug-in's name</li>
4804 <h3>A list of a plug-in's parameters</h3>
4806 <code>/plugin/descriptor <em>ssid</em> <em>piid</em></code> will
4807 return the plug-in parameters for ppid plug-in on the ssid strip. The
4808 reply will contain the following information:
4810 <li>Ssid of the strip the plug-in is in</li>
4811 <li>The plug-in id for the plug-in</li>
4812 <li>The plug-in's name</li>
4813 <li>Information about each parameter</li>
4815 <li>The parameter id</li>
4816 <li>The parameter's name</li>
4817 <li>A bitset of flags (see below)</li>
4819 <li>Minimum value</li>
4820 <li>Maximum value</li>
4821 <li>The number of scale points</li>
4822 <li>zero or more scale points of one value and one string each</li>
4823 <li>The current parameter value</li>
4829 The flag bitset above has been defined as (from lsb):
4831 <li>0 - enumeration</li>
4832 <li>1 - integer step</li>
4833 <li>2 - logarithmic</li>
4834 <li>3 - max unbound</li>
4835 <li>4 - min unbound</li>
4836 <li>5 - sample rate dependent</li>
4837 <li>6 - toggled</li>
4838 <li>7 - controllable</li>
4843 While this seems complex, it is really not that bad. Minimum, maximum and value will in most cases give you all you need.
4847 title: Devices using Mackie/Logic Control Protocol
4848 menu_title: Mackie/Logic Control Devices
4853 This will walk you through the process of configuring and using
4854 a MIDI control surface with Ardour that uses the <dfn>Mackie Control
4855 protocol</dfn> (MCP) or <dfn>Logic Control protocol</dfn>. Devices that
4856 have been tested and are known to work include the SSL Nucleus, Mackie
4857 Control Pro (plus extenders), Behringer devices in Mackie/Logic mode,
4858 and Steinberg CMC devices.
4861 <h2>Enabling Mackie Control in Ardour</h2>
4864 Navigate to <kbd class="menu">Edit > Preferences > Control Surfaces</kbd>.
4865 Double-click on <kbd class="menu">Mackie Control</kbd> to see the setup dialog:
4868 <img src="/images/missing.png" alt="Mackie Control Setup Dialog" />
4871 From the selector at the top, choose the type of device you are using.
4873 href="/using-control-surfaces/devices-using-mackielogic-control-protocol/devices-not-listed/">
4874 What to do if your device is not listed</a>).
4878 Once your setup is complete, click "OK" to close the dialog. Now click
4879 on the enable checkbox for "Mackie Control".
4882 <h2>Connecting control surface and Ardour MIDI ports</h2>
4885 If you are using a device that uses ipMIDI, such as the SSL Nucleus, no
4886 MIDI port connections are required—Ardour and your control
4887 surface will be able to talk to each other automatically.
4891 If you are using a device that uses normal MIDI (via a standard MIDI or
4892 USB cable), you need to connect Ardour's Mackie Control in and out ports
4893 to the MIDI ports leading to and coming from the control surface.
4897 When you have made these connections once, Ardour will recreate them
4898 for you in the future, as long as you leave Mackie Control enabled.
4901 <h2>Customizing your control surface</h2>
4904 Every possible Mackie Control button can be bound to any action present
4905 in Ardour's GUI. Please check your control surface page for suggestions.
4908 <h2>Preparing your device for use with Ardour</h2>
4911 Most interfaces will require some configuration to send and respond to
4916 When setting up the control surface, do <em>not</em> use "Pro Tools"
4917 mode. Pro Tools is the only DAW that still requires HUI. The rest of
4918 world uses Mackie Control Protocol. Ardour does not support HUI.
4922 title: Behringer devices in Mackie/Logic Control Mode
4923 menu_title: Behringer devices
4927 <h2>Behringer BCF-2000 Faders Controller</h2>
4930 <img alt="Digramatic Image of the BCF2000"
4931 src="/images/BCF2000.png">
4935 The Behringer BCF-2000 Fader Controller is a control surface with 8 motorized
4936 faders, 8 rotary encoders and 30 push buttons. The device is a class
4937 compliant USB Midi Interface and also has standard Midi DIN IN/OUT/THRU ports.
4938 The device has included a Mackie/Logic Control Emulation Mode since firmware v1.06.
4939 If you're devices firmware is older than v1.06 it will require an update before
4940 Mackie Control Emulation will work as described here.
4944 <img alt="Digramatic Image of the BCF2000 in Edit Global Mode"
4945 src="/images/BCF2000-EG.png">
4949 In order to put the controller into Mackie/Logic control mode turn on the
4950 unit while holding third button from the left in the top most row
4951 of buttons (under the rotary encoder row). Hold the button down until <dfn>EG</dfn>
4952 or edit global mode is displayed on the LCD screen of the unit. The global parameters
4953 can then be edited using the 8 rotary encoders in the top row.
4957 Encoder #1 sets the operating mode and should be set to <dfn>U-1</dfn> or
4958 USB mode 1 if using with a USB cable connection.
4961 Encoder #3 sets the foot switch mode and should most likely be set to
4962 <dfn>Auto</dfn> to detect how the foot switch is wired.
4965 Encoder #5 sets the device id, if you are using only 1 device the id
4966 should be set to <dfn>ID 1</dfn>. If you are using multiple BCF/BCR2000 each
4967 device is required to be set up sequentially and one at a time.
4970 Encoder #7 controls the MIDI <dfn>Dead Time</dfn> or the amount of milliseconds
4971 after a move has been made that the device ignores further changes, this
4972 should be set to <dfn>100</dfn>.
4975 Encoder #8 controls the MIDI message <dfn>Send Interval</dfn> in milliseconds
4976 and should be set to <dfn>10</dfn>
4980 To exit the <dfn>EG</dfn> mode press the <dfn>Exit</dfn> button. The device is now
4981 ready to use with Ardour.
4984 <h3>Modes of Operation</h3>
4986 <img alt="Digramatic Image of the BCF2000 Control Modes"
4987 src="/images/BCF2000-Modes.png">
4990 The four buttons arranged in a rectangle and located under the Behringer logo
4991 are the mode selection buttons in Logic Control Emulation Mode,
4992 currently Ardour has implemented support for two of these modes.
4995 The surface can be broken into 8 groups of controls.
4999 <li>The rotary encoders at the top of the device</li>
5000 <li>The first row of buttons under the encoders</li>
5001 <li>The second row of buttons under the encoders</li>
5002 <li>The row of motorized faders<li>
5004 The group of 4 buttons at the top right that will be
5005 referred to here as the <dfn>Shift Group</dfn>
5008 The group of 4 buttons under the <dfn>Shift Group</dfn>
5009 referred to here as the <dfn>Mode Group</dfn>
5012 The group of 2 buttons under the <dfn>Mode Group</dfn>
5013 referred to here as the <dfn>Select Group</dfn>
5016 The group of 4 buttons under the <dfn>Select Group</dfn>
5017 referred to here as the <dfn>Transport Group</dfn>
5021 <h3>Mixer Pan Mode</h3>
5023 <img alt="Digramatic Image of the BCF2000 Control Modes"
5024 src="/images/BCF2000-Pan.png">
5027 This is the standard work mode that organizes the control surface to emulate
5028 a standard mixer layout where controls for each track/bus are arranged vertically.
5029 The order of the faders is either controlled by the order of the tracks in the
5030 mixer or can be set manually by the user.
5034 <dd>Mixer Pans. The red LEDs show the amount of pan left or right</dd>
5035 <dt>First Row of Buttons</dt>
5036 <dd>Mixer Mutes. The button led lights if the track is currently muted</dd>
5037 <dt>Second Row of Buttons</dt>
5038 <dd>Select Active Track/Bus. Currently selected track/bus is indicated by the button led</dd>
5040 <dd>Mixer Gains</dd>
5041 <dt>Shift Group</dt>
5043 The top and bottom left buttons are the simply shifts to change the function of other buttons
5046 The top right is the <dfn>Fine Control</dfn> button that allows the increment values sent by
5047 by rotary encoders and faders to be a small value for more precise editing. This button
5048 can also act as a shift button.
5051 The bottom right is the <dfn>Global Shift</dfn> button that allows you to change back to the
5052 standard Mixer Pan view from other views and modes. This button can also act as a shift button.
5055 <dd>The top two buttons functions are not currently implemented in Ardour.</dd>
5056 <dd>The bottom left button sets the device to <dfn>Pan</dfn> mode and should currently be lit</dd>
5058 The bottom right button sets the device to <dfn>Send</dfn> mode but will only allow the switch
5059 if the currently selected track/bus has a send or sends to control.
5061 <dt>Select Group</dt>
5063 In this mode they function as bank select left and right. If your session has more than 8 tracks
5064 the next set of 8 tracks is selected with the right button and the faders will move to match the
5065 current gain settings of that bank of 8 tracks/busses. If the last bank contains less than 8
5066 tracks/busses the unused faders will move to the bottom and the pan lights will all turn
5067 off. An unlimited amount of tracks can be controlled with the device.
5069 <dt>Transport Group</dt>
5070 <dd>The upper left button controls <dfn>Rewind<dfn>.
5071 <dd>The upper right button controls <dfn>Fast Foreword</dfn>
5072 <dd>The lower left button controls stop</dd>
5073 <dd>The lower right button controls play</dd>
5077 <img alt="Digramatic Image of the Send Mode"
5078 src="/images/BCF2000-Send.png">
5081 Send mode allows for the top row of encoders to control the sends for a selected channel.
5082 One interesting option is to flip the controls from the encoders to the faders by pressing
5083 the shift 1 button and the global view button at the same time.
5088 In send mode, the encoders control sends from left to right instead of mixer pans.
5089 If there are less than 8 sends the behavior of the encoder will be to continue controlling
5090 the mixer pan. Visually it's indicated by the change in the LED from originating at the 12
5091 o'clock position to originating at the 7 o'clock position. If <dfn>FLIP</dfn> is pressed
5092 the encoder will control the mixer gain for the selected track/bus.
5094 <dt>First row of buttons</dt>
5096 <dt>Second row of buttons</dt>
5100 No change unless <dfn>FLIP</dfn>is pressed then it controls the send for the selected track/bus.
5102 <dt>Shift Group</dt>
5104 <dt>Select Group</dt>
5106 <dt>Transport Group</dt>
5109 <h3>Mixer Pan While Holding Shift 1</h3>
5111 <img alt="Digramatic Image of the Mixer Mode while holding down shift 1"
5112 src="/images/BCF2000-Shift1.png">
5115 The operations of various buttons change while holding down the <dfn>Shift 1</dfn> button
5120 <dt>First row of buttons</dt>
5121 <dd>These now control the Soloing of each track/bus in the current bank</dd>
5122 <dt>Second row of buttons</dt>
5123 <dd>These now control the Enable Record for each track</dd>
5126 <dt>Shift Group</dt>
5130 <dt>Select Group</dt>
5132 These now change the current bank of tracks being controlled over by
5133 one. So if you where controlling tracks 1-8 a push the right
5134 button the surface would now control tracks 2-9 pressing the left
5135 would then shift back to controlling tracks 1-8.
5137 <dt>Transport Group</dt>
5138 <dd>The upper left now controls turning on and off <dfn>Loop</dfn> mode.</dd>
5140 The upper right now toggles
5143 <dd>The lower left toggles <dfn>Replace</dfn>.</dd>
5145 The lower right toggles
5146 <dfn>Global Record</dfn>.
5149 <h3>Mixer Pan While Holding Shift 2</h3>
5151 <img alt="Digramatic Image of the Mixer Mode while holding down shift 2"
5152 src="/images/BCF2000-Shift2.png">
5155 The operations of various buttons change while holding down the <dfn>Shift 2</dfn> button
5160 <dt>First row of buttons</dt>
5162 <dt>Second row of buttons</dt>
5163 <dd>These now control setting up different <dfn>Views</dfn>. See bellow for more info</dd>
5166 <dt>Shift Group</dt>
5170 <dt>Select Group</dt>
5171 <dd>Left button controls <dfn>Undo</dfn>(NEEDS VERIFIED)</dd>
5172 <dt>Transport Group</dt>
5182 <img alt="Digramatic Image of the LED display for different Views"
5183 src="/images/BCF2000-Views.png">
5186 <p class="fixme">FIX ME</p>
5194 The Nucleus, from Solid State Logic, is a 16 fader Mackie Control
5195 device that includes many buttons, separate meters, two LCD displays
5196 and other features. The device is not cheap (around US$5000 at the
5197 time of writing), and has some <a href="#design">design features</a>
5198 (or lack thereof) which some Ardour developers find
5199 questionable. Nevertheless, it is a very flexible device, and makes
5200 a nice 16 fader surface without the need to somehow attach an
5201 extender to your main surface.
5204 <h2>Pre-configuring the Nucleus</h2>
5207 Your Nucleus comes complete with a number of "profiles" for a few
5208 well-known DAWs. At the time of writing it does not include one for
5209 Ardour (or related products such as Harrison Mixbus).
5212 We have prepared a profile in which as many buttons as possible send
5213 Mackie Control messages, which makes the device maximally useful
5214 with Ardour (and Mixbus). You can
5215 download <a href="https://community.ardour.org/files/ArdourNucleusProfile.zip">the
5217 and load it to your Nucleus using the <code>Edit Profiles</code>
5218 button in SSL's Nucleus Remote application. Be sure to select it for
5219 the active DAW layer in order to make Ardour work as well as
5220 possible. <em>Note: unfortunately, the Nucleus Remote application
5221 only runs on OS X or Windows, so Linux users will need access to
5222 another system to load the profile. We will provide notes on the
5223 profile settings at a future time.</em>
5226 <h2>Connecting the Nucleus</h2>
5229 Unlike most Mackie Control devices, the Nucleus uses an ethernet
5230 connection to send and receive the MIDI messages that make up the
5231 Mackie Control protocol. Specifically, it uses a technology called
5232 "ipMIDI" which essentially "broadcasts" MIDI messages on a local
5233 area network, so that any connected devices (computers, control
5234 surfaces, tablets etc.) can participate.
5237 All other DAWs so far that support the Nucleus have chosen to do so
5238 by using a 3rd party MIDI driver called "ipMIDI", which creates a
5239 number of "virtual" MIDI ports on your computer. You, the user,
5240 tells the DAW which ports to connect to, and ipMIDI takes care of
5244 Ardour has builtin ipMIDI support, with no need of any 3rd party
5245 packages, and no need to identify the "ports" to connect to in order
5246 to communicate with the Nucleus. This makes setting it up a bit
5247 easier than most other systems.
5250 Unless ... you already installed the ipMIDI driver in order to use
5251 some other DAW with your Nucleus. If ipMIDI is configured to create
5252 any "ports", it is not possible for Ardour's own ipMIDI support to
5253 function. We decided to offer both methods of communicating with
5254 your Nucleus. If you regularly use other DAWs, and appreciate having
5255 ipMIDI permanently set up to communication with the Nucleus—that's
5256 OK, you can tell Ardour to use the ipMIDI driver you already
5257 have. But if you're not using other DAWs with the Nucleus (and thus
5258 have not installed the ipMIDI driver), then you can ignore the
5259 ipMIDI driver entirely, and let Ardour connect directly with no
5263 <h3>Connecting via Ardour's own ipMIDI support</h3>
5265 <p class="alert alert-info">
5266 This is usable only on computers with no 3rd party ipMIDI
5267 driver software installed and configured. If you have the OS X or
5268 Windows ipMIDI driver from nerds.de, it <strong>MUST</strong> be
5269 configured to offer <strong>ZERO</strong> ports before using this
5274 Open <code>Preferences > Control Surfaces</code>. Ensure that the
5275 Mackie protocol is enabled, then double-click on it to open the
5276 Mackie Control setup dialog.
5279 Ensure that the device selected is "SSL Nucleus". The dialog should
5280 show a single numerical selector control below it, defining the
5281 ipMIDI port number to use (it should almost always be left at the
5282 default value of 21928).
5285 Communication is automatically established with the Nucleus and you
5286 need do nothing more.
5289 If this does not work, then make sure your network cables are
5290 properly connected, and that you are <strong>not</strong> running
5291 other ipMIDI software on the computer.
5294 <h3>Connecting via 3rd party ipMIDI support</h3>
5296 <p class="alert alert-info">
5297 This is usable only on computers with 3rd party ipMIDI
5298 driver software installed and configured for (at least) 2 ports.
5302 Open <code>Preferences > Control Surfaces</code>. Ensure that the
5303 Mackie protocol is enabled, then double-click on it to open the
5304 Mackie Control setup dialog.
5307 Ensure that the device selected is "SSL Nucleus (via platform MIDI)". The dialog should
5308 show four combo/dropdown selectors, labelled (respectively):
5311 <li><code>Main Surface receives via</code></li>
5312 <li><code>Main Surface sends via</code></li>
5313 <li><code>1st extender receives via</code></li>
5314 <li><code>1st extender sends via</code></li>
5317 You should choose "ipMIDI port 1", "ipMIDI port 1", "ipMIDI port 2"
5318 and "ipMIDI port 2" for each of the 4 combo/dropdown selectors.
5321 Communication should be automatically established with the Nucleus.
5324 If this does not work, then make sure your network cables are
5325 properly connected, and that you are running the approprate ipMIDI
5326 driver and have configured it for 2 (or more) ports.
5329 <h2><a name="design">Nucleus Design Discussion</a></h2>
5332 You might be reading this part of the manual seeking some guidance
5333 on whether the Nucleus would make a suitable control surface for
5334 your workflows. We don't want to try to answer that question
5335 definitively, since the real answer depends on the very specific
5336 details of your workflow and situation, but we would like to point
5337 out a number of design features of the Nucleus that might change
5343 <dt>No Master Faster</dt>
5344 <dd>It is not possible to control the level of the Master bus or
5345 Monitor section. Really don't know what SSL was thinking here.</dd>
5346 <dt>No dedicated rec-enable buttons</dt>
5347 <dd>You have to press the "Rec" button and convert the per-strip
5348 "Select" buttons into rec-enables</dd>
5349 <dt>No dedicated automation buttons</dt>
5350 <dd>You have to press the "Auto" button and convert the first 4
5351 vpots into 4 automation-related buttons, losing your current view
5352 of the session.</dd>
5353 <dt>No buttons with Mackie-defined "Marker" functionality</dt>
5354 <dd>Mackie's design intentions for the interoperation of the
5355 Marker, rewind and ffwd buttons requires profile editing in order
5356 to function properly.
5358 <dt>No "Dyn" button</dt>
5359 <dd>This is hard to assign in an edited profile. To be fair, other
5360 Mackie Control devices also lack this button.
5366 <dt>Single cable connectivity</dt>
5367 <dd>No need for multiple MIDI cables to get 16 faders</dd>
5368 <dt>Broadcast connectivity</dt>
5369 <dd>Connecting to multiple computers does not require recabling</dd>
5370 <dt>16 faders from a single box</dt>
5371 <dd>No need to figure out how to keep extenders together</dd>
5372 <dt>Meters separated from displays</dt>
5373 <dd>Contrast with the Mackie Control Universal Pro, where meters
5374 interfere with the display
5376 <dt>DAW profiles</dt>
5377 <dd>Easy to flip profiles for use by different DAWs.</dd>
5383 <dt>Ability to make buttons generate USB keyboard events</dt>
5384 <dd>The extent to which this is useful reflects the target DAWs
5385 inability to manage all of its functionality via Mackie Control
5387 <dt>Sophisticated "profile" editing</dt>
5388 <dd>It is nice to be able to reassign the functionality of most
5389 buttons, but this is only necessary because of the relatively few
5390 global buttons on the surface.
5392 <dt>Builtin analog signal path</dt>
5393 <dd>SSL clearly expects users to route audio back from their
5394 computer via the Nucleus' own 2 channel output path, and maybe even
5395 use the input path as well. They take up a significant amount of
5396 surface space with the controls for this signal path, space that
5397 could have been used for a master fader or more Mackie Control
5398 buttons. The USB audio device requires a proprietary driver, so
5399 Linux users can't use this, and OS X/Windows users will have to
5400 install a device driver (very odd for a USB audio device these
5401 days). The analog path also no doubt adds notable cost to the
5402 Nucleus. There's nothing wrong with this feature for users that
5403 don't already have a working analog/digital signal path for their
5404 computers. But who is going to spend $5000 on a Nucleus that
5405 doesn't have this already?</dd>
5409 title: Mackie Control Setup on Linux
5413 <h2>Devices using ipMIDI</h2>
5416 If you are using a device like the SSL Nucleus that uses ipMIDI,
5417 no set up is required other than to ensure that your control surface
5418 and computer are both connected to the same network.
5421 <h2>Devices using conventional MIDI</h2>
5424 Before attempting to use a Mackie Control device that communicates via
5425 a standard MIDI cable or a USB cable, you should ensure that
5426 <a href="/setting-up-your-system/setting-up-midi/midi-on-linux">your Linux
5427 MIDI environment is setup</a>.
5431 title: What to do if your Device is not Listed
5432 menu_title: Unlisted devices
5437 All Mackie Control devices are based on the original Logic Control and the
5438 documentation in the user manual that came with it. The Mackie Control and
5439 the Mackie Control Pro and so on, all use this same protocol. Any units
5440 from other manufactures will also use the same encoding as best the
5441 hardware will allow. If the unit in use has more than one Mackie Control
5442 option, it is best to choose Logic Control or LC. Any Templates for the
5443 buttons should be chosen the same way as the Function key Editor uses these
5444 button names. The "Mackie Control" option should be considered default and
5445 should be tried with any unlisted device before attemping to create a
5446 custom definition file.
5450 title: Working With Extenders
5451 menu_title: Working With Extenders
5456 Extenders will require a custom file as there are no combinations listed
5457 at this time. The best way is to start with the mc.device file and copy it
5458 to a new name such as xt+mc.device and then edit that file. It is best to
5459 name the file with the order the devices are expected to be used in as
5460 the position of the master device is specified in this file.
5464 The two lines of interest are:
5468 <Extenders value="0"/>
5469 <MasterPosition value="0"/>
5473 Add these two lines if they are not present. The <code>Extenders</code>
5474 value is the number of extenders used and should not include the master in
5479 When an <code>Extenders</code> value of greater than 0 is used, extra midi
5480 ports will appear for the extenders to be connected to. The MIDI ports
5481 for the controllers will be named <code>mackie control #1</code>,
5482 <code>mackie control #2</code> and up. The numbers will go from left to
5483 right. That is, from lowest number channel to highest.
5487 The <code>MasterPosition</code> value is the port number the master unit
5488 (with the master fader) is connected to. So if there are three surfaces,
5489 <code><MasterPosition value="1"/></code> will expect the master on
5490 the left, <code><MasterPosition value="2"/></code> would be master
5491 in the middle and <code><MasterPosition value="3"/></code> would be
5492 master on the right. So the position matches the port name.
5496 The default value of <code><MasterPosition value="0"/></code> has
5497 the same effect as <code><MasterPosition value="1"/></code>.
5501 If the <code>MasterPosition</code> value does not properly match the
5502 physcal position and MIDI port, the master fader and global controls will
5503 not work. The master unit will act like an extender.
5507 title: MIDI Binding Maps
5512 Ardour 2.X supported
5513 <a href="/using-control-surfaces/midi-learn"><dfn>MIDI learning</dfn></a>
5514 for more or less any control. This was a nice feature that quite a few other
5515 DAWs are providing by now, but it didn't allow Ardour to work "out of the
5516 box" with sensible defaults for existing commercial MIDI
5517 controllers. In Ardour 3 and later versions, we have augmented the
5518 MIDI learn feature with the ability to load a <dfn>MIDI binding map</dfn>
5519 for a given controller, which can set up an arbitrary number of physical
5520 controls with anything inside Ardour that can be controlled.
5524 Currently (August 2016), we have presets for the following devices/modes:
5528 <li>AKAI MPD-32</li>
5530 <li>AKAI MPKmini</li>
5531 <li>Behringer BCF2000</li>
5532 <li>Behringer BCF2000 (Mackie Emulation mode; better to use
5533 Ardour's actual Mackie Control Protocol support)</li>
5534 <li>Behringer DDX3216</li>
5535 <li>Korg nanoKONTROL (2 layouts)</li>
5536 <li>Korg nanoKONTROL 2 (2 layouts)</li>
5537 <li>Korg Taktile</li>
5538 <li>M-Audio Axiom 25 (2 layouts)</li>
5539 <li>M-Audio Axiom 61</li>
5540 <li>M-Audio Oxygen 49</li>
5541 <li>M-Audio Oxygen 61v3</li>
5542 <li>M-Audio Oxygen 25</li>
5543 <li>M-Audio Oxygen 8v2</li>
5544 <li>Novation Impulse 49</li>
5545 <li>Novation Impulse 61</li>
5546 <li>Novation LaunchControl XL</li>
5547 <li>Novation LaunchKey 25</li>
5548 <li>Roland SI-24</li>
5549 <li>Roland V Studio 20</li>
5550 <li>Yamaha KX25</li>
5552 At this time, new binding maps need to be created with a text editor.
5554 MIDI binding maps are accessible by double-clicking <kbd class="menu">Edit
5555 > Preferences > Control Surfaces > Generic MIDI</kbd>. Ardour will
5556 retain your selection after you choose one.
5559 <h2>Creating new MIDI maps</h2>
5560 <h3>The Basic Concept</h3>
5562 Since the beginning of time (well, sometime early in the 2.X series),
5563 Ardour has had the concept of identifying each track and bus with a
5564 <dfn>remote control ID</dfn>. This ID uniquely identifies a track or bus
5565 so that when messages arrive from elsewhere via MIDI or OSC , we can determine
5566 which track or bus they are intended to control. Ardour has a
5568 href="/working-with-tracks/controlling-track-ordering/track-ordering-and-remote-control-ids/">number
5569 of ways of assigning remote control IDs</a>, but they don't really matter
5570 very much when creating MIDI binding maps, so we won't discuss that here.
5571 You just need to know that there is a "first track" and its remote control
5574 <h3>Getting Started</h3>
5576 MIDI bindings are stored in files with the suffix ".map" attached to their
5577 name. The minimal content looks like this:
5580 <?xml version="1.0" encoding="UTF-8"?>
5581 <ArdourMIDIBindings version="1.0.0" name="The name of this set of
5583 </ArdourMIDIBindings>
5586 So, to start, create a file with that as the initial contents.
5589 On OS X, Ardour loads midi maps from its binary-bundle folder in
5590 <code>Ardour-<version>/midi_maps/</code> and checks
5591 various other locations as well (defined by the ARDOUR_MIDIMAPS_PATH
5592 environment variable). On GNU/Linux the easiest is to save the file to
5593 <code>~/.config/ardour3/midi_maps/</code>.
5596 <h3>Finding out what your MIDI control surface sends</h3>
5598 This is the most complex part of the job, but its still not very hard.
5599 You need to connect the control surface to an application that will show
5600 you the information that the device sends each time you modify a knob,
5601 slider, button etc. There are a variety of such applications (notably
5602 <code>gmidimon</code> and <code>kmidimon</code>, but you can actually use
5603 Ardour for this if you want. Start Ardour in a terminal window, connect
5604 MIDI ports up, and in the Preferences window, enable "Trace Input" on the
5605 relevant MIDI port. A full trace of the MIDI data received will show up in
5606 the terminal window. (Note: in Ardour3, you get a dedicated, custom dialog
5607 for this kind of tracing.)
5609 <h3>Types of Bindings</h3>
5611 There are two basic kinds of bindings you can make between a MIDI message
5612 and something inside Ardour. The first is a binding to a specific parameter
5613 of a track or bus. The second is a binding to a function that will change
5614 Ardour's state in some way.
5616 <h4>Binding to Track/Bus controls</h4>
5618 A track/bus binding has one of two basic structures
5621 <Binding <em>msg specification</em> uri="<em>... control address ...</em>"/>
5622 <Binding <em>msg specification</em> function="<em>... function name ...</em>"/>
5625 <h4>Message specifications</h4>
5627 You can create a binding for either 3 types of channel messages, or for a
5628 system exclusive ("sysex") message. A channel message specification looks
5632 <Binding channel="1" ctl="13" ....
5635 This defines a binding for a MIDI Continuous Controller message involving
5636 controller 13, arriving on channel 1. There are 16 MIDI channels, numbered
5637 1 to 16. Where the example above says <code>ctl</code>, you can alternatively
5638 use <code>note</code> (to create binding for a Note On message) or
5639 <code>pgm</code> (to create a binding for a Program Change message).
5642 As of Ardour 4.2, <code>enc-r</code>, <code>enc-l</code>, <code>enc-2</code> and
5643 <code>enc-b</code> may be used for surfaces that have encoders that send
5644 offsets rather than values. These accept Continuous Controller messages
5645 but treat them as offsets. These are good for banked controls as they are
5646 always at the right spot to start adjusting. (
5647 <a href="/using-control-surfaces/midi-binding-maps/working-with-encoders/">
5648 Learn more about working with encoders
5652 You can also bind sysex messages:
5655 <Binding sysex="f0 0 0 e 9 0 5b f7" ....
5656 <Binding sysex="f0 7f 0 6 7 f7" ....
5659 The string after the <code>sysex=</code> part is the sequence of MIDI bytes,
5660 as hexadecimal values, that make up the sysex message.
5663 Finally, you can bind a totally arbitrary MIDI message:</p>
5665 <Binding msg="f0 0 0 e 9 0 5b f7" ....
5666 <Binding msg="80 60 40" ....
5669 The string after the <code>msg=</code> part is the sequence of MIDI bytes, as
5670 hexadecimal values, that make up the message you want to bind. Using this is
5671 slightly less efficient than the other variants shown above, but is useful for
5672 some oddly designed control devices.
5676 As of Ardour 4.6 it is possible to use multi-event MIDI strings such as
5677 two event CC messages, RPN or NRPN.
5681 The <code>sysex=</code> and <code>msg=</code> bindings will only work with
5682 <code>function=</code> or <code>action=</code> control addresses. They
5683 will <em>not</em> work with the <code>uri=</code> control addresses.
5684 Controls used with <code>uri=</code> require a <em>Value</em> which is
5685 only available in a known place with channel mode MIDI events.
5688 <h4>Control address</h4>
5690 A <dfn>control address</dfn> defines what the binding will actually control.
5691 There are quite a few different things that can be specified here:
5693 <dl class="wide-table">
5694 <dt>/route/gain</dt>
5695 <dd>the gain control ("fader") for the track/bus</dd>
5696 <dt>/route/trim</dt>
5697 <dd>the trim control for the track/bus (new in 4.1)</dd>
5698 <dt>/route/solo</dt>
5699 <dd>a toggleable control for solo (and listen) of the track/bus</dd>
5700 <dt>/route/mute</dt>
5701 <dd>a toggleable control to mute/unmute the track/bus</dd>
5702 <dt>/route/recenable</dt>
5703 <dd>a toggleable control to record-enable the track</dd>
5704 <dt>/route/panwidth</dt>
5705 <dd>interpreted by the track/bus panner, should control image "width"</dd>
5706 <dt>/route/pandirection</dt>
5707 <dd>interpreted by the track/bus panner, should control image "direction"</dd>
5708 <dt>/route/plugin/parameter</dt>
5709 <dd>the Mth parameter of the Nth plugin of a track/bus
5711 <dt>/route/send/gain</dt>
5712 <dd>the gain control ("fader") of the Nth send of a track/bus</dd>
5714 <p>Each of the specifications needs an address, which takes various forms too. For track-level controls (solo/gain/mute/recenable), the address is one the following:</p>
5715 <dl class="wide-table">
5716 <dt>a number, eg. "1"
5718 <dd>identifies a track or bus by its remote control ID
5720 <dt>B, followed by a number
5722 <dd>identifies a track or bus by its remote control ID within the current bank (see below for more on banks)
5724 <dt>one or more words
5726 <dd>identifies a track or bus by its name
5730 For send/insert/plugin controls, the address consists of a track/bus
5731 address (as just described) followed by a number identifying the plugin/send
5732 (starting from 1). For plugin parameters, there is an additional third
5733 component: a number identifying the plugin parameter number (starting from
5737 One additional feature: for solo and mute bindings, you can also add
5738 <code>momentary="yes"</code> after the control address. This is useful
5739 primarily for NoteOn bindings—when Ardour gets the NoteOn it
5740 will solo or mute the targetted track or bus, but then when a NoteOff
5741 arrives, it will un-solo or un-mute it.
5744 <h4>Bindings to Ardour "functions"</h4>
5746 Rather than binding to a specific track/bus control, it may be useful to
5747 have a MIDI controller able to alter some part of Ardour's state. A
5748 binding definition that does this looks like this:
5751 <Binding channel="1" note="13" function="transport-roll"/>
5754 In this case, a NoteOn message for note number 13 (on channel 1) will
5755 start the transport rolling. The following function names are available:
5757 <dl class="narrower-table">
5759 <code>transport-stop</code>
5761 <dd>stop the transport
5764 <code>transport-roll</code>
5766 <dd>start the transport "rolling"
5769 <code>transport-zero</code>
5771 <dd>move the playhead to the zero position
5774 <code>transport-start</code>
5776 <dd>move the playhead to the start marker
5779 <code>transport-end</code>
5781 <dd>move the playhead to the end marker
5784 <code>loop-toggle</code>
5786 <dd>turn on loop playback
5789 <code>rec-enable</code>
5791 <dd>enable the global record button
5794 <code>rec-disable</code>
5796 <dd>disable the global record button
5799 <code>next-bank</code>
5801 <dd>Move track/bus mapping to the next bank (see Banks below)
5804 <code>prev-bank</code>
5806 <dd>Move track/bus mapping to the previous bank (see Banks below)
5810 <h4>Binding to Ardour "actions"</h4>
5812 You can also bind a sysex or arbitrary message to any of the items
5813 that occur in Ardour's main menu (and its submenus). The best place
5814 to look for the (long) list of how to address each item is in your
5815 keybindings file, which will contain lines that look like this:
5818 (gtk_accel_path "<Actions>/Editor/temporal-zoom-in" "equal")
5821 To create a binding between an arbitrary MIDI message (we'll use a
5822 note-off on channel 1 of MIDI note 60 (hex) with release velocity
5823 40 (hex)), the binding file would contain:
5826 <Binding msg="80 60 40" action="Editor/temporal-zoom-in"/>
5829 The general rule, when taken an item from the keybindings file and
5830 using it in a MIDI binding is to simply strip the
5831 <code><Action></code> prefix of the second field in the
5832 keybinding definition.
5835 <h3>Banks and Banking</h3>
5837 Because many modern control surfaces offer per-track/bus controls
5838 for far fewer tracks & busses than many users want to control,
5839 Ardour offers the relatively common place concept of <dfn>banks</dfn>. Banks
5840 allow you to control any number of tracks and/or busses easily,
5841 regardless of how many faders/knobs etc. your control surface has.<br />
5842 To use banking, the control addresses must be specified using the
5843 <dfn>bank relative</dfn> format mentioned above ("B1" to identify
5844 the first track of a bank of tracks, rather than "1" to identify
5848 One very important extra piece of information is required to use
5849 banking: an extra line near the start of the list of bindings
5850 that specifies how many tracks/busses to use per bank. If the
5851 device has 8 faders, then 8 would be a sensible value to use for
5852 this. The line looks like this:</p>
5854 <DeviceInfo bank-size="8"/>
5857 In addition, you probably want to ensure that you bind something
5858 on the control surface to the <code>next-bank</code> and
5859 <code>prev-bank</code> functions, otherwise you and other users
5860 will have to use the mouse and the GUI to change banks, which
5861 rather defeats the purpose of the bindings.
5863 <h2>A Complete (though muddled) Example</h2>
5865 <?xml version="1.0" encoding="UTF-8"?>
5866 <ArdourMIDIBindings version="1.0.0" name="pc1600x transport controls">
5867 <DeviceInfo bank-size="16"/>
5868 <Binding channel="1" ctl="1" uri="/route/gain B1"/>
5869 <Binding channel="1" ctl="2" uri="/route/gain B2"/>
5870 <Binding channel="1" ctl="3" uri="/route/send/gain B1 1"/>
5871 <Binding channel="1" ctl="4" uri="/route/plugin/parameter B1 1 1"/>
5872 <Binding channel="1" ctl="6" uri="/bus/gain master"/>
5874 <Binding channel="1" note="1" uri="/route/solo B1"/>
5875 <Binding channel="1" note="2" uri="/route/solo B2" momentary="yes"/>
5877 <Binding channel="1" note="15" uri="/route/mute B1" momentary="yes"/>
5878 <Binding channel="1" note="16" uri="/route/mute B2" momentary="yes"/>
5880 <Binding sysex="f0 0 0 e 9 0 5b f7" function="transport-start"/>
5881 <Binding sysex="f0 7f 0 6 7 f7" function="rec-disable"/>
5882 <Binding sysex="f0 7f 0 6 6 f7" function="rec-enable"/>
5883 <Binding sysex="f0 0 0 e 9 0 53 0 0 f7" function="loop-toggle"/>
5885 <Binding channel="1" note="13" function="transport-roll"/>
5886 <Binding channel="1" note="14" function="transport-stop"/>
5887 <Binding channel="1" note="12" function="transport-start"/>
5888 <Binding channel="1" note="11" function="transport-zero"/>
5889 <Binding channel="1" note="10" function="transport-end"/>
5890 </ArdourMIDIBindings>
5893 Please note that channel, controller and note numbers are specified as
5894 decimal numbers in the ranges 1-16, 0-127 and 0-127 respectively
5895 (the channel range may change at some point).
5899 title: Working With Encoders in Ardour
5900 menu_title: Working With Encoders
5905 Encoders are showing up more frequently on controllers. However, they use
5906 the same MIDI events as Continuous Controllers and they have no standard
5907 way of sending that information as MIDI events. Ardour 4.2 has implemented
5908 4 of the more common ways of sending encoder information.
5911 Encoders that send the same continuous values as a pot would are not
5912 discussed here as they are already supported by <code>ctl</code>.
5915 Encoders as this page talks about them send direction and offset that the
5916 DAW will add to or subtract from the current value.
5919 The 4 kinds of encoder supported are:
5923 enc-r: On the bcr/bcf2000 this is called "Relative Signed Bit". The most
5924 significant bit sets positive and the lower 6 signifcant bits are the
5928 enc-l: The bcr2000 calls this "Relative Signed Bit 2". The most
5929 significant bit sets negative and the lower 6 signifcant bits are the
5930 offset. If you are using one of these two and the values are right but
5931 reversed, use the other. This one is the one the Mackie Control Protocol
5935 enc-2: The bcr2000 calls this one "Relative 2s Complement". Positive
5936 offsets are sent as normal from 1 to 64 and negative offsets are sent as
5937 2s complement negative numbers.
5940 enc-b: The bcr2000 calls this one "Relative Binary Offset". Positive
5941 offsets are sent as offset plus 64 and negative offsets are sent as 64
5946 If the wrong one is chosen, either the positive or negative side will act
5947 incorrectly. It is not really possible to auto detect which one the
5948 controller is using. Trial and error is the only way if the specification
5949 of the controller is not known.
5952 Many controllers have more than one choice as well, check the manual for
5964 There are no "best" ways to map an arbitrary MIDI controller for controlling Ardour. There may be very legitimate reasons for different users to prefer quite different mappings.
5968 On every platform that Ardour runs on, there are excellent free-of-charge tools for making connections between MIDI hardware and "virtual" MIDI ports like the ones that Ardour creates and uses. Rather than waste precious developer time replicating these connection/patch managers, we prefer to leverage their existence by having users rely on them to actually connect Ardour to other MIDI devices and software. On OS X, we recommend Pete Yandell's MIDI Patchbay. On Linux, a wide variety of tools are available including QJackctl, aconnect, Patchage, and more.
5974 <li>Enable Generic MIDI control: <kbd class="menu">Edit > Preferences
5975 > Control Surfaces > Generic MIDI</kbd></li>
5976 <li>Connect Ardour's MIDI port named <samp>control</samp> to whatever
5977 hardware or software you want (using a MIDI patchbay app)</li>
5978 <li><kbd class="mod1 mouse">Middle</kbd>-click on whatever on-screen
5979 fader, plugin parameter control, button etc. you want to control</li>
5980 <li>A small window appears that says "Operate Controller now"</li>
5981 <li>Move the hardware knob or fader, or press the note/key.</li>
5982 <li>The binding is complete. Moving the hardware should control the Ardour fader etc. </li>
5985 <h2>Avoiding work in the future</h2>
5988 If you want the bindings you set up to be used automatically in every session, the simplest thing to do is to use <kbd class="menu">Session > Save Template</kbd>. Then, when creating new sessions, select that template and all the bindings will be automatically set up for you.
5992 title: Using the Presonus Faderport
5993 menu_title: Presonus Faderport
5998 Since version 4.5, Ardour has had full support for the Presonus
5999 Faderport. This is a compact control surface featuring a single
6000 motorized fader, a single knob (encoder) and 24 buttons with fixed
6001 labels. It is a relatively low-cost device that functions very well
6002 to control a single (selected) track or bus, along with a variety of
6003 other "global" settings and conditions.
6006 <h2>Connecting the Faderport</h2>
6009 The Faderport comes with a single USB socket on the back. Connect a
6010 suitable USB cable from there to a USB port on your computer. As of
6011 the end of 2015, you should avoid USB3 ports—these cause erratic
6012 behaviour with the device. This issue might get fixed by Presonus in
6017 Ardour uses the Faderport in what Presonus calls "native" mode. You
6018 do not need to do anything to enable this—Ardour will set the
6019 device to be in the correct mode. In native mode, the Faderport
6020 sends and receives ordinary MIDI messages to/from the host, and the
6021 host understands the intended meaning of these messages. We note
6022 this detail to avoid speculation about whether Ardour supports the
6023 device via the HUI protocol—it does not.
6027 The Faderport will be automatically recognized by your operating
6028 system, and will appear in any of the lists of possible MIDI ports
6029 in both Ardour and other similar software.
6033 To connect the Faderport to Ardour, open the Preferences dialog, and
6034 then click on "Control Surfaces". Click on the "Enable" button
6035 in the line that says "Faderport" in order to activate Ardour's
6036 Faderport support. Then double click on the line that says
6037 "Faderport". A new dialog will open, containing (among other things)
6038 two dropdown selectors that will allow you to identify the MIDI
6039 ports where your Faderport is connected.
6043 <img alt="the Faderport configuration dialog"
6044 src="/images/faderport_dialog.png">
6048 Once you select the input and output port, Ardour will initialize
6049 the Faderport and it will be ready to use. You only need do this
6050 once: once these ports are connected and your session has been
6051 saved, the connections will be made automatically in this and other
6056 You do not need to use the power supply that comes with the
6057 Faderport but without it, the fader will not be motorized. This
6058 makes the overall experience of using the Faderport much less
6059 satisfactory, since the fader will not move when Ardour tells it
6060 to, leading to very out-of-sync conditions between the physical
6061 fader position and the "fader position" inside the program.
6064 <h2>Using the Faderport</h2>
6067 The Faderport's controls can be divided into three groups:
6069 <li>Global controls such as the transport buttons</li>
6071 <li>Controls which change the settings for particular track or
6074 <li>Controls which alter which track or bus is modified by the
6075 per-track/bus controls.</li>
6079 Because the Faderport has only a single set of per-track controls,
6080 by default those controls operate on the first selected track or
6081 bus. If there is no selected track or bus, the controls will do
6085 <h3>Transport Buttons</h3>
6087 The transport buttons all work as you would expect.
6092 When pressed on its own, starts the transport moving backwards. Successive presses
6093 speed up the "rewind" behaviour.
6096 If pressed while also holding the Stop button, the playhead will
6097 return to the zero position on the timeline.
6100 If pressed while also holding the Shift button, the playhead will
6101 move to the session start marker.
6104 <dt>Fast Forward</dt>
6107 When pressed on its own, starts the transport moving faster than normal. Successive presses
6108 speed up the "fast forward" behaviour.
6111 If pressed while also holding the Shift button, the playhead
6112 will move to the session end marker.
6117 Stops the transport. Also used in combination with the Rewind
6118 button to "return to zero".
6122 Starts the transport. If pressed while the transport is
6123 already rolling at normal speed, causes the playhead to jump to
6124 the start of the last "roll" and continue rolling ("Poor man's
6127 <dt>Record Enable</dt>
6128 <dd>Toggles the global record enable setting
6133 <h3>Other Global Controls</h3>
6135 The Mix, Proj, Trns buttons do not obviously correspond any
6136 particular functions or operations in Ardour. We have therefore
6137 allowed users to choose from a carefully curated set of possible
6138 actions that seem related to the button labels in some clear
6139 way. This can be done via the Faderport configuration dialog
6140 accessed via <code>Preferences > Control Surfaces</code>. Each
6141 button has 3 possible actions associated with it:
6143 <li>Plain Press: action to be taken when the button is pressed on
6145 <li>Shift-Press: action to be taken when the button is pressed in
6146 conjunction with the Shift button.</li>
6147 <li>Long Press: action to be taken when the button is pressed on
6148 its own and held down for more than 0.5 seconds.</li>
6150 Click on the relevant drop-down selector to pick an action as you
6154 The User button also has no obvious mapping to specific Ardour
6155 functionality, so we allow users to choose from <em>any</em>
6156 possible GUI action. The menu for selecting the action is somewhat
6157 confusing and it can be hard to find what you're looking
6158 for. However, all possible actions are there, so keep looking!
6164 Possible actions include:
6166 <li>Toggle Editor & Mixer visibility</li>
6167 <li>Show/Hide the Editor mixer strip</li>
6174 Possible actions include:
6176 <li>Toggle Meterbridge visibility</li>
6177 <li>Toggle Session Summary visibility</li>
6178 <li>Toggle Editor Lists visibility</li>
6179 <li>Zoom to session</li>
6188 Possible actions include:
6190 <li>Toggle Locations window visibility</li>
6191 <li>Toggle Metronome</li>
6192 <li>Toggle external sync</li>
6193 <li>Set Playhead at current pointer position</li>
6199 Undo Causes the last operation carried out in the editor to be
6200 undone. When pressed in conjuction with the Shift button, it
6201 causes the most recent undone operation to be re-done.
6206 When pressed on its own, toggles punch recording. If there is no
6207 punch range set for the session, this will do nothing.
6210 When pressed in conjunction with the Shift button, this moves
6211 the playhead to the previous Marker
6217 See above. Any and all GUI-initiated actions can be driven with
6218 by pressing this button on its own, or with a "long" press.
6221 When pressed in conjunction with the Shift button, this will move
6222 the playhead to the next marker.
6228 When pressed on its own, this toggles loop playback. If the
6229 Ardour preference "Loop-is-mode" is enabled, this does nothing
6230 to the current transport state. If that preference is disabled,
6231 then engaging loop playback will also start the transport.
6234 When pressed in conjunction with the Shift button, this will
6235 create a new (unnamed) marker at the current playhead
6242 <h3>Per-track Controls</h3>
6247 This toggles the mute setting of the currently controlled
6248 track/bus. The button will be lit if the track/bus is muted.
6252 This toggles the solo (or listen) setting of the currently
6253 controlled track/bus. The button will be lit if the track/bus is
6254 soloed (or set to listen mode).
6258 This toggles the record-enabled setting of the currently
6259 controlled track/bus. The button will be lit if the track is
6260 record-enabled. This button will do nothing if the Faderport is
6265 The fader controls the gain applied to the currently controlled
6266 track/bus. If the Faderport is powered, changing the gain in
6267 Ardour's GUI or via another control surface, or via automation,
6268 will result in the fader moving under its own control.
6270 <dt>Knob/Dial/Encoder</dt>
6273 The knob controls 1 or 2 pan settings for the current
6274 controlled track/bus. When used alone, turning the knob controls
6275 the "azimuth" or "direction" (between left and right) for the
6276 panner in the track/bus (if any). This is all you need when
6277 controlling tracks/busses with 1 input and 2 outputs.
6280 If controlling a 2 input/2 output track/bus, Ardour's panner
6281 has two controls: azimuth (direction) and width. The width
6282 must be reduced to less than 100% before the azimuth can be
6283 changed. Pressing the "Shift" button while turning the knob
6284 will alter the width setting.
6287 The knob can also be turned while the "User" button is held,
6288 in order to modify the input gain for the currently controlled
6294 Enables playback/use of fader automation data by the controlled track/bus.
6298 Puts the fader for the controlled track/bus into automation
6299 write mode. While the transport is rolling, all fader changes
6300 will be recorded to the fader automation lane for the relevant track/bus.
6304 Puts the fader for the controlled track/bus into automation
6305 touch mode. While the transport is rolling, touching the fader
6306 will initiate recording all fader changes until the fader is
6307 released. When the fader is not being touched, existing
6308 automation data will be played/used to control the gain level.
6312 This disables all automation modes for the currently controlled
6313 track/bus. Existing automation data will be left unmodified by
6314 any fader changes, and will not be used for controlling gain.
6319 <h3>Track Selection Controls</h3>
6321 You can manually change the track/bus controlled by the Faderport by
6322 changing the selected track in Ardour's editor window. If you select
6323 more than 1 track, the Faderport will control the first selected
6324 track and <em>only</em> that track/bus.
6328 <dt>Left (arrow)</dt>
6330 This causes the Ardour GUI to select the previous track/bus
6331 (using the current visual order in the editor window), which
6332 will in turn cause the Faderport to control that track. If there
6333 is no previous track/bus, the selected track/bus is left
6334 unchanged, and the Faderport continues to control it.
6336 <dt>Right (arrow)</dt>
6338 This causes the Ardour GUI to select the next track/bus
6339 (using the current visual order in the editor window), which
6340 will in turn cause the Faderport to control that track. If there
6341 is no next track/bus, the selected track/bus is left
6342 unchanged, and the Faderport continues to control it.
6347 Pressing the Output button causes the Faderport to control
6348 the fader, pan, mute and solo settings of the Master bus. If
6349 your session does not contain a Master bus, it does nothing.
6350 This is a toggle button—pressing it again returns Faderport
6351 to controlling whichever track/bus was selected before the
6352 first press of the Output button.
6355 If your session uses Ardour's monitor section, you can use
6356 Shift-Output to assign it to the Faderport in the same way
6357 that Output assigns the Master bus. This is also a toggle
6358 setting, so the second Shift-Output will return the Faderport
6359 to controlling whichever track/bus was selected before.
6362 If you press Shift-Output after a single press to Output
6363 (i.e. control the Monitor Section while currently controlling
6364 the Master bus) or vice versa (i.e. control the Master bus
6365 while currently controlling the Monitor Section), the press
6366 will be ignored. This avoids getting into a tricky situation
6367 where it is no longer apparent what is being controlled and
6368 what will happen if you try to change it.
6373 The "Bank" button is currently not used by Ardour
6379 title: Using the Ableton Push 2
6380 menu_title: Ableton Push 2
6385 <img alt="the Ableton Push 2 surface" src="/images/push2-main.jpg">
6389 Since version 5.4, Ardour has had extensive support for the Ableton
6390 Push2. This is an expensive but beautifully engineered control
6391 surface primarily targetting the workflow found in Ableton's Live
6392 software and other similar tools such as Bitwig. As of version 5.4, Ardour
6393 does not offer the same kind of workflow, so we have designed our support for the
6394 Push 2 to be used for mixing and editing and musical performance,
6395 without the clip/scene oriented approach in Live. This may change in
6396 future versions of Ardour.
6399 <h2>Connecting the Push 2</h2>
6402 Plug the USB cable from the Push 2 into a USB2 or USB3 port on your
6403 computer. For brighter backlighting, also plug in the power supply
6404 (this is not necessary for use).
6408 The Push 2 will be automatically recognized by your operating
6409 system, and will appear in any of the lists of possible MIDI ports
6410 in both Ardour and other similar software.
6414 To connect the Push 2 to Ardour, open the Preferences dialog, and
6415 then click on "Control Surfaces". Click on the "Enable" button
6416 in the line that says "Ableton Push 2" in order to activate Ardour's
6421 Once you select the input and output port, Ardour will initialize
6422 the Push 2 and it will be ready to use. You only need do this
6423 once: once these ports are connected and your session has been
6424 saved, the connections will be made automatically in this and other
6428 <h2>Push 2 Configuration</h2>
6431 The only configuration option at this time is whether the pads send
6432 aftertouch or polyphonic pressure messages. You can alter this
6433 setting via the Push 2 GUI, accessed by double-clicking on the "Push
6434 2" entry in the control surfaces list.
6437 <img alt="the Push 2 configuration dialog"
6438 src="/images/push2-gui.png">
6441 <h2>Basic Concepts</h2>
6444 With the Push 2 support in Ardour 5.4, you can do the following
6447 <dt>Perform using the 8 x 8 pad "grid"</dt>
6448 <dd>The Push 2 has really lovely pressure-sensitive pads that can
6449 also generate either aftertouch or note (polyphonic) pressure.</dd>
6450 <dt>Global Mixing</dt>
6451 <dd>See many tracks at once, and control numerous parameters for each.</dd>
6452 <dt>Track/Bus Mixing</dt>
6453 <dd>View a single track/bus, with even more parameters for the track.</dd>
6454 <dt>Choose the mode/scale, root note and more for the pads</dt>
6455 <dd>37 scales are available. Like Live, Ardour offers both
6456 "in-key" and "chromatic" pad layouts.</dd>
6459 … plus a variety of tasks related to transport control, selection,
6460 import, click track control and more.
6463 <h2>Musical Performance</h2>
6466 Messages sent from the 8x8 pad grid and the "pitch bend bar" are
6467 routed to a special MIDI port within Ardour called "Push 2 Pads"
6468 (no extra latency is incurred from this routing). Although you can
6469 manually connect this port to whatever you wish, the normal
6470 behaviour of Ardour's Push 2 support is to connect the pads to the
6471 most recently selected MIDI track.
6475 This means that to play a soft-synth/instrument plugin in a given
6476 MIDI track with the Push 2, you just need to select that track.
6480 If multiple MIDI tracks are selected at once, the first selected
6481 track will be used. Note that messages originating from all other
6482 controls on the Push 2 will <em>not</em> not be delivered to the
6483 "Push 2 Pads" port. This makes no difference in practice, because
6484 the other controls do not send messages that are useful for musical
6491 This is the default mode that Ardour will start the Push 2 in. In
6492 this mode, the 8 knobs at the top of the device, the 8 buttons below
6493 them, the video display and the 8 buttons below that are combined to
6494 provide a global view of the session mix.
6498 <img alt="global mix mode on Push2 screen"
6499 src="/images/push2-globalmix.png">
6503 The upper buttons are labelled by text in the video display just
6504 below them. Pressing one of the buttons changes the function of the
6505 knobs, and the parameters that will shown for each track/bus in the
6510 As of Ardour 5.4, the possible parameters are:
6513 <dd>The display shows a knob and text displaying
6514 the current gain setting for the track, and a meter that
6515 corresponds precisely to the meter shown in the Ardour GUI for
6516 that track. Changing the meter type (e.g. from Peak to K12) in the
6517 GUI will also change it in the Push 2 display. The physical knob
6518 will alter track/bus gain.
6521 <dd>The display shows a knob indicating the pan direction/azimuth
6522 for the corresponding track/bus. Turning the physical knob will
6523 pan the track left and right. If the track/bus has no panner
6524 (i.e. it has only a single output), no knob is shown and the
6525 physical knob will do nothing. </dd>
6527 <dd><p>For tracks with 2 outputs, the display will show a knob
6528 indicating the pan width setting for the corresponding
6529 track/bus. The physical knob can be turned to adjust the
6534 Unlike many DAWs, Ardour's stereo panners have "width"
6535 parameter that defaults to 100%. You cannot change the pan
6536 direction/azimuth of a track with 100% width, but must first
6537 reduce the width in order to pan it. Similarly, a track panned
6538 anywhere other than dead center has limits on the maximum
6539 width setting. If these concepts are not familiar to you,
6540 please be aware than many DAWs use a "panner" that actually
6541 implement "balance" and not "panning", hence the difference.
6545 <dd>The display shows a knob indicating the gain level for the
6546 first send in that track. If the track has no send, no knob will
6547 be shown, and the physical knob for that track will do nothing.
6549 <dt>B Sends, C Sends, D Sends</dt>
6550 <dd>Like "A Sends", but for the 2nd, 3rd and 4th sends of a
6551 track/bus respectively.
6557 To change which tracks are shown while in global mix mode, use the
6558 left and right arrow/cursor keys just below and to the right of the
6559 display. Tracks and busses that are hidden in Ardour's GUI will also
6560 be hidden from display on the Push 2.
6564 To select a track/bus directly from the Push 2, press the
6565 corresponding button below the display. The track name will be
6566 highlighted, and the selection will change in Ardour's GUI as well
6567 (and also any other control surfaces).
6570 <h3>Soloing and Muting in Global Mix mode</h3>
6573 The Solo and Mute buttons to the left of the video display can be
6574 used to solo and mute tracks while in Global Mix mode. The operation
6575 will be applied to the <em>first</em> currently selected
6580 There are two indications that one or more tracks are soloed:
6582 <li>The solo button will blink red</li>
6583 <li>Track names will be prefixed by "*" if they are soloed, and
6584 "-" if they are muted due to soloing.</li>
6589 To cancel solo, either:
6591 <li>Select the soloed track(s) and press the solo button
6593 <li>Press and hold the solo button for more than 1 second</li>
6599 <p>Track Mix mode allows you to focus on a single track in more detail
6600 than is possible in Global Mix mode. To enter (or leave) Track Mix
6601 mode, press the "Mix" button.
6605 In Track Mix mode, various aspects of the state of the first
6606 selected track/bus will be displayed on the Push 2. Above the
6607 display, the first 4 knobs control track volume (gain), pan
6608 directiom/azimuth, pan width, and where appropriate, track input
6613 Below the display, 7 buttons provide immediate control of mute,
6614 solo, rec-enable, monitoring (input or disk or automatic), solo
6615 isolate and solo safe state. When a a track is muted due to other
6616 track(s) soloing, the mute button will flash (to differentiate from
6617 its state when it is explicitly muted).
6621 The video display also shows meters for the track, which as in
6622 Global Mix mode, precisely match the meter type shown in Ardour's
6623 GUI. There are also two time displays showing the current playhead
6624 position in both musical (beats|bars|ticks) format, and as
6625 hours:minutes:seconds.
6629 To change which track is visible in Track Mix mode, use the
6630 left/right arrow/cursor keys just below and to the right of the
6634 <h2>Scale Selection</h2>
6637 Press the Scale button to enter Scale mode. The display will look
6642 <img alt="track mix mode on Push2 screen"
6643 src="/images/push2-scale.png">
6647 In the center, 37 scales are presented. Scroll through them by
6648 either using the cursor/arrow keys to the lower right of the
6649 display, or the knobs above the display. The scale will change
6650 dynamically as you scroll. You can also scroll in whole pages using
6651 the upper right and upper left buttons above the display (they will
6652 display "<" and ">" if scrolling is possible).
6656 To change the root note of the scale, press the corresponding button
6657 above or below the video display.The button will be lit to indicate
6658 your selection (and the text will be highlighted).
6662 By default, Ardour configures the Push 2 pads to use "in-key" mode,
6663 where all pads correspond to notes "in" the chosen scale. Notes
6664 corresponding to the root note, or the equivalent note in higher
6665 octaves, are highlighted with the color of the current target MIDI
6671 "chromatic" mode, the pads correspond to a continuous sequence of
6672 notes starting with your selected root note. Pads corresponding to
6673 notes in the scale are illuminated; those corresponding to the root
6674 note are lit with the color the current target MIDI track. Other
6675 pads are left dark, but you can still play them.
6679 To switch between them, press button on the lower left of the video
6680 display; the text above it will display the current mode (though it
6681 is usually visually self-evident from the pad lighting pattern).
6685 To leave Scale mode, press the "Scale" button again. You may also
6686 use the upper left button above the display, though if you have
6687 scrolled left, it may require more than one press.
6690 <h2>Specific Button/Knob Functions</h2>
6693 In addition to the layouts described above, many (but not all) of
6694 the buttons and knobs around the edges of the Push 2 will carry out
6695 various functions related to their (illuminated) label. As of Ardour
6698 <dt>Metronome (button and adjacent knob)</dt>
6700 Enables/disables the click (metronome). The knob directly above
6701 it will control the volume (gain) of the click.
6705 Undo or redo the previous editing operation.
6709 Deletes the currently selected region, or range, or
6710 note. Equivalent to using Ctrl/Cmd-x on the keyboard.
6714 If a MIDI region is selected in Ardour, this will open the
6719 Duplicates the current region or range selection.
6723 Enables and disables Ardour's global record enable state.
6727 Starts and stops the transport. Press Shift-Play to return to the session start.
6731 Opens Ardour's Add Track/Bus dialog.
6735 Open's Ardour's import dialog to select and audition existing
6736 audio and MIDI files.
6740 Pressing this button jumps directly to Track Mix mode, with the
6741 master out bus displayed.
6743 <dt>Cursor arrows</dt>
6745 These are used by some modes to navigate within the display (e.g
6746 Scale mode). In other modes, the up/down cursor arrows will
6747 scroll the GUI display up and down, while the left/right cursor
6748 arrows will generally scroll within the Push 2 display itself.
6752 Enables/disables loop playback. This will follow Ardour's "loop
6753 is mode" preference, just like the loop button in the Ardour
6756 <dt>Octave buttons</dt>
6758 These shift the root note of the current pad scale up or down by
6761 <dt>Page buttons</dt>
6763 These scroll Ardour's editor display left and right along the
6766 <dt>Master (top right) knob</dt>
6768 This knob controls the gain/volume of Ardour's main output. If
6769 the session has a monitor saec
6776 title: Configuring MIDI
6782 title: Using External MIDI Devices
6786 <p class="fixme">Add content</p>
6790 title: Setting Up MIDI
6794 <h2>What Can Ardour Do With MIDI?</h2>
6796 <dfn><abbr title="Musical Instrument Digital
6797 Interface">MIDI</abbr></dfn> is a way to describe musical
6798 performances and to control music hardware and software.
6800 <p>Ardour can import and record MIDI data, and perform a variety of
6801 editing operations on it. Furthermore, MIDI can be used to control
6802 various functions of Ardour.
6805 <h2>MIDI Handling Frameworks</h2>
6807 MIDI input and output for Ardour are handled by the same "engine"
6808 that handles audio input and output. Up to release 3.5, that means
6809 that all MIDI I/O takes place via JACK. JACK itself uses the
6810 native MIDI support of the operating system to receive and send
6811 MIDI data. The native MIDI support provides device drivers for MIDI
6812 hardware and libraries needed by software applications that want to
6818 <dd> <dfn>CoreMIDI</dfn> is the standard MIDI framework on OSX systems.
6822 <dfn><abbr title="Advanced Linux Sound API">ALSA</abbr> MIDI</dfn>
6823 is the standard MIDI framework on Linux systems.
6828 On Linux systems, <dfn>QJackCtl</dfn> control software displays ALSA MIDI
6829 ports under its "ALSA" tab (it does not currently display CoreMIDI
6830 ports). By contrast, JACK MIDI ports show up under
6831 the <kbd class="menu">MIDI</kbd> tab in QJackCtl.
6834 <h2>JACK MIDI Configuration</h2>
6836 By default, JACK will <strong>not</strong> automatically detect and use existing MIDI
6837 ports on your system. You must choose one of several ways
6838 of <dfn>bridging</dfn> between the native MIDI frameworks
6839 (e.g. CoreMIDI or ALSA) and JACK MIDI, as described in the sections
6844 title: MIDI on Linux
6848 <p>The right approach for using MIDI on Linux depends on which version of
6849 JACK you use. The world divides into:</p>
6852 <dt>Systems using JACK 1, versions 0.124 or later</dt>
6853 <dd>On these systems, just start JACK with the <code>-X alsa_midi</code> server argument. To support legacy control applications, you can also use the <code>-X seq</code> argument to the ALSA backend of JACK and get the exact same results.</dd>
6855 <dd>Use a2jmidid to act as a bridge between ALSA MIDI and JACK. Do not use the <code>-X seq</code> or <code>-X raw</code> arguments—the timing and performance of these options is not acceptable.
6862 <dfn>a2jmidid</dfn> is an application that bridges between the system
6863 <abbr title="Musical Instrument Digital Interface">MIDI</abbr> ports and
6864 <abbr title="JACK Audio Connection Kit">JACK</abbr>.
6868 First you should make sure that there is no ALSA sequencer support enabled
6869 in JACK. To do that open QJackCtl's <kbd class="menu">Setup</kbd> window.
6873 Set <kbd class="menu">Settings > MIDI Driver</kbd> to <kbd
6874 class="input">none</kbd>.
6875 Then uncheck the <kbd class="optoff">Misc > Enable ALSA Sequencer
6876 support</kbd> option.<br />
6877 Now it's time to restart your jack server before going on.
6880 <h3>Check for a2jmidid availability</h3>
6883 First, check whether a2jmidid is already installed in your system. After
6884 starting your JACK server, go to the command line and type
6887 <kbd class="cmd lin">a2jmidid -e</kbd>
6890 If a2jmidid does not exist, install it with the software manager of your
6891 Linux distribution and try again.
6894 <h2>Check available MIDI ports</h2>
6897 If you have correctly configured JACK for MIDI, then your MIDI ports should appear in
6898 qjackctl under <kbd class="menu">Connections > MIDI </kbd>.
6901 <h3>Making it automatic</h3>
6904 Once you've verified that the ports appear in JACK as expected, you
6905 can make this happen whenever you start JACK.
6908 <p>If you use a newer version of JACK 1, just make sure the -X
6909 alsa_midi or -X seq options are enabled for whatever technique you use
6914 For other versions of JACK,
6915 add <kbd class="input">a2jmidid -e &</kbd> as an "after start-up" script
6916 in the <kbd class="menu">Setup > Options</kbd> tab of QJackCtl, so
6917 that it is started automatically whenever you start JACK.
6920 <p class="fixme">Is this true anymore in Ardour 5? This section may have been relevant in Ardour 3, but it might not be relevant anymore.</p>
6928 In order for CoreMIDI to work with Jack MIDI, a CoreMIDI-to-JACK-MIDI
6930 is required. This feature is available on versions equal to or great than
6931 version 0.89 of JackOSX.
6934 <h2>Routing MIDI</h2>
6936 <h3>Inside Ardour</h3>
6939 MIDI ports show up in Ardour's MIDI connection matrix in multiple
6940 locations. Bridged CoreMIDI ports as well as JACK MIDI ports that have
6941 been created by other software clients will show up under the "Other" tab.
6942 Bridged CoreMIDI hardware ports show up under the "Hardware" tab.
6945 <h3>External Applications</h3>
6948 There are multiple options for connecting MIDI ports outside of Ardour.
6952 <li><a href="http://www.snoize.com/MIDIMonitor/">MIDI Monitor</a> is a handy
6953 tool for doing various MIDI-related tasks.</li>
6954 <li><a href="http://notahat.com/midi_patchbay">MIDI Patchbay</a> lets you
6955 connect ports and filters MIDI data.</li>
6962 title: Ardour's Interface
6968 title: About Ardour's Interface
6973 In Ardour, you work in two main windows: the <dfn>Editor</dfn> and the
6977 <img src="/images/editor_split.png" alt="Ardour's mixer window">
6978 <img src="/images/mixer_split.png" alt="Ardour's editor window">
6980 <ol class="multicol4">
6983 <li>Transport bar & Times</li>
6984 </ol><ol class="multicol4" start="4">
6985 <li>Mode switch</li>
6986 <li>The <dfn>Editor</dfn> window</li>
6987 <li>a track's mixer strip</li>
6988 </ol><ol class="multicol4" start="7">
6989 <li>Editors List</li>
6990 <li>The <dfn>Mixer</dfn> window</li>
6991 <li>Favorite plugins</li>
6992 </ol><ol class="multicol4" start="10">
6993 <li>Strips list</li>
6995 <li>Master strip</li>
7000 To switch between those windows, use the buttons (#4 Mode switch in the upper right),
7001 the shortcut <kbd class="mod2">M</kbd>, or the menu
7002 <kbd class="menu">Window > Editor <em>(or Mixer)</em> > Show</kbd>.
7003 Both windows can be visible at the same time (eg. for a multi-monitor
7004 setup) using <kbd class="menu">Detach</kbd> in the same menu.</p>
7012 <p class="fixme">Add content</p>
7020 <img src="/images/status-bar.png" alt="The status bar">
7021 <p>The status bar is an informative bar at the top of the window, showing:</p>
7023 <li><dfn>File:</dfn> the file format used in the session, including when recording</li>
7024 <li><dfn>TC:</dfn> is the timecode, i.e. the number of frames per second used by the session (for videos)</li>
7025 <li><dfn>Audio:</dfn> gives the sample rate used in the session, and the latency computed from the buffer size</li>
7026 <li><dfn>Buffers:</dfn> decribe how much data is buffered, see below</li>
7027 <li><dfn>DSP:</dfn> for Digital Sound Processing, shows how much of the CPU is used by Ardour and its plugins</li>
7028 <li><dfn>X:</dfn> shows the number of xruns since Ardour's launch, see below</li>
7029 <li><dfn>Disk:</dfn> reports the remaining hard disk space as the time that can be recorded with the current session setting</li>
7030 <li><dfn>a Clock</dfn> showing the system time</li>
7031 <li><dfn>a Log button</dfn> that indicates if Ardour has encountered any warning or error.</li>
7034 <p>The buffers are labelled as <kbd class="menu">p</kbd> for playback and <kbd class="menu">c</kbd> for capture. If the
7035 system is fast enough, these buffers should be 100% full at all times, showing the system has time to precompute
7036 all the data before delivering it to the audio system. A buffer constantly under 20% is a sign of an underpowered
7037 computer system or of too much processing.</p>
7039 <p>An Xrun (short for buffer over- or under-run) happens when the system has been forced to skip audio frames, e.g. if the latency
7040 asked is too short for the computing power of the machine. It usually results in clicks, pops and crackles if it happens while recording.</p>
7042 <p>The log button turns yellow when a warning is shows, and red when an error occurs. Clicking the log button gives acces to the log.</p>
7045 title: Transport bar and times
7050 Ardour offers many ways to <dfn>control playback</dfn> of your session, including the transport bar, key bindings and remote controls. You can also use markers to define locations or ranges within the session and rapidly move around between them.
7053 <img src="/images/transport-bar.png" alt="Ardour's transport bar" />
7056 If you synchronize Ardour with other devices then some or all of these control methods may be unavailable—depending on the synchronization protocol, Ardour may respond only to commands sent from its master device(s).
7060 The <dfn>Transport Bar</dfn> at the top of the window is made of:
7064 <li><a href="/controlling-playback/using-the-transport-bar/">the Transport Controls</a></li>
7065 <li><a href="/ardours-interface/using-ardour-clock-displays/">the Clocks</a></li>
7066 <li>3 status indicators:
7068 <li><dfn>Solo</dfn>: Blinks when one or more tracks are being soloed, see <a href="/mixing/muting-and-soloing/">Muting and Soloing</a>. Clicking this button disables any active explicit and implicit solo on all tracks and busses.</li>
7069 <li><dfn>Audition</dfn>: Blinks when using the import dialog to audition material.</li>
7070 <li><dfn>Feedback</dfn>: Blinks when Ardour detects a <dfn>feedback loop</dfn>, which happens when the output of an audio signal chain is plugged back to its input. This is probably not wanted and can be dangerous for the hardware and the listener.</li>
7072 <li>A global Meter, showing the level of the Master Output, see <a href="/ardours-interface/meters/">Metering in Ardour</a></li>
7073 <li>the Mode Selector, allowing to switch between Editor and Mixer views, or edit the Preferences.</li>
7077 title: The Transport Bar
7082 The <dfn>Transport Bar</dfn> groups all the actions regarding the control of playback and recording.
7085 <p class="center"><img src="/images/transport.png" alt="The transport controls" /></p>
7088 This bar is made of (from left to right):
7093 <dfn>Midi Panic</dfn>: Immediately stops all midi output.
7096 <dfn>Enable/disable Audio Click</dfn>: Toggles (on/off) a click track (metronome) along the <a href="/tempo-meter/tempo-and-meter/">tempo</a>.
7099 <dfn>Go to Start of the Session</dfn>: Jumps back at the beginning of the session, as defined by the <a href="/working-with-markers/">start marker</a>.
7102 <dfn>Go to End of the Session</dfn>: Jumps forward to the end of the session, as defined by the <a href="/working-with-markers/">end marker</a>.
7105 <dfn>Play Loop Range</dfn>: Repeats the defined <a href="/controlling-playback/looping-the-transport/">loop</a> as defined by the <a href="/working-with-markers/loop-range/">Loop range</a>, until the "Stop playback" button is pressed. Clicking the "Play loop Range" button while already active switches to normal Play mode, which exits the loop without stopping and restarting playback.
7108 <dfn>Play Range/Selection</dfn>: If a range has been defined using the Range Mode button, plays the range, of if an audio or MIDI region is selected, plays this region. In both cases, the playback stops at the end of the range or selected region.
7111 <dfn>Play from playhead</dfn>: Starts the playback and optionally record (more below).
7114 <dfn>Stop</dfn>: Whatever the playing mode (loop, range, …) stops all playback. Depending on other settings, some effects (like chorus or reverb) might still be audible for a while.
7117 <dfn>Toggle Record</dfn>: Global switch button to activate/deactivate recording. While active, the button blinks red. The button doesn't start recording by itself: if one or more tracks are marked as record-enabled, pressing the "Play from Playhead" starts recording on those tracks. See <a href="/recording/">Recording</a>.
7121 <p class="fixme">Add default keyboard shortcuts to the above.</p>
7124 All these actions are bound to keyboard shortcuts, which allows for speedier use and more focused work.
7128 Under these buttons is the <dfn>Shuttle Speed Control</dfn> that allows to scrub through the audio quickly.
7132 The Shuttle Speed Control supports 2 operating modes, that can be chosen with right click > Mode:
7136 <li><dfn>Sprung mode</dfn> that allows for a temporary scrub: it only scubs while the mouse is left clicked on the control.</li>
7137 <li><dfn>Wheel mode</dfn> that allows to set a playback speed until the "Stop" button is pressed, which stops the playback and resets its speed.
7141 The mode is displayed on the right of the control. The current playback speed is shown by a green slider, that is square and centered when the playback speed is normal (1X) and becomes a circle when its changed. The further from the center the slider is set, the faster the playback will scrub in both directions, as displayed on the left of the control.
7145 The 3 vertical buttons on the right of the transport bar control the behaviour of the playhead:
7150 The positional sync button (which might show <dfn>Internal</dfn>, or <dfn>MTC</dfn> or several other values) can be used to control whether or not the transport position and start is controlled by Ardour, or by an external positional synchronization source, such as MIDI Time Code (MTC), Linear Time Code (LTC) or JACK. (see <a href="/synchronization/timecode-generators-and-slaves/">Timecode Generators and Slaves</a>).
7153 <dfn>Follow Edits</dfn> is a toggle that can be used to control whether or not making a selection (range or object) will move the playhead to the start of the selection.
7156 <dfn>Auto Return</dfn> is a toggle switch too. When active, pressing the Stop button returns the playhead to its previous position, and when inactive, pressing Stop keeps the playhead at its current location. Activating Auto Return can be useful for hearing the same piece of audio before and after tweaking it, without having to set a loop range on it.
7166 <dfn>Clocks</dfn> in Ardour are used to display <dfn>time values</dfn> precisely.
7167 In many cases, they are also one way to edit (change) time values, and in a few
7168 cases, the only way. All clocks share the same basic appearance and functionality,
7169 which is described below, but a few clocks serve particularly important roles.
7172 <h2>Transport Clocks</h2>
7175 In the transport bar of the editor window there are two clocks (unless you
7176 are on a very small screen), that display the current position of the playhead
7177 and additional information related to transport control and the timeline. These
7178 are called the <dfn>transport clocks</dfn>; the left one is the primary
7179 transport clock and the right one is the secondary transport clock.
7180 They look like this:
7183 <img src="/images/a3_new_main_clocks.png" alt="An image of the transport clocks in Ardour 3" />
7186 Editing the time in the transport clocks will reposition the playhead in the same
7187 way that various other editing operations will.
7190 <h3>The Big Clock</h3>
7192 To show the current playhead position in a big, resizable window, activate
7193 <kbd class="menu">Window > Big Clock</kbd>. The big clock is very useful
7194 when you need to work away from the screen but still want to see the playhead
7195 position clearly (such as when working with a remote control device across
7196 a room). The big clock will change its visual appearance to indicate when active
7197 recording is taking place. Below on the left is a screenshot showing a fairly
7198 large big clock window filling a good part of the display, and on the right,
7199 the same clock during active recording.
7201 <a href="/images/bigclock.png"><img src="/images/bigclock.png" height="100" alt="an image of the big clock filling a screen" /></a>Â <a href="/images/bigclock-recording.png"><img src="/images/bigclock-recording.png" height="100" alt="an image of the big clock while recording"
7204 <h3>The Special Role of the Secondary Transport Clock</h3>
7206 On a few occasions Ardour needs to display time values to the user, but there
7207 is no obvious way to specify what units to use. The most common case is the big
7208 cursor that appears when dragging regions. For this and other similar cases,
7209 Ardour will display time using the same units as the secondary clock.
7211 <h4>Why are there two transport clocks?</h4>
7213 Having two transport clocks lets you see the playhead position in two different
7214 time units without having to change any settings. For example, you can see the
7215 playhead position in both timecode units and BBT time.
7218 <h3>Selection and Punch Clocks</h3>
7220 The transport bar also contains a set of 5 clocks that show the current
7221 <dfn>selection range</dfn> and <dfn>punch ranges</dfn>. Clicking on the punch
7222 range clocks will locate to either the beginning or end of the punch range.
7223 Similarly, clicking on the range clocks will locate to either the beginning
7224 or end of the current selection. In this screen shot there is no current
7225 selection range, so the selection clocks show an "off" state.
7228 <img src="/images/selectionpunchclocks.png" alt="An image of the the selection and punch clocks in Ardour 3" />
7230 <h2>Clock Modes</h2>
7232 Every clock in Ardour has four different, selectable <dfn>clock
7233 modes</dfn>. Each mode displays time using different units.
7234 You can change the clock mode by <kbd class="mouse">Right</kbd>-clicking
7235 on the clock and selecting the desired mode from the menu. Some clocks are
7236 entirely independent of any other clock's mode; others are linked so that
7237 changing one changes all clocks in that group. The different modes are:
7241 <dd>Time is shown as <dfn><abbr title="Society of Motion Picture and Television
7242 Engineers">SMPTE</abbr> timecode</dfn> in Hours:Minutes:Seconds:Frames,
7243 measured from the timecode zero point on the timeline (which may not
7244 correspond to the session start and/or absolute zero on the timeline,
7245 depending on configurable timecode offsets).
7246 The frames value is dictated by either the session <abbr title="Frames Per
7247 Second">FPS</abbr> setting, or, if slaved to an external timecode master,
7248 the master's setting. In the transport clocks, the FPS value is shown below
7249 the time display, along with an indication of the current timecode source
7250 (<samp>INT</samp> means that Ardour is its own timecode source).</dd>
7252 <dd>Time is shown as Bars:Beats:Ticks, indicating <dfn>musical time</dfn> measured
7253 from the start of the session. The transport clocks show the current tempo
7254 in <abbr title="Beats Per Minute">bpm</abbr> and meter below the time
7256 <dt>Minutes:Seconds</dt>
7257 <dd>Time is shown as Hours:Minutes:Seconds.Milliseconds, measured from the
7258 absolute start of the timeline (ignoring the session start and any timecode
7261 <dd>Time is shown as a <dfn>sample count</dfn> from the absolute start of the timeline
7262 (ignoring the session start and any timecode offsets). The number of
7263 samples per second is given by the current sample rate, and in the transport
7264 clocks, this rate is shown below the time display along with any
7265 pullup/pulldown adjustment.</dd>
7268 <h3>Special Modes for the Transport Clocks</h3>
7270 In addition to the time-unit modes mentioned above, each of the two transport
7271 clocks (if you work on a small screen, you may only have one) can be
7272 independently set to display <dfn>Delta to Edit Point</dfn> in whatever time
7273 units its current mode indicates. This setting means that the clock shows the
7274 distance between the playhead and the current edit point, and it may show a
7275 positive or negative value depending on the temporal order of these two points.
7276 The clocks will use a different color when in this mode to avoid confusion.
7279 To switch either (or both!) of the transport clocks into this mode, use
7280 <kbd class="menu"> Edit > Preferences > Transport</kbd> and select
7281 the relevant checkboxes.
7284 Note that when in <samp>Delta to Edit Point</samp> mode, the transport clocks
7288 <h2>Changing clock values with the keyboard</h2>
7290 New values for the clock can be typed in after clicking on the relevant clock.
7291 Clicking on the clock will show a thin vertical cursor bar just to the right
7292 of the next character to be overwritten. Enter time in the same order as the
7293 current clock mode—if the clock is in Timecode mode, you need to enter
7294 hours, minutes, seconds, frames. So, to change to a time of 12:15:20:15 you
7295 would type <kbd class="input">1 2 1 5 2 0 1 5</kbd>. Each number you type will
7296 appear in a different color, from right to left, overwriting the existing value.
7297 Mid-edit, after typing <kbd class="input">3 2 2 2</kbd> the clock might look like this:
7299 <img src="/images/clockedit.png" alt="An image of a clock being edited in Ardour 3" />
7301 To finish the edit, press <kbd>↵</kbd> or <kbd>Tab</kbd>. To exit an
7302 edit without changing the clock press <kbd>ESC</kbd>. If you mis-type an entry
7303 so that the new value would be illegal (for example, resulting in more than 30
7304 frames when Timecode is set to 30 frames per second), the clock will reset at
7305 the end of the edit, and move the cursor back to the start so that you can
7309 <h3>Avoiding the mouse entirely</h3>
7311 There is a shortcut available for those who wish to be able to edit the transport
7312 clocks entirely without the mouse. It can be found in
7313 <kbd class="menu">Window > Key Bindings > Transport > Focus On
7314 Clock</kbd>. If bound to a key (<kbd>÷</kbd> on the numerical
7316 default), then pressing that key is equivalent to clicking on the primary (left)
7317 transport clock, and editing can begin immediately.
7320 <h3>Entering Partial Times</h3>
7322 One detail of the editing design that is not immediately obvious is that it is
7323 possible to enter part of a full time value. Suppose that the clock is in BBT
7324 mode, displaying <samp>024|03|0029</samp>, and you want to alter the value to
7325 the first beat of the current bar. Click on the clock and type
7326 <kbd class="input">0 1 0 0 0 0</kbd>. Similarly, if it is in Minutes:Seconds
7327 mode, displaying <samp>02:03:04.456</samp>, and you want to get to exactly 2
7328 hours, click on the clock and type <kbd class="input">0 0 0 0 0 0 0</kbd> to
7329 reset the minutes, seconds and milliseconds fields.
7332 <h3>Entering Delta Times</h3>
7334 You can also type values into the clock that are intended as a relative change,
7335 rather than a new absolute value. Simply end the edit by pressing
7336 <kbd>+</kbd> or <kbd>-</kbd> (the ones on any keypad will also work). The plus
7337 key will add the entered value to the current value of the clock, minus will
7338 subtract it. For example, if the clock is in Samples mode and displays
7339 <samp>2917839</samp>, you move it back 2000 samples by typing
7340 <kbd class="input">2 0 0 0</kbd> and <kbd>-</kbd>, rather than ending with
7343 <h2>Changing clock values with the mouse</h2>
7345 <h3>Using a scroll wheel</h3>
7348 Position the mouse pointer over the clock, and move the scroll wheel. Moving
7349 the scroll wheel up (<kbd class="mouse">⇑</kbd>) increases the value
7350 shown on the clock, moving it down (<kbd class="mouse">⇑</kbd>)
7351 decreases it. The step size is equal to the unit of the field
7352 you are hovering over (seconds, hours, etc.).
7355 <h3>Dragging the mouse</h3>
7358 Position the mouse pointer over the clock, press the left mouse button and drag.
7359 Dragging upwards increases the value shown on the clock, dragging downwards
7360 decreases it, again with a step size equal to the unit of the field you
7371 The <dfn>Editor</dfn> window includes the editor track <dfn>canvas</dfn>
7372 where you can arrange audio and MIDI data along a timeline. This is the
7373 window you will be in while editing and arranging a project. The window
7374 has a general "horizontal" sense to it: the timeline flows from left to
7375 right, the playhead showing the current position in the session moves
7376 from left to right — the window really represents <dfn>time</dfn>
7377 in a fairly literal way.
7381 It is possible to show a single channel strip in the editor window, and
7382 some people find this enough to work on mixing without actually opening
7383 the mixer window. Most of the time though, you will want both of these
7384 windows at various stages of a session's lifetime — sometimes
7385 you'll be focused on editing, sometimes on mixing and possibly some of
7390 This section is a description of the Editor window. To learn more about the
7391 editing workflow, see <a href="fixme">Editing</a>.
7396 title: The Editor - The Toolbar
7401 <img src="/images/toolbar_split.png" alt="Ardour's editor toolbar">
7403 <ol class="multicol5">
7405 </ol><ol class="multicol5" start="2">
7406 <li>Zoom Control</li>
7407 </ol><ol class="multicol5" start="3">
7408 <li>Grid Control</li>
7409 </ol><ol class="multicol5" start="4">
7411 </ol><ol class="multicol5" start="5">
7418 The Toolbar is made of 5 "zones"
7426 <img src="/images/toolbar-tools.png" alt="Editor toolbar's tools">
7428 <h2>Global Edit mode</h2>
7431 Ardour has a global <dfn>edit mode</dfn> selector at the left of the
7432 Editing toolbar, which affect how regions are moved or copied:
7436 <dt><kbd class="menu">Slide</kbd></dt>
7437 <dd>Regions move freely. Ardour creates overlaps when necessary.</dd>
7438 <dt><kbd class="menu">Ripple</kbd></dt>
7439 <dd>Editing affects the regions to the "right" of the edit (see below).</dd>
7440 <dt><kbd class="menu">Lock</kbd></dt>
7441 <dd>No region motion is permitted (except for "nudge").</dd>
7445 Ripple Edit mode provides the following conveniences:
7447 <li>Deleting a range will move later regions to compensate for the deleted time</li>
7448 <li>Deleting a region will move later regions to compensate for the deleted region's length</li>
7449 <li>Moving a region will move later regions to compensate for the length of the move</li>
7450 <li>Inserting a new region (via dragging or via Paste) will move later regions to the right to compensate</li>
7455 If <kbd class="menu">Snap To Grid</kbd> is enabled, then regions can
7456 only move so that they align with locations determined by the current
7457 snap settings (beats, or seconds, or other region boundaries, etc).
7458 See <a href="/editing-and-arranging/snap-to-the-grid">Snap To the Grid</a>
7462 <h2>The <em>Smart</em> switch
7465 The <dfn>Smart Mode</dfn> button to the left of the mouse mode buttons
7466 modifies the <dfn>Grab Mode</dfn>. When enabled, the mouse behaves as if it
7467 is in "Range Mode" in the upper half of a region, and in "Grab Mode" in the
7468 lower half. This allows avoiding constant switching between these two modes.
7471 <h2>Mouse Modes</h2>
7473 <dl class="wide-table">
7475 <dt id="object">Grab Mode</dt>
7476 <dd>The <dfn>Grab Mode</dfn> is used for selecting, moving, deleting and
7477 copying objects. When in object mode, the mouse pointer appears as a hand
7478 whenever it is over the track canvas or the rulers. The mouse can now be
7479 used to select and perform operations on objects such as regions, markers etc.
7480 This is the most common mode to work in, as it allows you to select and move regions,
7481 as well as modify automation points on the automation tracks.</dd>
7484 <dd>When in <dfn>Range Mode</dfn>, the mouse pointer appears as a vertical line
7485 whenever it is over the track canvas or the rulers. The mouse will now be
7486 able to select a point or range of time. Time ranges can be selected over
7487 one or several tracks, depending on the selection of your tracks.<br>
7488 If none of your tracks are selected, the Range Tool will operate on all the
7489 session track visualized in the Editor.<br>
7490 If you want to edit only particular tracks, select them before you apply
7491 the range tool.</dd>
7493 <dt>Cut Tool Mode</dt>
7494 <dd>When in <dfn>Cut Tool Mode</dfn>, the mouse pointer appears as a pair of scissors
7495 whenever it is over the track canvas or the rulers. This tools allows to cut
7496 any region into 2 regions at the mouse cursor, regardless of the Edit Point.<br>
7497 If one or more track(s) is selected, then all the regions on these tracks will
7498 be split at the mouse cursor position.<br>
7499 If no track is selected, then only the region hovered by the mouse cursor will
7502 <dt>Stretch Mode</dt>
7503 <dd>When in <dfn>time fx</dfn> mode, the mouse pointer appears as a
7504 distinctive expanding square symbol whenever it is over the track canvas or
7505 the rulers. This mode is used to resize regions using a timestretch
7506 algorithm. Click on an edge of a region of audio and drag it one way or the other to
7507 stretch or shrink the region.</dd>
7509 <dt>Audition Tool</dt>
7510 <dd>Clicking a region using the <dfn>audition tool</dfn> will play this
7511 region to the control room outputs.<br>
7512 You can also <dfn>scrub</dfn> with this tool by clicking and dragging in
7513 the direction you wish to listen. The amount you drag in one direction or
7514 the other will determine the playback speed.</dd>
7517 <dd>When in <dfn>Draw Tool</dfn> mode, the mouse pointer will change to
7518 a pencil. You can then click within an audio region to change the <dfn>gain
7519 envelope</dfn> for that region. This curve is separate from fader automation
7520 for individual tracks. It will remain locked to the region's time, so if the
7521 region is moved, the region gain envelope is moved along with it.<br>
7522 The draw tool works on automation too, allowing the creation and modification
7523 of control points on the automation curves.<br>
7524 Last, it is used on a MIDI region to edit the notes.</dd>
7526 <dt>Internal/Region Edit Mode</dt>
7527 <dd>When in <dfn>Internal Edit</dfn> mode, the mouse pointer will change to
7528 cross-hairs. This tool acts on gegion gain and automation as the Draw tool.<br>
7529 On a MIDI region, it allows to lasso-select multiple notes at a time.</dd>
7534 <p class="fixme">Make sure the Internal Edit and Draw tool act as described</p>
7538 title: the Zoom Controls
7542 <img class="left" src="/images/toolbar-zoom.png" alt="Editor toolbar's zoom">
7544 <p>The zoom controls allow to navigate the session along both the time and track axes.</p>
7546 <p>The drop down <kbd class="menu">Zoom Focus</kbd> menu allows to select a focus
7547 point for the zoom, i.e. the center of the zoom. The choices are :</p>
7550 <li><dfn>Left</dfn> of the screen</li>
7551 <li><dfn>Right</dfn> of the screen</li>
7552 <li><dfn>Center</dfn> of the screen</li>
7553 <li><dfn>Playhead</dfn></li>
7554 <li><dfn>Mouse</dfn></li>
7555 <li><dfn>Edit Point</dfn> as set in the <a href=" fixme ">Edit point</a> control.</li>
7558 <p>The 2 leftmost zoom buttons (<kbd class="menu">−</kbd> and
7559 <kbd class="menu">+</kbd>) use this zoom focus to zoom out and in
7562 <p>The <kbd class="menu">Zoom to session</kbd> button is a handy shortcut to zoom
7563 out or in until all the session (as defined by it's <a href=" fixme ">start/end
7564 markers</a>) fits horizontally.</p>
7566 <p>Changing the <kbd class="menu">Number of visible tracks</kbd> dropdown menu
7567 allows to fit this number of tracks vertically in the screen.<p>
7569 <p class="note">There <em>is</em> a minimal track height to keep it visible, so
7570 according to you screen vertical size, some high number can have no effect.</p>
7572 <p>Inside this menu are 2 handy choices :</p>
7574 <li><dfn>Selected tracks</dfn> that focus on the selected tracks. If the selected
7575 tracks are not contiguous, the unselected tracks inbetween will be hidden, see
7576 the <a href=" fixme ">Track and Bus list</a>.</li>
7577 <li><dfn>All</dfn> that fits all the tracks of the sessions vertically (provided
7578 there's enough screen estate).</li>
7581 <p>The rightmost buttons <kbd class="menu">Shrink tracks</kbd> and
7582 <kbd class="menu">Expand tracks</kbd> reduce or expand the vertical size of the
7583 selected tracks. If no track is selected, all the tracks will be shrunk or
7584 expanded each time the button is pushed.
7587 title: the Grid Controls
7591 <img class="left" src="/images/toolbar-grid.png" alt="Editor toolbar's grid">
7594 Ardour's editor utilizes a <dfn>grid</dfn> to assist in the placement
7595 of regions on the timeline, or with editing functions that need to happen
7596 at a specific point in time. You can choose if you want the cursor and
7597 various objects to snap to this grid, and how you want the snapping to
7598 behave. You can modify the grid units to fit your needs.
7601 <h2>About Snapping</h2>
7603 <p>There are two ways to think about aligning material to a grid.
7604 The first and most obvious one is where an object's position is clamped
7605 to grid lines. In Ardour, this is called <dfn>absolute snap</dfn>
7606 and is commonly used when working with sampled material where audio
7607 begins exactly at the beginning of a file, note or region.</br>
7608 The second, <dfn>relative snap</dfn>, is used when an object's position
7609 relative to the grid lines is important. In music, this allows you to
7610 move objects around without changing the "feel" (or timing) of a performance.</br>
7611 Absolute snap is the default method of snapping in Ardour.</br>
7612 While dragging objects you may switch from absolute to relative snap by
7613 pressing the absolute snap modifier key(s).</br>
7614 You may also disable snap entirely by using the snap modifier (see below).</br>
7615 Note that in relative snap mode the reference point is taken to be the distance
7616 to the nearest grid line.</br>
7617 Note also that when an object lies exactly on a grid line, there will be no difference
7618 between relative and absolute snap modes.</br>
7619 The realtive snap and snap modifiers (along with other modifier keys) may be set in
7620 <kbd class="menu">Edit > Preferences > User Interaction</kbd></br>
7621 For common use patterns, it is recommended that you assign a unique key for
7622 one snap modifier and two keys for the other in such a way that they share an otherwise unused key.
7623 For example, you may choose the snap modifier to be the <kbd class="mod2"> </kbd> key and the
7624 relative snap modifier to be the <kbd class="mod2"> </kbd> and <kbd class="mod4"> </kbd> keys.
7629 Using the above modifications, Ardour supports three different modes of snapping to the grid:
7632 <dl class="wide-table">
7633 <dt><kbd class="menu">No Grid</kbd></dt>
7634 <dd>disables the grid. All objects move freely in this mode.</br>
7635 In <kbd class="menu">No Grid</kbd> mode, you may temporarily activate the grid by pressing the
7636 snap modifier (for absolute snap) or switch to relative snap by pressing the relative snap modifier.</dd>
7637 <dt><kbd class="menu">Grid</kbd></dt>
7638 <dd>activates normal snapping. All positions of objects snap to
7639 the grid. (See <a href="#gridunits">Grid Units</a> below
7640 to change the grid). If you try to move an object in "Grid"-mode, it
7641 does not change its position until you move the mouse far enough for the
7642 object to reach the next grid line.</br>
7643 Sometimes you may wish to maintain an objects' position relative to the grid line.
7644 In order to do this, use the "snap relative" modifier.
7645 When holding down this modifier during a drag, the dragged object will jump
7646 while maintaining its original distance from the line.</br>
7647 New objects will always be created at grid points.</br>
7648 Holding down the snap modifier will disable the current grid setting and allow you to move the object freely.</br>
7650 <dt><kbd class="menu">Magnetic</kbd></dt>
7651 <dd>is a less strict type of snapping. Objects can still be moved to any
7652 position, but positions close to the relative or absolute grid points will snap.
7653 In order to move an object very close to a snap point, it may be necessary
7654 to zoom in to prevent snapping to that point, or to use the snap modifier to disable snap completely.</br>
7655 As with Grid mode, the snap modifier will disable snap completely while the
7656 absolute snap modifier will move the "notch" of Magnetic snap to the grid lines.</dd>
7659 <h2>Syncing Regions to the Grid</h2>
7661 By default, a region's beginning will be used as the reference for both types of snapping,
7662 but you can change this behaviour by setting a <dfn>sync point</dfn> in
7663 the region. Select the region(s) and press <kbd>V</kbd>. This will set
7664 the sync point to your edit point.</p>
7666 <h2 id="gridunits">Grid Units</h2>
7668 The selector next to the grid mode selector defines the size of the grid
7669 elements. You can set your grid to several different units:
7671 <dl class="wide-table">
7672 <dt><kbd class="menu">CD Frames</kbd></dt>
7673 <dd>A CD Frame is 1/75th of a second. Snapping to CD Frames (using absolute snap) can be used to avoid issues with CD track
7675 <dt><kbd class="menu">Timecode Frames/Seconds/Minutes</kbd></dt>
7676 <dd>The duration of a frame depends on the timecode settings for the
7678 <dt><kbd class="menu">Seconds/Minutes</kbd></dt>
7679 <dd>These are absolute time units, unaffected by sample rate or timecode settings</dd>
7680 <dt><kbd class="menu">Beats/N</kbd></dt>
7681 <dd>Set the grid to units of 1/N beats, where N can be 128, 64, 32, 16, 8, 7, 6, 5, 4, 3, 2. The duration of a grid unit will depend on the tempo and meter in effect at that point in the timeline.</dd>
7682 <dt><kbd class="menu">Beats</kbd></dt>
7683 <dd>Set the grid to whole beats. The duration of a grid unit will depend on the tempo and meter in effect at that point in the timeline.</dd>
7684 <dt><kbd class="menu">Bars</kbd></dt>
7685 <dd>Set the grid to whole bars. The duration of a grid unit will depend on the tempo and meter in effect at that point in the timeline.</dd>
7686 <dt><kbd class="menu">Markers</kbd></dt>
7687 <dd>The grid lines are the markers.</dd>
7688 <dt><kbd class="menu">Region Starts</kbd></dt>
7689 <dd>The grid lines are constructed from region start points (see below).</dd>
7690 <dt><kbd class="menu">Region Ends</kbd></dt>
7691 <dd>The grid lines are constructed from region end points (see below).</dd>
7692 <dt><kbd class="menu">Region Syncs</kbd></dt>
7693 <dd>The grid lines are constructed from region sync points.</dd>
7694 <dt><kbd class="menu">Region Bounds</kbd></dt>
7695 <dd>The grid lines are constructed from region start or end points.</dd>
7699 To use Region starts/ends/syncs/bounds as snap choices, you must have
7704 <li><em>No</em> tracks selected, which means that Ardour snaps to regions on any track, or </li>
7705 <li>Several tracks selected, which means that Ardour only snaps to regions on those selected tracks.</li>
7709 If you are moving items on a track, and only the current track is selected,
7710 then you will only be able to snap to other regions on the same track.
7711 This means that enabling
7712 <kbd class="menu">Edit > Preferences > Editor > Link Selections of Regions and
7713 Tracks</kbd> will make the "Region" grid unit unusable. Avoid the use of this option if
7714 you are going to use any of the Region grid units.
7719 title: the Edit Point Control
7723 <img class="left" src="/images/toolbar-editpoint.png" alt="Editor toolbar's Edit Point">
7726 Editing operations in a Digital Audio Workstation like Ardour can be broken
7727 down according to how many points on the timeline are required to carry the
7728 operation out. Splitting a region for example, requires just one position
7729 on the timeline (the one where the split will happen). Cutting out a time
7730 range requires two positions, one for the start of the cut and one for the end.
7734 In Ardour the <dfn>edit point</dfn> is the location where most single-point
7735 editing operations take place. It can be set to either of the following:
7739 <li>the <dfn>Playhead</dfn> position</li>
7740 <li>the selected (or "active") <dfn>Marker</dfn></li>
7741 <li>the position of the <dfn>Mouse</dfn> (or touch) pointer</li>
7745 The default edit point is the location of the pointer.
7749 There are 2 keybindings available to cycle through the edit point options.
7750 The most common workflow tends to involve switching back and forth between
7751 the playhead and mouse as the edit point. Press the grave accent key
7752 <kbd>`</kbd> to switch between these two. Use <kbd class="mod1">`</kbd> to
7753 cycle through all three choices (including the selected marker). You can
7754 also switch the edit point using a combo-selector just right of the snap/grid
7760 title: the Nudge Controls
7764 <img class="left" src="/images/toolbar-nudge.png" alt="Editor toolbar's Nudge">
7767 The <dfn>nudge controls</dfn> will move the selected region(s) by a fixed amount
7768 of time. The left and right buttons move either backward or forward in time, and the small
7769 clock to the left of these buttons sets the amount of time to nudge by.
7770 As with all other clocks, you can right-click on the clock to choose the
7771 time representation you want to use.
7775 If there are no selected objects, the nudge controls can be
7776 used to move the playhead backward or forward by the amount shown on the clock.
7782 title: The Editor - The Editor's Lists
7787 At the right of the editor window is an optional area which provides one of a
7788 range of useful lists of parts of your session. It is not shown by default
7789 when you first start using Ardour. The <dfn>Editor list</dfn> can be hidden
7790 or shown using <kbd class="menu">View > Show Editor List</kbd>. The very
7791 right-hand side of the list gives a selection of tabs which are used to
7792 choose the list to view. The left-hand border of the list can be dragged to
7793 vary the width of the list.
7803 The region list shows all the regions in the session. The left-hand column gives the region name, and there are a range of times given for information:
7807 <dt>Position</dt><dd>position of the start of the region on the global timeline</dd>
7808 <dt>End</dt><dd>position of the region on the global timeline</dd>
7809 <dt>Length</dt><dd>duration of the region</dd>
7810 <dt>Sync</dt><dd>position of the sync point, relative to the start of region (can be negative)</dd>
7811 <dt>Fade In</dt><dd>duration of the fade in. Can't be less than 1 ms, to avoid clipping.</dd>
7812 <dt>Fade Out</dt><dd>duration of the fade out (positive value, ≥ 1 ms).</dd>
7816 The units used to display those times are those used for the clock, so changing the units on the clocks change the display of this values.
7820 At the right of the list are four columns of flags that can be altered:
7825 <dd>whether the region position is locked, so that it cannot be moved.</dd>
7827 <dd>whether the region's position is ‘glued’ to bars and beats. If so, the region will stay at the same position in bars and beats even if the tempo and/or time signature change.</dd>
7829 <dd>whether the region is muted, so that it will not be heard.</dd>
7831 <dd>whether the region is opaque; opaque regions ‘block’ regions below them from being heard, whereas ‘transparent’ regions have their contents mixed with whatever is underneath. </dd>
7835 Hovering the mouse pointer over a column heading shows a tool-tip which can be handy to remember what the columns are for.
7839 A handy feature of the region list is that its regions can be dragged and dropped into a suitable track in the session.
7843 title: Tracks & Busses List
7848 This lists the tracks and busses that are present in the session. The list order reflects the order in the editor, and you can drag-and-drop track or bus names in the editor list to re-order them in the editor. The columns in the list represent the following:
7852 <dt id="visible">V</dt>
7853 <dd>whether the track or bus is visible; they can be hidden, in which case they will still play, but just not be visible in the editor; this can be useful for keeping the display uncluttered.</dd>
7854 <dt id="active">A</dt>
7855 <dd>whether the track or bus is active; unactive tracks will not play, and will not consume any CPU.</dd>
7856 <dt id="input">I</dt>
7857 <dd>for MIDI tracks, whether the MIDI input is enabled; this dictates whether MIDI data from the track's inputs ports will be passed through the track.</dd>
7858 <dt id="record">R</dt>
7859 <dd>whether the track is record-enabled.</dd>
7860 <dt id="record-safe">RS</dt>
7861 <dd>whether the track is record safe; a record safe track cannot be armed for recording, to protect against a mistake.</dd>
7862 <dt id="mute">M</dt>
7863 <dd>whether the track is muted.</dd>
7864 <dt id="solo">S</dt>
7865 <dd>track solo state.</dd>
7866 <dt id="solo-isolated">SI</dt>
7867 <dd>track solo-isolated state.</dd>
7868 <dt id="solo-safe">SS</dt>
7869 <dd>solo safe state. </dd>
7873 Each icon in these columns can be clicked to toggle the track/bus state, which is a very fast way to set multiple tracks/busses state at once.
7877 As with the region list, hovering the mouse pointer over a column heading shows a tool-tip which can be handy to remember what the columns are for.
7881 title: Snapshot List
7886 This list gives the snapshots that exist of this session. Clicking on a snapshot
7887 name will load that snapshot.
7891 See <a href="/working-with-sessions">Working with Sessions</a> for more
7892 information on snapshots.
7896 title: Track & Bus Group List
7901 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 <a href="/working-with-tracks/track-and-bus-groups/">Track and Bus Groups</a>.
7905 The columns in this list are as follows:
7910 <dd>the colour that the group uses for its tab in the editor.</dd>
7912 <dd>the group name.</dd>
7914 <dd>whether the tracks and busses in the group are visible.</dd>
7916 <dd>whether the group is enabled.</dd>
7918 <dd>ticked if the constituents of the group are sharing gain settings.</dd>
7920 <dd>ticked if shared gains are relative.</dd>
7922 <dd>ticked if the constituents share mute status.</dd>
7924 <dd>ticked if the constituents share solo status.</dd>
7926 <dd>ticked if the constituents share record-enable status.</dd>
7928 <dd>whether the constituents share monitor settings.</dd>
7930 <dd>whether the constituents are selected together.</dd>
7932 <dd>whether the constituents share active status. </dd>
7936 title: Ranges & Marks List
7941 The <dfn>Ranges & Marks List</dfn> is a tab in the <dfn>Editor
7942 Lists</dfn> area on the right of the Editor window. If the editor
7943 list area isn't visible it can be enabled by checking
7944 <kbd class="option">View > Show Editor List</kbd>.
7945 The Ranges & Marks list can be used as a single point
7946 of control for all range and location markers (including the punch and
7947 loop ranges), or as a supplement to other methods of working with them.
7950 <h2>Common elements</h2>
7953 Each section has a set of <dfn>editable <a
7954 href="/ardours-interface/using-ardour-clock-displays/">clock widgets</a></dfn>
7956 the location of a marker, or the start, end, and duration times of a range,
7958 The <kbd class="menu">Use PH</kbd> buttons allow you to set
7959 the corresponding clock to the current playhead position.
7960 A <kbd class="mouse">Middle</kbd> click on any of the clocks will move
7961 the playhead to that location. Both functions are also available from the
7962 clock context menus.<br />
7963 Right clicking on any of the clocks brings up a context menu that allows
7964 changing of the display between Timecode, Bars:Beats, Minutes:Seconds,
7968 The <kbd class="menu">—</kbd> (subtract) button in front of each
7969 user-defined range or marker in the list allows that particular item to
7970 be removed. The name fields of custom ranges and markers can be edited.
7973 The <kbd class="option">Hide</kbd> checkboxes make markers and ranges invisible
7974 on the respective ruler to reduce visual clutter; the markers remain
7975 active however, and can be used normally.<br />
7976 Selecting <kbd class="option">Lock</kbd> prevents the respective marker
7977 from being moved until unlocked.
7978 Where applicable, <kbd class="option">Glue</kbd> fixes the marker position
7979 relative to the current musical position expressed in bars and beats, rather
7980 than the absolute time. This will make the respective marker follow
7981 changes in the tempo map.
7984 At the bottom of the list are buttons to add new markers or ranges.
7986 <h2>List sections</h2>
7989 <dt>Loop/Punch Ranges</dt>
7990 <dd>This list shows the current <dfn>loop</dfn> and <dfn>punch</dfn> range
7991 settings. Since these are built-in ranges, you cannot rename or remove them.</dd>
7992 <dt>Markers (Including CD Index)</dt>
7993 <dd>This section lists the session's <dfn>markers</dfn>. By ticking <kbd
7994 class="option">CD</kbd>, you instruct Ardour to create a <dfn>CD track
7995 index</dfn> from this marker, which will be included in the TOC or CUE file when you
7997 <dt>Ranges (Including CD Track Ranges)</dt>
7998 <dd>This is the list of <dfn>ranges</dfn> (including <dfn>CD track
7999 ranges</dfn>). Ticking <kbd class="option">CD</kbd> will convert
8000 the range to a <dfn>CD track</dfn>, which will again be included in
8001 exported TOC or CUE files. This is relevant for Disk-At-Once recordings
8002 that may contain audio data between tracks.</dd>
8033 The <dfn>Mixer</dfn> window on the other hand represents signal flow and
8034 is the window you will probably be using most when mixing a session. It
8035 includes <dfn>channel strips</dfn> for each track and bus in your session.
8036 It has a general "vertical" sense to it: signals flow from the top of each
8037 channel strip through the processing elements in the strip to reach the
8038 output listed at the bottom.
8044 title: The Mixer - Favorite Plugins Window
8048 <img class="right" src="/images/favorite-plugins.png" alt="Favorite Plugins window">
8051 The <dfn>Favorite Plugins</dfn> window is on the top-left side of the <dfn>Mixer Window</dfn>. Like other elements in that window it has variable height and can be hidden by dragging it to zero-height. If it is not visible, the top-handle can be grabbed and dragged down to reveal it.
8055 Plugin names that have a right facing triangle next to them have presets associated with them; clicking on the triangle will cause all presets associated with the plugin to show in the list.
8060 <img class="right" src="/images/mixer-to-fav-dnd.png" alt="Dragging plugin to Favorites window">
8062 The Favorite Plugins window provides easy access to frequently used plugins:
8066 <li>Plugins can be dragged from the window to any track or bus <a href="/working-with-plugins/processor-box/"><dfn>processor box</dfn></a>, which will add the plugin to that track or bus at the given position.</li>
8067 <li>The list includes user-presets for the plugins. Dragging a preset to a given track or bus will load that preset after adding the plugin.</li>
8068 <li>Double-clicking on a plugin or preset adds the given plugin to all selected tracks/busses pre-fader. Other insert positions are available from the context menu (right click).</li>
8069 <li>Dragging a plugin from a track into the window will add it to the list and optionally create a new preset from the current settings. The horizontal line in the list shows the spot where the plugin will land.</li>
8070 <li>The context-menu allows the deletion of presets or removal of the plugin from the list.</li>
8071 <li>Plugins in the list can be re-ordered using drag & drop. The custom order is saved.</li>
8075 When favorites are added with the <a href="/working-with-plugins/plugin-manager">Plugin Manager</a>, they are appended to the bottom of the list.
8081 title: The Mixer - The Strips list
8085 <p class="fixme">add content</p>
8088 title: The Mixer - The Groups list
8092 <p class="fixme">add content</p>
8095 title: The Mixer - The Master Strip
8099 <p class="fixme">add content</p>
8103 title: The Mixer - The Monitor Section
8107 <p class="fixme">add content</p>
8114 title: Sessions & Tracks
8126 title: New/Open Session Dialog
8129 <p class="fixme">Info is out of date, image needs updating</p>
8132 The initial <dfn>Session</dfn> dialog consists of several consecutive pages:
8135 <h2>Open Session Page</h2>
8137 On this page, you can open an <dfn>existing session</dfn>. You can also
8138 open any <a href="/working-with-sessions/snapshots/">snapshot</a> of a
8139 particular session by clicking on the arrow next to the session name to
8140 display all snapshots, and then selecting one. If your session is
8141 not displayed in the Recent Sessions list, the <kbd class="menu">Other
8142 Sessions</kbd> button will bring up a file selection dialog to navigate
8143 your hard drive.<br />
8144 Alternatively, you can opt to create a <kbd class="menu">New
8148 <h2>New Session page</h2>
8150 Here you can type in the name of a session, select a folder to save in, and
8151 optionally use an existing <a href="/working-with-sessions/session-templates/">template</a>.
8154 Under <dfn>Advanced Options</dfn>, you can select whether you wish to create
8155 a Master Bus, or a Control Bus, and how many channels you wish either to have.
8156 You can also decide whether you want Ardour to automatically connect all inputs
8157 to the physical ports of your hardware. Ardour will do so
8158 sequentially and in round-robin fashion, connecting the first track's
8159 input to the first input of your hardware and so on. When Ardour has used
8160 all available hardware inputs, it will begin again with the first physical
8162 You can limit the number of channels on your physical hardware that Ardour
8166 By default Ardour will connect all tracks and busses to the Master Bus if
8167 there is one. However you can also tell it to automatically connect each
8168 output to the physical outputs of your interface or sound card, and limit
8169 the number of physical outputs used, as above.
8172 <h3>Audio/MIDI Setup</h3>
8174 <img class="right" src="/images/Audio-MIDI_Setup.png" alt="The Audio+MIDI
8178 This page is not displayed if <abbr title="JACK Audio Connection
8179 Kit">JACK</abbr> is already running when you start
8180 Ardour. It provides a simple interface to configure JACK, which
8181 will then be started by Ardour. For more control and options regarding
8182 JACK, it is recommended that you start JACK before using Ardour, via a
8183 JACK control application such as QJackCtl (sometimes called "Jack
8184 Control"), JackPilot, etc.
8187 <dt>Audio System</dt>
8188 <dd>Currently, the only option here is <kbd class="menu">JACK</kbd>. In the future, native
8189 hardware access may be supported.</dd>
8192 On Mac OS X this will typically be <kbd class="menu">CoreAudio</kbd>. On Linux usually
8193 this will be either <kbd class="menu"><abbr title="Free Firewire Audio Driver fOr
8194 linux">FFADO</abbr></kbd>
8195 or <kbd class="menu"><abbr title="Advanced Linux Sound
8196 Architecture">ALSA</abbr></kbd>, depending on whether or not you are
8197 utilizing a firewire device. Advanced users on all platforms may also
8198 use <kbd class="menu">NetJack</kbd> which provides network audio I/O.
8201 <dd>The selector should show all availiable interfaces provided by the
8202 driver above and which are capable of duplex operation.
8204 If you are using an Intel Mac running OS X and the builtin audio
8206 first <a href="setting-up-your-system/using_more_than_one_audio_device/">merge
8207 its separate input and output devices into a single "aggregate
8208 device"</a> before Ardour will be able to use it.
8211 <dt>Sample Rate</dt>
8213 The selector will allow you to select from any sample rate
8214 supported by the device selected above it.
8216 <dt>Buffer Size</dt>
8218 You can adjust the size of the buffer used by your audio interface
8219 to allow for either lower latency, or lower CPU usage and higher
8222 <dt>Input/Output Channels</dt>
8224 Here you can specify the number of hardware channels to use. The
8225 default is <kbd class="menu">all available channels</kbd>.</dd>
8226 <dt>Hardware Input/Output Latency</dt>
8227 <dd>Specify the hardware delay in samples for precise latency compensation.</dd>
8230 This button guides you through a semi-automated process to obtain
8231 precise hardware latency measurements for the above option.</dd>
8232 <dt>MIDI System</dt>
8234 Select the MIDI driver to use. On Mac OS X, this will be <kbd
8235 class="menu">CoreMIDI</kbd>. On Linux, you can change between two legacy
8236 ALSA drivers or the (preferred) new JACK+ALSA implementation.</dd>
8240 title: What's in a Session?
8245 The <dfn>Session</dfn> is the fundamental document type that is created and
8246 modified by the Ardour workstation. A Session is a folder on your computer
8247 filesystem that contains all the items that pertain to a particular project
8248 or "recording/editing/mixing session".
8252 The Session folder includes these files and folders:
8256 <li><code><em>session_name</em>.ardour</code> the main session snapshot</li>
8257 <li><code>*.ardour</code>, any additional snapshots </li>
8258 <li><code><em>session_name</em>.ardour.bak</code>, the auto-backup snapshot</li>
8259 <li><code><em>session_name</em>.history</code>, the undo history for the session </li>
8260 <li><code>instant.xml</code>, which records the last-used zoom scale and other metadata</li>
8261 <li><code>interchange/</code>, a folder which holds your raw audio and MIDI
8262 files (whether imported or recorded)</li>
8263 <li><code>export/</code>, a folder which contains any files created by the
8264 <kbd class="menu">Session > Export</kbd> function</li>
8265 <li><code>peaks/</code>, a folder which contains waveform renderings of
8266 all audio files in the session</li>
8267 <li><code>analysis/</code>, a folder which contains transient and pitch
8268 information of each audio file that has been analysed</li>
8269 <li><code>dead sounds/</code>, a folder which contains sound files which
8270 Ardour has detected are no longer used in the session (during a <kbd
8271 class="menu">Session > Clean-up > Clean-up Unused Sources</kbd>
8272 operation, will be purged by <kbd class="menu">Flush Waste Basket</kbd>)</li>
8275 A session combines some setup information (such as audio and MIDI routing,
8276 musical tempo & meter, timecode synchronization, etc.) with one or more
8277 Tracks and Buses, and all the Regions and Plug-Ins they contain.
8281 title: Where Are Sessions Stored?
8286 <dfn>Sessions</dfn> are stored in a single folder on your computer's filesystem.
8290 The first time you run Ardour, you will be asked where you would like the
8291 default location for sessions to be, with the initial choice being your
8296 After the first-run dialog, you can still change the default location at
8297 any time via <kbd class="menu">Edit > Preferences > Misc > Session
8298 Management</kbd>. You can also specify a particular (different) location for
8299 a session when creating it, in the
8300 <a href="/working-with-sessions/new-session-dialog/">New Session dialog</a>.
8304 title: Backup and Sharing of Sessions
8309 An Ardour session is stored in a single folder on your computer's filesystem.
8310 This makes <dfn>backup</dfn> very easy—any tool capable of backing up
8311 a folder can be used to backup a session. You pick the location of a session
8312 when it is created—by default it will be in your default session location,
8313 which can be altered via <kbd class="menu">Edit > Preferences > Misc > Session
8318 There is one complication: a session may reference media files that are stored
8319 outside of the session folder, if the user has opted not to select <kbd
8320 class="optoff">Session > Import > Copy to Session</kbd> during
8321 import. Backing up a session with embedded files will not create a
8322 copy of the session containing those files.
8326 The single folder approach also makes sharing a project easy. Simply copy the session
8327 folder (onto a storage device, or across a network) and another Ardour user (on any
8328 platform) will be able to use it. The limitation regarding embedded files applies to
8329 session sharing as well.
8333 title: Interchange with other DAWs
8338 It has never been particularly easy to move sessions or projects from one
8339 <abbr title="Digital Audio Workstation">DAW</abbr> to another. There are two
8340 <dfn>interchange standards</dfn> that have reasonably widespread support:</p>
8342 <li>OMF (Open Media Framwwork), also known as OMFI. Developed and controlled
8343 by Avid, never standardized</li>
8344 <li>AAF (Advanced Authoring Format). Developed by a consortium of media-related
8348 In practice both of these standards have such complex and/or incomplete
8349 specifications that different DAWs support them only partially,
8350 differently, or not at all.
8352 <h2>Moving an Ardour session to another DAW</h2>
8353 <p>To move an Ardour session to another DAW, you have 3 basic choices:</p>
8355 <li>Copy the interchange folder</li>
8356 <li>Stem exports</li>
8357 <li>Use AATranslator</li>
8359 <h3>Moving another DAW session to Ardour</h3>
8360 <p>To move a session from another DAW to Ardour, you have 2 basic choices:</p>
8362 <li>Stem exports</li>
8363 <li>Use AATranslator</li>
8367 title: Copying The Interchange Folder
8372 All media in a session folder is stored in a sub-folder called
8373 <samp>interchange</samp>. Below that is another folder with the name
8374 of the session. You can copy either of these to another location and
8375 use the files within them with any other application, importing them
8376 all into a project/session. You will lose all information about regions,
8377 tracks, and timeline positioning, but all the data that Ardour was working
8378 with will be present in the other DAW. Nothing below the interchange
8379 folder is specific to Ardour—any DAW or other audio/MIDI
8380 application should be able to handle the files without any issues.
8389 <dfn>Stem exports</dfn> are covered fully in the
8390 <a href="/exporting">Export</a> chapter. A stem export creates one file
8391 per track, starting at the beginning of the session. You can then import
8392 each track into another DAW and begin working on it. You lose all data
8393 except the actual audio/MIDI (no plugins, no automation). This is one of
8394 the most common methods of interchange because it works between all DAWs.
8398 title: Using AATranslator
8403 <dfn>AATranslator</dfn> is a Windows
8404 application that can convert sessions/projects from many diffferent DAWs
8405 into other formats. At the present time (December 2016), it can read and
8406 write Ardour 2.X sessions, and can read Ardour 3 sessions.
8409 The program runs very well on Linux using
8410 <a href="http://www.winehq.org/">Wine</a> (a Windows environment for Linux).
8411 There are equivalent solutions for running Windows applications on OS X,
8412 but we have no experience with them at this time. Ardour users have reported
8413 great results using AATranslator on Ardour 2.X sessions.</p>
8415 The <a href="http://www.aatranslator.com.au/">AATranslator website</a>
8416 has full details on supported formats and DAWs. The list includes
8417 ProTools, Live, Reaper, OMF, AAF and many more.
8420 AATranslator is closed-source, non-free software (as of this writing, Dec. 2016, the cost is 60 USD for the "Standard" version, and 200 USD for the "Enhanced" version).
8424 title: Renaming a Session
8429 Use <kbd class="menu">Session > Rename</kbd> to give your session a
8430 new name. A dialog will appear to ask you for the new name.
8434 This operation does <strong>not</strong> make a new session folder —
8435 the existing session folder and relevant contents are renamed. If your
8436 session was not saved before a rename operation, it will be saved
8437 automatically and then renaming will continue.
8441 Ardour's <kbd class="menu">Session > Save As</kbd> operation will not
8442 make a new copy of the session folder and its contents. All it does is
8443 create a new session file.
8447 title: Session Templates
8452 <dfn>Session templates</dfn> are a way to store the setup of a session
8453 for future use. They do not store any <em>audio</em> data but can store:
8457 <li>The number of tracks and busses, along with their names</li>
8458 <li>The plugins present on each track or bus (if any)</li>
8459 <li>All I/O connections</li>
8462 <h2>Creating a Session Template</h2>
8465 Choose <kbd class="menu">Session > Save Template</kbd>. A dialog will ask
8466 you for the name of the new template.
8469 <h2>Using a Session Template</h2>
8472 In the New Session dialog, choose the desired template from the combo
8477 Note that you can also use an existing session as a template, without
8478 saving it as one. This is available as an option in the New Session dialog.
8479 Doing this will not alter the existing session at all, but will use its track,
8480 bus and plugin configuration just like a template.
8484 See also <a href="/missing">Track & Bus templates</a> for information
8485 on templates for individual tracks or busses.
8488 <p class="fixme">Broken link</p>
8496 Sometimes you will want to save a <dfn>snapshot</dfn> of the current state of a session for possible
8497 use in the future. For example, you may be about to change the entire
8498 arrangement of a piece, or drastically alter the signal processing, and
8499 want a reference to come back to, should that not work out.
8503 This is easily accomplished using <kbd class="menu">Session >
8505 A small dialog will appear, allowing you to enter a name for the snapshot.
8506 The default name is based on the current date and time.<br />
8507 You can create any number of snapshots.
8511 Creating a snapshot does <strong>not</strong> modify your session,
8512 nor does it save your session. Instead, it saves an alternate version
8513 of the session, within the session folder. The snapshot shares all data
8514 present in the session.
8518 After creating a snapshot, you can continue working on the session and
8519 save it normally using <kbd class="menu">Session > Save</kbd> and any
8520 existing snapshots will remain unchanged.
8523 <h2>Switching to a Snapshot</h2>
8526 If you are already working on a session and want to to switch to an
8527 existing snapshot, navigate the Snapshots tab of the
8528 <a href="/ardours-interface/introducing-the-editor-window/editor-lists">Editor List</a>.
8529 Find the name of the snapshot in the list and click it. Ardour will switch
8530 to the snapshot. If there are unsaved changes in the current session, Ardour will
8531 ask what you want to do.
8534 <h2>Starting Ardour With a Snapshot</h2>
8537 Since a snapshot is just another session file stored within the session
8538 folder, you can specify that "version" when loading an existing session.
8539 The browser in the "Open Session" dialog will show an expander arrow for
8540 sessions that have more than 1 session file (i.e. snapshots) present—click on it to see the list, and then click on the name of the
8541 snapshot you want to load.
8544 <h2>Saving and Switching to a Snapshot</h2>
8547 Sometimes you may want to create a snapshot and then have all future
8548 edits and modifications saved to that snapshot rather than the main
8549 session. This is easily done using <kbd class="menu">Session > Save
8550 As</kbd>. This does not create a new session folder, but saves your
8551 session as a new snapshot and then switches the "current snapshot"
8552 to the newly created one. All subsequent saves of the session will
8553 be stored in this new snapshot, and existing snapshots (and the main
8554 session) will be left unaffected.
8563 Sessions can have various items of metadata attached to them, via
8564 <kbd class ="menu">Session > Metadata > Edit Metadata...</kbd> and
8565 <kbd class ="menu">Session > Metadata > Import Metadata...</kbd>.
8568 <h2>Edit Session Metadata Dialog</h2>
8570 <img src="/images/edit-session-metadata.png" />
8572 <p class="fixme">Add content</p>
8575 title: Cleaning up Sessions
8580 Recording and editing any serious session might leave the session with some
8581 unused or misplaced files here and there. Ardour can help deal with this clutter thanks
8582 to the tools located in the <kbd class="menu">Session > Clean-up</kbd> menu.
8585 <h2 id="bring_all_media_into_session_folder">Bring all media into session folder</h2>
8588 When <a href="/adding-pre-existing-material/">importing media files</a>, if
8589 the <kbd class="option">Copy files to session</kbd> hasn't been checked, Ardour uses
8590 the source file from its original destination, which can help avoiding file duplication.
8591 Nevertheless, when the session needs to be archived or transfered to another computer, moving
8592 the session folder won't move those <em>external</em> files as they are not in the folder, as seen
8593 in <a href="/working-with-sessions/backup-and-sharing-of-sessions/">Backup and sharing of sessions</a>.
8597 Using the <kbd class="menu">Bring all media into session folder</kbd> menu ensures
8598 that all media files used in the session are located inside the session's folder, hence avoiding
8599 any missing files when copied.
8602 <h2 id="reset_peak_files">Reset Peak Files</h2>
8605 Ardour represents audio waveforms with peak files, that are graphical images generated from the
8606 sound files. This generation can be time and CPU consuming, so it uses a cache of the generated
8607 images to speed up the display process. To watch for files modification, Ardour relies on the file-modification
8608 time. If an external file is embedded in the session and that file changes, but the system-clock is skewed
8609 or it is stored on an external USB disk (VFAT), Ardour can't know the change happend, and will still use its
8610 deprecated peak files.
8614 Using the <kbd class="menu">Reset Peak Files</kbd> menu allows to reset this cache, which frees up disk space,
8615 and forces the re-creation of the peak files used in the session. It can prove useful if some waveforms
8616 are not used anymore, or if a graphical or time glitch happens.
8619 <h2 id="clean_up_unused_sources">Clean-up Unused Sources...</h2>
8622 Recording usually lefts a lot of unused takes behind, be it in midi or audio form, that can clutter
8623 the Region List, and eat up a lot of hard drive space. While its generally a good practice to keep as
8624 many things as possible while recording, when transferring or archiving the session, some clean up can
8625 help a lot in reducing the sessions clutter and size.
8629 Selecting <kbd class="menu">Clean-up Unused Sources...</kbd> will force Ardour to detect those unused waveforms
8630 by looking for unused regions, and (through a prompt) for unused playlists. The media files won't be destroyed, though.
8631 At this stage, they are just copied in a particular place of the session path (namely, in the <code>dead sounds/</code>
8635 <h2 id="flush_wastebasket">Flush Wastebasket</h2>
8638 Although Ardour is a <em>non-destructive</em> audio-editor, it allows for a very careful destruction of unused media materials.
8639 This function is closely linked to the previous one. When the unused sources have been cleaned up and quarantined, the
8640 <kbd class="menu">Flush Wastebasket</kbd> menu will allow for their physical destruction.
8644 As a safeguarding mechanism though, Flushing the wastebasket in impossible in the same working session as the Cleaning up of unused sources:
8645 the user needs to close the session and reload it before flushing. It allows to test the playback of the session and ensure both that Ardour didn't commit
8646 any mistake (unlikely, but better safe than sorry), and that the user is absolutely sure of what he does.
8650 Notice that all media destroyed this way is not sent to the system's <em>trash can</em> but permanently deleted. If a file is mistakenly destroyed this way, the user will have to rely on data recovery techniques to try getting it back.
8654 title: Copying versus Linking
8659 <dfn>Copying</dfn> and <dfn>linking</dfn> are two different methods of
8660 using existing audio files on your computer (or network file system)
8661 within a session. They differ in one key aspect:
8667 An existing media file is copied to the session's audio folder, and
8668 if necessary converted into the session's native format.
8672 For audio files, you can control the choice of this format (eg. WAVE
8673 or Broadcast WAVE). Audio files will also be converted to the session
8674 sample rate if necessary (which can take several minutes for larger
8679 MIDI files will already be in SMF format, and are simply copied into
8680 the session's MIDI folder.
8686 A link to an existing media file somewhere on the disk is used as a the
8687 source for a region, but the data is <strong>not copied or modified</strong>
8692 While linking is handy to conserve disk space, it means that your session
8693 is <dfn>no longer self-contained</dfn>. If the external file moves, it
8694 will become unavailable, and any changes to it from elsewhere will affect
8695 the session. A backup of the session directory will miss linked files.
8699 You can choose to copy or link files into your session with the
8700 <kbd class="option">Copy file to session</kbd> option in the Import
8705 <img class="left" src="/images/225-ARDOUR_1_2_1.png" />
8706 ← This file will be imported in the audio/MIDI folder of your session.
8710 <img class="left" src="/images/226-ARDOUR_1_2_1.png" />
8711 ← This file won't be copied.
8715 There is a global preference <kbd class="menu">Edit > Preferences > Misc > Session Management > Always copy imported files</kbd>. If it is enabled, you will not be able to link a file.
8719 title: Adding Pre-existing Material
8724 There are several ways to importing an audio or MIDI file into a
8728 <li><kbd class="menu">Session > Import</kbd></li>
8729 <li>Region List context menu: <kbd class="menu">Import To Region List</kbd></li>
8730 <li>Track context menu: <kbd class="menu">Import Existing Media</kbd>
8734 These methods are all equivalent: they open the <a
8735 href="/adding-pre-existing-material/import-dialog/">Add Existing Media</a>
8739 Finally, you can also easily import files into your project by dragging
8740 and dropping a file from some other application (e.g. your platform's
8741 file manager). You can drag onto the
8742 <dfn>Region List</dfn>, into the desired <dfn>track</dfn> or into empty
8743 space in the editor track display.<br />
8744 The file will be imported and copied
8745 into your session, and placed at the position where the drag ended.
8749 title: Import Dialog
8754 Many sessions will require the use of <dfn>existing material</dfn>,
8755 whether it consists of audio and/or MIDI data. Using existing samples,
8756 loops and riffs from files stored on your system can be the basis for
8757 a new session, or a way to deepen and improve one that is already
8762 You can import audio and MIDI data into your session with the
8763 <dfn>Add Existing Media</dfn> dialog.
8766 <p class="fixme">Update image, possibly update content if out of date</p>
8767 <img src="/images/209-ARDOUR_1_2_1.png" />
8769 <h2>The Soundfile Information Box</h2>
8772 This box will display information about the currently selected file:
8776 <li>number of channels,</li>
8777 <li>sample rate,</li>
8778 <li>file format,</li>
8780 <li>embedded timestamp (applies to some professional formats such as
8781 Broadcast WAVE), and</li>
8782 <li>tags (attached metadata to help categorize files in a library).</li>
8786 If the sample rate differs from the current session rate, it is displayed
8787 in red, which indicates that the file must be resampled before
8788 importing. Resampling is controlled by the <kbd class="menu">Conversion quality</kbd> option described below.
8794 Files can be auditioned before importing. The slider under the play and
8795 stop buttons allows you to scrub around, a fader on the right side allows
8796 you to control the playback volume.
8799 <h2>Importing options</h2>
8802 You can import files into new, automatically created tracks, to the region
8803 list (from where you can manually drag them into a track), or as new
8804 <a href="/working-with-tracks/track-types/">Tape tracks</a> with the
8805 <kbd class="menu">Add new files as...</kbd> option.
8809 New files will be inserted at either the file timestamp (if available,
8810 zero by default), at the <a href="/missing">edit point</a>, at the
8811 playhead, or at the start of the session, as specified in <kbd
8812 class="menu">Insert at...</kbd>.
8816 The Channel <kbd class="menu">mapping</kbd> is either "one track/region per
8817 file", or "one track/region per channel". The latter splits multichannel
8818 source files into mono regions. If you have selected multiple files and are importing them into a track,
8819 you can also choose whether to sequence all files into a single track in
8820 the order of selection, or to create as many tracks as there are files to
8825 The <kbd class="menu">Conversion quality</kbd> drop-down controls the
8826 quality of the resampling process, if the sampling rate of the source file
8827 differs from the session rate.
8831 Finally, and most importantly, you can decide whether to <kbd
8832 class="option">Copy files to session</kbd>, or to link them. Please read
8833 <a href="/adding-pre-existing-material/copying-versus-linking/">Copying
8834 versus Linking</a> for details.
8838 title: Searching and Importing From Freesound
8839 menu_title: Freesound Search/Import
8843 <p class="fixme">This section is irrelevant now, as the Freesound import function has been removed due to changes done on Freesound's end</p>
8846 <a href="http://www.freesound.org"
8847 title="http://www.freesound.org"><dfn>Freesound</dfn></a>
8848 is an online repository of searchable sound files licensed under
8849 Creative-Commons term. The <kbd class="menu">Search Freesound</kbd> tab
8850 of the import dialog allows you to search the Freesound database,
8851 and to download and audition files directly.
8856 <dd>Enter metadata tags that you would like to search for. You may enter
8857 multiple search terms separated by spaces. For example,
8858 <kbd class="input">drums 120bpm</kbd> will search for files that are tagged
8859 <samp>drums</samp>, <samp>120bpm</samp>, or both.</dd>
8861 <dd>Choosing one of the sort options will cause Freesound to return the list
8862 of available files sorted accordingly. This can save time if you know (for
8863 example) the sound you need is very short.</dd>
8865 <dd>Click this button to initiate the search. Freesound will begin returning
8866 pages of information, with 20 items per page. The <kbd
8867 class="menu">Stop</kbd> button interrupts the download.</dd>
8868 <dt>The file list</dt>
8869 <dd>Click on a file to download it from Freesound. Double-click the file to
8870 auto-play it in the auditioner.</dd>
8874 Files imported with Freesound will automatically include any tags that are
8875 associated with the file, and these tags will be included in a search when
8876 you use the <kbd class="menu">Search Tags</kbd> tab.
8880 title: Searching for Files Using Tags
8885 A <dfn>tag</dfn> is bit of information, or metadata, that is associated
8886 with a data file. Specifically, tags are keywords or terms that you feel
8887 have some relevance to a particular soundfile. Ardour can store these tags
8888 in a searchable <dfn>database</dfn> so that you can quickly search for sounds
8889 based on the tags that you have assigned to them.
8893 For example you can assign the term <kbd class="input">120bpm</kbd> to a
8894 sound, and then when you search for this tag, the file will appear in the
8895 search list. Tags are independent of the filename or anything else about
8896 the file. Tags, and the file paths that they are associated with, are
8897 stored in a file called <samp>sfdb</samp> in your Ardour user folder.
8901 To <dfn>add tags</dfn> to a given file, open the <kbd class="menu">Session >
8902 Import</kbd> dialog, select the file in the browser, and type new tags into tag
8903 area in the soundfile information box on the right. Tags are stored when the
8904 input box loses focus, there is no need to explicitly save them.
8908 You can <dfn>search</dfn> for specific tags in the <kbd
8909 class="menu">Search Tags</kbd> tab of the same dialog. Files which have
8910 been tagged with the relevant terms will appear in the results window.
8911 Selected files can be auditioned and marked with additional tags if
8916 title: Supported File Formats
8921 The list of audio file formats that Ardour can understand is quite long.
8922 It is based on the functionality offered by <dfn>libsndfile</dfn>, an excellent and
8923 widely used software library by Australian programmer Erik de Castro Lopo.
8924 As libsndfile's capabilities expand, so will Ardour's abilities to import
8925 (and export) new formats. Ardour supports all common audio file formats,
8926 including WAV, AIFF, AIFC, CAF, W64 and BWF, with all typical sample formats
8927 (8-, 16-, 24-, 32-bit integer, floating point, and more).
8931 You can find a full list of libsndfile's supported formats
8932 <a href="http://www.mega-nerd.com/libsndfile/#Features">here</a>.
8936 For MIDI import, Ardour will read any Standard MIDI Format (SMF) file.
8952 Ardour offers three <dfn>track types</dfn> depending on the type of
8953 data they contain, and differentiates between three <dfn>track modes</dfn>,
8954 depending on their recording behaviour.
8957 <h2>Track types</h2>
8960 An Ardour track can be of type <dfn>audio</dfn> or <dfn>MIDI</dfn>,
8961 depending on the <dfn>data</dfn> that the track will primarily record
8962 and play back. <em>However, either type of track can pass either
8963 type of data.</em> Hence, for example, one might have a MIDI track that
8964 contains an instrument plugin; such a track would record and play back
8965 MIDI data from disk but would produce audio, since the instrument plugin
8966 would turn MIDI data into audio data.
8970 Nevertheless, when adding tracks to a session, you typically have an idea
8971 of what you need to use the new tracks for, and Ardour offers you three
8975 <dl class="narrower-table">
8977 <dd>An <dfn>Audio Track</dfn> is created with a user-specified number of
8978 inputs. The number of outputs is defined by the master bus channel count
8979 (for details see <a href="#channelconfiguration">Channel Configuration</a>
8980 below). This is the type of track to use when planning to work with
8981 existing or newly recorded audio.</dd>
8983 <dd>A <dfn>MIDI track</dfn> is created with a single MIDI input, and a
8984 single MIDI output. This is the type of track to use when planning to
8985 record and play back MIDI. There are several methods to enable playback
8986 of a MIDI track: add an instrument plugin to the track, connect the
8987 track to a software synthesizer, or connect it to external MIDI hardware.
8989 If you add an instrument plugin, the MIDI track outputs audio instead
8993 <dd>There are a few notable plugins that can usefully accept both <dfn>Audio
8994 and MIDI</dfn> data (Reaktor is one, and various "auto-tune" like plugins
8995 are another). It can be tricky to configure this type of track manually,
8996 so Ardour allows you to select this type specifically for use with such
8997 plugins. It is <em>not</em> generally the right choice when working normal
8998 MIDI tracks, and a dialog will warn you of this.</dd>
9002 title: Adding Tracks, Busses and VCAs
9006 <img class="right" src="/images/add-track-or-bus.png" alt="the add-track dialog" />
9009 A track, bus or VCA can be added to a session in various ways:
9013 <li>Choose <kbd class="menu">Track > Add Track, Bus or VCA...</kbd>.</li>
9014 <li><kbd class="mouse">Right</kbd>-click in an empty part of the track controls area.</li>
9015 <li>Click the <kbd class="menu">Plus (+)</kbd> button underneath the list of tracks in the mixer.</li>
9019 Any of these actions will open the Add Track/Bus/VCA dialog.
9024 <dd>Here you can select the number of tracks, busses or VCAs you wish to create, and
9025 their <a href="/working-with-tracks/track-types/">types</a>.</dd>
9027 <dd>Defines the name of the new track(s). If multiple tracks are created, or if a track with the same name already exists, a space and number will be happened at the end (e.g.: Audio 1, Audio 2...)</dd>
9028 <dt>Configuration</dt>
9029 <dd>This menu lets you choose from a number of route templates, which determine the number of input ports and optionally contain plugins and other mixer strip configuration. The most common choices here are <em>mono</em> and <em>stereo</em>.</dd>
9030 <dt>Record mode</dt>
9031 <dd>This option is only available for audio tracks and affects how it behaves when recording. See <a href="/working-with-tracks/track-types/#trackmodes">Track Modes</a> for details.</dd>
9033 <dd>This option is only available for MIDI tracks and busses and lets you select a
9034 default instrument from the list of available plugins.</dd>
9036 <dd>Tracks and busses can be assigned groups so that a selected range of
9037 operations are applied to all members of a group at the same time (selecting
9038 record enable, or editing, for example). This option lets you assign to an
9039 existing group, or create a new group.</dd>
9041 <dd>Defines where in the track list is the track created. The default is <em>Last</em>, i.e. after all the tracks and busses, and can also be <em>First</em>, <em>Before Selection</em> (to place it just above the selected track) or <em>After selection</em>.</dd>
9042 <dt>Output Ports</dt>
9043 <dd>Defines how the number of output responds to adding a plugin with a different number of outputs than the track itself. in <em>Strict I/O</em> mode, the track will only use a few of the plugins I/O and will keep its own number of output fixed, while in <em>lexible I/O</em> mode, it will automatically adapt to the I/O of its plugins. See <a href="/signal-routing/signal-flow/">Signal flow</a> to learn more about those options.</dd>
9047 New tracks appear in both the editor and mixer windows. The editor window
9048 shows the timeline, with any recorded data, and the mixer shows just the
9049 processing elements of the track (its plugins, fader and so on).
9052 <h2>Removing Tracks and Busses</h2>
9055 To <dfn>remove</dfn> tracks and busses, select them, <kbd
9056 class="mouse">right</kbd>-click and choose <kbd
9057 class="menu">Remove</kbd>
9058 from the menu. A warning dialog will pop up, as track removal cannot be undone;
9059 use this option with care!
9063 title: Selecting Tracks
9068 Tracks are <dfn>selected</dfn> by clicking on the Track header at the left
9069 of the Editor window. You can select multiple tracks with <kbd class="mod1
9070 mouse">Left</kbd> clicks, or a range of consecutive tracks with <kbd
9071 class="mod3 mouse">Left</kbd>.
9074 By default, <dfn>selecting regions</dfn> has no impact on
9075 <dfn>track selection</dfn>.
9076 You can select a track, then select a region in another track
9077 (or vice versa) and both selections will co-exist happily.
9078 Operations that are applied to tracks will use the track selection,
9079 and those that apply to regions will use the region selection.
9080 Similarly, deselecting a region will not deselect the track it
9081 is in (if that track was selected).
9084 In some workflows, and particularly if you have experience with
9085 other <abbr title="Digital Audio Workstation">DAW</abbr>s, this
9086 is not the most comfortable way to work. You may prefer to work
9087 in a style where selecting a region will also select the track
9088 that the region is in. Similarly, when the last selected region
9089 in a track is deselected, the track will also become unselected.
9092 To control this behaviour, set <kbd class="menu">Edit >
9093 Preferences > Editor > Link selection of regions and tracks</kbd>.
9097 title: Controlling Track Appearance
9102 Ardour offers many options for controlling the appearance of tracks, including color, height, waveform style and more. These can all be found in the <kbd class="menu">Edit > Preferences > Editor</kbd> menu.
9106 title: Layering Display
9110 <img class="right" style="clear:both" src="/images/track-layer-dialog.png"
9111 alt="Track layering menu" />
9114 Ardour allows arbitrary <dfn>layering</dfn> of regions—you can
9115 have as many regions you wish at a given position. By default, the regions are
9116 <dfn>overlaid</dfn> in the editor window, to save vertical space.
9120 However, this display mode can be confusing for tracks with many overdubs,
9121 because its not obvious in which order the overdubs are layered. Although
9122 there are other methods of moving particular regions to the top of an
9123 overlapping set, and although Ardour also has playlists to let you manage
9124 <a href="/working-with-playlists/playlist_usecases/">takes</a> a bit more
9125 efficiently than just continually layering,
9126 there are times when being able to clearly see all regions in a track without
9127 any overlaps is reassuring and useful.
9131 Here is an image of a track with a rather drastic overdub situation,
9132 viewed in normal <dfn>overlaid mode</dfn>:
9135 <img src="/images/a3_overlaps_layered.png" alt="overlapping regions in overlaid mode" />
9138 To change this display, right click on the track header, and you'll see
9139 the menu displayed above. There are two choices for layers. <kbd
9140 class="menu">overlaid</kbd> is currently selected. Click on <kbd
9141 class="menu">stacked</kbd> and the track display changes to this:
9144 <img src="/images/a3_layers_stacked.png" alt="overlapping regions in stacked mode" />
9147 You can still move regions around as usual, and in fact you can
9148 even drag them so that they overlay each again, but when you
9149 release the mouse button, things will flip back to them all being
9150 stacked cleanly. The number of <dfn>lanes</dfn> for the track is determined by
9151 the maximum number of regions existing in any one spot throughout
9152 the track, so if you have really stacked up 10 overdubs in one spot,
9153 you'll end up with 10 lanes. Obviously, using a large track height
9154 works much better for this than a small one.
9163 New tracks in Ardour are assigned a random color from a pastel color
9164 palette, so they should never end up being particularly bright or
9168 <h2>Changing the color of specific tracks</h2>
9171 Select the tracks whose color you wish to change. Context-click
9172 on the track header of one of them. From the context menu, select
9173 <kbd class="menu">Color</kbd> and pick a hue to your taste in the
9174 color dialog. Every selected track will be re-colored.
9178 Note that if you are only changing one track, context-clicking on
9179 that track's header will be enough to select it, saving the extra
9183 <h2>Changing the color of all tracks in a group</h2>
9186 Tracks that belong to a
9187 <a href="/working-with-tracks/track-and-bus-groups">track/bus group</a>
9188 can share a common color by enabling the <kbd
9189 class="option">Color</kbd> option for the group. With this enabled,
9190 any color change will be propagated to all group members.
9194 You can also explicitly change the group color by context-clicking
9195 on the group tab in the Mixer, selecting <kbd class="menu">Edit
9196 Group...</kbd> and then clicking on the Color selector in that dialog
9206 Depending on the stage of your production, you may require a quick
9207 overview over as many tracks as possible, a detailed view into just a
9208 few, or a combination of the two. To facilitate this, the
9209 <dfn>height</dfn> may be configured individually for each track in
9214 A context click on a track header will display the
9215 <kbd class="menu">Height</kbd> menu, and allow you to choose from a
9216 list of standard sizes. All selected tracks will be redrawn using that
9221 Alternatively, select the tracks you wish to resize. Move the pointer
9222 to the bottom edge of one track header. The cursor will change to a
9223 two-way vertical arrow shape. <kbd class="mouse">Left</kbd>-drag to
9224 dynamically resize all selected tracks.
9227 <h2>Fit to the Editor Window</h2>
9230 Select the tracks you wish to display in the Editor window.
9231 Choose <kbd class="menu">Track > Height > Fit Selected Tracks</kbd>
9232 or use the keyboard shortcut, <kbd>f</kbd>. Ardour adjusts the track
9233 heights and view so that the selected tracks completely fill the vertical
9234 space available, unless the tracks cannot be made to fit even at the smallest
9239 You can use <dfn>Visual Undo</dfn> (default shortcut: <kbd class="mod3">Z</kbd>
9240 to revert this operation.
9244 title: Waveform display
9249 The display of <dfn>waveforms</dfn> (or, more correctly, <dfn>peak
9250 envelopes</dfn>, since the actual waveform is only visible at the highest
9251 zoom levels) is configurable via the <kbd
9252 class="menu">Edit > Preferences > Editor</kbd> dialog, to support
9253 different usecases and user preferences. The following options are
9257 <dl class="wide-table">
9258 <dt>Show waveforms in regions</dt>
9259 <dd>By default, Ardour draws waveforms within audio regions. Disable this
9260 option to hide them.</dd>
9261 <dt>Waveform scale</dt>
9265 <dd>This is the traditional <dfn>linear</dfn> (1:1) display of the
9266 peak envelope, or, at higher zoom levels, the individual samples.</dd>
9267 <dt>Logarithmic</dt>
9268 <dd>Alternatively, you can use a <dfn>logarithmic</dfn> display of the
9269 peak envelope. This will give you a better idea of program loudness (it is similar
9270 to dBs) and plot soft passages more clearly, which is useful for soft
9271 recordings or small track height.</dd>
9274 <dt>Waveform shape</dt>
9277 <dt>Traditional</dt>
9278 <dd>The <dfn>zero</dfn> line appears in the middle of the display and waveforms
9279 appear as positive and negative peaks above <em>and</em> below.</dd>
9281 <dd>The zero line appears at the bottom of the display and waveforms appear
9282 as absolute peaks <em>above</em> the line only.</dd>
9288 title: Controlling Track Ordering
9293 Ardour does not impose any particular ordering of tracks and busses in
9294 either the editor or mixer windows. The default arrangements are as follows:
9298 In the <dfn>Editor</dfn>, the Master bus will always be on top unless
9299 hidden. Tracks and busses will appear in their initial order, from top to
9300 bottom. The monitor section (if used) will never be visible in the editor
9305 In the <dfn>Mixer</dfn>, the tracks and busses will be displayed in their
9306 initial order, from left to right. The Master bus is always on the far
9307 right and occupies its own pane, so that it is always visible no matter
9308 how you scroll the other mixer strips. If a Monitor section is used,
9309 it shows up at the right edge of the mixer window, from where it can be
9310 torn off into a separate window.
9314 title: Reordering Tracks
9319 The <dfn>track ordering</dfn> of the Editor and Mixer is <dfn>synchronized</dfn>: if you
9320 reorder in one window, the ordering in the other window will follow.
9323 <h2>Reordering in the Editor Window</h2>
9326 Select the tracks you want to move. Then use<br />
9327 <kbd class="menu">Track > Move Selected Tracks Up</kbd>
9328 (shortcut: <kbd class="mod1">↑</kbd>) or<br />
9329 <kbd class="menu">Track > Move Selected Tracks Down</kbd>
9330 (shortcut: <kbd class="mod1">↓</kbd>).
9334 Alternatively, you can use the <kbd class="menu">Tracks & Busses</kbd>
9336 <a href="/ardours-interface/introducing-the-editor-window/editor-lists/">Editor
9337 Lists</a>, if visible.
9338 Here, you can freely drag-and-drop tracks and busses into any order you prefer.
9341 <h2>Reordering in the Mixer Window</h2>
9344 Within the <kbd class="menu">Strips</kbd> pane at the top left of the
9345 Mixer window, you can freely drag-and-drop tracks and busses into any
9349 <h2>"Collecting" Group Members</h2>
9352 Tracks and Busses that are members of a group can be reordered so that they
9353 display contiguously within the Editor and Mixer windows. Context-click on
9354 the group tab and choose <kbd class="menu">Collect</kbd>.
9357 <h2>Ordering of New Tracks</h2>
9360 When <dfn>adding new tracks</dfn>, the current selection determines their
9361 placement. New tracks will be placed after the rightmost (in the mixer) or
9362 bottom-most (in the editor) selected track. If no tracks are selected, new
9363 tracks will be added at the end.
9367 Because new tracks are automatically selected, you can quickly reorder them
9368 in the editor window via the keyboard shortcuts after adding them (see above).
9372 title: Track Ordering and Remote Control IDs
9377 Every track and bus in Ardour is assigned a <dfn>remote control ID</dfn>.
9378 When a <a href="/using-control-surfaces/">control surface</a> or any other
9379 remote control is used to control Ardour, these IDs are used to identify
9380 which track(s) or buss(es) are the intended target of incoming commands.
9384 By default, remote IDs will be assigned to tracks and busses in the order
9385 that they are created, starting from 1. The master bus and monitor section
9386 have their own unique IDs (318 and 319).
9390 Ardour provides two methods to control remote control IDs, which can be
9391 chosen via <kbd class="menu">Edit > Preferences > Control Surfaces
9392 > Control surface remote ID</kbd>:
9395 <dl class="wide-table">
9396 <dt>follows order of mixer</dt>
9397 <dd>This will reset the remote control IDs to match the mixer and editor
9398 track order order, starting with rcID 1. Manual assignment of rcIDs is
9400 <dt>assigned by user</dt>
9401 <dd>When enabled, the remote control ID is completely independent of the
9402 ordering in either window, and may be changed manually by the user via the
9403 <kbd class="menu"><em>trackname</em> > Remote Control ID...</kbd>
9404 dialog in each mixer strip.
9413 <p>A typical control area or <dfn>bus header<dfn> is shown below:</p>
9415 <img src="/images/typical-bus-controls.png" alt="bus controls" />
9418 At the top-left of the controls is the name of the bus, which can be
9419 edited by double-clicking on it. The new name must be unique within the
9420 session. Underneath the name is a copy of the bus' main level fader.
9421 The control buttons to the right-hand side are:
9425 <dt id="mute">M</dt>
9426 <dd><dfn>Mute</dfn>—click to mute the bus. Right-click to display
9427 a menu which dictates what particular parts of the bus should be muted.</dd>
9428 <dt id="solo">S</dt>
9429 <dd><dfn>Solo</dfn>—solo the bus. The behaviour of the solo system
9430 is described in detail in the section <a
9431 href="/mixing/muting-and-soloing/">Muting and Soloing</a>.</dd>
9432 <dt id="automation">A</dt>
9433 <dd><dfn>Automation</dfn>—opens the automation menu for the
9434 bus. For details see <a href="/automation/">Automation</a>.</dd>
9435 <dt id="group">G</dt>
9436 <dd><dfn>Group</dfn>—lets you assign the bus to an existing or a
9437 new group. For details see <a href="/working-with-tracks/track-and-bus-groups/">Track and bus groups</a>. </dd>
9441 title: Audio Track Controls
9446 A typical control area or <dfn>track header</dfn> for an audio track is
9450 <img src="/images/typical-audio-track-controls.png" alt="audio track controls"
9454 An audio track has the same
9455 <a href="/working-with-tracks/bus-controls">controls as a bus</a>, with the
9456 addition of two extras.
9460 <dt id="record" style="color:red;font-weight:bold;">[•]</dt>
9461 <dd><dfn>Record</dfn>—The button with the pink circle arms the track
9462 for recording. When armed, the entire button will turn pink, and change to
9463 bright red as soon as the transport is rolling and the track is recording.</dd>
9464 <dt id="playlist">p</dt>
9465 <dd><dfn>Playlist</dfn>—Opens a playlist menu when clicked. The menu
9466 offers various operations related to the track's <a
9467 href="/working-with-playlists/">playlist</a>.
9472 title: MIDI Track Controls
9476 <p>A typical <dfn>MIDI track header</dfn> looks like this:</p>
9478 <img src="/images/typical-midi-track-controls.png" alt="midi track controls"
9482 To see the full set of MIDI track controls, you need to increase the
9483 <a href="/working-with-tracks/controlling-track-appearance/track-height/">track height</a>
9484 beyond the default. MIDI tracks show only a few of the control elements
9485 when there is insufficient vertical space.
9489 A MIDI track has the same basic
9490 <a href="/working-with-tracks/audio-track-controls">controls as an audio track</a>,
9491 with the addition of two extra elements. The set of buttons below the main track
9492 controls the <dfn>MIDI channel</dfn>(s) that will be visible in the editor. A MIDI track's
9493 data may span any number of the 16 available MIDI channels, and sometimes it is
9494 useful to view only a subset of those channels; different instruments may,
9495 for example, be put on different channels. Clicking on a channel number toggles
9500 To the right of the MIDI track controls is a representation of a piano keyboard
9501 called the <dfn>scroomer</dfn> (a portmanteau of scrollbar and zoomer). This performs several functions:
9505 <li>The scrollbar controls the range of pitches that are visible on the
9506 track, as visualized by the piano keyboard.</li>
9507 <li>Dragging the body of the scrollbar up and down displays higher or lower
9509 <li>Dragging the scrollbar handles zooms in and out and increases and decreases the range of visible pitches.</li>
9510 <li>Clicking on the piano plays the corresponding MIDI note for reference.</li>
9514 To edit the contents of a MIDI track see <a href="/editing-and-arranging/edit-midi/">Edit
9519 title: Track Context Menu
9524 Within the editor window, context-click (right-click) on either a region
9525 or empty space within a track to display the <dfn>track context menu</dfn>.
9526 The context menu provides easy access to many track-level operations.
9530 If you click on a <dfn>region</dfn>, the first item in the menu is the name of the
9531 region. If you click on a
9532 <a href="/working-with-tracks/controlling-track-appearance/layering-display/">layered region</a>,
9533 the next item in the menu is <kbd class="menu">Choose Top</kbd>. If selected,
9534 you will see a dialog that allows you to change the vertical order of layers
9535 at that point. See <a href="/missing">Controlling Region Layering</a> for more details.
9536 <p class="fixme">Broken link</p>
9540 The rest of the track context menu is structured as follows:
9543 <dl class="narrower-table">
9546 <dl class="narrower-table">
9547 <dt>Play from Edit Point</dt>
9548 <dd>Play from the location of the current <a href="/editing-and-arranging/edit-point">edit point</a>.</dd>
9549 <dt>Play from Start </dt>
9550 <dd>Play from the start of the session</dd>
9551 <dt>Play Region(s)</dt>
9552 <dd>Plays the duration of the session from the start of the earliest selected region to the end of the latest selected region</dd>
9557 <dl class="narrower-table">
9558 <dt>Select All in Track</dt>
9559 <dd>Selects all regions in a track</dd>
9560 <dt>Select All Objects</dt>
9561 <dd>Selects all regions in the session</dd>
9562 <dt>Invert Selection in Track</dt>
9564 <dt>Invert Selection</dt>
9566 <dt>Set Range to Loop Range</dt>
9568 <dt>Set Range to Punch Range</dt>
9570 <dt>Select All After Edit Point</dt>
9572 <dt>Select All Before Edit Point</dt>
9574 <dt>Select All After Playhead</dt>
9576 <dt>Select All Before Playhead</dt>
9578 <dt>Select All Between Playhead and Edit Point</dt>
9580 <dt>Select All Within Playhead and Edit Point</dt>
9582 <dt>Select Range Between Playhead and Edit Point</dt>
9588 <dl class="narrower-table">
9597 <dt>Align Relative</dt>
9601 <dt>Insert Selected Region</dt>
9603 <dt>Insert Existing Media</dt>
9607 <dl class="narrower-table">
9608 <dt>Nudge Entire Track Later</dt>
9610 <dt>Nudge Track After Edit Point Later</dt>
9612 <dt>Nudge Entire Track Earlier</dt>
9614 <dt>Nudge Track After Edit Point Earlier</dt>
9623 <i>This text here to prevent following FIXME from corrupting the above table</i>
9625 <p class="fixme">Add missing content</p>
9629 title: Grouping Tracks
9635 title: Track and Bus Groups
9640 Tracks and busses can be put into <dfn>groups</dfn>. Members of a group
9641 can share various settings—useful for managing tracks that are closely
9642 related to each other. Examples might include tracks that contain
9643 multiple-microphone recordings of a single source (an acoustic guitar,
9644 perhaps, or a drum-kit).
9648 You can group tracks and busses in various ways. In the editor window,
9649 a track's controls might look like these:
9652 <img class="left" src="/images/track-in-group.png" alt="track headers for a group" />
9655 The green tab to the left of the track header indicates that this track
9656 is in a group called <samp>Fred</samp>. You can drag these tabs to add
9657 adjacent tracks to a group.
9660 <h2>Create New Groups</h2>
9663 There are several ways to <dfn>create groups</dfn> for tracks and bussess:
9667 <li>Context-click on the group tab and use one of the <kbd
9668 class="menu">Create...</kbd> options there. You can create a group with
9669 no members, or one that starts with the currently selected tracks, or
9670 record-enabled tracks, or soloed tracks.</li>
9671 <li>Alternatively, click the ‘g’ button on a track header to open the
9672 Group menu. The menu lists the available groups. Selecting one of these
9673 groups will add the track or bus to that group. The menu also lets you
9674 create a new group.</li>
9675 <li>Finally, the Groups tab of the
9676 <a href="/ardours-interface/introducing-the-editor-window/editor-lists">Editor Lists</a>
9677 or the Mixer Window has a <kbd class="menu">plus (+)</kbd> button at the
9678 bottom of the list. Click on the plus sign to create a new group.</li>
9681 <h2>Remove Groups</h2>
9684 Context-click on a <dfn>group tab</dfn> and select <kbd class="menu">Remove
9685 Group</kbd> from the menu. Removing a group does <em>not</em> remove
9686 the members of a group.
9690 You can also remove groups by selecting them in the Groups tab of the
9691 <a href="/ardours-interface/introducing-the-editor-window/editor-lists">Editor Lists</a>
9692 or Mixer Window and then pressing the <kbd class="menu">minus (-)</kbd>
9693 button at the bottom of the list.
9696 <h2>Add/Remove Tracks and Busses From a Group</h2>
9699 Click the <kbd class="menu">g</kbd> button to display a menu with a list
9700 of the available groups. Select one of these groups to add the track or bus
9701 to that group. Select <kbd class="menu">No Group</kbd> to remove it.
9705 Alternatively, you can also drag a group tab to add or remove tracks from
9709 <h2>Activate/Deactivate Groups via the Group Tab</h2>
9712 Clicking on a group tab toggles the group between being active and inactive.
9713 An inactive group has no effect when editing its members. An active group
9714 will share its configured properties across its members. Tabs for disabled
9715 groups are coloured grey.</p>
9717 <h2>Modify Group Properties</h2>
9720 To edit the properties of a group, context-click on its tab and choose
9721 <kbd class="menu">Edit Group…</kbd>. This opens the track/bus group dialog,
9722 which is also used when creating new groups:
9725 <img class="right" src="/images/route-group-dialogue.png" alt="the track/bus group dialog" />
9727 <h3>Group Color</h3>
9730 Click on the color selector button to change a group's colour. This affects
9731 the colour of the group's tab in the editor and mixer windows. The color does
9732 <em>not</em> affect the color of the group members unless you also enable the
9733 shared <kbd class="menu">Color</kbd> property.
9736 <h3>Shared Properties</h3>
9739 <kbd class="option">Gain</kbd> means that the track faders will be synced to
9740 always have the same value; <kbd class="option">Relative</kbd> means that the
9741 gain changes are applied relative to each member's current value. If, for
9742 example, there are two tracks in a group with relative gain sharing, and their
9743 faders are set to -3 dB and -1 dB, a change of the first track to a
9744 gain of -6 dB will result in the second track having a gain of
9745 -4 dB (the <em>difference</em> of the gains remains the same).
9749 <a href="/working-with-tracks/bus-controls/#mute"><kbd class="option">Muting</kbd></a>,
9750 <a href="/working-with-tracks/bus-controls/#solo"><kbd class="option">Soloing</kbd></a>,
9751 <a href="/working-with-tracks/audio-track-controls/#record"><kbd class="option">record enable</kbd></a>,
9752 <a href="/ardours-interface/introducing-the-editor-window/editor-lists/tracks--busses-list/#active"><kbd class="option">active state</kbd></a>,
9753 <a href="/working-with-tracks/controlling-track-appearance/track-coloring/"><kbd class="option">colour</kbd></a> and
9754 <a href="/recording/monitoring/"><kbd class="option">monitoring</kbd></a>
9755 are all straightforward. They simply mean that all member tracks or busses will
9756 share the same settings in these respects.
9760 <kbd class="option">Selection</kbd> means that if a region is selected or
9761 deselected on one member track, <a
9762 href="/working-with-regions/corresponding-region-selection/">corresponding
9763 regions</a> on other member tracks
9764 will be similarly selected. Since region editing operations are applied to all
9765 currently selected regions, this is the way to make edits apply across all tracks in the group.
9768 <p class="fixme">Broken link</p>
9770 <h3>Group Tab Context Menu</h3>
9772 <p>Context-clicking on the group tab offers a further menu of group-related actions. </p>
9774 <dl class="wide-table">
9775 <dt>Create a New Group</dt>
9776 <dd>create a new group</dd>
9777 <dt>Create New Group from...</dt>
9778 <dd> create a new group and automatically add ...
9779 <dl class="narrower-table">
9781 <dd>all currently selected tracks and busses</dd>
9782 <dt>Rec-enabled</dt>
9783 <dd>all currently record-enabled tracks</dd>
9785 <dd>all currently soloed tracks and busses</dd>
9788 <dt>Collect Group</dt>
9789 <dd>moves all the member tracks so that they are together in the editor window</dd>
9790 <dt>Remove Group</dt>
9791 <dd>removes the group (and only the group, not its members).</dd>
9792 <dt>Add New Subgroup Bus</dt>
9793 <dd> creates a bus (giving it the name of the group) and connects the output of each member to the new bus.
9795 <dt>Add New Aux Bus</dt>
9796 <dd>adds a bus and gives each member a send to that bus. There are two options for this, specifying whether the sends should be placed pre- or post-fader.</dd>
9797 <dt>Fit to Window</dt>
9798 <dd> will zoom the member tracks so that they fill the editor window.</dd>
9799 <dt>Enable All Groups</dt>
9800 <dd>makes all group active, including any hidden groups.</dd>
9801 <dt>Disable All Groups</dt>
9802 <dd>makes all groups inactive, including any hidden groups.</dd>
9807 title: Importing and Exporting Session Data
9813 title: File and Session Management and Compatibility
9821 title: Playback & Recording
9827 title: Playing Back Track Material
9835 title: Looping the Transport
9840 When the <dfn>loop transport</dfn> button is pressed, the playhead will
9841 jump the start of the loop range, and continue to the end of that range
9842 before returning to the start and repeating.
9843 While looping, a light green area is displayed in the time ruler over
9844 the tracks to show the loop range.
9848 By default, looping is bound to the <kbd>l</kbd> key.
9852 For more information on defining and altering the loop range see
9853 <a href="/working-with-markers/the-loop-range">Loop Range Markers</a>.
9856 <p class="fixme">Broken link</p>
9859 title: Positioning the Playhead
9864 The <dfn>playhead</dfn> is a vertical line with two arrows at each end
9865 that indicates the current position of playback.
9868 <h2>Positioning the playhead at the current pointer position</h2>
9871 Pressing <kbd>P</kbd> will set the playhead to the current position of
9872 the mouse pointer, if it is within the editor track area.
9875 <h2>Positioning the playhead on the timeline</h2>
9878 A <kbd class="mouse">Left</kbd> click anywhere on the timeline (rulers)
9879 will move the playhead to that position.
9882 <h2>Positioning the playhead with the transport clocks</h2>
9885 Click on either the primary or secondary transport clock and
9886 <a href="/ardours-interface/using-ardour-clock-displays">edit their value</a>
9887 to move the playhead to a specific position.
9890 <h2>Positioning the playhead at a marker</h2>
9893 Click <kbd class="mouse">Right</kbd> on the marker and select either
9894 <kbd class="menu">Locate to here</kbd> or <kbd class="menu">Play from
9899 The playhead can also be moved backward and forward through the markers by
9900 respectively pressing the <kbd>Q</kbd> and <kbd>W</kbd> keys. Pressing
9901 <kbd>Home</kbd> and <kbd>End</kbd> will move the playhead to the special
9902 markers <dfn>start</dfn> and <dfn>end</dfn>, respectively.
9906 title: Using Key Bindings
9911 Ardour has many available commands for playback control that can be bound
9912 to keys. Many of them have default bindings, some do not, so the list below
9913 shows both the default bindings and internal command names.
9916 <dl class="wide-table">
9917 <dt><kbd>Space</kbd></dt>
9918 <dd>switch between playback and stop.</dd>
9919 <dt><kbd>Home</kbd></dt>
9920 <dd>Move playhead to session start marker</dd>
9921 <dt><kbd>End</kbd></dt>
9922 <dd>Move playhead to session end marker</dd>
9923 <dt><kbd>→</kbd></dt>
9925 <dt><kbd>←</kbd></dt>
9927 <dt><kbd>0</kbd></dt>
9928 <dd>Move playhead to start of the timeline</dd>
9931 <p>Commands without default bindings include:</p>
9933 <p class="fixme">Add content</p>
9944 title: Track Recording Modes
9949 The <dfn>Recording mode</dfn> is a per-track property (applies to audio
9950 tracks only) that affects the way that recording new material on top of
9951 existing material ("overdubbing") operates <em>in that track</em>.
9954 <h2 id="trackmodes">Track Modes</h2>
9957 Audio tracks in Ardour have a <dfn>mode</dfn> which affects how they behave
9961 <dl class="narrower-table">
9963 <dd>Tracks in <dfn>normal mode</dfn> will record non-destructively—new
9964 data is written to new files, and when overdubbing, new regions will be
9965 layered on top of existing ones. This is the recommended mode for most
9968 <dt>Non-Layered</dt>
9969 <dd>Tracks using <dfn>non-layered mode</dfn> will record non-destructively—new data is written to new files, but when overdubbing,
9971 regions are trimmed so that there are no overlaps. This does not affect
9972 the previously recorded audio data, and trimmed regions can be expanded
9973 again at will. Non-layered mode can be very useful for spoken word material,
9974 especially in combination with <a href="/editing-and-arranging/change-region-lengths/pushpull-trimming">push/pull trimming</a>.
9976 <p class="fixme">Broken link</p>
9980 <dd><dfn>Tape-mode</dfn> tracks do <strong>destructive</strong> recording:
9981 all data is recorded to a single file and if you overdub a section of existing
9982 data, the existing data is destroyed irrevocably—there is no undo.
9983 Fixed crossfades are added at every punch in and out point. This mode can be
9984 useful for certain kinds of re-recording workflows, but it not suggested for normal
9988 <img class="right" src="/images/a3_nonlayered_example.png" alt="normal and non-layered overdubbing comparision"
9992 The screenshot on the right shows the subtle difference between an overdub
9993 in <dfn>normal mode</dfn> (upper track) and one in <dfn>non-layered mode</dfn>
9994 (lower track). Both tracks were created using identical audio data.
9998 The upper track shows a new region which has been <dfn>layered on
9999 top</dfn> of the the existing (longer) region. You can see this if you look
10000 carefully at the region name strips. The lower track has split the existing
10001 region in two, trimmed each new region to create space for the new overdub,
10002 and inserted the overdub region in between.
10005 <h2 id="channelconfiguration">Channel Configuration</h2>
10008 Ardour tracks can have any number of inputs and any number of outputs, and
10009 the number of either can be changed at any time (subject to restrictions
10010 caused by any plugins in a track). However it is useful to not have to
10011 configure this sort of thing for the most common cases, and so the
10012 <a href="/working-with-tracks/adding-tracks">Add Tracks</a> dialog allows you
10013 to select "Mono", "Stereo" and few other typical multichannel presets.
10014 The name of the preset describes the number of <dfn>input channels</dfn>
10015 of the track or bus.
10019 If you have configured Ardour to automatically connect new tracks and
10020 busses for you, the number of outputs will be determined by the number of
10021 inputs of the <dfn>master <a
10022 href="/introducing-ardour/understanding-basic-concepts-and-terminology/#busses">bus</a></dfn>,
10023 to which the track outputs will be connected.
10027 For example, if you have a two-channel master bus, then a Mono track has one
10028 input and two outputs; a Stereo track has two inputs and two outputs.
10032 Setting <kbd class="menu">Edit > Preferences > Audio
10033 > Connection of Tracks and Busses</kbd> to <kbd
10034 class="menu">manual</kbd> will leave tracks disconnected by default
10035 and there will be as many outputs as there are inputs. It is up to you to
10036 connect them as you wish. This is not a particularly useful way to work
10037 unless you are doing something fairly unusual with signal routing and
10038 processing. It is almost always preferable to allow Ardour to make
10039 connections automatically, even if some of them have to be changed manually
10045 title: Audio Recording
10056 When recording, it is important that performers hear themselves, and to
10057 hear any pre-recorded tracks they are performing with.
10058 Audio recorders typically let you <dfn>monitor</dfn> (i.e. listen to)
10059 the input signal of all tracks that are armed for recording, and playing
10060 back the unarmed tracks.
10064 title: Latency Considerations
10065 menu_title: Latency
10070 In the days of analog tape recording, the routing of monitor signals was
10071 performed with relays and other analog audio switching devices. Digital
10072 recorders have the same feature, but may impart some
10074 href="/synchronization/latency-and-latency-compensation/"><dfn>latency</dfn></a>
10075 (delay) between the time you make a noise and the time that you hear it
10076 come back from the recorder.
10080 The latency of <em>any</em> conversion from analog to digital and back to
10081 analog is about 1.5–2 ms. Some musicians claim that even the
10082 basic <abbr title="Analog to Digital to Analog">A/D/A</abbr> conversion
10083 time is objectionable. However even acoustic instruments such as the piano
10084 can have approximately 3 ms of latency, due to the time the sound
10085 takes to travel from the instrument to the musician's ears. Latency below
10086 5 ms should be suitable for a professional recording setup. Because
10087 2 ms are already used in the A/D/A process, you must use extremely low
10088 <dfn>buffer sizes</dfn> in your workstation <abbr title="Input/Output">I/O</abbr>
10089 setup to keep the overall latency below 5ms. Not all
10090 <a href="/setting-up-your-system/the-right-computer-system-for-digital-audio">computer audio systems</a>
10091 are able to work reliably at such low buffer sizes.
10095 For this reason it is sometimes best to route the monitor signal
10096 through an external mixing console while recording, an approach taken by
10097 most if not all professional recording studios. Many computer I/O devices
10098 have a hardware mixer built in which can route the monitor signal "around"
10099 the computer, avoiding the system latency.
10103 In either case, the monitoring hardware may be digital or analog. And in
10104 the digital case you will still have the A-D-A conversion latency of
10109 title: Monitor Signal Flow
10110 menu_title: Signal Flow
10115 There are three basic ways to approach monitoring:
10118 <h3>External Monitoring</h3>
10120 <p><img class="right" src="/images/external-monitoring.png" /></p>
10123 When using <dfn>external monitoring</dfn>, 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.
10126 <h3>JACK-Based Hardware Monitoring</h3>
10128 <p><img class="right" src="/images/jack-monitoring.png" /></p>
10131 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 <dfn>hardware monitoring</dfn>. 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.
10134 <p class="fixme">Broken link</p>
10136 <h3>Software Monitoring</h3>
10138 <p><img class="right" src="/images/ardour-monitoring.png" /></p>
10141 With the <dfn>software monitoring</dfn> 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.
10145 title: Monitor Setup in Ardour
10146 menu_title: Setup in Ardour
10151 Ardour has three main settings which affect how
10152 monitoring is performed. The first is
10153 <kbd class="menu">Edit > Preferences > Audio >
10154 Record monitoring handled by</kbd>. There are two or three
10155 options here, depending on the capabilities of your hardware.
10159 The other two settings are more complex. One is
10160 <kbd class="menu">Tape machine mode</kbd>, found in the
10161 same dialog, and the other is the
10162 <kbd class="option">Session > Properties > Monitoring
10163 automatically follows transport state</kbd> setting.
10167 Monitoring also depends on the state of the track's record-enable button,
10168 the session record-enable button, and on whether or not the transport is
10172 <h2>Software or Hardware Monitoring Modes</h2>
10175 If Ardour is set to <dfn>external monitoring</dfn>, the explanation of
10176 Ardour's monitoring behaviour is simple: it does not do any.
10179 <h2>Monitoring in Non-Tape-Machine Mode</h2>
10182 When <dfn>Tape-Machine mode is off</dfn>, and a track is armed,
10183 Ardour <em>always</em> monitors the live input, except in one case:
10184 the transport is rolling, the session is not recording, and
10185 <dfn>auto-input</dfn>
10186 is active. In this case only, you will hear playback from an armed track.
10190 Unarmed tracks will play back their contents from disc, unless the
10191 transport is stopped <em>and</em> <dfn>auto-input</dfn> is enabled.
10192 In this case, the track monitors its live input.
10195 <h2>Monitoring in Tape-Machine Mode</h2>
10198 In <dfn>Tape-Machine mode</dfn>, things are slightly simpler: when a
10199 track is armed, its behaviour is the same as in non-tape-machine mode.
10203 Unarmed tracks however will always just play back their contents from
10204 disk; the live input will never be monitored.
10209 title: MIDI Recording
10215 title: Punch Recording Modes
10221 title: Working With Markers
10226 It is very useful to be able to tag different locations in a session for
10227 later use when editing and mixing. Ardour supports both
10228 <dfn>locations</dfn>, which define specific positions in time,
10229 and <dfn>ranges</dfn> which define a start and end position in time.
10233 In addition to the standard location markers, there are three kinds of
10239 <dfn>CD markers</dfn> are locations that are restricted to legal
10240 <dfn>CD sector boundaries</dfn>. They can be used to add track index
10241 markers to compact disc images.
10244 The <dfn>Loop range</dfn> defines the start end end points for Looping.
10247 The <dfn>punch range</dfn> defines the in and out points for punch
10253 title: Creating Location Markers
10258 <dfn>Location Markers</dfn> appear in the <dfn>Locations ruler</dfn> at the top
10259 of the timeline. The <dfn>start</dfn> and <dfn>end</dfn> markers appear
10260 automatically, but you can create custom markers at any position in a
10265 To add a marker at the <strong>current playhead position</strong>, press
10266 <kbd>Num-↵</kbd> (the Enter key on the numeric keypad).
10267 Alternatively, use <kbd class="menu">Transport > Markers > Add
10268 Mark from Playhead</kbd>.
10272 To add a marker at an <strong>arbitrary location</strong> on the timeline,
10273 navigate to the desired position, right-click on the Locations ruler and
10274 select <kbd class="menu">New Location Marker</kbd>.
10275 You can also go to the Editor list, click <kbd class="menu">New
10276 Marker</kbd> and use the clock widget to set its position.
10281 <a href="/working-with-markers/rangesmarks-list/">Ranges & Marks
10283 and <a href="/ardours-interface/using-ardour-clock-displays/"> Using
10284 Ardour Clock Displays</a>.
10288 title: Creating Range Markers
10292 <p class="fixme">Add images</a>
10295 <dfn>Range markers</dfn> are essentially two location markers the are grouped
10296 together to mark the beginning and end of a section in the timeline.
10299 <h2>Creating a Range on the timeline</h2>
10302 To create a new <dfn>range</dfn>, right-click on the
10303 Ranges ruler at the top of the timeline, then select
10304 <kbd class="menu">New Range</kbd>.
10305 Two markers with the same name will appear along the ruler.
10306 Both marks can be moved along the timeline by clicking and dragging
10307 them to the desired location.
10311 It is also possible to create range markers from a selected range or
10312 region in the Editor window, or to use the <kbd class="menu">Ranges
10313 & Marks List</kbd> in the Editor list.
10318 title: Moving Markers
10322 <h2>Single marker</h2>
10325 <kbd class="mouse">Left</kbd>-click and drag to move a single marker to a
10326 new location on the timeline.
10329 <h2>Multiple markers</h2>
10332 It is possible to move multiple markers by the same distance. <kbd
10333 class="mouse mod1">Left</kbd>-click each marker you want to move, then drag
10334 one of the selected markers to a new location. All selected markers will
10335 then move together. Note that the markers are bounded by the zero point on
10336 the timeline. In other words, the first marker in your selection cannot move
10337 to the left of zero on the timeline.
10340 <h2>Both ends of a range marker</h2>
10343 <kbd class="mod1 mouse">Left</kbd>-drag either end of the range marker. The
10344 other end will move by the same distance.
10348 title: The Loop Range
10352 <p class="fixme">Missing content</a>
10355 The <dfn>loop range</dfn> is a special range that defines the start and end points
10356 for loop play, which can be enabled in the transport bar.
10360 It can be defined via the <a href="/missing">timeline</a> or the <a
10361 href="/working-with-markers/rangesmarks-list/">Ranges & Marks
10365 <p class="fixme">Broken links</a>
10368 title: Marker Context Menu
10373 <kbd class="mouse">Right</kbd>-clicking a marker in the timeline opens the
10374 marker context menu. From this menu, you can:
10377 <dt>Locate to Here</dt>
10378 <dd>Move the playhead to this marker's position.</dd>
10379 <dt>Play from Here</dt>
10380 <dd>start playback from this marker's position.</dd>
10381 <dt>Move Mark to Playhead</dt>
10382 <dd>Move this marker to the current playhead position.</dd>
10383 <dt>Create Range to Next Marker</dt>
10384 <dd>Create a range marker between this location and the next one along on
10387 <dd>Hide this marker from the view. It can be made visible again from the
10388 <kbd class="menu">Window > Locations</kbd> window or the <a
10389 href="/working-with-markers/rangesmarks-list/">Ranges & Marks
10392 <dd>Change the name of the marker.</dd>
10394 <dd>If this is ticked, it will be impossible to drag the marker's
10395 position; useful if you want to prevent accidental movements.</dd>
10396 <dt>Glue to Bars and Beats</dt>
10397 <dd>If this is ticked, the marker will maintain its position in bars and
10398 beats even if there are changes in tempo and meter.</dd>
10400 <dd>Removes the marker. </dd>
10404 There are also a few options in <kbd class="menu">Transport > Active
10405 Mark</kbd>. These options apply to the currently selected location marker,
10406 and move it to a nearby region boundary, region sync point, or to the
10415 <p class="fixme">Missing content</a>
10418 The <dfn>punch range</dfn> is a special range used to define where
10419 recording will start and/or stop during a <dfn>punch</dfn>.
10423 It can be defined on the <a href="/missing">timeline</a> or in the
10424 <a href="/working-with-markers/rangesmarks-list/">Ranges & Marks</a>
10428 <p class="fixme">Broken links</a>
10440 title: Editing Basics
10446 title: Working With Regions
10450 <h2>Working With Regions</h2>
10453 <dfn>Regions</dfn> are the basic elements of editing and composing in
10454 Ardour. In most cases, a region represents a single contiguous section
10455 of one or more media files. Regions are defined by a fixed set of attributes:
10459 <abbr title="Musical Instrument Digital Interface">MIDI</abbr>
10460 <dfn>source file(s)</dfn> they represent,</li>
10461 <li>an <dfn>offset</dfn> (the "start point") in the audio or MIDI file(s), and</li>
10462 <li>a <dfn>length</dfn>.</li>
10465 When placed into a playlist, they gain additional attributes:
10468 <li>a <dfn>position</dfn> along the timeline, and</li>
10469 <li>a <dfn>layer</dfn>.</li>
10472 There are other attributes as well, but they do not <em>define</em> the
10473 region. Things you should know about regions:
10476 <h3>Regions Are Cheap</h3>
10478 By themselves, regions consume very little of your computer's resources.
10479 Each region requires a small amount of memory, and represents a rather
10480 small amount of CPU work if placed into an active track. So, don't worry
10481 about creating regions whenever you need to.
10484 <h3>Regions Are Not Files</h3>
10486 Although a region can represent an entire audio file, they are never
10487 equivalent to an audio file. Most regions represent just parts of an audio
10488 file(s) on disk, and removing a region from a track has nothing to do with
10489 removing the audio file(s) from the disk (the <kbd
10490 class="menu">Destroy</kbd> operation, one of Ardour's few destructive
10491 operations, can affect this). Changing the length of a region has no effect
10492 on the audio file(s) on disk. Splitting and copying regions does not alter
10493 the audio file in anyway, nor does it create new audio files (only
10494 <dfn>recording</dfn>,
10495 and the <kbd class="menu">Export</kbd>, <kbd class="menu">Bounce</kbd> and
10496 <kbd class="menu">Reverse</kbd> operations create new audio files).</p>
10499 title: Region Naming
10504 <dfn>Region names</dfn> are initially derived from either</p>
10506 <li>the name of the playlist for which they were recorded,</li>
10507 <li>the name of the track for which they were recorded, or</li>
10508 <li>the name of the embedded/imported file they represent.</li>
10511 It appears that recorded regions are always named after the track, not the
10512 active playlist in that track.
10515 <h2>Whole File Region Names</h2>
10517 These are not audio files, but regions that represent the full extent of an
10518 audio file. Every time a new recording is done, or a new file is imported
10519 to the session, a new region is created that represents the <dfn>entire audio
10520 file</dfn>. This region will have the name of the track/playlist/original file,
10521 followed by a "-", then a number plus a dot and then a number.
10524 For <dfn>recorded regions</dfn>, the number will increase each time a new recording
10525 is made. So, for example, if there is a playlist called
10526 <samp>Didgeridoo</samp>, the
10527 first recorded whole file region for that playlist will be called
10528 <samp>Digderidoo-1</samp>. The next one will be <samp>Digeridoo-2</samp> and so on.
10531 For <dfn>imported regions</dfn>, the region name will be based on the original file
10532 name, but with any final suffix (e.g. ".wav" or ".aiff") removed.
10535 Normally, whole file regions are not inserted into tracks or playlists,
10536 but regions derived from them are. The whole-file versions live in the
10537 editor region list where they act as an organizing mechanism for regions
10538 that are derived from them.
10541 <h2>Normal Region Names</h2>
10543 When a region is inserted into a track and playlist, its initial name will
10544 end in a <dfn>version number</dfn>, such as <samp>.1</samp>. For a recorded region,
10545 if the whole file region was <samp>Hang drum-1</samp>, then the region in
10546 the track will appear with the name <samp>Hang drum-1.1</samp>. For an
10547 imported region, if the whole file region was <samp>Bach:Invention3</samp>,
10548 then the region in the track will appear with the name
10549 <samp>Bach:Invention3.1</samp>.
10552 <h2>Copied Region Names</h2>
10554 If you <dfn>copy a region</dfn>, it initially shares the same name as the original.
10555 When you perform an operation modifies one of the copies, Ardour will
10556 increment the version number on the particular copy that changed.
10559 <h2>Renaming Regions</h2>
10561 You can <dfn>rename a region</dfn> at any time. Use the region context menu to
10562 pop up the <kbd class="menu">Rename</kbd> dialog. The new name does not need to
10563 have a version number in it (in fact, it probably should not). Ardour will add a
10564 version number in the future if needed (e.g. if you copy or split the region).
10568 title: Corresponding Regions Selection
10573 <a href="/working-with-tracks/track-and-bus-groups/">Track Groups</a> have
10574 a property titled <kbd class="option">Select</kbd> which, if enabled, cause
10575 Ardour to propagate a region selection in one track of a group to the
10576 <dfn>corresponding regions</dfn> of the other tracks in that group.
10579 For example, let's assume you have used multiple microphones to record a
10580 drum kit to multiple tracks. You have created a track group, added all the
10581 drum tracks, enabled the group and enabled the Select property for the group.
10582 When you select a region in one of the drum tracks, Ardour will select the
10583 corresponding region in every other drum track in the group, which in turn
10584 means that a subsequent edit operation will affect all the grouped drum
10588 <h2>How Ardour Decides Which Regions are "Corresponding"</h2>
10590 Regions in different tracks are considered to be corresponding for the purposes
10591 of sharing <dfn>selection</dfn> if they satisfy <em>all</em> the following criteria:
10594 <li>Each region starts at the <dfn>same offset</dfn> within its source file,</li>
10595 <li>each region is located at the <dfn>same position</dfn> on the timeline, and</li>
10596 <li>each region has the <dfn>same length</dfn>.</li>
10599 <h2>Overlap Correspondence</h2>
10601 Sometimes, the rules outlined above are too strict to get Ardour to do what you
10602 want. Regions may have been trimmed to slightly different lengths, or positioned
10603 slightly differently, and this will cause Ardour to not select regions in other
10604 grouped tracks.</p>
10606 In this case, change
10607 <kbd class="menu">Edit > Preferences > Editor > Regions in
10608 active edit groups are edited together:</kbd> to <kbd
10609 class="menu">whenever they overlap in time</kbd>. With this option enabled, r
10610 egions in different tracks will be considered equivalent for the purposes of selection if they
10611 <dfn>overlap</dfn>. This is much more flexible and will cover almost all of the
10612 cases that the fixed rules above might make cumbersome.
10616 title: Region Context Menu
10620 <p class="fixme">Need to add detail to the context menu table to describe what the options do</p>
10623 In the editor window, right clicking (context clicking) on a region
10624 displays a menu with <dfn>track and region operations</dfn>. The menu begins with the
10625 name of the region, or <kbd class="menu">Selected Regions</kbd> if multiple
10626 regions are selected.
10629 If there is more than one region layered at the point where you clicked, the
10630 menu will also contain an item <kbd class="menu">Choose Top</kbd>. This
10631 dialog lets you select which region you want on the top <dfn>layer</dfn>. See
10632 <a href="manual/region_layering">Adjusting Region Layering</a> for more details.
10635 Below these items is the rest of the
10636 <a href="/working-with-tracks/track-context-menu">Track Context Menu</a>, which
10637 provides access to <dfn>track-level operations</dfn>. To see the contents
10638 of the region context menu, select the region name or "Selected Regions", and
10639 the following submenu structure appears:
10641 <dl class="narrower-table">
10646 <dt>Properties</dt>
10652 <dl class="wide-table">
10659 <dt>Make Mono Regions</dt>
10665 <dt>Pitch Shift</dt>
10669 <dt>Close Gaps</dt>
10671 <dt>Place Transients</dt>
10673 <dt>Rhythm Ferret</dt>
10675 <dt>Strip Silence</dt>
10681 <dl class="wide-table">
10682 <dt>Move To Original Position</dt>
10686 <dt>Glue to Bars and Beats</dt>
10688 <dt>Snap Position to Grid</dt>
10690 <dt>Set Sync Position</dt>
10692 <dt>Remove Sync</dt>
10694 <dt>Nudge Later</dt>
10696 <dt>Nudge Earlier</dt>
10698 <dt>Nudge Later by capture offset</dt>
10700 <dt>Nudge Earlier by capture offset</dt>
10706 <dl class="wide-table">
10707 <dt>Trim Start at Edit Point</dt>
10709 <dt>Trim End at Edit Point</dt>
10711 <dt>Trim to Loop</dt>
10713 <dt>Trim to Punch</dt>
10715 <dt>Trim to Previous</dt>
10717 <dt>Trim to Next</dt>
10723 <dl class="wide-table">
10724 <dt>Raise to Top</dt>
10730 <dt>Lower to Bottom</dt>
10736 <dl class="wide-table">
10737 <dt>Set Loop Range</dt>
10739 <dt>Set Punch Range</dt>
10741 <dt>Add Single Range Marker</dt>
10743 <dt>Add Range Marker per Region</dt>
10745 <dt>Set Range Selection</dt>
10751 <dl class="wide-table">
10758 <dt>Reset Envelope</dt>
10760 <dt>Envelope Active</dt>
10766 <dl class="wide-table">
10777 <dl class="wide-table">
10780 <dt>Multi-Duplicate</dt>
10782 <dt>Fill Track</dt>
10788 <dt>Bounce (without processing)</dt>
10790 <dt>Bounce (with processing)</dt>
10792 <dt>Spectral Analysis</dt>
10799 title: Common Region Edit Operations
10800 menu_title: Region Editing
10805 This section covers a set of <dfn>region editing operations</dfn>
10806 that you are likely to use often while working on a session.
10807 Depending on your work habits (and experience of other
10808 <abbr title="Digital Audio Workstation">DAW</abbr>s) you will find
10809 some of these operations critical while others are used only rarely.
10813 You can carry out all of these operations from the keyboard (see
10814 <a href="/default-keyboard-bindings">Default Keyboard Shortcuts</a>
10815 for a list). Equivalent operations can be performed with the mouse
10820 You may want to review your understanding of
10821 <a href="/editing-and-arranging/edit-point">the edit point/range</a> and
10822 <a href="/editing-and-arranging/which-regions-are-affected">which regions will be affected by region operations</a>.
10825 <dl class="wide-table">
10826 <dt><kbd class="menu">Spot (Align)</kbd></dt>
10827 <dd>Move selected regions to the edit point.</dd>
10828 <dt><kbd class="menu">Split</kbd></dt>
10829 <dd>Split selected regions at the edit point.</dd>
10830 <dt><kbd class="menu">Trim Start</kbd></dt>
10831 <dd>Adjust the start of selected regions to the edit point (or as close as
10833 <dt><kbd class="menu">Trim End</kbd></dt>
10834 <dd>Adjust the end of selected regions to the edit point (or as close as
10836 <dt><kbd class="menu">Duplicate</kbd></dt>
10837 <dd>Make a copy of each selected region and position it immediately after the
10839 <dt><kbd class="menu">Crop</kbd></dt>
10840 <dd>Truncate selected regions to the edit range.</dd>
10841 <dt><kbd class="menu">Separate</kbd></dt>
10842 <dd>Split selected regions at both ends of the edit range.</dd>
10843 <dt><kbd class="menu">Set Fade In</kbd></dt>
10844 <dd>Adjust selected audio regions' fade in to end at the edit point.</dd>
10845 <dt><kbd class="menu">Set Fade Out</kbd></dt>
10846 <dd>Adjust selected audio regions' fade out to end at the edit point.</dd>
10847 <dt><kbd class="menu">Toggle Fade In</kbd></dt>
10848 <dd>Turn selected audio regions' fade in on or off.</dd>
10849 <dt><kbd class="menu">Toggle Fade Out</kbd></dt>
10850 <dd>Turn selected audio regions' fade out on or off.</dd>
10851 <dt><kbd class="menu">Play Region</kbd></dt>
10852 <dd>Play session from the start of the earliest selected region.</dd>
10853 <dt><kbd class="menu">Zoom To Region</kbd></dt>
10854 <dd>Zoom horizontally so that the selected regions span the editor track
10856 <dt><kbd class="menu">Set Sync Point</kbd></dt>
10857 <dd>Set the sync point of all selected regions to the edit point.</dd>
10858 <dt><kbd class="menu">Insert</kbd></dt>
10859 <dd>Inserts the currently selected regions in the Region List at the edit
10864 title: Copy Regions
10868 <h2>Copy a Single Region</h2>
10871 To copy a region, make sure you are in object mouse mode. Move the mouse
10872 pointer into the region and <kbd class="mouse mod1">left</kbd>-drag. Ardour
10873 creates a new region and follows the mouse pointer as it moves. See
10874 <a href="/editing-and-arranging/move-regions/">Move Regions</a> for more
10875 details on moving the copied region.
10878 <h2>Copy Multiple Regions</h2>
10881 To copy multiple regions, select them before copying. Then
10882 <kbd class="mouse mod1">left</kbd>-drag one of the selected regions. All the
10883 regions will be copied and as they move. The copied regions will keep their
10884 positions relative to each other.
10887 <h2>Fixed-Time Copying</h2>
10890 If you want to copy region(s) to other track(s) but keep the copies at the
10891 exact position on the timeline as the originals, simply use
10892 <kbd class="mouse mod1">Middle</kbd>-drag instead.
10897 title: Move Regions With the Mouse
10902 To move or copy a region, make sure you are in object mode. If you are
10903 using smart mode, the pointer must be in the lower half of the region
10904 to begin a move or copy operation.
10908 Move the pointer into the region, use a <kbd class="mouse">Left</kbd>-drag.
10909 The region will follow the pointer as you move it around. By default,
10910 the region can move freely along the timeline.
10914 To move a region from one track to another, simply start a move as
10915 described above, but move the pointer into the desired track. The
10916 region will follow the pointer. Note that if you have other kinds of
10917 tracks visible, the region will remain where it is as the pointer
10918 moves across them, and will then jump to the new track. This serves as
10919 a visual reminder that you cannot drag an audio region into an automation
10920 track or a bus, for example.
10923 <h2>Move Multiple Regions</h2>
10926 To move multiple regions, select them before moving. Then
10927 <kbd class="mouse">Left</kbd>-drag one of the selected regions. All the
10928 regions will move, keeping their positions relative to each other.
10931 <h2>Fixed-Time Motion</h2>
10934 Sometimes, you want to move a region to another track, but keeping its
10935 position along the timeline exactly the same. To do this, use
10936 <kbd class="mouse">Middle</kbd>-drag instead.
10940 title: Align (Spot) Regions
10945 Aligning regions (sometimes called "spotting") means moving one or more
10946 regions based on a defined location, which in Ardour is always the
10947 <a href="/editing-and-arranging/edit-point">edit point</a>. An
10948 alignment operation moves the region(s) so that some part of the region
10949 is positioned at the edit point. Available alignment commands include:
10952 <dl class="wide-table">
10953 <dt>Align Region starts <kbd class="mod14">a</kbd></dt>
10954 <dd>Selected region(s) are moved so that their start is located at the current edit point</dd>
10955 <dt>Align Region ends <kbd class="mod2">a</kbd></dt>
10956 <dd>Selected region(s) are moved so that the end is located at the current edit point</dd>
10957 <dt>Align Region sync points <kbd>Shift-a</kbd></dt>
10958 <dd>Selected region(s) are moved so that their sync point is located at the current edit point</dd>
10959 <dt>Align Region starts relative <kbd class="mod4">a</kbd></dt>
10960 <dd>Selected region(s) are moved so that the start of the earliest region is located at the current edit point, and all others maintain their relative position relative to that region</dd>
10965 title: Edit Mode and Tools
10971 title: Which Regions Are Affected?
10972 menu_title: Affected Regions
10976 <p class="fixme">This one is alone in its chapter. Find him a place somewhere else.</p>
10979 This section explains the rules used to decide which regions are affected
10980 by editing operations. You don't really have to understand them—hopefully
10981 things will Just Work™—but it may be useful eventually to understand the rules.
10985 Editing operations in Ardour either operate on a single point in time
10986 (<kbd class="menu">Split</kbd> being the obvious example) or on two
10987 points (which can also be considered to be a range of sorts); <kbd
10988 class="menu">Separate</kbd> is a good example of this.
10992 Most operations will operate on the currently selected region(s), but if
10993 no regions are selected, the region that the mouse is in will be used
10994 instead. Single-point operations will generally pick a set of regions to
10995 use based on the following rules:
10999 <li> If the edit point is 'mouse', then
11001 <li>if the mouse is over a selected region, or no region, use all selected
11003 <li>if the mouse is over an unselected region, use just that region.</li>
11006 <li> For all other edit points
11009 use the selected regions <em>and</em> those that are both
11010 under the edit position <em>and</em> on a selected track,
11011 or on a track which is in the same active edit-enabled route group
11012 as a selected region.
11019 The rationale here for the two different rules is that the mouse edit point
11020 is special in that its position indicates both a time and a track; the other
11021 edit points (Playhead, Marker) indicate a time only.
11026 title: Making Selections
11032 title: Select Regions
11036 <p class="fixme">Remove all "you" references FFS</p>
11039 Many editing operations in Ardour require you to first <dfn>select one or more
11040 regions</dfn> that you want to change in some way. You can select a single region,
11041 or multiple regions, including regions in different tracks. When you select
11042 a region, it will appear in a darker color than unselected regions.
11046 Note that if a track is a member of a group that is active and has the
11047 <kbd class="option">Select</kbd> property enabled, then Ardour will attempt to
11048 match whatever selections you make in one track across every other track of the
11050 <a href="/working-with-regions/corresponding-regions-selection/">Corresponding
11051 Regions Selection</a> for more information on precisely how selections will be
11052 propagated to other tracks.
11055 <h2>Region Selection and Track Selection</h2>
11059 <a href="/working-with-tracks/selecting-tracks/region-and-track-selection">Region & Track Selection</a>
11060 for more information on how selecting regions and selecting tracks interact.
11063 <p class="fixme">Broken link</p>
11065 <h2>Select a Region</h2>
11068 Confirm that you are using the
11069 <a href="/ardours-interface/introducing-the-editor-window/the-editing-toolbar/#object">Object tool</a>,
11070 then click on a region to select it. If
11071 <a href="/ardours-interface/introducing-the-editor-window/the-editing-toolbar/#smartmode">smart mode</a>
11072 is enabled, click in the lower half of the region.
11075 <h2>Deselect a Region</h2>
11078 Confirm you are using the
11079 <a href="/ardours-interface/introducing-the-editor-window/the-editing-toolbar/#object">Object tool</a>,
11080 then <kbd class="mouse mod1">Left</kbd>-click the region. If
11081 <a href="/ardours-interface/introducing-the-editor-window/the-editing-toolbar/#smartmode">smart mode</a>
11082 is enabled, click in the lower half of the region.
11086 Note that a <kbd class="mouse mod1">left</kbd> click simply toggles the
11087 selected status of an object, so it can be used to select unselected regions
11091 <h2>Select Multiple Regions in a Track</h2>
11093 <p>Do one of the following:</p>
11096 <li><kbd class="mouse mod1">Left</kbd>-click each region, or</li>
11098 drag a rubberband box from an empty point in a track before the first
11099 region you wish to select to a point within or after the last region
11100 you wish to select (you can <kbd class="mouse mod1">left</kbd>-drag to do this
11101 multiple times), or,
11104 if the regions are all adjacent to one another, click the first region
11105 you wish to select, then <kbd class="mouse mod3">Left</kbd>-click the last
11106 region you wish to select.
11110 <h2>Select All Regions in a Track</h2>
11113 Context-click the track, and in the context menu, navigate to
11114 <kbd class="menu">Select > Select All In Track</menu>.
11118 See the <a href="/working-with-tracks/the-track-context-menu">Track Context Menu</a>
11119 for more information on other per-track selection operations that are available.
11122 <p class="fixme">Broken link</p>
11124 <h2>Select Multiple Regions Across Different Tracks</h2>
11127 <kbd class="mouse mod1">Left</kbd>-click or <kbd class="mouse
11128 mod3">Left</kbd>-click the regions you wish to select.
11131 <h2>Select a Region From the Region List</h2>
11134 Click the name of the region in the
11135 <a href="/ardours-interface/introducing-the-editor-window/editor-lists/region-list/">Region List</a>.
11136 Note that this will do nothing for whole-file regions, since they do not exist
11137 anywhere in a playlist or track.
11142 title: Editing Regions and Selections
11147 title: Trimming Regions
11151 <p class="fixme">Add images, description of mouse cursor changes that signal this type of editing</p>
11154 Changing the <dfn>length</dfn> of a region is a very common editing
11155 operation, often known as <dfn>trimming</dfn>. There are several ways
11156 to accomplish this with Ardour, and some very useful specialized trimming
11160 <h2>Drag-Trimming With the Mouse</h2>
11163 In object mode, move the pointer near the beginning or end of the region.
11164 The cursor will change to indicate that trimming is possible, and you then
11165 <kbd class="mouse">Left</kbd>-drag the edge of the region.
11169 Trimming will obey <a href="/editing-and-arranging/snap-to-the-grid/">Snap settings</a>.
11172 <h2>Click Trimming With the Mouse</h2>
11175 <kbd class="mouse">Left</kbd>-click in the colored bar at the bottom of a region.
11176 If you are nearer to the start of a region, this will trim the start time to the
11177 position of the pointer. If you are nearer to the end of a region, it will trim the
11181 <h2>Keyboard Shortcuts for Trimming</h2>
11183 There are several commands for region trimming. Some use the
11184 <a href="/editing-and-arranging/edit-point">edit point</a> to determine where
11185 to trim to. Some are not bound to any keys by default (but could be via the
11186 Keybindings Editor).
11189 <dl class="wide-table">
11190 <dt><kbd class="menu">Region/trim-front</kbd> <kbd>j</kbd></dt>
11191 <dd>Trim selected region(s) start to edit point.</dd>
11192 <dt><kbd class="menu">Region/trim-end</kbd> <kbd>k</kbd></dt>
11193 <dd>Trim selected region(s) end to edit point.</dd>
11196 <h2 id="trimtonextprevious">Trim to Next/Previous Region</h2>
11199 Sometimes you just want to extend the start or end of region so that it reaches
11200 the end or start of an adjacent region. There is now an operation accessible
11201 from the region context menu, under <kbd class="menu">Edit >Trim > Trim to
11202 Next</kbd> or <kbd class="menu">Edit > Trim > Trim to Previous</kbd>. This
11203 will extend the selected regions so they directly adjoin their neighbours, unless
11204 their source files are not long enough, in which case they will be extended to the
11205 maximum possible. Trim to Next will extend the end of the selected regions to the
11206 start of the next region; Trim to Previous will extend the start of the selected
11207 regions to the end of the previous region.
11210 <dl class="wide-table">
11211 <dt><kbd class="menu">Region/trim-to-previous-region</kbd> <kbd class="mod1">j</kbd></dt>
11212 <dd>Trim the start of selected region(s) to the end of the previous
11214 <dt><kbd class="menu">Region/trim-to-next-region</kbd> <kbd class="mod1">k</kbd></dt>
11215 <dd>Trim the end of selected region(s) to the start of the following
11219 <h2>Other Possible Commands for Trimming</h2>
11222 These are not bound to any keys by default, but could be via the Keybindings
11223 Editor. They can also be sent via OSC or other control protocols.
11226 <dl class="wide-table">
11227 <dt><kbd class="menu">Region/trim-region-to-loop</kbd></dt>
11228 <dd>Trim region to match the current loop range.</dd>
11229 <dt><kbd class="menu">Region/trim-region-to-punch</kbd></dt>
11230 <dd>Trim region to match the current punch range.</dd>
11234 title: Push/Pull Trimming
11239 Normally, when you trim regions by dragging with the mouse, it affects
11240 only the selected regions. Their lengths are directly affected by the
11241 trim operation, but nothing else is. Sometimes though, you might like
11242 to trim a region that directly adjoins another, and keep this relationship
11243 the same—you are not trying to make one of the regions extend
11244 over the other—you would like the junction to move in one
11245 direction or the other as part of the trim. This requires trimming both
11246 regions on either side of the junction, in opposite directions.
11247 <dfn>Push/Pull trim</dfn>, activated by pressing shift key before
11248 starting the drag, will do just that. Here's a few pictures to show the
11249 difference in the results of a normal trim and push/pull trim. First,
11250 the initial situation:
11253 <p class="center"><img src="/images/a3_before_trim.png" alt="region arrangement before trim" /></p>
11256 Here is what happens after we trim the right hand (selected) region by
11257 dragging its starting position earlier:
11260 <p class="center"><img src="/images/a3_after_trim.png" alt="region arrangement after a trim" /></p>
11263 You can see that it now overlaps the earlier region and a crossfade has
11264 been created between them.
11268 Lets look now at what happens if we do the same trim, but <kbd
11269 class="mouse mod3">Left</kbd>-dragging to turn it into a push-pull trim instead:
11272 <p class="center"><img src="/images/a3_after_push_trim.png" alt="region arrangement after a push trim" /></p>
11275 There is no overlap, and the end of the earlier region has been moved
11276 along with the start of the later region, so that they still directly
11281 title: Separate Under
11286 You may have a situation where you have positioned one region over another,
11287 and you just want to cut the lower region so that it directly adjoins both
11288 ends of the overlapping one, with no overlaps. To do this, select the upper
11289 region, then choose <kbd class="menu">Edit > Separate > Separate
11290 Under</kbd>. This will split the lower region so that it no longer overlaps
11291 the upper region at all.
11295 Here is an example where we start with a short region placed so that it
11296 overlaps a longer region:
11299 <p class="center"><img src="/images/a3_before_separate_under.png" alt="region arrangement before separate under" /></p>
11302 When we perform the <dfn>Separate Under</dfn> edit, the lower region splits
11303 in two, with boundaries exactly positioned at the edges of the upper region:
11306 <p class="center"><img src="/images/a3_after_separate_under.png" alt="region arrangement after separate under" /></p>
11309 If the upper region covers only one end of the lower region, then this
11310 operation is equivalent to
11311 <a href="/editing-and-arranging/change-region-lengths/#trimtonextprevious">Trim to Next/Previous Region</a>, depending on which end is covered.
11315 title: Separate Range
11319 <p class="fixme">Add example with images; 1p ≥ 1,000w</p>
11322 A final new editing feature is an operation in the context menu of a
11323 range labeled <kbd class="menu">Separate Regions Under Range</kbd>.
11324 This splits any selected regions that are covered by the range at both
11325 ends of the range (or just one, if the range only covers part of the
11326 region). This makes it easy to generate regions that correspond
11327 precisely to a range.
11331 title: Strip Silence from Audio Regions
11332 menu_title: Stripping Silence
11337 From the region context menu, choose <kbd class="menu">Edit > Strip
11338 Silence</kbd> to detect silence (based on a user-chosen threshold in
11339 <abbr title="Decibels relative to Full Scale">dBFS</abbr>), split a
11340 region based on the boundaries of the silent segments, and remove the
11341 silence. You can also specify a minimum length for silence—useful
11342 when editing very percussive material and just needing to automatically trim
11343 the ends of a region. The dialog looks like this:
11347 <img src="/images/a3_strip_silence.png" alt="strip silence dialog" />
11351 The edit applies to all selected regions, allowing batch processing.
11352 You can also see in the screenshot how the main editor window is used
11353 to show silent segments and report the number and durations of the
11359 title: Fades and Crossfades
11365 title: Create Region Fades and Crossfades
11369 <p class="fixme">Add images--an image is worth more than 1,000 words</p>
11372 Every Region has a fade-in and fade-out. By default, the region fade
11373 is very short, and serves to de-click the transitions at the start and
11374 end of the region. By adjusting the regions fade length, a more
11375 gradual transition can be accomplished.
11378 <h2>Region Fades</h2>
11381 <dfn>Region fades</dfn> are possible at the beginning and end of
11382 all audio regions. In object mode, a grip appears at the top left and
11383 top right of an audio region when the cursor hovers over it. Placing
11384 the cursor over the top of the grip displays the region fade cursor
11385 tip. Click and drag the grip left or right in the timeline to
11386 adjust the length of the fade.
11389 <h2>Crossfades</h2>
11392 <dfn>Crossfades</dfn> refer to the behavior when you want to make
11393 a smooth transition (mix) from one audio region to another on the same
11394 track. Historically, this was done by splicing 2 pieces of analog
11395 tape together, and this concept was carried forward into digital
11396 editing. Each track is a sequence of sound files (regions). If
11397 two regions are butted against each other, there needs to be a method
11398 to splice them smoothly together. The crossfade allows one region
11399 to fade smoothly out, while the next region fades smoothly in, like 2
11400 pieces of tape that have been cut at and angle, and overlapped.
11404 But Ardour uses a more refined "layered" editing model, and
11405 therefore it is possible for multiple regions to be stacked on a single
11406 location with arbitrary overlaps between different layers. For
11407 this reason, crossfades must be implemented differently. We can't
11408 assume that a crossfade is an entitry that exists between 2 regions;
11409 instead each region must have its own associated crossfades at each
11410 end, and the topmost region must always crossfade down to the
11411 underlying region(s), if any.
11415 Ardour solves this problem by putting a crossfade at the beginning
11416 and end of every region. The fades of the bottom-most region are
11417 first rendered, and then each region is rendered on top of the one
11418 below it, with fades at the end of each region providing a crossfade to
11419 the region(s) beneath it.
11423 It is important to understand that region fades <em>are</em> crossfades. When one region has
11424 another region or multiple regions beneath its fade area, then you will
11425 hear the topmost region fade-out be mirrored as a fade-in on the
11426 underlying region(s). The grip for the topmost region will allow
11427 changing the length and type of the crossfade into the underlying
11428 region(s). In this way you can create a complicated series of
11429 crossfades, and then layer another region atop the others, and fade
11430 into <em>that</em> complicated series.
11432 <p class="fixme">An image here would probably help.</p>
11435 If a region doesn't have any region(s) under it, then the region is
11436 crossfaded to silence; for convenience we call this a "fade"
11437 rather than a crossfade.
11440 <h2>Fade Shapes</h2>
11442 To activate/deactivate or change the shape of a region's fade-in or
11443 fade-out, hover the cursor over the region fade grip till the cursor tip
11444 indicates region fade editing and context-click to bring up a context
11445 menu. In the context menu there is a list of options for the
11446 region fade. <kbd class="menu">Activate/Deactivate</kbd> enables and
11447 disables the region fade.
11451 Because each fade is also a crossfade, it has an inverse fade shape
11452 for the audio beneath the fade. It is important to know how the
11453 shapes differ, and which are most suitable for various editing tasks.
11457 The different types of fades are:
11460 <dl class="narrower-table">
11461 <dt><kbd class="menu">Linear</kbd></dt>
11462 <dd>A simple linear coefficient decrease, and its mathematical inverse. A Linear fade starts attentuating quickly and then cuts off even more abruptly at lower levels. When used as a crossfade, the signals are each -6dB attenuated at the midpoint. This is the correct crossfade to use with highly-correlated signals for a smooth transition.</dd>
11463 <dt><kbd class="menu">Constant Power</kbd></dt>
11464 <dd>The constant power curve starts fading slowly and then cuts off abruptly. When used as a crossfade between 2 audio regions, the signals are symetrically attenuated, and they each reach -3dB at the midpoint. This is the correct crossfade to use when you want to splice audio in the general (uncorrelated) case.</dd>
11465 <dt><kbd class="menu">Symmetric</kbd></dt>
11466 <dd>The Symmetric fade starts slowly, then attenuates significantly before transitioning to a slower fade-out near the end of the fade. When used as a crossfade, the Symmetric curve is not mathematically correct like the Equal Power or Linear curves, but it provides a slower fade-out at low volumes. This is sometimes useful when editing two entire works of music together so that the transition is more gradual.</dd>
11467 <dt><kbd class="menu">Fast</kbd></dt>
11468 <dd>The Fast curve is a linear decibel fade; It sounds like a perfectly smooth fader or knob moved to silence. This shape is excellent as a general-purpose fade-in. When used as a crossfade, the inverse fade curve maintains constant power but is therefore non-symmetric; so its use is limited to those cases where the user finds it appropriate.</dd>
11469 <dt><kbd class="menu">Slow</kbd></dt>
11470 <dd>The Slow curve is a modified linear decibel fade. The initial curve starts more gradually so that it has a less abrupt transition near unity. After that, it sounds like a perfectly smooth fader or knob moved to silence. This shape is excellent as a general-purpose fade-out. When used as a crossfade, the inverse fade curve maintains constant power but is therefore non-symmetric; so its use is limited to those cases where the user finds it appropriate.</dd>
11474 Although these fade shapes serve specific purposes, any of the shapes is usable in certain situations. The final decision is an artistic choice rather than a rigidly prescribed one.
11478 These fade curves are developed to provide a range of common uses, and
11479 are developed with the least possible amount of changes in the "slope"
11480 of the line. This provides artifact-free crossfades. Some
11481 DAWs provide complicated fade editors with parametric "spline" controls
11482 of the fade curves. While it might be interesting to develop a
11483 fade curve with a faster cutoff, the mathematical difference between
11484 this and simply shortening the fade is vanishingly small; the
11485 amount of effort to shorten the fade is much easier than fooling around with a
11486 crossfade editor dialog.
11497 title: Understanding Playlists
11502 A <dfn>playlist</dfn> is a list of regions ordered in time. It defines
11503 which parts of which source files should be played and when. Playlists
11504 are a fairly advanced topic, and can be safely ignored for many types
11505 of audio production. However, the use of playlists allows the audio
11506 engineer more flexibility for tasks like multiple takes of a single
11507 instrument, alternate edits of a given recording, parallel effects such
11508 as reverb or compression, and other tasks.
11511 Each audio <dfn>track</dfn> in Ardour is really just a mechanism for
11512 taking a playlist and generating the audio stream that it represents.
11513 As a result, editing a track really means modifying its playlist in
11514 some way. Since a playlist is a list of regions, most of the
11515 modifications involve manipulating regions: their position, length
11516 and so forth. This is covered in the chapter
11517 <a href="/working-with-regions/">Working With Regions</a>.<br />
11518 Here, we cover some of the things you can do with playlists as objects
11519 in their own right.
11522 <h2>Tracks are not Playlists</h2>
11524 It is important to understand that a track <em>is not</em> a playlist.
11525 A track <em>has</em> a playlist. A track is a mechanism for generating
11526 the audio stream represented by the playlist and passing it through a
11527 signal processing pathway. At any point in time, a track has a single
11528 playlist associated with it. When the track is used to record, that
11529 playlist will have one or more new regions added to it. When the track
11530 is used for playback, the contents of the playlist will be heard.
11531 You can change the playlist associated with a track at (almost) any
11532 time, and even share playlists between tracks.
11536 If you have some experience of other
11537 <abbr title="Digital Audio Workstation">DAW</abbr>s, then you might
11538 have come across the term <dfn>"virtual track"</dfn>, normally defined as a track
11539 that isn't actually playing or doing anything, but can be
11540 mapped/assigned to a real track. This concept is functionally
11541 identical to Ardour's playlists. We just like to be little more
11542 clear about what is actually happening rather than mixing old and
11543 new terminology ("virtual" and "track"), which might be confusing.</p>
11545 <h2>Playlists are Cheap</h2>
11548 One thing you should be clear about is that playlists are cheap. They
11549 don't cost anything in terms of CPU consumption, and they have very
11550 minimal efforts on memory use. Don't be afraid of generating new
11551 playlists whenever you want to. They are not equivalent to tracks,
11552 which require extra CPU time and significant memory space, or audio
11553 files, which use disk space, or plugins that require extra CPU time.
11554 If a playlist is not in use, it occupies a small amount of memory, and
11559 title: Playlist Operations
11564 In the track header (editor window, left pane) is a button labelled <kbd
11565 class="menu">p</kbd> (for "Playlist"). If you click on this button, Ardour
11566 displays the following menu:
11569 <dl class="wide-table">
11570 <dt>(Local Playlists)</dt>
11571 <dd>Shows all of the playlists associated with this track, and indicates
11572 the currently selected playlist</dd>
11574 <dd>Displays a dialog to rename the current playlist</dd>
11576 <dd>Creates a new empty playlist, and the track switches to the new playlist</dd>
11578 <dd>Creates a new playlist that is a copy of the current playlist; the track switches to the new playlist</dd>
11579 <dt>Clear Current</dt>
11580 <dd>Removes all regions from the current playlist</dd>
11581 <dt>Select From All</dt>
11582 <dd>Displays a playlist browser to manually choose which playlist this track should use. (You can even select playlists from other tracks here)</dd>
11585 <h2>Renaming Playlists</h2>
11588 Playlists are created with the name of the track of which they are
11589 associated, plus a version number. So, the first playlist for a track
11590 called "Cowbell" will be called <samp>Cowbell.1</samp>. This name will
11591 be used to define the names of any regions added to the playlist by
11592 recording. You can change the name at any time, to anything you want.
11593 Ardour does not require that your playlist names are all unique, but it
11594 will make your life easier if they are. Suggested examples of user-assigned
11595 names for a playlist might include <kbd class="input">Lead Guitar, 2nd
11596 take</kbd>, <kbd class="input">vocals (quiet)</kbd>,
11597 and <kbd class="input">downbeat cuica</kbd>. Notice how these might be
11598 different from the associated track names, which for these examples might
11599 be <kbd class="input">Lead Guitar</kbd>,
11600 <kbd class="input">Vocals</kbd> and <kbd class="input">Cuica</kbd>. The
11601 playlist name provides more information because it is about a specific
11602 version of the material that may (or may not) end up in the final version
11607 If you are going to rename your playlists, do so before recording new
11612 It appears that recorded regions are not named after the playlist, but
11616 <h2>Sharing Playlists</h2>
11619 It is entirely possible to <dfn>share playlists</dfn> between tracks. The only
11620 slightly unusual thing you may notice when sharing is that edits to the
11621 playlist made in one track will magically appear in the other. If you
11622 think about this for a moment, its an obvious consequence of sharing.
11623 One application of this attribute is parallel processing, described
11628 You might not want this kind of behaviour, even though you still want
11629 two tracks to use the same (or substantially the same) playlist. To
11630 accomplish this, select the chosen playlist in the second track, and
11631 then use New Copy to generate an <dfn>independent copy</dfn> of it for
11632 that track. You can then edit this playlist without affecting the original.
11636 title: Playlist Usecases
11640 <h3>Using Playlists for Parallel Processing</h3>
11643 One of the uses of playlists is to apply multiple effects to the same
11644 audio stream. For example, let's say you would like to apply two
11645 different non-linear effects such as distortion or compression to the
11646 same audio source (for linear effects, you could just apply them one after
11647 the other in the same track).<br />
11648 Create a new track, apply the original track's playlist, and
11649 then apply effects to both tracks independently.
11653 The same result could be achieved by feeding your track to multiple busses which
11654 then contain the processing, but this increases the overall latency,
11655 complicates routing and uses more space in the Mixer window.
11658 <h2>Using Playlists for "Takes"</h2>
11661 Using Playlists for <dfn>takes</dfn> is a good solution if you are going
11662 to need the ability to edit individual takes, and select between them.
11666 Each time you start a new take, create a new playlist with
11667 <kbd class="menu">p > New</kbd>
11668 Later, you can Select your way back to previous or later takes as
11673 If you want to create a composite edit from multiple takes, create a new
11674 track to assemble the final version, and "cherry pick" from the playlists
11675 in the original track by copying regions over as required.
11679 Alternatively, record each successive take on top of the
11680 others in "layers" and then edit them using the layer tools, explained
11684 <h2>Using Playlists for Multi-Language Productions</h2>
11687 The same approach as for takes is useful when you are recording or
11688 editing content in multiple versions, such as dubbed movie dialog in
11689 several languages, and you want all versions on the same track, to
11690 get the same processing. <br />
11691 Select the appropriate language before exporting the session.
11696 title: Rhythm Ferret
11710 title: MIDI Editing
11721 Ardour's handling of <dfn><abbr title="Musical Instrument Digital Interface">MIDI</abbr> editing</dfn> differs from most other <abbr title="Digital Audio Workstation">DAW</abbr>s and MIDI sequencers.
11724 <h2>Key features of Ardour MIDI handling</h2>
11728 All editing is done in-place, in-window. There is no separate piano roll window or pane. Edit notes right where you see them.
11731 All MIDI I/O is done via <abbr title="Jack Audio Connection Kit">JACK</abbr> for sample accurate timing and maximal efficiency when communicating with external software synthesizers.
11734 Every MIDI track has its own JACK MIDI port for input; it may have an arbitrary combination of audio and MIDI outputs, depending on the signal processing in the track; the full flexibility of JACK connectivity is present for MIDI just as it is for audio.
11737 Full automation for MIDI tracks, integrated with the handling of all MIDI <abbr title="Continuous Controller">CC</abbr> data for each track.
11740 Controllers (CC data) can be set to discrete or continuous modes (the latter will interpolate between control points and send additional data).
11743 There is a <em>Normal</em> and a <em>Percussive</em> mode for note data editing.
11746 The <dfn>scroomer</dfn> is a combination scroll/zoom tool for altering
11747 the zoom level and range of visible MIDI data.
11751 <h2>Notable Differences</h2>
11755 Fader (volume) control currently operates on transmitted MIDI data, not by sending CC #7.
11758 All note/data editing is per-region. There are no cross-region operations at this time.
11761 By default, copying a MIDI region creates a <dfn>deep link</dfn>—both regions share the same data source, and edits to the contents of one will affect the other. To break this link, select <kbd class="menu">MIDI > Unlink from other copies</kbd> from the region context menu, after which the selected region(s) will have their own copies of <em>only</em> the data that they visually display on screen. You will not be able to trim the region back its original length after an Unlink operation, and the operation cannot be undone.
11766 title: Fundamental Concepts
11770 <p class="fixme">Check to see if this is still true for v5</p>
11772 <p>Ardour's MIDI editing is based on two basic principles:</p>
11775 <li>Editing should be done without having to enter a new window</li>
11777 Editing should be able to carried out completely with the keyboard,
11778 or completely with the mouse, or with any combination of the two.
11783 Currently, MIDI editing is primarily restricted to note data. Other
11784 kinds of data (controller events, sysex data) are present and can be
11785 added and deleted, but not actually edited.
11788 <h2>Fundamentals of MIDI Editing in Ardour 3</h2>
11791 MIDI, just like audio, exists in <dfn>regions</dfn>. MIDI regions
11792 behave like audio regions: they can be moved, trimmed, copied (cloned),
11793 or deleted. Ardour allows either editing MIDI (or audio) regions, or MIDI
11794 region content (the notes), but never both at the same time. The
11795 <kbd>e</kbd> key (by default) toggles between <dfn>region level</dfn>
11796 and <dfn>note level</dfn> editing, as will double-clicking on a MIDI region.
11800 One very important thing to note: editing note information in Ardour
11801 occurs in only a single region. There is no way currently to edit in note
11802 data for multiple regions at the same time, so for example you cannot select
11803 notes in several regions and then delete them all, nor can you copy-and-paste
11804 notes from one region to another. You can, of course, copy and paste the
11805 region(s), just as with audio.
11809 title: Create MIDI Tracks
11814 To create a new <dfn>MIDI track</dfn>, choose <kbd class="menu">Session >
11815 Add Track/Bus</kbd>. In the Add Track/Bus dialog, pick <kbd class="menu">MIDI
11816 Track</kbd> from the combo selector at the upper right.
11820 You may decide to use a track template if you have one. You may also know the instrument (a plugin that will generate audio in response to receiving MIDI) that you want to use in the track. The Instrument selector will show you a list of all plugins that you have which accept MIDI input and generate audio output.
11823 <p class="fixme">Remove "you" language</p>
11826 title: Create MIDI Regions
11831 Although recording MIDI is a common way to create new MIDI regions, it is
11832 often desirable to do so as part of editing/arranging.
11836 To create a new MIDI region, simply <kbd class="mouse">Left</kbd>-click in
11837 a MIDI track. A region will be created that is one bar long. It can
11838 <a href="/editing-and-arranging/changing-region-lengths">trimmed</a> to any
11842 <p class="fixme">Broken link</p>
11845 Once a region has been created, <a href="/editing-and-arranging/edit-midi/add-new-notes">notes can be added</a> to it.
11849 title: Add New Notes
11853 <h2>Adding new notes</h2>
11856 In general, most MIDI editing will be done with the mouse in object mode. This allows selecting notes, copying, moving or deleting them and altering their properties (see below). <em>Adding</em> notes to a MIDI region using the mouse requires dragging with the mouse if they are to be anything other than a fixed length. Since this would normally be a selection operation if the mouse is in object mode, there needs to be some way to tell Ardour to <dfn>draw</dfn> new notes within a MIDI region. Ardour provides two ways do this: one is to leave the mouse in object mode and <kbd class="mouse mod1">Left</kbd>-drag; the other, useful if entering a lot of notes for a while, is to switch the mouse into <kbd class="menu">Draw Notes</kbd> mode, which will now interpret any drags and clicks as requests to add a new note. For obvious reasons, Draw Notes mode cannot be used while using region-level editing.
11859 <p>So, to summarize:</p>
11861 <dl class="wide-table">
11862 <dt>Selecting, moving, copying, trimming, deleting <em>regions</em></dt>
11864 leave <kbd class="menu">Note Level Editing</kbd> disabled, use object,
11865 range or other mouse modes
11867 <dt>Selecting, moving, copying trimming, deleting <em>notes</em></dt>
11868 <dd>enable <kbd class="menu">Note Level Editing</kbd>and use mouse object mode</dd>
11869 <dt>Adding new notes</dt>
11871 enable "Note Level Editing" and then either
11873 <li>use mouse object mode and <kbd class="mouse mod1">Left</kbd>-drag,
11875 <li>use mouse draw mode.</li>
11880 <!-- FIXME: This is needed to keep the table from sucking up the following note's styling. Probably need a fix in the CSS. -->
11884 It is also a <a href="/editing-and-arranging/edit-midi/step-entry">a step entry editor</a> allowing entry of notes from a virtual keyboard, and lots more besides.
11888 title: Change Note Properties
11893 Details about a selected note can be viewed by context-clicking on it. The
11894 dialog that pops up will also allow modification of all the properties of the
11895 selected note(s). Individual properties can be modified more efficiently using
11896 the techniques described below:
11900 <dt>Moving notes</dt>
11902 Right arrow and Left arrow move the selected note(s) early and later in time.
11904 <dt>Changing pitch values</dt>
11906 <kbd>↑</kbd> increases the pitch of the selected notes.<br />
11907 <kbd>↓</kbd> reduces the pitch of the selected notes.<br />
11908 If any of the selected notes are already at the maximum or minimum value,
11909 no changes will be made to any of the notes, to preserve relative pitches.
11910 This can be overridden with <kbd class="mod2">‌</kbd>. The default shift
11911 distance is one semitone. Use <kbd class="mod3">‌</kbd> to alter this to
11914 <dt>Changing velocity values</dt>
11916 <kbd class="mod1">↑</kbd> increases the velocity of the selected notes.
11918 <kbd class="mod1">↓</kbd> reduces the velocity of the selected
11920 If any of the selected notes are already at the maximum or minumum value,
11921 no changes will be made to any of the notes, to preserve relative velocities.
11922 This can be overridden with <kbd class="mod2">‌</kbd>.
11923 Presssing <kbd>v</kbd> will popup a dialog that will allow the setting of
11924 the absolute velocity value of each selected note. Finally, the scroll wheel
11925 <kbd class="mouse">⇑</kbd> <kbd class="mouse">⇓</kbd> will also
11926 adjust notes in the same way as the arrow keys.
11927 <p class="note">Like the arrow keys, it only affects selected notes, not the note the pointer is over.</p>
11929 <dt>Changing channel</dt>
11931 Press <kbd>c</kbd> to bring up a dialog that allows viewing and altering the
11932 MIDI channel of the selected notes. If the selected notes use different
11933 channels, they will all be forced to the newly selected channel.
11935 <dt>Changing start/end/duration</dt>
11937 <kbd>,</kbd> (comma) will alter the start time of the note. <br />
11938 <kbd>.</kbd> (period) will alter the end time of the note. Both keys will by
11939 default make the note longer (either by moving the start earlier or the end
11940 later). For the opposite effect, use <kbd class="mod1">,</kbd>/<kbd
11941 class="mod1">.</kbd>. The note will be altered by the current grid setting.
11942 To change the start/end positions by 1/128th of a beat, use the <kbd
11943 class="mod2">‌</kbd> modifier in addition to these shortcuts.
11945 <dt>Quantization</dt>
11947 <kbd>q</kbd> will quantize the selected notes using the current quantize
11948 settings. If the quantize settings have not been set for this session yet,
11949 the quantize dialog will appear. <kbd class="mod2">q</kbd> will display the
11950 quantize dialog to allow resetting of the quantize settings, and then
11951 quantize the selected notes. The default quantize settings are: quantize
11952 note starts to the current grid setting, no swing, no threshold, full
11955 <dt>Step Entry, Quantize etc.</dt>
11956 <dd><em>missing</em></dd>
11959 <p class="fixme">Add missing content</p>
11962 title: Handling Overlapping Notes
11963 menu_title: Overlapping Notes
11968 Every MIDI note consists of two messages, a NoteOn and a NoteOff. Each one
11969 has a note number and a channel (also a velocity, but that isn't relevant
11970 here). The MIDI standard stresses that it is invalid to send a second NoteOn
11971 for the same note number on the same channel before a NoteOff for the first
11972 NoteOn. It is more or less impossible to do this with a physical MIDI
11973 controller such as a keyboard, but remarkably easy to trigger when editing
11974 in a DAW—simply overlapping two instances of the same note will do it.
11978 Ardour offers many options for how to deal with instances where you overlap
11979 two instances of the same note. Which one to use is a per-session property
11980 and can be modified from <kbd class="menu">Session > Properties > Misc > MIDI
11984 <dl class="wide-table">
11985 <dt>never allow them</dt>
11986 <dd>Edits that would create note overlaps are not allowed</dd>
11987 <dt>don't do anything in particular</dt>
11988 <dd>Ardour leaves overlapping notes alone—the behaviour of a MIDI receiver (plugin or hardware) is undefined</dd>
11989 <dt>replace any overlapped existing note</dt>
11990 <dd>When one note is moved to overlap another, remove the one that wasn't being moved</dd>
11991 <dt>shorten the overlapped existing note</dt>
11992 <dd>When one note is moved to overlap another, shorten the one that wasn't moved so that there is no overlap</dd>
11993 <dt>shorten the overlapping new note</dt>
11994 <dd>When one note is moved to overlap another, shorten the one that was moved so that there is no overlap</dd>
11995 <dt>replace both overlapping notes with a single note</dt>
11996 <dd>When one note is moved to overlap another, merge them both to form one (longer) note</dd>
12000 Changing the option in use will not retroactively make changes—it will
12001 only affect new note overlaps created while the option remains chosen.
12004 <p class="warning">
12005 Ardour does not check for note overlaps across tracks or even across regions.
12006 If you create these, it is your responsibility to deal with the consequences.
12010 title: Note Cut, Copy and Paste
12015 While in note edit mode, selected notes can be cut using
12016 <kbd class="mod1">x</kbd>, copied with <kbd class="mod1">c</kbd> and
12017 deleted with <kbd>Delete</kbd>, just as regions can. Once cut or
12018 copied, they can be pasted at the edit point using
12019 <kbd class="mod1">v</kbd>.
12023 title: Note Selection
12027 <h2>Selecting/Navigating note-by-note</h2>
12030 Tab selects the next note. <kbd class="mod1">Tab</kbd> selects the previous
12031 note. <kbd class="mod3">Tab</kbd> or <kbd class="mod13">Tab</kbd> adds
12032 the next/previous note to the selection.
12035 <h2>Selecting notes with the mouse</h2>
12038 While in mouse object mode, you can click on a note to select it. Once you
12039 have selected one note, <kbd class="mouse mod3">Left</kbd>-click on another
12040 to select all notes between them. To add or remove a note to/from the
12041 selection, click <kbd class="mouse mod1">Left</kbd>. You can also click and
12042 drag outside of a note to <dfn>rubberband select</dfn> a series of notes.
12046 Three different selection operations are possible if you switch to mouse
12052 Vertical drags within the MIDI region will select all notes within the
12053 spanned note range.
12056 Clicks on the piano header of the track (if visible—the track must
12057 be tall enough to display it) will select all occurences of that note.
12060 Drags on the piano header of the track will select all notes within the
12061 spanned note range.
12065 <h2>Listening to Selected Notes</h2>
12068 If <kbd class="menu">Edit > Preferences > MIDI > Sound MIDI notes
12069 as they are selected</kbd> is enabled, Ardour will send a pair of
12070 NoteOn/NoteOff messages through the track, which will typically allow you to
12071 hear each note as it is selected.
12075 title: Quantize MIDI
12079 <p class="fixme">Needs fleshing out; this is a bit thin at the moment</p>
12081 <p><img class="right" src="/images/a3_quantize.png" alt="quantize dialog" /></p>
12083 <p>Accessed via <kbd>q</kbd>, the dialog includes:</p>
12086 <li>Options for grid, legato and groove quantize</li>
12087 <li>Snap note start, or end</li>
12088 <li>Snap to current grid, or many beat subdivisions</li>
12089 <li>Quantize threshold (how far away from a chosen position a note must be in order to be quantized)</li>
12090 <li>Strength (how close to move a note to its new position, as a percentage of the nominal distance)</li>
12100 Sometimes editing MIDI data directly from a connected MIDI device like a musical
12101 keyboard or pad controller is desired; sometimes using the mouse is. Sometimes
12102 the fine-grained control, precision and speed of entry that comes from using a
12103 custom note entry dialog is; the <dfn>Step Entry</dfn> dialog aims to be the
12108 The step entry dialog is accessed via a right click context menu on the
12109 rec-enable button, because step entry is related to <em>recording</em> MIDI
12110 data—step editing and recording MIDI via the track's MIDI port cannot be
12111 done simultaneously.
12114 <p class="center"><img src="/images/a3_step_entry.png" /></p>
12116 <p>The dialog (closely modeled after Logic's) contains:</p>
12120 Chord entry switch (successive notes are stacked in a chord until
12121 it is released)</li>
12122 <li>Note length selectors</li>
12123 <li>Triplet toggle</li>
12124 <li>Normal, single, double and triple dotted note selectors</li>
12125 <li>Sustain button</li>
12128 <li>Insert a rest of the current selected note duration</li>
12129 <li>Insert a rest of the current grid step size</li>
12130 <li>Move back to the last inserted note</li>
12131 <li>Move forward to the next beat, or bar</li>
12132 <li>Move forward to the edit point</li>
12135 <li>Dynamics controls from pianississimo to fortississimo</li>
12136 <li>Channel selector</li>
12138 Explicit numerical velocity selector, for more precise control
12139 than the dynamics selectors offer
12141 <li>Octave selector</li>
12142 <li>Buttons to add bank or program change events</li>
12143 <li>a full 10 octave virtual keyboard</li>
12147 More or less all actions in the step entry dialog can be driven directly from
12148 the keyboard, so moving back and forth from keyboard to mouse to do complex data
12149 insertion is unnecessary.
12153 title: Patch Change
12158 A <dfn>patch change</dfn> is Ardour's description for a combination
12159 of MIDI program change and bank select messages, that (typically)
12160 instruct a synthesizer or sampler to select a different sound to use
12161 on a particular channel.
12165 Patch changes are shown within MIDI regions as small rectangles or
12166 <dfn>flags</dfn>, as shown below:
12169 <p class="fixme">Add missing images</p>
12171 <h2>Inserting Patch Changes</h2>
12175 <a href="/editing-and-arranging/edit-point">edit point</a> is
12176 located where the patch change should be (within an existing
12177 MIDI region). Context click, and from the MIDI region's context menu,
12178 select <kbd class="menu">MIDI > Insert Patch Change</kbd>. A
12179 dialog will appear allowing the setting of the bank and program values.
12182 <h2>Modifying Patch Changes</h2>
12185 Context-clicking on a patch change will bring up the same dialog that
12186 was used to create it, allowing the modification of the program and/or bank
12191 The mouse wheel can also be used: <kbd class="mouse">⇑</kbd>/<kbd
12192 class="mouse">⇓</kbd> on the patch change will alter the program
12193 number, <kbd class="mouse mod1">⇑</kbd>/<kbd
12194 class="mouse mod1">⇓</kbd> will modify the bank number.
12197 <h2>Moving Patch Changes</h2>
12200 Just <kbd class="mouse">Left</kbd>-drag on the patch change to move it
12204 <h2>Removing Patch Changes</h2>
12207 Put the mouse pointer into the rectangular area, and press <kbd>Del</kbd>
12208 or use the delete mouse button operation. This will remove the patch change
12209 (the operation can be undone).
12212 <h2>Names for Patch Numbers: MIDNAM files</h2>
12215 …mising…
12218 <p class="fixme">Add missing content</p>
12221 title: Independent and Dependent MIDI Region Copies
12222 menu_title: Copy MIDI Region
12227 When <dfn>copying a MIDI region</dfn>, Ardour has to decide whether to make the
12228 copy refer to the same data as the original or not. If it does refer
12229 to the same data, then editing either the copy or the original will
12230 affect the both of them. If it refers to an independent copy of the
12231 data then each one can be edited without affecting the other.
12234 <h2>Changing dependent/independent copying for the entire session</h2>
12237 <kbd class="menu">Sesson > Properties > Misc > MIDI region copies are
12238 independent</kbd> can be used to control the default behaviour when
12239 making a copy of a MIDI region.
12243 When enabled, every new copy of a MIDI
12244 region results in a copy being made of the MIDI data used by the
12245 region, and the new copy of the region will refer to that data.
12249 When disabled, every new copy of a MIDI region will refer to the same
12250 MIDI data, and thus editing any copy will change the contents of all
12255 Changing the status of this option has no effect on the existing
12256 dependent/independent status of existing region copies.
12259 <h2>Making an existing copy of a MIDI region independent</h2>
12262 Context-click on the MIDI region to be made independent. From the context menu, select <kbd class="menu">MIDI > Unlink From Other Copies</kbd>. The copy is now using an independent version of the data, and edits to the copy will affect only the copy. Other linked copies will continue to share data.
12266 The copied data only covers the extent of the region when the copy is made. If the region was already trimmed and then a copy is made, an independent copy will have no access to data that is earlier or later than the bounds of the region it was copied from. Put differently, if an independent copy of a trimmed MIDI region is made, it cannot be "untrimmed" to a larger size.
12270 title: Automating MIDI - Pitch bending and aftertouch
12271 menu_title: Automating MIDI
12276 Adding pitch bending or aftertouch can add a lot of subtlety to an otherwise plain sounding midi region and help humanize it.
12279 <img src="/images/MIDI_pitch_bending.png" alt="Automation: pitch bending" />
12282 Pitch bending and aftertouch both work the same way, through automation. Right click the MIDI track's header > Automation > Bender <em>(or Pressure)</em> > <em>choose the channel you want to bend</em>.
12286 Using the Draw tool, as for all the automation, allows creation of a gradual change from one drawn point to another. A line in the center produces no change to the pitch, while a line above the center will bend the pitch to a higher note (up to 4 semitones) and a line going under the middle will bend the pitch to a lower note.
12290 The values can be anything between 0 (-4 semitones) to 16,383 (+4 semitones). No automation or a value of 8,192 means no pitch shifting.
12294 Aftertouch works very similarly, though the values are between 0 and 127. It should be noted that aftertouch differs from velocity, as aftertouch allows to slightly change the timbre or create a vibrato, while the velocity sets the power with which the note is played (e.g. on a keyboard, the key is hit).
12298 title: Transforming MIDI - Mathematical operations
12299 menu_title: Transforming MIDI
12304 Considering the numerical nature of MIDI events, it can be tempting to apply mathematical transformations to our MIDI regions by using mathematical operations. Ardour makes it very easy and powerful with the Transform tool.
12307 <p class="center"><img src="/images/MIDI_transform.png" alt="MIDI transformation" /></p>
12310 To access the Transform tool, right click the MIDI region > <em>name_of_the_region</em> > MIDI > Transform...
12314 First, select the property you want to modify in the 'Set' field, then change the target value using the 2 following fields. If you want to add more operands, click the "+" sign to create new lines. You can remove a superfluous line using the "-" sign on the right of the newly created line.
12318 In the picture above, we've used the Transform tool to add a bit of humanization, by slightly changing the velocity of each note of the region, by a random number between -19 and +19 from it's original velocity. So we've used 3 operations:
12322 <li>Set velocity to this note's velocity</li>
12323 <li>+ a random number from 1 to 20</li>
12324 <li>- a random number from 1 to 20</li>
12327 <p>Each note will trigger a calculation of its own, so its velocity will be increased by a random number between 1 and 20, then decreased by a random number between 1 and 20.</p>
12330 The properties that can be computed are:
12334 <li>note number (eg C2 is note number 24, C#2 is 25 and so on)</li>
12335 <li>velocity (the global intensity of the note, between 0 and 127)</li>
12336 <li>start time (in beats)</li>
12337 <li>length (in beats)</li>
12342 and the calculation may be based on the following properties:
12346 <li>this note's</li>
12347 <li>the previous note's</li>
12348 <li>this note's index (number of the note, i.e. the first one is 0, the second is 1, etc.)</li>
12349 <li>exactly (for a constant value, between 1 and 127)</li>
12350 <li>a random number from <em>lower</em> to <em>higher</em> (<em>lower</em> and <em>higher</em> beeing constant values between 1 and 127)</li>
12351 <li>equal steps from <em>lower</em> to <em>higher</em> (<em>lower</em> and <em>higher</em> beeing constant values between 1 and 127)</li>
12355 The mathematical operators can be:
12359 <li>+ (addition)</li>
12360 <li>- (substration)</li>
12361 <li>* (multiplication)</li>
12362 <li>/ (euclidian division)</li>
12363 <li>mod (rest of the euclidian division)</li>
12367 All this operations can be very handy, as long as you find a mathematical way to achieve your goal. Beware though of odd "border cases": division by zero (which does nothing), using the note's index and forgetting it starts at 0 and not 1, etc.
12371 You can nevertheless create very interesting results, like humanizing (randomizing the velocity, start time and duration of all the notes), creating arpeggios, automating tedious tasks, transposing, etc.
12376 title: MIDI Editors
12382 title: MIDI Scene Automation
12387 Ardour is capable of being used to both record and deliver MIDI
12388 "scene" automation. These are MIDI messages typically used to switch
12389 presets or "scenes" on a variety of external equipment (or
12390 software), including lighting and other audio/video tools. A common
12391 use case is to automatically change presets between songs or to change
12392 lighting conditions based on a specific position on the timeline.
12396 Each change from one scene to another is represented by a marker in
12401 Technically, scene changes are delivered as a combination of bank and
12402 program change MIDI messages. MIDI allows for 16,384 banks, each with
12406 <h2>Recording Scene Changes</h2>
12409 Ardour has a dedicated MIDI port named "Scene In". Connect this port
12410 to whatever source(s) of MIDI scene (bank/program change) messages you
12415 Whenever the global record enable button is engaged and Ardour's
12416 transport is rolling, a new marker will be created for each scene
12417 change message received via the "Scene In" port.
12421 If two different scene changes are received within a certain time
12422 period, only the later one will be recorded as a new marker. The
12423 default threshold for this is one millisecond.
12427 If a scene change message is received while the playhead is close to
12428 an existing marker with an associated scene change, the recording
12429 process will alter the scene change in the existing marker rather than
12430 adding a new one. The default threshold for this "proximity" test is one
12434 <h2>Manually Creating Scene Changes</h2>
12437 This feature is not currently implemented.
12440 <h2>Playing back Scene Changes</h2>
12443 Ardour has a dedicated MIDI port named "Scene Out". Connect this port
12444 to wherever you wish to send MIDI scene (bank/program change) messages.
12448 When the global record enable button is
12449 <em>not</em> enabled, the relevant message(s) will be sent via the
12450 "Scene Out" port as the playhead rolls past each marker with a scene
12451 change associated with it.
12454 <h2>Editing Scene Changes</h2>
12457 This feature is not currently implemented.
12460 <h2>Disabling Scene Changes</h2>
12463 This feature is not currently implemented.
12468 title: Score Editor
12474 title: MIDI Event List
12488 title: Time, Tempo and Meter
12494 title: Tempo and Meter
12499 Tempo and meter belong together. without both, there is no way to know where a beat lies in time.
12503 Tempo provides a musical pulse, which is divided into beats and bars by a meter. When tempo is changed or an audio-locked meter is moved, all objects on the timeline that are glued to bars and beats (locations, regions) will move in sympathy.
12507 When performing meter or tempo operations, it is advised to show the BBT ruler (available by right-clicking an existing marker or ruler name), and that the constraint modifier is set (in Preferences->User Interaction) so that no other modifiers share its key combination.
12511 The constraint modifier is the "Constrain drags using:" setting under the "When Beginning a Drag" heading. One viable setting is <kbd class="mod1"></kbd><kbd class="mod3"></kbd>.
12517 Tempo can be adjusted in several ways:
12521 <li>by double clicking on a tempo marker. This opens the tempo dialog which will allow entering the tempo directly into an entry box.</li>
12522 <li>by using the constraint modifier (which is set in Preferences->User Interaction) to drag the beat/bars in the BBT ruler or the tempo/meter lines.
12523 This is the preferred way to match the tempo to previously recorded material.</li>
12526 When dragging the BBT ruler, musical snap has no effect, however be warned that non-musical snap is in effect if enabled. Snapping to a minute while dragging a beat may result in some verly slow tempos. Snapping a beat to a video frame however is an incredibly useful way to ensure a soundtrack is punchy and synchronised to the sample.
12529 <li>by holding down the constaint modifier while dragging a tempo vertically. This is used for more complex tempo solving, as it allows changing the position and tempo of a tempo marker in the same drag; it is, however, a useful way to adjust the first tempo for a quick result.</li>
12533 A tempo may be locked to audio or musical time. This may be changed by right-clicking on a tempo. If a tempo is locked to music, an entry will be available to lock it to audio. Similarly an audio-locked tempo may be locked to music by right clicking it an selecting the "Lock to Music" entry.
12537 Audio locked tempo marks stay in their frame position as their neigbours positions are altered. Their pulse (musical) position will change as their neighbours move. Music locked tempo marks move their frame position as their neighbours are moved, but keep their pulse position (they will move as the music is moved).
12541 A tempo may be ramped or constant.
12543 <li>A constant tempo will keep the sesion tempo constant until the next tempo section, at which time it will jump instantly to the next tempo. These are mostly useful abrupt changes, and is the way in which traditional DAWs deal with tempo changes (abrupt jumps in tempo).</li>
12544 <li>A ramped tempo increases its tempo over time so that when the next tempo section has arrived, the sesion tempo is the same as the second one. This is useful for matching the session tempo to music which has been recorded without a metronome. Ramps may also be used as a compositional tool, but more on this later. Note that a ramp requires two points—a start and an end tempo. The first tempo in a new session is ramped, but appears to be constant as it has no tempo to ramp to. It is only when a new tempo is added and one of them is adjusted that a ramp will be heard. The same applies to the last tempo in the session—it will always appear to be constant until a new last tempo is added and changed.
12550 <img src="/images/constant-tempo.png" alt="A constant tempo displaying the tempo at the playhead in the audio clock">
12552 A series of constant tempo markers. The tempo at the playhead position is the same as the previous tempo.
12556 <img src="/images/ramped-tempo.png" alt="A ramped tempo displaying the tempo at the playhead in the audio clock">
12558 A ramped tempo marker. The tempo at the playhead position is approaching the second tempo. Because the playhead is equidistant (in beats) between the
12559 two markers, the tempo at the playhead is the average of the two.
12563 To add a new tempo, use the primary modifier and click on the tempo line at the desired position. The new tempo will be the same as the tempo at the position of the mouse click (it will not change the shape of the ramp).
12567 To copy a tempo, hold down the primary modifier and drag the tempo desired to be copied.
12573 Meter positions beats using the musical pulse of a tempo, and groups them into bars using its number of divisions per bar.
12577 The first meter in a new session may be moved freely. It has an associated tempo which cannot be dragged by itself (although all others can). It can be moved freely and is locked to audio.
12581 New meters are locked to music. They may only occur on a bar line if music locked.
12585 An audio locked meter provides a way to cope with musical passages which have no meter (rubato, pause), or to allow a film composer to insert a break in music which cannot be counted in beats.
12589 If a meter is audio-locked, its bar number is fixed from the point at which it left the main score. That bar number cannot be changed, nor can tempo motion allow the previous bar to overlap. If another bar is needed, lock the meter to music again (right click->"Lock to Music"), drag the meter to the desired bar and re-lock to audio. The new bar may be freely moved again.
12592 <li>To change a meter, double click it. A dialog will appear.</li>
12593 <li>To copy a meter, hold down <kbd class="mod1"></kbd> and drag it.</li>
12596 title: Techniques for Working with Tempo and Meter
12600 <h3>Techniques </h3>
12603 As a general approach, the best way to control tempo ramps is to use them in pairs.
12607 Lets imagine we want to match the click to a drum performance recorded in 'free time'.
12611 The first thing we need to do is determine where the first beat is. Drag the first meter to that position.
12615 Now the first click will be in time with the first beat. To get all the other beats to align, we listen to the drums and visually locate the position of bar 4. You may wish to place the playhead here.
12619 We then locate bar 4 in the BBT ruler and while holding the constraint modifier, drag it to bar 4 in the drum performance.
12623 We notice that the click now matches the first 4 bars, but after that it wanders off. You will see this reflected in the tempo lines.. they won't quite match the drum hits. We now locate the earliest position where the click doesn't match, and place a new tempo just before this. Two bars later, place another new tempo.
12627 Now while dragging any beat <strong>after</strong> the second new tempo, watch the drum audio and tempo lines until they align.
12631 Notice what is happening here: the tempo previous to your mouse pointer is being changed so that the beat you grabbed aligns with the pointer. Notice that the tempo lines previous to the changed one also move. This is because the previous tempo is ramping <strong>to</strong> the tempo you are changing. Look further to the left. The tempo lines in the first four bars do not move.
12635 Again, some time later the click will not align. I didn't say this was easy.
12639 Repeat the same technique: add two new tempos and drag the BBT ruler <strong>after</strong> the newest tempo so that the beats align with the audio again.
12643 In a general sense, adding tempo markers in pairs allows you to 'pin' your previous work while you move further to the right.
12646 <h3>Another use case: matching accelerando</h3>
12649 Imagine you have some video and have located where your music cue begins. Move the first meter to that frame (you may snap to TC frames, but not music with an audio locked meter).
12653 Find a starting tempo by listening to the click while you drag the meter's tempo vertically using the constraint modifier.
12657 You have the playhead at point where the dude slams the phone down, and your idea was that 4|1|0 would be good for this, but you want an accelerando to that point.
12661 Add a tempo at bar 4.
12665 Holding down the constraint modifier, and with snap set to 'TC Frames', grab the BBT ruler just <strong>after</strong> 4|1|0. Drag the ruler so that 4|1|0 snaps to the 'phone' frame.
12669 Notice what happened: The second tempo was changed.<br />
12670 You had set a musical position for the second tempo marker. It was not aligned with the frame you wanted, so you dragged the BBT ruler, making the second tempo provide enough pulses over the ramp for 4|1|0 to align with the desired frame.
12674 If the ramp doesn't feel right, you may add more points within it and keep adjusting beat positions in a similar manner.
12680 Audio locked meters can be useful when composing, as they allow a continuous piece of music to be worked on in isolated segments, preventing the listening fatigue of a fixed form. Reassembly is left as an excercise for the reader.
12685 title: Memory Locations
12691 title: Arranging Regions
12697 title: Region Loops and Groups
12711 title: Basic Mixing
12717 title: Metering in Ardour
12721 <h2>Introduction</h2>
12724 An engineer reading and using audio level meters compares to a musician
12725 reading or writing sheet-music. Just like there are virtuoso musicians
12726 who can't read a single note, there are great sound-engineers who just
12727 go by their ears and produce great mixes and masters without ever looking
12732 Yet, if you want to work in or with the broadcast industry, it is
12733 usually unavoidable to use meters.
12737 Audio level meters are very powerful tools that are useful in every
12738 part of the entire production chain:
12742 <li>When tracking, meters are used to ensure that the input
12743 signal does not <dfn>overload</dfn> and maintains reasonable
12744 <dfn>headroom</dfn>.</li>
12745 <li>Meters offer a <dfn>quick visual indication</dfn> of a
12746 activity when working with a large number of tracks.</li>
12747 <li>During mixing, meters provide an rough estimate of the
12748 <dfn>loudness</dfn> of each track.</li>
12749 <li>At the mastering stage, meters are used to check
12750 compliance with upstream <dfn>level</dfn> and <dfn>loudness
12751 standards</dfn> and to optimize the <dfn>loudness range</dfn>
12752 for a given medium.</li>
12755 <h2>Meter Types</h2>
12758 A general treatise on metering is beyond the scope of this
12759 manual. It is a complex subject with a history...
12760 For background information and further reading we recommend:
12764 <li><a href="http://www.digido.com/how-to-make-better-recordings-part-2.html">How To Make Better Recordings in the 21st Century—An Integrated Approach to Metering, Monitoring, and Leveling Practices</a> by Bob Katz. Has a good historic overview of meters and motivates the K-meter</li>
12765 <li><a href="https://en.wikipedia.org/wiki/Peak_programme_meter#Table_of_characteristics">Wikipedia: Peak programme meter</a>—overview of meter types.</li>
12766 <li>"Audio Metering: Measurements, Standards and Practice: Measurements, Standards and Practics", by Eddy Brixen. ISBN: 0240814673</li>
12767 <li>"Art of Digital Audio", by John Watkinson. ISBN: 0240515870</li>
12771 There are different metering standards, most of which are available in Ardour. In short:
12775 <dt>Digital peak-meter</dt>
12776 <dd>A <dfn>Digital Peak Meter</dfn> displays the absolute maximum signal
12777 of the raw audio PCM signal (for a given time). It is commonly used when
12778 tracking to make sure the recorded audio never clips. To that end, DPMs
12779 are always calibrated to 0 <abbr title="DeciBel Full
12780 Scale">dBFS</abbr>, or the maximum level that can be represented digitally
12781 in a given system. This value has no musical reason whatsoever and depends
12782 only on the properties of the signal chain or target medium. There are
12783 conventions for <dfn>fall-off-time</dfn> and <dfn>peak-hold</dfn>, but no
12784 exact specifications.
12786 Various conventions for DPM fall-off times and dBFS line-up level can be
12787 chosen in <kbd class="menu">Edit > Preferences > GUI</kbd>.
12791 <dt>RMS meters</dt>
12792 <dd>An <dfn><abbr title="Root Mean Square">RMS</abbr>-type meter</dfn>
12793 is an averaging meter that looks at the energy in the signal. It
12794 provides a general indication of loudness as perceived by humans. Ardour
12795 features three RMS meters, all of which offer additonal peak indication.
12797 <li><dfn>K20</dfn>: A meter according to the K-system introduced by Bob
12798 Katz, scale aligned to -20 dBFS, rise/fall times and color schema
12799 according to spec.</li>
12800 <li><dfn>K14</dfn>: Same as K20 with scale aligned to -14 dBFS.</li>
12801 <li><dfn>K12</dfn>: Same as K20 with scale aligned to -12 dBFS (since 3.5.143).</li>
12802 <li><dfn>Peak + RMS</dfn>: standard RMS, customizable via
12803 <kbd class="menu">Edit > Preferences > GUI > Metering</kbd></li>
12808 <dd><dfn><abbr title="International Electrontechnical Commission">IEC</abbr>-type
12809 <abbr title="Peak Programme Meters">PPM</abbr>s</dfn> are a mix between DPMs and
12810 RMS meters, created mainly for the purpose of
12811 interoperability. Many national and institutional varieties exist (<abbr
12812 title="European Broadcasting Union">EBU</abbr>, <abbr title="British Broadcasting
12813 Corporation">BBC</abbr>, <abbr title="Deutsche Industrie-Norm">DIN</abbr>).
12815 These loudness and metering standards provide a common point of
12816 reference which is used by broadcasters in particular so that the
12817 interchange of material is uniform across their sphere of influence,
12818 regardless of the equipment used to play it back.
12821 For home recording, there is no real need for this level of
12822 interoperability, and these meters are only strictly required when
12823 working in or with the broadcast industry. However, IEC-type meters have
12824 certain characteristics (rise-time, ballistics) that make them useful
12825 outside the context of broadcast.
12828 Their specification is very exact, and consquently, there are no
12829 customizable parameters.
12834 <dd><dfn><abbr title="Volume Unit">VU</abbr> meters</dfn> are the dinosaurs (1939)
12835 amongst the meters. They react very slowly, averaging out peaks.
12836 Their specification is very strict (300ms rise-time, 1–1.5% overshoot,
12837 flat frequency response). Ardour's VU meter adheres to that spec, but for
12838 visual consistency it is displayed as a bar-graph rather than needle-style
12843 <h2>Ardour Specifics</h2>
12845 <img class="right" src="/images/mixer-meter-context-menu.png" alt="mixer strip meter context menu" />
12848 Meters are available in various places in ardour:
12852 <li>The mixer window features fixed height meters for each <dfn>channel strip</dfn>.</li>
12853 <li>There are small (narrow) meters on each <dfn>track-header</dfn> in the editor window.</li>
12854 <li>There are variable height meters in the <dfn>meterbridge window</dfn>.</li>
12855 <li>Optionally, a fixed-size <dfn>master meter</dfn> can be displayed in the main toolbar.</li>
12856 <li>Various other locations (<dfn>file import</dfn>, <dfn>sends</dfn>) have level-meters.</li>
12860 They all share the same configuration and color-theme which is available in
12861 preferences and the theme-manager. Settings for the Peak and RMS+Peak meters
12862 as well as VU meter standards are found in
12863 <kbd class="menu">Edit > Preferences > GUI > Metering</kbd>.
12867 The type of meter and the <dfn>metering point</dfn> (the place in the signal chain
12868 where the meter taps the signal) are configurable in the context menu of each meter.
12869 Depending on the <kbd class="menu">Edit > Preferences > GUI > Mixer
12870 Strip</kbd> settings, the metering point is also accessible via a button in
12874 <img class="right" src="/images/meter-preferences.png" alt="" />
12877 Regardless of meter type and standard the meter display will highlight red if
12878 the signal on the given channel exceeds the configured peak threshold.
12882 <kbd class="mouse">Left</kbd> on the peak-indicator button resets the
12883 <dfn>peak-hold indicator</dfn> of a single channel.<br />
12884 <kbd class="mod1 mouse">Left</kbd> resets a whole <dfn>group</dfn>, and<br/>
12885 <kbd class="mod13 mouse">Left</kbd> resets all meters.
12888 <h2>Overview of meter types</h2>
12891 The figure on the left below shows all available meter-types in Ardour 3.4 when fed with a -18 dBFS 1 kHz sine wave.
12894 <img class="right" style="max-width:45%;height:400px;" src="/images/needle-meters-18.png"
12895 alt="Needle-style meters as external LV2 plugins" />
12896 <img style="max-width:45%; height:400px" src="/images/meter-types-18.png"
12897 alt="Bar-graph meters in Ardour" />
12901 Due to layout concerns and consistent look &Â feel, all meters available in
12902 Ardour itself are bar-graph type meters. Corresponding needle-style meters—which take up more visual screen space—are available as
12903 <a href="https://github.com/x42/meters.lv2/">LV2 plugins</a> (see image on the upper right).
12907 title: Signal Routing
12912 Ardour does most of its internal <dfn>signal routing</dfn> via JACK:
12913 all track and bus inputs and outputs are JACK ports, as are sends and
12914 inserts—which means they can be tapped into by other JACK clients.
12915 Only the signal flow inside a track or bus (i.e. from <a
12916 href="/working-with-plugins/processor-box/">processor to processor</a>) is
12917 handled internally.
12921 By default, Ardour will create the following connections:
12926 <dfn>Track inputs</dfn> are optionally auto-connected to hardware inputs, in round robin order, depending on the setting you chose in the
12927 <a href="/working-with-sessions/new-session-dialog"><kbd
12928 class="menu">Session > New Session</kbd> dialog</a>.
12931 <dfn>Bus inputs</dfn> are left disconnected.
12934 The number of <dfn>track and bus outputs</dfn> are equal to the number
12935 of inputs of the master bus.
12938 Track and bus outputs are always auto-connected to the master bus inputs.
12941 Master bus outputs are connected to hardware outputs.
12946 This configuration is normally sufficient to do basic tracking and playback of sessions without any adjustments. When changing these connections, be certain that there is good reason for doing so—it is generally not necessary and can often lead to problems.
12950 However, for many workflows during mixing, more complicated signal routing is required. Fortunately, Ardour is very flexible in the ways it offers to connect things to each other.
12954 title: Busses and VCAs
12959 In order to use the process of mixing, Ardour offers two tools traditionally found on hardware mixing consoles: <dfn>Busses</dfn> and <dfn><abbr title="Voltage-Controlled Amplifier">VCA</abbr></dfn>s.
12965 An Ardour bus can be considered a virtual track, as in a track that doesn't have a playlist (so, no regions).
12969 Its use is to "group" some audio signals to be treated the same way. One simple use case is to group all the audio tracks containing the different drums of a drumkit. Routing all the drums tracks outputs to a bus allows, once the different levels amongst the drums have been set, to adjust the global level of the drumkit in the mix.
12973 Bus usage goes way beyond this simple example though: busses, as tracks, can receive plugins for common audio treatment, and be routed themselves as needed. This makes for a very useful tool that is very commonly used both for musical purposes and computing ones: instead of using e.g. 10 discrete delay plugins on 10 different tracks, busses are often used as receivers of <a href="/signal-routing/aux-sends/">sends</a>, and only 1 delay plugin is used on this bus, reducing the processing power needed.
12976 <p class="note">Note that the Master strip, which by default receives the output from all tracks, <em>is</em> a bus itself.</p>
12978 <h3>Audio Busses vs MIDI Busses</h3>
12981 Ardour supports 2 types of busses: Audio and MIDI. A MIDI bus differs from an audio bus just by its input (which is 1 midi input instead of <em>n</em> audio), the fact that you can put an instrument on it at creation time, whereas you can't easily add an instrument to an audio bus.
12985 MIDI bus are provide a particularly efficient workflow for virtual drumkits where the arrangement uses different MIDI tracks. Moreover, busses with both Audio and MIDI inputs are well suited for vocoders and similar plugins.
12989 Depending on the user's workflow and the way busses are used, 2 possibilities exists:
12992 <h3>Connecting a track to a bus via outputs</h3>
12994 <img class="right" src="/images/connecting_bus_output.png" alt="Connecting a bus through a track's outputs">
12997 Connecting the output(s) of a track to the input(s) of the bus sends <em>all</em> the audio/MIDI to the bus. In the mixer strip, select (at the bottom) the OUTPUT button (often, by default, "Master"), and in the list, choose the input of a bus. Note that only the bus able to receive this output will show up, e.g. a mono bus wont be able to be connected to the output of a stereo track).
13001 Obviously, doing so will (by default) disconnect the output from the Master's input, which means all the audio/MIDI will be routed to the bus. For more complex routing, the OUTPUT button allows to show the <kbd class="menu">Routing Grid</kbd> that allows to plug the output of the track to multiple outputs at once, be it busses, tracks, Master... The button will then reflect these multiple connections by showing a <em>*number*</em>, number being the number of connections made in the routing grid.
13004 <h3>Connecting a track to a bus via Sends</h3>
13006 <img class="left" src="/images/connecting_bus_send.png" alt="Connecting a bus through a send">
13009 This allows not to interrupt the natural flow of the signal, i.e. the track will still output to what its connected to (e.g. Master). The signal is "tapped" at the point of insertion of the send, to be sent to the bus. Right click where in the signal flow you want the send to happen, and select <kdb class="menu">New Aux Send... > name_of_the_bus</kbd>.
13013 By <kbd class="mouse">left-clicking</kbd> the send meter, it is possible to adjust the amount of signal sent to the bus. This is often the way tracks are connected to an effect bus, like a Delay bus.
13017 Busses can be plugged to other busses, through outputs or sends. Both example workflows discussed previously, i.e. busses for grouping tracks and busses for effects, can both coexist, as e.g. a "grouping" drum bus can have a send to a reverb bus, and be connected to a compressor bus.
13022 <img class="left" src="/images/vcas.png" alt="VCAs strips">
13025 Although track/bus <a href="/working-with-tracks/track-and-bus-groups/">groups</a> offer a certain kind of grouped-control over gain, solo, mute and more, traditional mixing consoles have long had group master channels ("VCAs") which allows to combine both a single fader to control the group level while also allowing you to easily adjust the relative levels inside the group. For large projects, this can make mixing much easier to control.
13029 It allows to use either or both of the conventions for combining multiple masters:
13033 <li>Nest VCAs (VCA 2 controls VCA 1 etc.)</li>
13034 <li>Chain VCAs (VCA 1 and VCA2 both control track or bus N)</li>
13037 <h3>Using a VCA strip</h3>
13040 A VCA strip is made of (from top to bottom in the screenshot):
13044 <li><dfn>1</dfn>: number of the VCA</li>
13045 <li><dfn>X</dfn>: allows to hide the VCA strip. Left clicking this button toggles the exclusive visibility of the tracks connected to this VCA</li>
13046 <li><dfn>M</dfn>: mutes the VCA</li>
13047 <li><dfn>S</dfn>: solos the VCA</li>
13048 <li><dfn>A level meter</dfn>: allows to adjust the level of the VCA</li>
13049 <li><dfn>~vca~</dfn>: a VCA button to optionally connect to another VCA</li>
13053 Right-clicking the name button shows a context menus comprised of:
13057 <li><kbd class="menu">Rename</kbd>: Renames the VCA</li>
13058 <li><kbd class="menu">Color...</kbd>: Changes the color of the VCA button in the tracks connected to this one</li>
13059 <li><kbd class="menu">Drop All Slaves</kbd>: Deletes all connections to this VCA, i.e. no tracks are controlled by this VCA anymore</li>
13060 <li><kbd class="menu">Remove</kbd>: Deletes this VCA</li>
13063 <h3>Connecting to a VCA strip</h3>
13065 <img class="left" src="/images/connecting_to_vca.png" alt="Connecting to VCA">
13068 Connecting a track/bus/VCA to a VCA is as simple as clicking the VCA button on any mixer strip and choosing the VCA to connect to.
13072 The VCA button only shows up in mixer strips when at least 1 VCA exists, i.e., you have to first create a VCA before connecting it.
13081 <dfn>Auxilliary sends</dfn> are <a
13082 href="/working-with-plugins/processor-box/">processors</a> in a bus or
13083 track channel strip. They tap the signal at a specific point in the signal
13084 flow (pre-fader, post-fader, before or after EQs and other plugins, etc.)
13085 and send a copy of that signal somewhere else, without affecting the
13086 normal signal flow downwards to the channel fader.
13090 Usually, aux sends from several tracks are collectively sent to a
13091 dedicated <dfn>Aux bus</dfn> in Ardour, to create a monitor mix for a
13092 musician, or to feed an effect unit. The output of such a bus might
13093 be routed to separate hardware outputs (in the case of headphone or monitor
13094 wedge mixes), or returned to the main mix (in the case of an effect).
13098 Since sends are JACK ports, it is also possible to send the tapped signal
13099 somewhere else directly, which is not usually possible on hardware mixers
13100 (see <a href="/signal-routing/external-sends/">External Sends</a>).
13104 It may be useful to
13105 <a href="/signal-routing/comparing-aux-sends-and-subgroups">compare and contrast</a>
13106 the use of aux sends with <a href="/signal-routing/subgrouping">subgrouping</a>.
13109 <h2>Adding a new aux bus</h2>
13112 Choose <kbd class="menu">Session > Add New Track or Bus</kbd>. In the
13113 <kbd class="menu">New Track & Bus</kbd> dialog, select "Busses" in the Track/Bus
13114 selector at the upper right.
13117 <h2>Adding a send to an aux bus</h2>
13120 Context-click on the processor box for the track you want to send to the bus, and
13121 choose <kbd class="menu">New Aux Send</kbd>. From the submenu, choose the bus you
13122 want to send to. A send will be added (and will be visible in the processor box).
13123 Note that the submenu may be empty if you have not created a bus yet.
13126 <h3>Pre-fader and Post-fader Aux Sends</h3>
13129 Depending on whether you context-click above or below the fader in the processor box,
13130 the new aux send can be placed before or after the fader in the channel strip.
13131 <dfn>Post-fader</dfn> aux sends are typically used when using an aux for shared signal
13132 processing (FX), so that the amount of effect is always proportional to
13133 the main mix fader. <dfn>Pre-fader</dfn> sends ensure that the level sent to the bus
13134 is controlled <em>only</em> by the send, not the main fader—this is typical
13135 when constructing headphone and monitor wedge mixes.
13138 <h2>Adding a new aux bus and sending a Track Group to it</h2>
13141 You can add aux sends to all members of a group and connect them to a new aux bus
13142 with a single click. After creating the track group (and adding tracks to it),
13143 context-click on the group tab and choose either
13144 <kbd class="menu">Add New Aux Bus (pre-fader)</kbd> or
13145 <kbd class="menu">Add New Aux Bus (post-fader)</kbd>. A new aux bus will be created,
13146 and a new aux send added to every member of the track group that connects to
13150 <p class="fixme">Add images, fix factual inaccuracies</p>
13151 <h2>Altering Send Levels</h2>
13154 You can alter the amount of the signal received by a send that it delivers to the bus
13155 it connects to. There are three approaches to this:
13158 <h3>Use the Send Fader</h3>
13161 Every send processor has a small horizontal fader that can be adjusted in the usual way. It is
13162 not very big and so this can be a little unsatisfactory if you want very fine control
13163 over the send level.
13166 <h3>Mapping the Main Fader</h3>
13169 Double-clicking on the send in the processor box will allow you to use the
13170 big fader of the mixer strip to control the send. The visual appearance of
13171 the mixer strip will change to reflect this. Double-click the send again to
13172 revert back to normal function for the strip.
13175 <h3>Map Aux Sends To Main Faders</h3>
13178 Pressing the button marked <kbd class="menu">Aux Sends</kbd> on a aux bus will
13179 alter the channel strip for every track or bus that feeds the aux bus. Many
13180 aspects of the strip will become insensitive and/or change their visual
13181 appearance. More importantly, the main fader of the affected channel strips
13182 will now control the send level and <strong>not</strong> the track gain.
13183 This gives a larger, more configurable control to alter the level. Click the
13184 <kbd class="menu">Aux Sends</kbd> button of the aux bus again to revert the
13185 channel strips to their normal use.
13188 <h2>Disabling Sends</h2>
13191 Clicking on the small "LED" in the send display in the processor box of the
13192 channel strip will enable/disable the send. When disabled, only silence will
13193 be delivered to the aux bus by this track. When enabled, the signal arriving
13194 at the send will be delivered to the aux bus.
13197 <h2>Send Panning</h2>
13200 Send panners can be configured to either be independent of the main
13201 panner, or to follow it. The latter could be useful for Reverb effects, or
13202 for in-ear monitor mixes delivered in stereo.
13206 title: Comparing Aux Sends and Subgroups
13207 menu_title: Auxes vs. Groups
13212 Auxes and Subgroups share a common concept—they both provide a way
13213 for one or more tracks (or busses) to send their signal to a single bus so
13214 that common signal processing can be applied to the mix of their signals.
13218 <dfn>Aux sends</dfn> leave the existing signal routing to the main mix in place,
13219 and are typically used to create a separate mix to send to (for example)
13220 monitors or headphones (for performer monitor mixes):
13223 <img width="300px" src="/images/a3_aux_routing.png" alt="aux signal routing" />
13226 <dfn>Subgroups</dfn> usually remove the original signal routing to the main mix and replace it with a new one that delivers the output of the subgroup bus to the main mix instead.
13229 <img width="300px" src="/images/a3_subgroup_routes.png" alt="sub group signal routing" />
13232 title: External Sends
13237 Like a normal aux send, an <dfn>external send</dfn> taps the signal at a
13238 specific within a channel strip, but delivers it to an external application
13239 or piece of hardware rather than an Ardour bus. By itself, an external
13240 send has no effect whatsoever on the audio signals within Ardour—it is a one-way signal routing that leaves all existing signal processing
13245 Most people will not have much use for this, but it can be useful if you
13246 want to experiment with external applications or hardware signal processing
13250 <h2>Adding an External Send</h2>
13253 Context-click on the
13254 <a href="/working-with-plugins/processor-box">processor box</a> in a
13255 channel strip (at the desired location, pre or post fader) and choose
13256 <kbd class="menu">Add new External Send</kbd>. A dialog will appear
13257 containing the standard Ardour
13258 <a href="/signal-routing/the-patchbay"><dfn>patchbay</dfn></a> to allow
13259 you to connect the send to the desired destination.
13262 <p class="fixme">Broken links</p>
13264 <h2>Removing an External Send</h2>
13266 <p>You can remove an external send in several ways:</p>
13269 <li><kbd class="mouse mod3">Right</kbd>-click the send in the processor box.</li>
13270 <li>Position the pointer over the send and press the <kbd>Del</kbd> key.</li>
13271 <li>Position the pointer over the send and press <kbd class="mod1">x</kbd>.</li>
13272 <li>Context-click the send and choose either <kbd class="menu">Cut</kbd> or
13273 <kbd class="menu">Delete</kbd>.</li>
13276 <h2>Altering Send Levels</h2>
13279 Just below the send in the processor box is a small fader that can be used
13280 like all other faders in Ardour to control the gain applied to the signal
13281 delivered by the send. Drag it to alter the level, Shift-click to restore
13282 to unity (0dB) gain.
13285 <h2>Disabling Sends</h2>
13288 Click the small "LED" in the send display within the processor box to turn
13289 it on and off. When turned off, silence will be delivered to the send. When
13290 turned on, the signal within the channel strip will be delivered.
13293 <h2>Editing Send Routing</h2>
13296 Double-clicking or Edit-clicking on the send in the processor box will
13297 redisplay the patchbay dialog that allows you full control over the routing
13307 <dfn>Inserts</dfn> are signal tap points that can be placed anywhere
13308 inside a channel strip. Unlike Auxes, they will interrupt the signal flow,
13309 feeding the signal from before the insert point to its <dfn>Insert
13310 send(s)</dfn>, and connecting the remainder of the channel strip to the
13311 <dfn>Insert return(s)</dfn>, both of which are JACK ports which are
13312 visible to other JACK applications.
13316 Inserts are the JACK equivalents of normalized switching jacks on an
13321 An insert allows you to either use a special external DSP JACK
13322 application that is not available as a plugin, or to splice an external
13323 analog piece of gear into your channel strip, such as a vintage
13324 compressor, tube equalizer, etc. In the latter case, you would first
13325 connect your inserts to a pair of hardware ports, which are in turn
13326 connected to the outboard gear.
13330 To disable (bypass) an insert, click on its LED in the processor box.
13334 When you create an insert, the signal will be interrupted until you make
13335 the relevant connections to the insert ports!
13339 Inserts will incur an additional JACK period of latency, which can be
13340 measured and compensated for during mixing, but not during tracking!
13349 <dfn>Subgrouping</dfn> (sometimes known as "Grouping" or "Audio Grouping")
13350 is a way to collect related signals together to apply some common
13351 treatment, before sending them on to the main mix. One standard
13352 application is to group several tracks belonging to the same instrument or
13353 section (such as a drumkit or horn section), to be able to adjust their
13354 volume with a single fader, after their inner balance has been set using
13359 To create a subgroup from an existing Track/Bus group, context-click on
13360 the relevant <a href="/working-with-tracks/track-and-bus-groups">group tab</a>,
13361 and choose <kbd class="menu">Add new subgroup bus</kbd>. A new bus will be
13362 created and every member of the track group will have its outputs disconnected
13363 from other destinations and then connected to the new bus inputs. The bus
13364 outputs will feed the master bus unless you have selected manual connections
13365 for the session. The bus will be named after the track group name.
13369 Alternatively, you can create a group manually, by first adding a new bus,
13370 then, for each track you want to feed the subgroup bus, disconnect its outputs
13371 from the master and connect it to the inputs of the subgroup bus instead.
13372 You can do this in the global audio patchbay or a track by track basis via the
13373 output button of each track's channel strip.
13377 To remove a subgroup (bus), context-click on the track group tab, and select
13378 <kbd class="menu">Remove subgroup bus</kbd>. You can also simply delete the
13379 bus itself. Note that this operation will <strong>not</strong> restore signal
13380 routing to the way it was before the addition of the subgroup bus—tracks
13381 that had been subgrouped will be left with their main outputs disconncted.
13390 The <dfn>patchbay</dfn> is the main way to make connections to, from and
13391 within Ardour's mixer.
13395 Notable exceptions are internal aux sends and connections to the monitor bus (if
13396 you are using one): these cannot be controlled from a patchbay, and are
13397 basically not under manual control at all.
13400 <img class="right" src="/images/connection-manager.png" alt="an example patchbay" />
13403 The patchbay presents two groups of ports; one set of <dfn>sources</dfn> (which produce data), and one of <dfn>destinations</dfn> (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.
13407 Both sources and destinations are divided up into groups, with each group being given a tab:
13410 <dl class="narrower-table">
13413 These are ports which are connected to a physical piece of hardware (a sound card or MIDI interface).</dd>
13414 <dt>Ardour Busses</dt>
13415 <dd>All ports belonging to busses.</dd>
13416 <dt>Ardour Tracks</dt>
13417 <dd>All ports belonging to tracks.</dd>
13418 <dt>Ardour Misc</dt>
13420 These are other ports that do not fit into the previous two categories; for example, the ports on which the metronome click is output, and MIDI ports for things like control surfaces and timecode.
13424 If you have other JACK clients running, their ports will be found here. If there are no such ports, the tab will not exist (on one or both axes of the grid).</dd>
13428 The main part of the patchbay is a <dfn>matrix grid</dfn>. Within this grid, green dots represent connections, and you can click in any of the squares to make or break connections. You can also click and drag to draw a line of connections, which is sometimes useful for making many connections at once.
13432 In the example patchbay shown above we can note various things. We are using the <kbd class="menu">Ardour Tracks</kbd> sources tab, so we see the output ports of the three tracks in our session: Fred, Jim and Foo. Our destinations are from the <kbd class="menu">Ardour Busses</kbd> tab, so we have the inputs of a session bus, Sheila, and the inputs of the master bus. Fred and Jim have stereo outputs, so have L and R connections. Foo is a MIDI track, so it only has one connection, and its squares in the grid are coloured light grey to indicate that no connection can be made between Foo (a MIDI output) and our busses (which are all audio-input).
13436 The green dots in the example show that both Foo and Bar are connected to the master bus, left to left and right to right.
13439 <h2>Variants on the Patchbay</h2>
13442 Slightly different versions of the patchbay are available from different places in Ardour. For a global view of all JACK audio connections, use <kbd class="menu">Window > Audio Patchbay</kbd>, or press <kbd class="mod2">P</kbd>. A corresponding MIDI Connection Manager can be opened using <kbd class="mod23">P</kbd>.
13446 There is also a patchbay available when connecting individual tracks; clicking on the input or output buttons of a mixer strip will open a connection manager which has the corresponding track input or output as the only destination or source, with all other ports available for connection to it.
13449 <h2>Other patchbay features</h2>
13452 Context-clicking on a port name in the connection manager opens a menu which provides a few handy options:
13455 <dl class="wide-table">
13456 <dt><kbd class="menu">Add audio port</kbd> and <kbd class="menu">Add MIDI port</kbd></dt>
13458 These options add audio or MIDI ports to the thing that you opened the menu over, if this is possible. In this way, for example, tracks and busses can be extended to have more inputs or outputs.
13460 <dt><kbd class="menu">Remove</dt>
13462 Removes the given port, if possible. <kbd class="mouse mod3">Right</kbd>-clicking a port will do the same.
13464 <dt><kbd class="menu">Disconnect all from…</kbd></dt>
13465 <dd>Disconnects everything from the given port.</dd>
13466 <dt><kbd class="menu">Rescan</kbd></dt>
13468 Ardour will try to keep abreast of any changes to the JACK ports on your system, and reflect them in any connection managers which are open. If for some reason this fails, use this to re-scan the list of ports and update the manager.
13470 <dt><kbd class="menu">Show individual ports</kbd></dt>
13472 If you have a session which has lots of multi-channel tracks or busses, it may be an unnecessary detail that you have to connect left to left and right to right every time you make a connection. This obviously gets worse with higher channel counts (such as for 5.1 or Ambisonics). To make life easier with such sessions, you can untick Show individual ports. After that, the channels of tracks and busses will be hidden, and any green dots you add in the connection manager will automatically connect each channel of the source to the corresponding channel of the destination (left to left, right to right and so on). In this mode, a half-circle in the connection grid indicates that some (but not all) of the source's ports are connected to the destination.
13474 <dt><kbd class="menu">Flip</kbd></dt>
13476 This will flip the visible ports on the vertical axis with those on the horizontal. If, for example, the top of the connection manager is showing <kbd class="menu">Ardour Busses</kbd> and the right is showing <kbd class="menu">Hardware</kbd>, flip will swap the view to the opposite. You can also flip by pressing <kbd>f</kbd>. Note that if there are no matching tabs on both axes, flipping will be impossible.
13481 title: Track/Bus Signal Flow
13488 In each individual Track or Bus the signal flow is top to bottom. Consider the following diagram:
13491 <p class="center"><img width="360px" src="/images/track_signal_routing.png" alt="track signal routing" /></p>
13494 Trim, Fader and Panner are provided by Ardour. The Processor-Box can hold 3rd Party Plugins or host-provided redirects (insert, aux-send,..).
13497 <p class="fixme">Where is the processor box in that image?</p>
13500 An important aspect is that the signal flow is multi-channel and not fixed throughout the track. For example, a Track can have a mono input, a mono to stereo plugin (e.g. reverb) flowing into a surround panner with 6 outputs. The design of Ardour is that width of the signal flow is defined by the passage through plugins in the processor box, followed by panning.
13501 The number of inputs to the panner is defined by the number outputs of the last plugin in the chain. The number of panner outputs is equal to the track's outputs ports, which can be added and remove dynamically. This schema called <em>Flexible I/O</em>. It's very powerful and a distinct feature of Ardour.
13505 The golden rule of processor signal flow:<br/>The number of outputs of one link of the process chain defines the number inputs of the next, until the panner.
13509 Due to this rule there is one very common case that is hard to achieve: Keep a mono track mono. With <em>Flexible I/O</em>, if a stereo plugin is added on a mono track, the signal flow after that plugin becomes stereo.
13512 <h2>Strict I/O</h2>
13515 Strict I/O enforces a simple rule: Plugins have the same number of inputs as they have outputs. By induction the track will have as many output-ports as there are input ports.
13519 <li>Adding a Plugin will not modify the signal-flow. The number of plugin outputs is forced to the number of inputs present at the point of insertion.
13520 If a plugin-pin is missing, it is ignored. If Plugin-pin is unconnected, it is fed with silence. Unconnected plugin outputs are ignored).</li>
13521 <li>Strict I/O enforces the number of output ports. The number of inputs to the panner (outputs of last plugin) defines the number of track outputs (after panner).
13522 Required ports are automatically added, excess ports are removed. The user cannot manually add/remove output ports.</li>
13526 Strict I/O is set when creating the track and can later be en/disabled dynamically in the context menu of every mixer strip.
13529 <p class="center"><img src="/images/strict_io_routing.png" alt="strict i/o routing" /></p>
13532 There are two exceptions to the above rule 1.
13536 <li>Midi Synths. When adding a synth at a point where there is a Midi port only, the synthesizer plugin will add audio-output ports,
13537 which trickle down the processor chain to all follow up plugins as inputs and in turn force their outputs to match.</li>
13538 <li>Side chain inputs are not affected by strict I/O</li>
13541 <h2>Customizing the Signal Flow</h2>
13544 The signal flow though the mixer can be customized at every processor node via "Pin Configuration" in the context menu of every processor.
13545 User customization override all automatic (flexible/strict I/O mode) inferred output port settings for the given processor.
13546 Non-customized plugins downstream will follow suit depending on the selected route mode, e.g. adding an additional output to a plugin on a track set to strict I/O will trickle down the process chain until the output and result in the addition of an output port. This is useful for example in case of a mono to stereo reverb.
13550 One can also bypass plugin instances with a 'thru' connection. This connection is latency compensated. One example is separate Left/Right channel Equalization using two mono plugins on a stereo track:
13553 <p class="center"><img src="/images/left_right_eq.png" alt="separate left/right Eq" /></p>
13556 title: Muting and Soloing
13561 Each track and bus has two buttons which have important implications
13562 for signal flow: <dfn>mute</dfn> and <dfn>solo</dfn>. The behaviour
13563 of these buttons is configurable in Ardour, to suit different studio
13567 <h2>Without a monitor bus</h2>
13570 If you are using Ardour without a monitor bus, there is only one way
13571 in which mute and solo will work:
13576 Mute on a track or bus will mute that track on the master bus,
13577 so that it will not be heard.
13580 Solo on a track or bus will solo that track or bus and mute all
13581 others. Soloing a bus will also solo any tracks or
13582 busses which feed that bus.
13586 <h2>With a monitor bus</h2>
13589 For setups with a monitor bus, you have more options, mostly
13590 governed by the setting of the
13591 <kbd class="option">Solo controls are Listen controls</kbd> option
13592 in <kbd class="menu">Edit > Preferences > Solo / mute.
13596 With <kbd class="optoff">Solo controls are Listen controls</kbd>
13597 unticked, behaviour is almost exactly the same as the situation
13598 without a monitor bus. Mute and solo behave the same, and the monitor
13599 bus is fed from the master bus, so it sees the same thing.
13603 With <kbc class="option">Solo controls are Listen controls</kbd>
13604 ticked, the master and monitor busses behave differently. In this
13605 mode, solo controls are more properly called <dfn>listen</dfn>
13606 controls, and Ardour's solo buttons will change their legend from
13607 <samp>S</samp> to either <samp>A</samp> or <samp>P</samp> to
13612 Now, without any mute or listen, the monitor bus remains fed by
13613 the master bus. Also:
13618 Mute will mute the track or bus, so that it will not be heard
13619 anywhere (neither on the master nor monitor busses), much as before.
13622 Listen will disconnect the monitor bus from the master bus, so
13623 that the monitor bus now only receives things that are "listened to".
13624 Listen will not perform any muting, and hence the master bus will
13625 not be affected by a listened track or bus.
13630 When solo controls are listen controls, the listening point can be set
13631 to either After-Fade Listen (AFL) or Pre-Fade Listen (PFL). The precise
13632 point to get the signal from can further be configured using the
13633 <kbd class="menu">PFL signals come from</kbd> and
13634 <kbd class="menu">AFL signals come from</kbd> options.
13638 The solo-mute arrangement with a monitor bus is shown below:
13641 <img src="/images/solo-mute.png" alt="mute/solo signal flow" />
13644 Here we have a number of tracks or busses (in orange). Each one has an
13645 output which feeds the master bus. In addition, each has PFL and AFL
13646 outputs; we have a choice of which to use. PFL/AFL from each track or
13647 bus are mixed. Then, whenever anything is set to AFL/PFL, the monitor out
13648 becomes just those AFL/PFL feeds; the rest of the time, the monitor out is
13649 fed from the master bus.
13653 In this scheme Solo has no effect other than to mute other non-soloed tracks;
13654 with solo (rather then listen), the monitor out is fed from the master bus.
13657 <h2>Other solo options</h2>
13660 <kbd class="menu">Edit > Preferences > Solo / Mute</kbd> has some
13664 <h3>Solo-in-place mute cut</h3>
13667 When using solo-in-place (SiP), in other words when soloed tracks are being
13668 listened to on the master bus, this fader specifies the gain that will be
13669 applied to other tracks in order to mute them. Setting this level to
13670 -∞&nbdp;dB will mean that other tracks will not be heard at all; setting to
13671 some higher value less than 0dB means that other non-soloed tracks will be h
13672 eard, just reduced in volume compared to the soloed tracks. Using a value
13673 larger than -∞dB is sometimes called "Solo-In-Front" by other DAWs, because
13674 the listener has the sense that soloed material is "in front" of other
13675 material. In Ardour, this is not a distinct mode, but instead the mute cut
13676 control offers any level of "in-front-ness" that you might want to use.
13679 <h3>Exclusive solo</h3>
13682 If this is enabled, only one track or bus will ever be soloed at once; soloing
13683 track B while track A is currently soloed will un-solo track A before soloing
13687 <h3>Show solo muting</h3>
13690 If this is enabled, the mute button of tracks and busses will be drawn
13691 outlined to indicate that the track or bus is muted because something else
13692 is soloed. This is enabled by default, and we recommend that you leave it
13693 that way unless you are extremely comfortable with Ardour's mute/solo
13697 <h3>Soloing overrides muting</h3>
13700 If this is enabled, a track or bus that is both soloed and muted will behave
13701 as if it is soloed.
13704 <h3>Mute affects…</h3>
13707 These options dictate whether muting the track will affect various routes out
13708 of the track; through the sends, through the control outputs (to the monitor
13709 bus) and to the main outputs.
13718 <dfn>Panning</<dfn> is the process of distributing one or more signals
13719 across a series of outputs so that the listener will have the
13720 experience of them coming from a particular point or area of the
13721 overall listening field.
13725 It is used to create a sense of space and/or a sense of motion in an
13726 audio mix. You can spread out different signals across the space, and
13727 make them move over time.
13730 <h2>Types of Panners</h2>
13733 The way a panner works depends a great deal on how many signals it
13734 is going to process and how many outputs it will send them to. The
13735 simplest case is distributing a single signal to 2 outputs, which is
13736 the common case when using a "mono" track and a stereo speaker
13741 But panning in Ardour could theoretically involve distributing any
13742 number of signals to any number of ouputs. In reality, Ardour does
13743 not have specific panners for each different situation. Currently,
13744 it has dedicated panners for the following situations:
13748 <li>1 signal distributed to 2 outputs (the mono panner)</li>
13749 <li>2 signals distributed to 2 outputs (the stereo panner)</li>
13750 <li>N signals distributed to M outputs (the VBAP panner)</li>
13754 Even for each of these cases, there are many different ways to
13755 implement panning. Ardour currently offers just one solution to each
13756 of these situations, but in the future will offer more.
13760 In addition to the panners, Ardour has a balance control for subtle
13761 corrections to existing stereo images.
13770 The default <dfn>mono panner</dfn> distributes 1 input to 2 outputs. Its
13771 behaviour is controlled by a single parameter, the <dfn>position</dfn>. By
13772 default, the panner is centered.
13775 <h2>Mono Panner User Interface</h2>
13777 <img src="/images/mono-panner-annotated.png" alt="image of the mono panner"/>
13780 The mono panner looks a quite similar to the
13781 <a href="/mixing/panning/stereo_panner">stereo panner</a>
13782 interface. The difference is that the L/R labels in the lower half
13783 of the mono panner do not move because there is no "width" to
13787 <h2>Using the mouse</h2>
13789 <p>To change the position smoothly, press the right button and drag
13790 anywhere within the panner. <em>Note: you do not need
13791 to grab the position indicator in order to drag</em>
13796 <dt>Reset to defaults</dt>
13797 <dd>Click <kbd class="mod3 mouse">right</kbd></dd>
13799 <dt>Change to a "hard left"</dt>
13800 <dd>Double click <kbd class="mouse">right</kbd> in the left side
13803 <dt>Change to a "hard right"</dt>
13804 <dd>Double click <kbd class="mouse">right</kbd> in the right side
13807 <dt>Set the position to center</dt>
13808 <dd>Double Click <kbd class="mouse">right</kbd> in the middle of the panner</dd>
13811 <h2>Keyboard bindings</h2>
13814 When the pointer is within a mono panner user interface, the following keybindings are available to operate on that panner:
13818 <dt><kbd>←</kbd> / <kbd class="mod1">←</kbd></dt>
13819 <dd>move position 1° / 5° to the left</dd>
13820 <dt><kbd>→</kbd> / <kbd class="mod1">→</kbd></dt>
13821 <dd>move position 1° / 5° to the right</dd>
13822 <dt><kbd>0</kbd></dt>
13823 <dd>reset position to center</dd>
13826 <h2>Using the scroll wheel/touch scroll</h2>
13829 When the pointer is within a mono panner user interface, the scroll wheel may be used as follows:
13833 <dt><kbd class="mouse">⇑</kbd> or <kbd class="mouse">⇐</kbd></dt>
13834 <dd>move position to the left by 1°</dd>
13835 <dt><kbd class="mod1 mouse">⇑</kbd> or <kbd class="mod1 mouse">⇐</kbd></dt>
13836 <dd>move position to the left by 5°</dd>
13837 <dt><kbd class="mouse">⇓</kbd> or <kbd class="mouse">⇒</kbd></dt>
13838 <dd>move position to the right by 1°</dd>
13839 <dt><kbd class="mod1 mouse">⇓</kbd> or <kbd class="mod1 mouse">⇒</kbd></dt>
13840 <dd>move position to the right by 5°</dd>
13844 title: Balance Control
13849 For stereo tracks, you can now switch between the default stereo panner and a traditional <dfn>balance control</dfn> by right-clicking on the panner widget.
13852 <img class="left" src="/images/stereo-balance.png" alt="Stereo Balance
13856 When the balance is centered, the incoming signals will be unaffected. Moving it to one side will linearly attenuate the signal of the opposite side.
13860 While the balance control is considerably less flexible than the stereo panner, it works with arbitrary content without danger of introducing comb filter artifacts.
13864 title: Stereo Panner
13869 The default <dfn>stereo panner</dfn> distributes two inputs to two outputs. Its
13870 behaviour is controlled by two parameters, <dfn>width</dfn> and
13871 <dfn>position</dfn>. By default, the panner is centered at full width.
13875 The stereo panner assumes that the signals
13876 you wish to distribute are either uncorrelated (i.e. totally
13877 independent), or that they contain a stereo image which is
13878 <dfn>mono-compatible</dfn>, such as a co-incident microphone recording, or a
13879 sound stage that has been created with pan pots.<sup><a href="#caveat">*</a></sup>
13883 With the default values it is not possible to alter the position,
13884 since the width is already spread entirely across both outputs. To
13885 alter the position, you must first reduce the width.
13888 <h2>Stereo Panner User Interface</h2>
13890 <img src="/images/stereo-panner-annotated.png" alt=""/>
13893 The <dfn>panner user interface</dfn> consists of three elements, divided between
13894 the top and bottom half. Click and/or drag in the top half to
13895 control position; click and/or drag in the bottom half to control
13896 width (see below for details).
13900 In the top half is the position indicator, which shows where the
13901 center of the stereo image is relative to the left and right
13902 edges. When this is the middle of the panner, the stereo image is
13903 centered between the left and right outputs. When it all the way to
13904 the left, the stereo image collapses to just the left speaker.
13908 In the bottom half are two signal indicators, one marked "L" and the
13909 other "R". The distance between these two shows the width of the
13910 stereo image. If the width is reduced to zero, there will only be a
13911 single signal indicator marked "M" (for mono), whose color will
13912 change to indicate the special state.
13916 It is possible to invert the outputs (see below) so that whatever
13917 would have gone to the right channel goes to the left and vice
13918 versa. When this happens, the entire movable part of the panner
13919 changes color to indicate clearly that this is the case.
13922 <h3>Position vs. L/R</h3>
13925 Although the implementation of the panner uses the "position"
13926 parameter, when the user interface displays it numerically, it shows
13927 a pair of numbers that will be familiar to most audio engineers.
13931 <tr><th>Position</th><th>L/R</th><th>English</th></tr>
13932 <tr><td>0</td><td>L=50% R=50%</td><td>signal image is midway between
13933 left and right speakers</td></tr>
13935 <tr><td>-1</td><td>L=100% R=0%</td><td>signal image is entirely
13936 at the left speaker</td></tr>
13938 <tr><td>1</td><td>L=0% R=100%</td><td>signal image is entirely
13939 at the right speaker</td></tr>
13943 One way to remember this sort of convention is that the middle of the
13944 USA is not Kansas, but "Los Angeles: 50% New York: 50%".
13947 <h3>Examples In Use</h3>
13950 <tr><th>Appearance</th><th>Settings</th></tr>
13951 <tr><td><img src="/images/stereo-panner.png"></td><td>Width=100%,
13952 L=50 R=50</td></tr>
13953 <tr><td><img src="/images/stereo-panner-zero.png"></td><td>Width=0%,
13954 L=50 R=50</td></tr>
13955 <tr><td><img src="/images/stereo-panner-inverted.png"></td><td>Width=-100%, Position = 0 (center)</td></tr>
13956 <tr><td><img src="/images/stereo-panner-right.png"></td><td>Width=36%,
13957 L=44 R=56</td></tr>
13958 <tr><td><img src="/images/stereo-panner-hard-right.png"></td><td>Width=0%,
13959 L=0 R=100</td></tr>
13962 <h4>Using the mouse</h4>
13965 Mouse operations in the upper half of the panner adjust the position
13966 parameter, constrained by the current width setting.
13969 Mouse operations in the lower half of the panner adjust the width
13970 parameter, constrained by the current position setting.
13973 To change the position smoothly, press the right button and drag
13974 within the top half of the panner, then release. The position will
13975 be limited by the current width setting. <em>Note: you do not need
13976 to grab the position indicator in order to drag.</em>
13979 To change the width smoothly, press the right button and drag
13980 within the lower half of the panner, then release. The width will be
13981 limited by the current position setting. <em>Note: you do not need to
13982 grab the L/R indicators in order to drag.</em>
13987 <dt>Reset to defaults</dt>
13988 <dd>Click <kbd class="mod3 mouse">right</kbd></dd>
13990 <dt>Change to hard left</dt>
13991 <dd>Double click <kbd class="mod2 mouse">right</kbd> in the upper left half
13994 <dt>Change to a hard right</dt>
13995 <dd>Double click <kbd class="mod2 mouse">right</kbd> in the upper right half
13998 <dt>Move position as far left as possible, given width</dt>
13999 <dd>Double click <kbd class="mouse">right</kbd> in the upper left half of the
14002 <dt>Move position as far right as possible, given width</dt>
14003 <dd>Double click <kbd class="mouse">right</kbd> in the upper right half of the
14006 <dt>Set the position to center</dt>
14007 <dd>Click <kbd class="mouse">right</kbd> in the upper middle of the panner</dd>
14009 <dt>Reset to maximum possible width</dt>
14010 <dd>Double click <kbd class="mouse">right</kbd> on the lower left side</dd>
14012 <dt>Invert (flip channel assignments)</dt>
14013 <dd>Double click <kbd class="mouse">right</kbd> on the lower right side</dd>
14015 <dt>Set width to 0°</dt>
14016 <dd>Double click <kbd class="mouse">right</kbd> in the lower middle</dd>
14019 <h4>Keyboard bindings</h4>
14022 When the pointer is within a stereo panner user interface, the following
14023 keybindings are available to operate on that panner:
14027 <dt><kbd>↑</kbd> / <kbd class="mod1">↑</kbd></dt>
14028 <dd>increase width by 1° / 5°</dd>
14029 <dt><kbd>↓</kbd> / <kbd class="mod1">↓</kbd></dt>
14030 <dd>decrease width by 1° / 5°</dd>
14031 <dt><kbd>←</kbd> / <kbd class="mod1">←</kbd></dt>
14032 <dd>move position 1° / 5° to the left</dd>
14033 <dt><kbd>→</kbd> / <kbd class="mod1">→</kbd></dt>
14034 <dd>move position 1° / 5° to the right</dd>
14035 <dt><kbd>0</kbd></dt>
14036 <dd>reset position to center</dd>
14037 <dt><kbd class="mod2">↑</kbd></dt>
14038 <dd>reset width to full (100%)</dd>
14041 <h4>Using the scroll wheel/touch scroll</h4>
14044 When the pointer is within a stereo panner user interface, the scroll
14045 wheel may be used as follows:
14049 <dt><kbd class="mouse">⇐</kbd> / <kbd class="mod1 mouse">⇐</kbd></dt>
14050 <dd>increase width by 1° / 5°</dd>
14051 <dt><kbd class="mouse">⇒</kbd> / <kbd class="mod1 mouse">⇒</kbd></dt>
14052 <dd>decrease width by 1° / 5°</dd>
14053 <dt><kbd class="mouse">⇑</kbd> / <kbd class="mod1 mouse">⇑</kbd></dt>
14054 <dd>move position 1° / 5° to the left</dd>
14055 <dt><kbd class="mouse">⇓</kbd> / <kbd class="mod1 mouse">⇓</kbd></dt>
14056 <dd>move position 1° / 5°to the right</dd>
14059 <h2><a name="caveat"></a>Stereo panning caveats</h2>
14061 <p class="warning">
14062 The stereo panner will introduce unwanted side effects on
14063 material that includes a time difference between the channels, such
14064 as A/B, ORTF or NOS microphone recordings, or delay-panned mixes.<br />
14065 When you reduce the width, you are effectively summing two highly
14066 correlated signals with a delay, which will cause <dfn>comb filtering</dfn>.
14070 Let's take a closer look at what happens when you record a source at 45° to the
14071 right side with an ORTF stereo microphone array and then manipulate the width.
14075 For testing, we apply a <dfn>pink noise</dfn> signal to both inputs of an Ardour stereo
14076 bus with the stereo panner, and feed the bus output to a two-channel analyser.
14077 Since pink noise contains equal energy per octave, the expected readout is a
14078 straight line, which would indicate that our signal chain does not color the
14082 <img src="/images/stereo-panner-with-ORTF-fullwidth.png" />
14085 To simulate an ORTF, we use Robin Gareus' stereo balance
14086 control LV2 to set the level difference and time delay. Ignore the Trim/Gain—its purpose is just to align the test signal with the 0dB line of the
14091 Recall that an <dfn>ORTF</dfn> microphone pair consists of two cardioids
14092 spaced 17 cm apart, with an opening angle of 110°. For a far source at
14093 45° to the right, the time difference between the capsules is 350 μs
14094 or approximately 15 samples at 44.1 kHz. The level difference due to the
14095 directivity of the microphones is about 7.5 dB (indicated by the
14096 distance between the blue and red lines in the analyser).
14100 Now for the interesting part: if we reduce the width of the signal to 50%,
14101 the time-delayed signals will be combined in the panner. Observe what
14102 happens to the frequency response of the left and right outputs:
14105 <img src="/images/stereo-panner-with-ORTF-halfwidth.png" />
14108 You may argue that all spaced microphone recordings will undergo comb
14109 filtering later, when the two channels recombine in the air between the speakers.
14110 Perceptually however, there is a huge of difference: our hearing system is
14111 very good at eliminating comb filters in the real world, where their component
14112 signals are spatially separated. But once you combine them
14113 inside your signal chain, this spatial separation is lost and the brain will
14114 no longer be able to sort out the timbral mess. As usual, you
14115 get to keep the pieces.
14119 Depending on your material and on how much you need to manipulate the width,
14120 some degree of comb filtering may be acceptable. Then again, it may not. Listen
14121 carefully for artefacts if you manipulate unknown stereo signals—many
14122 orchestra sample libraries for example do contain time-delay components.
14127 title: Plugin and Hardware Inserts
14133 title: Working With Plugins
14138 <dfn>Plugins</dfn> are bits of software that get loaded by Ardour in order to create various audio or MIDI effects, or generate audio by functioning as "software instruments".
14142 Ardour supports a variety of different plugin standards:
14145 <dl class="narrower-table">
14146 <dt><abbr title="Linux Audio Developers' Simple Plugin API">LADSPA</abbr></dt>
14147 <dd>An early, simple, lightweight plugin <abbr title="Application
14148 Programming Interface">API</abbr>, audio effects only,
14149 plugins have no editors/GUI of their own (Ardour provides one, however).</dd>
14150 <dt><abbr title="LADSPA Version 2">LV2</abbr></dt>
14151 <dd>An extensible, full-featured plugin API, audio and <abbr
14152 title="Musical Instrument Digital Interface">MIDI</abbr>, plugins can provide their
14153 own <abbr title="Graphical User Interface">GUI</abbr>s; the successor to LADSPA</dd>
14154 <dt><abbr title="Audio Unit">AU</abbr></dt>
14155 <dd>OS X only, full featured, audio and MIDI, plugins can provide their own GUI</dd>
14157 <dt><abbr title="Virtual Studio Technology">VST</abbr></dt>
14158 <dd>Plugins using Steinberg's VST plugin standard. Varies by platform:
14160 <dt>on Linux</dt><dd>(native) Linux VST plugins fully supported (VST2.4)</dd>
14161 <dt>on Windows</dt><dd>(native) Windows VST plugins fully supported (VST2.4)</dd>
14162 <dt>on OS X</dt><dd>Not supported, unless you use a VST-to-AU
14163 bridge plugin. Similar to Apple's Logic DAW.</dd>
14167 <dt>Windows VST Plugins on Linux</dt>
14168 <dd>VST plugins for Windows, but being used on Linux. <strong>Normally not supported.</strong> See <a href="/working-with-plugins/windows-vst-support">Windows VST Plugins on Linux</a> for details.
14173 title: Processor Box
14177 <p><img class="right" src="/images/processor-box.png" alt="the Processor Box" /></p>
14180 In Ardour terminology, a <dfn>processor</dfn> is anything which treats the signal in some way and gets plugged into a mixer strip. Ardour provides several builtin processors such as the fader or panners. Processors can also be <dfn>plugins</dfn> used for effects or as instruments, as well as sends or inserts which affect <a href="/signal-routing">signal routing</a>.
14184 The arrangement of processors is arbitrary, and there is no limit to how
14185 many there can be. The Processor Box will automagically add a scrollbar to
14186 itself if there are more processors in it than can be shown in the given space.
14190 The main box in the top half of a mixer strip shows the <dfn>processor
14191 box</dfn>. Processors are shown as colored rectangles, with a small "LED" beside
14192 them that lights up when the processor is enabled. The color of the
14193 processor depends on its location in the sequence; processors that are <dfn>pre-fader</dfn> are colored in red, and <dfn>post-fader</dfn> processors are colored green (in the default theme).
14197 The <dfn>processor box</dfn> will always contain a blue <dfn>Fader</dfn> processor. This indicates where in the processor chain the main channel fader is located; this is the fader shown in the lower half of the strip. It can be enabled and disabled like any other processor.
14200 <h2>Adding Processors</h2>
14202 Processors can be added to the chain by <kbd class="mouse">Right</kbd>-clicking in the processor list, This does three things:
14206 <li>A gap is opened up to indicate the location of the click. The gap shows where any new processors will be inserted.</li>
14207 <li>The processor under the click is selected.</li>
14208 <li>An options menu is presented.</li>
14212 From the menu, new processors can be inserted.
14216 Processors can also be dragged and dropped from the <a href="/working-with-plugins/plugin-sidebar/"><dfn>Favorite Plugins</dfn> window</a> to an appropriate spot in the Processor Box.
14220 The <dfn>Favorite Plugins</dfn> window can be populated via the <a href="/working-with-plugins/plugin-manager/">Plugin Manager</a>, or by dragging and dropping an existing processor from the <dfn>processor box</dfn> to the <dfn>Favorite Plugins</dfn> window.
14223 <h2>To Reorder (Move) Processors</h2>
14225 Processors can be re-ordered using drag & drop. Dragging a processor
14226 allows it to be moved around within the chain, or copied to another
14227 processor list on another track or bus.
14230 <h2>To Enable/Disable a Processor</h2>
14232 <p><img class="right" src="/images/processor.png" alt="a typical processor" /></p>
14235 To the left of the name of each processor is a small LED symbol; if this
14236 is lit-up, the processor is active. Clicking on it will deactivate the
14237 processor and effectively bypass it.
14241 Some processors have their own bypass controls that are independent of the one that Ardour provides; this can make it appear that the plugin is non-responsive when its independent bypass control is active.
14244 <h2>Selecting Processors</h2>
14246 A processor in the <dfn>processor box</dfn> can be selected with a <kbd class="mouse">Left</kbd>-click on it; it will be highlighed in red. Other processors can be selected at the same time by <kbd class="mouse">Left</kbd>-clicking on them while holding down the <kbd class="mod1">‌</kbd> key, and ranges can be selected by <kbd class="mouse">Left</kbd>-clicking on them while holding down the <kbd>Shift</kbd> key
14249 <h2>Removing Processors</h2>
14251 Context-click on the processor to be removed, and select <kbd
14252 class="menu">Delete</kbd>; or <kbd class="mod3 mouse">Right</kbd>-click on it; or <kbd class="mouse">Left</kbd>-click on it and press the <kbd>Delete</kbd> key. If multiple processors are selected, they will all be deleted at the same time.
14256 title: Plugin Manager
14260 <p class="fixme">This needs updating; it was written for v3 or v4, and it's out of date</p>
14263 The <dfn>Plugin Manager</dfn> serves two purposes. Primarily it is used to control the display status of plugins. It can also be used to find and insert plugins into the <a href="/working-with-plugins/processor-box/">Processor Box</a>. It is displayed either by a double-click in the <dfn>Processor Box</dfn> or by choosing <kbd class="menu">New Plugin > Plugin Manager...</kbd> from the <dfn>Processor Box</dfn> context menu.
14266 <p class="center"><img src="/images/plugin-manager.png" alt="Plugin Manager window"/></p>
14269 Displayed for each plugin is the status (normal, favorite, hidden),
14270 name, type, category, creator (author), and the number of audio and MIDI
14271 connections. The plugins can be sorted by clicking on a column header.
14274 <h2>Plugin Display Status</h2>
14277 Click on a Fav(orite) or Hide radio button to change a plugin's display status. Clicking on an already selected radio button will cancel it, returning the plugin to the normal display status. Plugins marked as a favorite show up in the <dfn>Processor Box</dfn> context menu under <kbd class="menu">New Plugin > Favorites</kbd> and in <dfn>Favorite Plugins</dfn> pane in the Mixer window. Setting the hide radio button on a plugin will keep the plugin from showing in the <dfn>Processor Box</dfn> context menus <kbd class="menu">New Plugin > By Creator</kbd> or <kbd class="menu">New Plugin > By Category</kbd>.
14280 <h2>Filtering Listed Plugins</h2>
14283 The middle of the <dfn>Plugin Manager</dfn> is used to filter the listed plugins. Typing into the text-box will filter the plugins based on the filter mode selected by drop-down box. Clicking <kbd class="button">Clear</kbd> empties the text-box.
14286 <h2>Inserting Plugins in the Processor Box</h2>
14289 The bottom half of the plugin manager shows plugins that have been selected
14290 for insertion into the <dfn>Processor Box</dfn>. A plugin can be added by
14291 either double clicking the plugin entry in the top half, or, if already
14292 selected in top half, by clicking <kbd class="button">Add</kbd>.
14296 Plugins can be removed from the bottom half with a double click, or, if
14297 already selected, by clicking <kbd class="button">Remove</kbd>.
14302 title: Managing Plugin Presets
14306 <p class="fixme">Add images</p>
14309 All plugin control widgets, whether they are created by Ardour or
14310 by the plugin, have a common set of controls at the top of the window.
14311 These include 4 controls for managing <dfn>plugin presets</dfn>.
14314 <h2>What Is a Plugin Preset?</h2>
14317 A <dfn>preset</dfn> for a plugin is simply a saved set of values for
14318 all of a plugin's parameters. If you load a preset, you are restoring
14319 all the parameters of that plugin to the values stored in the preset.
14320 This is an easy, fast way to manage your preferred settings for
14321 particular plugins.
14324 <h2>The Preset Selector</h2>
14327 The <dfn>preset selector</dfn> is a regular selector that can be
14328 clicked to display a list of all known presets for this plugin. This
14329 will include presets that you have created yourself, and for some
14330 plugin formats, presets that come with the plugin itself.
14333 <h2>Load a New Preset</h2>
14336 Click on the preset selector to pop up a menu showing the names of
14337 all available presets. Click on the name of the preset you wish to load.
14338 The preset will be loaded—you may see various controls in the
14339 plugin editor change to reflect the new value of some or all parameters.
14342 <h2>Create a Preset</h2>
14345 To save the current plugin settings as a new preset, click on the
14346 <kbd class="menu">Add</kbd> button at the top of the window. A dialog
14347 will appear to ask for the name of the preset.
14350 <h2>Save a Preset</h2>
14353 If you wish to modify the settings in an existing preset, first use
14354 the preset selector to load the preset, then adjust the settings as
14355 you wish. When done, click the <kbd class="menu">Save</kbd> button
14356 and the new values will be stored, overwriting the previous version
14360 <h2>Delete a preset</h2>
14363 To delete an existing preset, use the preset selector to load the preset.
14364 Click the <kbd class="menu">Delete</kbd> button, and the preset will be
14365 removed. The preset selector turn blank, showing that no preset is
14366 currently loaded (although the settings will stay as they were).
14370 title: Working with Ardour-built Plugin Editors
14374 <p class="fixme">This section needs expansion, and at least one image</p>
14377 To view a plugin editor, double-click on the plugin within the
14378 <a href="/working-with-plugins/processor-box">processor box</a>.
14379 A new window will appear showing the editor/GUI for the plugin.
14383 If a plugin does not have its own GUI, Ardour will construct a
14384 <dfn>generic plugin editor</dfn> from a small set of common control
14385 elements. Ardour will do this even for plugins that have their
14386 own, if <kbd class="menu">Edit > Preferences >
14387 GUI > Use Plugins' own interface instead of Ardour's</kbd> is disabled.
14391 The generic UI can be temporarily switched to by context-clicking on
14392 a processor and selecting <kbd
14393 class="menu">Edit with generic controls</kbd>. This will be necessary to
14394 access the <a href="/automation">plugin automation controls</a>.
14398 In the generic UI, any controller can be reset to its default by
14399 <kbd class="mod3 mouse">Left</kbd>-clicking on it.
14403 title: Plugins Bundled With Ardour
14408 Ardour now comes with the following plugins as part of a standard installation:
14411 <dl class="narrower-table">
14412 <dt>a-Amplifier</dt>
14413 <dd>A versatile ±20dB multichannel amplifier</dd>
14414 <dt>a-Compressor</dt>
14415 <dd>A side-chain enabled compressor with the usual controls. Comes in stereo and mono versions</dd>
14417 <dd>A basic single-tap delay line, with tempo sync</dd>
14419 <dd>A nice sounding 4-band parametric EQ with shelves</dd>
14420 <dt>a-Fluid Synth</dt>
14421 <dd>Wraps the Fluidsynth SoundFont2 synthesis engine as a new sample player</dd>
14422 <dt>a-High/Low Pass Filter</dt>
14423 <dd>Independent high and low pass filters with steepness up to 48dB/octave</dd>
14424 <dt>a-Inline Scope</dt>
14425 <dd>A mixer strip inline waveform display</dd>
14426 <dt>a-Inline Spectrogram</dt>
14427 <dd>A mixer strip inline specturm display</dd>
14428 <dt>a-MIDI Monitor</dt>
14429 <dd>A mixer strip inline display to show recent <abbr title="Musical Instrument Digital Interface">MIDI</abbr> events</dd>
14431 <dd>A reverb that finds a balance between sounding good, using a lot of CPU and having too many controls</dd>
14435 title: Getting More Plugins
14440 The following list shows <dfn>plugin packages</dfn>. In some cases, a package contains just one or two plugins; in other cases, dozens.
14443 <h2>Plugins by Standard</h2>
14445 <h3 id="LADSPA">LADSPA</h3>
14448 <li>AMB <a href="http://kokkinizita.linuxaudio.org/linuxaudio/">http://kokkinizita.linuxaudio.org/linuxaudio/</a></li>
14449 <li>Blepvco <a href="http://smbolton.com/linux.html">http://smbolton.com/linux.html</a></li>
14450 <li>Blop <a href="http://blop.sourceforge.net">http://blop.sourceforge.net</a></li>
14451 <li>CAPS <a href="http://quitte.de/dsp/caps.html">http://quitte.de/dsp/caps.html</a></li>
14452 <li>CMT <a href="http://www.ladspa.org/cmt/">http://www.ladspa.org/cmt/</a></li>
14453 <li>FIL <a href="http://kokkinizita.linuxaudio.org/linuxaudio/">http://kokkinizita.linuxaudio.org/linuxaudio/</a></li>
14454 <li>FOO <a href="http://code.google.com/p/foo-plugins/">http://code.google.com/p/foo-plugins/</a></li>
14455 <li>MCP <a href="http://kokkinizita.linuxaudio.org/linuxaudio/">http://kokkinizita.linuxaudio.org/linuxaudio/</a></li>
14456 <li>NJL <a href="https://github.com/tialaramex/njl-plugins">https://github.com/tialaramex/njl-plugins</a></li>
14457 <li>Omins <a href="http://www.nongnu.org/om-synth/omins.html">http://www.nongnu.org/om-synth/omins.html</a></li>
14458 <li>REV <a href="http://kokkinizita.linuxaudio.org/linuxaudio/">http://kokkinizita.linuxaudio.org/linuxaudio/</a></li>
14459 <li>SWH <a href="http://plugin.org.uk/">http://plugin.org.uk/</a></li>
14460 <li>TAP <a href="http://tap-plugins.sourceforge.net/">http://tap-plugins.sourceforge.net/</a></li>
14461 <li>VCF <a href="http://users.suse.com/~mana/ladspa.html">http://users.suse.com/~mana/ladspa.html</a></li>
14462 <li>VCO <a href="http://kokkinizita.linuxaudio.org/linuxaudio/">http://kokkinizita.linuxaudio.org/linuxaudio/</a></li>
14463 <li>VLevel <a href="http://vlevel.sourceforge.net/about/">http://vlevel.sourceforge.net/about/</a></li>
14464 <li>Vocoder <a href="http://www.sirlab.de/linux/download_vocoder.html">http://www.sirlab.de/linux/download_vocoder.html</a></li>
14465 <li>WASP <a href="http://linux01.gwdg.de/~nlissne/wasp/index.html">http://linux01.gwdg.de/~nlissne/wasp/index.html</a> (mar wanted!)</li>
14466 <li>Nova <a href="http://klingt.org/~tim/nova-filters/">http://klingt.org/~tim/nova-filters/</a></li>
14467 <li>Calf <a href="http://calf.sourceforge.net/">http://calf.sourceforge.net/</a></li>
14468 <li>Socal’s LEET Plugins <a href="http://code.google.com/p/leetplugins/">http://code.google.com/p/leetplugins/</a></li>
14469 <!--<li>Holap synthesizer and DSP effects <a href="http://holap.berlios.de/">http://holap.berlios.de/</a></li>-->
14472 <h3 id="LV2">LV2</h3>
14475 <li>SWH <a href="http://plugin.org.uk/lv2/">http://plugin.org.uk/lv2/</a></li>
14476 <li>ll-plugins <a href="http://ll-plugins.nongnu.org/">http://ll-plugins.nongnu.org/</a></li>
14477 <li>zynadd <a href="http://home.gna.org/zyn/">http://home.gna.org/zyn/</a></li>
14478 <li>Calf <a href="http://calf.sourceforge.net/">http://calf.sourceforge.net/</a></li>
14479 <li>LinuxDSP <a href="http://www.overtonedsp.co.uk/download/linuxdsp-archive/">http://www.overtonedsp.co.uk/download/linuxdsp-archive/</a></li>
14480 <li>Invada Studio <a href="https://launchpad.net/invada-studio/">https://launchpad.net/invada-studio/</a></li>
14483 <h3 id="LinuxVST">Linux VST (LXVST)</h3>
14486 <li>Loomer <a href="http://www.loomer.co.uk/">http://www.loomer.co.uk/</a></li>
14487 <li>Distrho <a href="http://distrho.sourceforge.net/ports.php">http://distrho.sourceforge.net/ports.php</a></li>
14488 <li>Argotlunar <a href="http://argotlunar.info/">http://argotlunar.info/</a></li>
14491 <h2>How do I install plugins?</h2>
14496 <dfn>Installation</dfn> will vary a little depending on how you get plugins. If your repository has a particular plugin package, just install it using the normal software package management tool for your system. Most Linux distributions that are good for audio work will have most of the LADSPA and LV2 plugins mentioned above available in ready-to-use forms.
14500 Finding them will typically require <em>searching</em> your distribution's repository to find the name of the package. The tools for doing this vary from distribution to distribution. A good place to start searching is with the name of the package (e.g. "caps" or "calf"). There are no fixed rules about what different Linux distributions call their packages for a given set of plugins.
14504 If the package isn't available, then you can build the plugins from source (plugins are generally fairly easy to compile if you've ever done this sort of thing before).
14508 LADSPA plugins are shared library files. They need to be installed in either /usr/lib/ladspa, /usr/local/lib/ladspa or in a directory mentioned in your LADSPA_PATH environment variable.
14512 LV2 plugins are folders/directories. They need to installed in either /usr/lib/lv2, /usr/local/lib/lv2 or a directory mentioned in your LV2_PATH environment variable.
14516 Linux VST (LXVST) plugins are distributed as shared library files. They are typically installed in /usr/lib/lxvst, /usr/local/lib/lxvst or a directory mentioned in your LXVST_PATH environment variable.
14522 Unless you're a particularly technical computer user, building and installing plugins in the LV2 (or LADSPA) format is probably not something worth planning on.
14526 Most of the plugins you are likely to use on OS X will be in Apple's AudioUnit format. These have their own installation process that tends to just work.
14530 title: Using Windows VST Plugins on Linux
14535 Thanks to the combined work of Torben Hohn, Kjetil Mattheusen, Paul
14536 Davis and a few other developers, it is possible to use Windows
14537 <dfn><abbr title="Virtual Studio Technology">VST</abbr>
14538 plugins</dfn> (that is, plugins in VST format built and distributed
14539 for the Windows platforms) on Ardour running on Linux. (Note: there
14540 is no VST support of any kind on OS X).
14543 <p>However, doing so has three <em>substantial</em> downsides:</p>
14546 <li>It requires a special build of Ardour that is fundamentally
14547 very different from normal builds</li>
14548 <li>Support depends on <a href="http://winehq.org/">Wine</a>,
14549 a Windows "emulator"</li>
14550 <li>As usual with plugins, a crashing plugin will take Ardour down
14551 with it—and crashes in Windows VST plugins are more likely when
14552 used in this way</li>
14556 The dependence on Wine makes it almost impossible for the Ardour
14557 project to support this feature. Wine's functionality generally
14558 improves over time, but any given release of Wine may behave worse
14559 with some or all Windows VST plugins. It may even just crash Ardour
14564 Step back and think about what "using Windows VSTs" really means:
14565 taking bits of software written with only one idea in mind—running
14566 on the Windows platform—and then trying to use them on an entirely
14567 different platform. It is a bit of a miracle (largely thanks to the
14568 incredible work done by the Wine project) that it works at all. But is
14569 this the basis of a stable, reliable DAW for a non-Windows platform?
14570 Getting Ardour on Linux to pretend that its really a Windows
14571 application running on Windows?
14575 We understand that there are many outstanding plugins available as
14576 Windows VSTs and that in many cases, no equivalent is available for
14577 Ardour's Linux-based users. If your workflow is so dependent on those
14578 plugins, then remain on Windows (or potentially consider using an
14579 actual Windows VST host running inside of Wine). If you can make the
14580 effort, you will get a better environment by using a normal build of
14581 Ardour and exploring the world of plugins built to run on Linux
14582 natively. This covers LADSPA, LV2 and Linux VST formats, and even some
14583 outstanding proprietary plugins such as those
14584 from <a href="http://www.loomer.co.uk/">Loomer</a>.
14587 <h2>A Plea To Plugin Manufacturers</h2>
14590 Please consider porting your plugins so that users can enjoy them on
14591 Linux too. Several other commercial plugin developers have already
14592 done this. You can choose between using "Linux VST" (which is what
14593 Loomer and others have done)—you will find toolkits like JUCE that
14594 help to make this fairly easy—or using LV2 format which is
14595 ultimately more flexible but probably more work. We have users—thousands of users—on Linux who would like to use your plugins.
14612 title: Export Dialog
14617 When you have finished mixing your session, you probably want to export it to a sound file to burn to a CD, upload to the web, or whatever. <kbd class="menu">Session > Export > Export to Audio file(s)...</kbd> shows the Export Dialog to do this.
14621 You can also export the outputs of multiple tracks & busses all at once via
14622 <kbd class="menu">Session > Export > Stem Export...</kbd>.
14625 <h2>File Format</h2>
14627 <img src="/images/export-dialog-file-format.png" />
14630 This tab contains controls for the format of the exported audio file. You can enable more than one format here, in which case each will be exported in turn. Ardour is supplied with a list of export formats, including:
14632 <li>CD (Red Book)</li>
14634 <li>FLAC 24 bit </li>
14635 <li>FLAC 24 bit (tagged)</li>
14636 <li>Ogg_Vorbis</li>
14637 <li>Ogg_Vorbis (tagged)</li>
14640 You can edit these formats, or create your own, with the <a href="/exporting/edit-export-format-profile/">"Edit Export Format Profile"</a> dialog, which appears when you click the "Edit" or "New" button to the right of the drop-down list of formats.
14644 You can also create a 'Preset' consisting of one or more formats. Ardour provides some ready-made presets, too:
14646 <li>CD + DVD-A</li>
14648 <li>CD + FLAC (tagged)</li>
14649 <li>CD + Ogg_Vorbis + FLAC (tagged)</li>
14650 <li>CD + Ogg_Vorbis</li>
14651 <li>CD + Ogg_Vorbis (tagged)</li>
14653 <li>DVD-A only</li>
14655 <li>FLAC (tagged)</li>
14656 <li>Ogg_Vorbis + FLAC</li>
14657 <li>Ogg_Vorbis + FLAC (tagged)</li>
14658 <li>Ogg_Vorbis </li>
14659 <li>Ogg_Vorbis (tagged)</li>
14663 <h3>Soundcloud upload</h3>
14666 When 'Upload to Soundcloud' is ticked on in any format's tab, a pane containing fields to enter in Soundcloud account details (email and password), and what should happen to the uploaded files will become visible.
14669 <img src="/images/soundcloud-upload.png" />
14673 <dt>Make files public</dt><dd>Choose whether to make uploaded files available to anyone via the Soundcloud web site.</dd>
14674 <dt>Open uploaded files in browser</dt><dd>Open each file on soundcloud in your browser after upload. If you don't enable this, you can still see the URLs in the <a href="">Log window</a>.</dd>
14675 <dt>Make files downloadable</dt><dd>Choose whether to allow downloading of files uploaded to Soundcloud.</dd>
14681 <img src="/images/export-dialog-timespan.png" />
14684 This tab allows you to select the range (or ranges) of the timeline to export. By default, "session" is enabled—this will export the whole session from the start marker to the end marker.
14690 <img src="/images/export-dialog-channels.png" />
14693 Here you can choose which outputs (tracks or busses) should be sent to the exported file.
14696 <h2>Stem Export</h2>
14698 <img src="/images/export-dialog-stem-export.png" />
14701 If you chose 'Stem Export', the 'Channels' tab appears slightly differently:
14702 in this case each chosen channel (track or bus) is exported to its own file,
14703 instead of all channels being mixed together into a single file. You can
14704 choose to export either the region contents or the track output here in this
14709 title: Export Format Profiles
14713 <h2>Export Format Profiles</h2>
14716 An Export Format Profile specifies the file format in which Ardour will export
14717 audio files, and also other audio file export options.
14721 Export Format Profiles are edited via the 'Edit Export Format Profile' dialog.
14724 <img src="/images/edit-export-format-profile.png" />
14729 If enabled, peak levels of exported files will be normalized to the level chosen here.
14732 <h3>Trim/Add silence at start/end</h3>
14737 <h3>Compatibility/Quality/File format/Sample rate</h3>
14739 <h4>Compatibility</h4>
14742 Selecting an item in the 'Compatibility' column will display options in the
14743 other columns that are incompatible with that item in red.
14749 The appropriate item in the 'Quality' column will be highlighted when you
14750 choose a file format. Clicking on items in the 'Quality' column currently
14751 doesn't seem to do anything useful.
14754 <h4>File format</h4>
14757 This column contains a list of Ardour's supported export file types. Click on
14758 the format you want to use.
14761 <h4>Sample rate</h4>
14764 You can explicitly choose the sample rate of your exported files here, or
14765 choose 'Session rate' to export in the current session's sample rate, without
14766 sample rate conversion.
14769 <h4>Sample rate conversion quality</h4>
14772 If your chosen sample rate does not match the current session's sample rate,
14773 choose the sample rate conversion quality here. Better quality options are
14780 Options relevant to the chosen file format will appear here.
14781 Categories of audio file format are:
14783 <li>Linear encoding</li>
14784 <li>Broadcast Wave</li>
14785 <li>Ogg Vorbis</li>
14791 Available options include a selection of the following:
14794 <h4>Sample Format</h4>
14797 Choose the bit depth of exported files.
14803 If the exported files bit depth is less than Ardour's native bit depth,
14804 choose the dithering algorithm to use.
14807 <h4>Create CUE file/Create TOC file</h4>
14810 As well as exporting an audio file, create a file (in CUE or TOC format
14811 respectively) containg CD track information, as defined in the
14812 <a href="/working-with-markers/rangesmarks-list/">Ranges & Marks List</a>.
14815 <h4>Tag with session's metadata</h4>
14818 If the exported file format supports metadata, use data entered in the
14819 <a href="/working-with-sessions/metadata/">Session Metadata</a>
14820 window to tag the exported files.
14826 The 'Label' field lets you choose the name which will be shown for this format
14827 in the drop-down list of export formats in the 'File Formats' tab of the
14828 <a href="/exporting/export-dialog/">Export dialog</a>.
14831 <h3>Command to run post-export</h3>
14834 If this is not blank, it is considered as a command to be run after the export
14835 of each file. Either the command must exist in $PATH, or you can specify an
14836 absolute path to an executable file here.
14840 Certain sequences are allowed here to stand for the exported file name and the
14841 like. Currently these are:
14843 <dt><code>%f</code></dt>
14844 <dd>Full path & filename of the exported audio file</dd>
14845 <dt><code>%d</code></dt>
14846 <dd>Directory containing the exported audio file (including trailing directory separator)</dd>
14847 <dt><code>%b</code></dt>
14848 <dd>Basename of the exported audio file (without extension)</dd>
14849 <dt><code>%s</code></dt>
14850 <dd>Path to the current session file</dd>
14851 <dt><code>%n</code></dt>
14852 <dd>Name of the current session file</dd>
14853 <dt><code>%%</code></dt>
14854 <dd>A literal percent sign</dd>
14859 Any part of the command-line enclosed in double-quotes (") will be used as-is.
14872 title: Ardour Setup for Surround
14878 title: Multichannel Tracks and Signal Routing
14884 title: Surround Panning and Mixing
14894 <p class="warning">
14895 Ardour's VBAP panner is currently in development, and its semantics may
14896 change in the near future, possibly affecting your mixes. Please do not
14897 rely on it for important production work while the dust settles.
14901 <dfn><abbr title="Vector-base Amplitude Panning">VBAP</abbr></dfn>
14902 is a versatile and straightforward method to pan a source around over an
14903 arbitrary number of speakers on a horizontal polygon or a 3D surface,
14904 even if the speaker layout is highly irregular.
14907 <h2>Basic concepts</h2>
14910 VBAP was developed by Ville Pulkki at Aalto University, Helsinki, in 2001.
14911 It works by distributing the signal to the speakers nearest to the desired
14912 direction with appropriate weightings, aiming to create a maximally sharp
14913 phantom source by using as few speakers as possible:
14917 <li>one speaker, if the desired direction coincides with a speaker
14919 <li>two speakers, if the desired direction is on the line between two
14921 <li>and three speakers in the general 3D case.</li>
14925 Thus, if you move the panner onto a speaker, you can be sure that only
14926 this speaker will get any signal. This is handy when you need precise
14931 The drawback of VBAP is that a moving source will constantly change its
14932 apparent sharpness, as it transitions between the three states mentioned
14937 A <dfn>horizontal</dfn> VBAP panner has one parameter, the <dfn>azimuth
14938 angle</dfn>. A <dfn>full-sphere</dfn> panner offers an additional
14939 <dfn>elevation angle</dfn> control.
14943 More elaborate implementations of VBAP also include a
14944 <dfn>spread</dfn> parameter, which will distribute the signal over a
14945 greater number of speakers in order to maintain constant (but no longer
14946 maximal) sharpness, regardless of position. Ardour's VBAP panner does not
14947 currently include this feature.
14950 <h2>Speaker layout</h2>
14953 Each VBAP panner is specific to its <dfn>speaker layout</dfn>—the panner has to "know" about the precise location of all the speakers. A complete VBAP implementation must therefore include the possibility to define this layout.
14956 <img src="/images/VBAP-panner-5.png" class="small right" alt="The VBAP
14957 panner with 5 outputs"/>
14960 Ardour currently uses a simplified approach: if a track or bus has more
14961 than two output channels (which implies stereo), it assumes that you
14962 have N speakers distributed in a regular N-gon. That means that for
14963 irregular layouts such as 5.1 or 7.1, the direction you dial in will
14964 differ a bit from the actual auditory result, but you can still achieve
14965 any desired spatialisation.
14968 <h3>Experimental 3D VBAP</h3>
14970 <img src="/images/VBAP-panner-10.png" class="small right" alt="The VBAP
14971 panner with 10 outputs, in experimental 3D mode"/>
14974 For tracks with 10 outputs, Ardour will currently assume a 3-dimensional
14975 speaker layout corresponding to Auro-3D 10.1, which is a horizontal 5.1
14976 system, four elevated speakers above L, R, Ls, and Rs, and an additional
14977 "voice-of-god" speaker at the zenith.
14980 <h2>N:M panning</h2>
14982 <img src="/images/VBAP-panner-4in5.png" class="small right" alt="The VBAP
14983 panner in 4 in, 5 out mode"/>
14986 For tracks and busses with more than one input, Ardour will (for now) assume that
14987 you wish to distribute the inputs symmetrically along the latitude around
14988 the panner direction. The width parameter controls the opening angle of
14989 the distribution sector.
14996 title: Sync & Video
15002 title: Working with Synchronization
15008 title: On Clock and Time
15013 <dfn>Synchronization</dfn> in multimedia involves two concepts which are
15014 often confused: <dfn>clock</dfn> (or speed) and <dfn>time</dfn> (location
15019 A <dfn>clock</dfn> determines the speet at which one or more systems
15020 operate. In the audio world this is generally referred to as <a href="http://en.wikipedia.org/wiki/Word_clock" title="http://en.wikipedia.org/wiki/Word_clock">Word Clock</a>. It does not carry any absolute reference to a point in time: A clock is used to keep a system's sample rate regular and accurate. Word clock is usually at the frequency of the sample rate—at 48 kHz, its period is about 20 μs. Word Clock is the most common sample rate based clock but other clocks do exist such as Black and Burst, Tri-Level and DARS. Sample rates can be derived from these clocks as well.
15024 Time or <dfn>timecode</dfn> specifies an absolute position on a timeline,
15025 such as <code>01:02:03:04</code> (expressed as Hours:Mins:Secs:Frames). It is
15026 actual <em>data</em> and not a clock <em>signal</em> per se.
15027 The granularity of timecode is <dfn>Video Frames</dfn> and is an order of
15028 magnitude lower than, say, Word Clock which is counted in
15029 <dfn>samples</dfn>. A typical frame rate is 25 <abbr title="frames
15030 per second">fps</abbr> with a period of
15032 In the case of 48 kHz and 25 fps, there are 1,920 audio samples
15037 The concepts of clock and timecode are reflected in JACK and Ardour:
15041 JACK provides clock synchronization and is not concerned with time code
15042 (this is not entirely true, more on jack-transport later).
15043 On the software side, jackd provides sample-accurate synchronization
15044 between all JACK applications.
15045 On the hardware side, JACK uses the clock of the audio-interface.
15046 Synchronization of multiple interfaces requires hardware support to sync
15048 If two interfaces run at different clocks the only way to align the
15049 signals is via re-sampling (SRC—Sample Rate Conversion), which is
15050 expensive in terms of CPU usage and may decreases fidelity if done
15055 Timecode is used to align systems already synchronized by a clock to
15056 a common point in time, this is application specific and various
15057 standards and methods exist to do this.
15061 To make things confusing, there are possibilities to synchronize clocks
15062 using timecode. e.g. using mechanism called <dfn>jam-sync</dfn> and a
15063 <dfn>phase-locked loop</dfn>.
15067 An interesting point to note is that LTC (Linear Time Code) is a
15068 Manchester encoded, frequency modulated signal that carries both
15069 clock and time. It is possible to extract absolute position data
15074 title: Latency and Latency-Compensation
15075 menu_title: Latency
15081 href="http://en.wikipedia.org/wiki/Latency_%28audio%29"><dfn>Latency</dfn></a>
15082 is a system's reaction time to a given stimulus. There are many factors that
15083 contribute to the total latency of a system. In order to achieve exact time
15084 synchronization all sources of latency need to be taken into account and
15088 <h2>Sources of Latency</h2>
15090 <h3>Sound propagation through the air</h3>
15093 Since sound is a mechanical perturbation in a fluid, it travels at
15094 comparatively slow <a href="http://en.wikipedia.org/wiki/Speed_of_sound">speed</a>
15095 of about 340 m/s. As a consequence, your acoustic guitar or piano has a
15096 latency of about 1–2 ms, due to the propagation time of the sound
15097 between your instrument and your ear.
15100 <h3>Digital-to-Analog and Analog-to-Digital conversion</h3>
15103 Electric signals travel quite fast (on the order of the speed of light),
15104 so their propagation time is negligible in this context. But the conversions
15105 between the analog and digital domain take a comparatively long time to perform,
15106 so their contribution to the total latency may be considerable on
15107 otherwise very low-latency systems. Conversion delay is usually below 1 ms.
15110 <h3>Digital Signal Processing</h3>
15113 Digital processors tend to process audio in chunks, and the size of that chunk
15114 depends on the needs of the algorithm and performance/cost considerations.
15115 This is usually the main cause of latency when you use a computer and one you
15116 can try to predict and optimize.
15119 <h3>Computer I/O Architecture</h3>
15122 A computer is a general purpose processor, not a digital audio processor.
15123 This means our audio data has to jump a lot of fences in its path from the
15124 outside to the CPU and back, contending in the process with some other parts
15125 of the system vying for the same resources (CPU time, bus bandwidth, etc.)
15128 <h2>The Latency chain</h2>
15130 <img src="/images/latency-chain.png" title="Latency chain" alt="Latency chain" />
15133 <em>Figure: Latency chain.</em>
15134 The numbers are an example for a typical PC. With professional gear and an
15135 optimized system the total roundtrip latency is usually lower. The important
15136 point is that latency is always additive and a sum of many independent factors.
15140 Processing latency is usually divided into <dfn>capture latency</dfn> (the time
15141 it takes for the digitized audio to be available for digital processing, usually
15142 one audio period), and <dfn>playback latency</dfn> (the time it takes for
15143 In practice, the combination of both matters. It is called <dfn>roundtrip
15144 latency</dfn>: the time necessary for a certain audio event to be captured,
15145 processed and played back.
15149 It is important to note that processing latency in a jackd is a matter of
15150 choice. It can be lowered within the limits imposed by the hardware (audio
15151 device, CPU and bus speed) and audio driver. Lower latencies increase the
15152 load on the system because it needs to process the audio in smaller chunks
15153 which arrive much more frequently. The lower the latency, the more likely
15154 the system will fail to meet its processing deadline and the dreaded
15155 <dfn>xrun</dfn> (short for buffer over- or under-run) will make its
15156 appearance more often, leaving its merry trail of clicks, pops and crackles.
15160 The digital I/O latency is usually negligible for integrated or
15161 <abbr title="Periphal Component Interface">PCI</abbr> audio devices, but
15162 for USB or FireWire interfaces the bus clocking and buffering can add some
15167 <h2>Low Latency usecases</h2>
15170 Low latency is <strong>not</strong> always a feature you want to have. It
15171 comes with a couple of drawbacks: the most prominent is increased power
15172 consumption because the CPU needs to process many small chunks of audio data,
15173 it is constantly active and can not enter power-saving mode (think fan-noise).
15174 Since each application that is part of the signal chain must run in every
15175 audio cycle, low-latency systems will undergo<dfn>context switches</dfn>
15176 between applications more often, which incur a significant overhead.
15177 This results in a much higher system load and an increased chance of xruns.
15181 For a few applications, low latency is critical:
15184 <h3>Playing virtual instruments</h3>
15187 A large delay between the pressing of the keys and the sound the instrument
15188 produces will throw-off the timing of most instrumentalists (save church
15189 organists, whom we believe to be awesome latency-compensation organic systems.)
15192 <h3>Software audio monitoring</h3>
15195 If a singer is hearing her own voice through two different paths, her head
15196 bones and headphones, even small latencies can be very disturbing and
15197 manifest as a tinny, irritating sound.
15200 <h3>Live effects</h3>
15203 Low latency is important when using the computer as an effect rack for
15204 inline effects such as compression or EQ. For reverbs, slightly higher
15205 latency might be tolerable, if the direct sound is not routed through the
15209 <h3>Live mixing</h3>
15212 Some sound engineers use a computer for mixing live performances.
15213 Basically that is a combination of the above: monitoring on stage,
15214 effects processing and EQ.
15218 In many other cases, such as playback, recording, overdubbing, mixing,
15219 mastering, etc. latency is not important, since it can easily be
15220 compensated for.<br />
15221 To explain that statement: During mixing or mastering you don't care
15222 if it takes 10ms or 100ms between the instant you press the play button
15223 and sound coming from the speaker. The same is true when recording with a count in.
15226 <h2>Latency compensation</h2>
15229 During tracking it is important that the sound that is currently being
15230 played back is internally aligned with the sound that is being recorded.
15234 This is where latency-compensation comes into play. There are two ways to
15235 compensate for latency in a DAW, <dfn>read-ahead</dfn> and
15236 <dfn>write-behind</dfn>. The DAW starts playing a bit early (relative to
15237 the playhead), so that when the sound arrives at the speakers a short time
15238 later, it is exactly aligned with the material that is being recorded.
15239 Since we know that play-back has latency, the incoming audio can be delayed
15240 by the same amount to line things up again.
15244 As you may see, the second approach is prone to various implementation
15245 issues regarding timecode and transport synchronization. Ardour uses read-ahead
15246 to compensate for latency. The time displayed in the Ardour clock corresponds
15247 to the audio-signal that you hear on the speakers (and is not where Ardour
15248 reads files from disk).
15252 As a side note, this is also one of the reasons why many projects start at
15253 timecode <samp>01:00:00:00</samp>. When compensating for output latency the
15254 DAW will need to read data from before the start of the session, so that the
15255 audio arrives in time at the output when the timecode hits <samp>01:00:00:00</samp>.
15256 Ardour3 does handle the case of <samp>00:00:00:00</samp> properly but not all
15257 systems/software/hardware that you may inter-operate with may behave the same.
15260 <h2>Latency Compensation And Clock Sync</h2>
15263 To achieve sample accurate timecode synchronization, the latency introduced
15264 by the audio setup needs to be known and compensated for.
15268 In order to compensate for latency, JACK or JACK applications need to know
15269 exactly how long a certain signal needs to be read-ahead or delayed:
15272 <img src="/images/jack-latency-excerpt.png" title="Jack Latency Compensation" alt="Jack Latency Compensation" />
15275 <em>Figure: Jack Latency Compensation.</em>
15279 In the figure above, clients A and B need to be able to answer the following
15285 How long has it been since the data read from port Ai or Bi arrived at the
15286 edge of the JACK graph (capture)?
15289 How long will it be until the data writen to port Ao or Bo arrives at the
15290 edge of the JACK graph (playback)?
15295 JACK features an <abbr title="Application Programming Interface">API</abbr>
15296 that allows applications to determine the answers to above questions.
15297 However JACK can not know about the additional latency that is introduced
15298 by the computer architecture, operating system and soundcard. These values
15299 can be specified by the JACK command line parameters <kbd class="input">-I</kbd>
15300 and <kbd class="input">-O</kbd> and vary from system
15301 to system but are constant on each. On a general purpose computer system
15302 the only way to accurately learn about the total (additional) latency is to
15306 <h2>Calibrating JACK Latency</h2>
15309 Linux DSP guru Fons Adriaensen wrote a tool called <dfn>jack_delay</dfn>
15310 to accurately measure the roundtrip latency of a closed loop audio chain,
15311 with sub-sample accuracy. JACK itself includes a variant of this tool
15312 called <dfn>jack_iodelay</dfn>.
15316 Jack_iodelay allows you to measure the total latency of the system,
15317 subtracts the known latency of JACK itself and suggests values for
15318 jackd's audio-backend parameters.
15322 jack_[io]delay works by emitting some rather annoying tones, capturing
15323 them again after a round trip through the whole chain, and measuring the
15324 difference in phase so it can estimate with great accuracy the time taken.
15328 You can close the loop in a number of ways:
15333 Putting a speaker close to a microphone. This is rarely done, as air
15334 propagation latency is well known so there is no need to measure it.
15337 Connecting the output of your audio interface to its input using a
15338 patch cable. This can be an analog or a digital loop, depending on
15339 the nature of the input/output you use. A digital loop will not factor
15340 in the <abbr title="Analog to Digital, Digital to Analog">AD/DA</abbr>
15346 Once you have closed the loop you have to:
15350 <li>Launch jackd with the configuration you want to test.</li>
15351 <li>Launch <kbd class="input">jack_delay</kbd> on the commandline.</li>
15352 <li>Make the appropriate connections between your jack ports so the loop is closed.</li>
15353 <li>Adjust the playback and capture levels in your mixer.</li>
15357 title: Timecode Generators and Slaves
15362 Ardour supports three common timecode formats:
15363 <abbr title="Linear/Longitudinal Time Code"><dfn>LTC</dfn></abbr>,
15364 <abbr title="MIDI Time Code"><dfn>MTC</dfn></abbr>, and
15365 <dfn>MIDI Clock</dfn>, as well as
15366 <dfn>JACK-transport</dfn>, a JACK-specific timecode implementation.
15370 Ardour can generate timecode and thus act as timecode <dfn>master</dfn>,
15371 providing timecode information to other applications. Ardour can also be
15372 <dfn>slaved</dfn> to some external source in which case the playhead
15373 follows the incoming timecode.
15377 Combining the timecode slave and generator modes, Ardour can also
15378 <dfn>translate</dfn> timecode. e.g create LTC timecode from incoming MTC.
15381 <h2>Ardour Timecode Configuration</h2>
15384 Each Ardour session has a specific timecode frames-per-second setting which
15385 is configured in <kbd class="menu">session > properties >
15386 timecode</kbd>. The selected timecode affects the timecoderuler in the main
15387 window as well as the clock itself.
15391 Note that some timecode formats do not support all of Ardour's available
15392 fps settings. MTC is limited to 24, 25, 29.97 and 30 fps.
15396 The video pull-up modes change the effective samplerate of Ardour to allow
15397 for changing a film soundtrack from one frame rate to another. The concept is
15398 beyond the scope of this manual, but Wikipedia's entry on
15399 <a href="http://en.wikipedia.org/wiki/Telecine">Telecine</a>
15400 may get you started.
15403 <h2>Ardour Timecode Generator Configuration</h2>
15406 This is pretty straightforward: simply turn it on. The MTC and MIDI-Clock
15407 generator do not have any options. The LTC generator has a configurable
15408 output level. JACK-transport cannot be <em>generated</em>. Jack itself is
15409 always synced to its own cycle and cannot do varispeed—it will
15410 always be synced to a hardware clock or another JACK master.
15414 The relevant settings for timecode generator can be found in
15415 <kbd class="menu">Edit > Preferences > MIDI Preferences</kbd> (for MTC,
15417 <kbd class="menu">Edit > Preferences > Transport Preferences</kbd>
15422 The timecode is sent to jack-ports <code>ardour:MTC out</code>,
15423 <code>ardour:MIDI clock out</code> and <code>ardour:LTC-out</code>. Multiple
15424 generators can be active simultaneously.
15428 Note that, as of Jan 2014, only the LTC generator supports latency
15429 compensation. This is due to the fact the Ardour MIDI ports are not
15430 yet latency compensated.
15434 In <kbd class="menu">Session > Properties</kbd>, it is possible to
15435 define an offset between Ardour's internal time and the timecode sent.
15436 Currently only the LTC generator honors this offset.
15440 Both LTC and MTC are limited to 30 fps. Using frame rates larger
15441 than that will disable the generator. In both cases also only 24, 25,
15442 29.97df (drop-frame) and 30 fps are well defined by specifications (such as
15443 SMPTE-12M, EU and the MIDI standard).
15446 <h3>MTC Generator</h3>
15449 The <dfn>MTC generator</dfn> has no options. Ardour sends full MTC
15450 frames whenever the transport is relocated or changes state (start/stop).
15451 MTC <dfn>quarter frames</dfn> are sent when the transport is rolling and
15452 the transport speed is within 93% and 107%.
15455 <h3>LTC Generator</h3>
15458 The level of the <dfn>LTC generator</dfn> output signal can be configured
15459 in in the <kbd class="menu">Preferences > Transport</kbd> dialog. By
15460 default it is set to -18 dBFS, which corresponds to 0dBu in an EBU
15465 The LTC generator has an additional option to keep sending timecode even
15466 when the transport is stopped. This mode is intended to drive analog tape
15467 machines which unspool the tape if no LTC timecode is received.
15471 LTC is send regardless of Ardour's transport speed. It is accurately
15472 generated even for very slow speeds (<5%) and only limited by the
15473 soundcard's sampling-rate and filter (see
15475 href="http://en.wikipedia.org/wiki/Gibbs_phenomenon#Signal_processing_explanation">Gibbs phenomenon</a>)
15479 <h2>Ardour Slave Configuration</h2>
15482 The timecode source can be switched with the button just right of
15483 Ardour's main clock. By default it is set to <kbd
15484 class="menu">Internal</kbd> in which case Ardour will ignore any external
15485 timecode. The button allows to toggle between Internal and the configured
15486 timecode source which is chosen in <kbd class="menu">Edit > Preferences
15487 > Transport</kbd>.
15491 When Ardour is <dfn>chasing</dfn> (synchronizing to) an external timecode
15492 source, the following cases need to be distinguished:
15496 <li>the timecode source shares the clock</li>
15497 <li>the timecode source is independent (no wordclock sync)</li>
15503 <li>the timecode source uses the same FPS setting as Ardour</li>
15504 <li>the timecode source runs at different frames-per-second</li>
15508 In both cases the first option is preferred: clock sync + same FPS setting.
15511 <h3>Frames-per-second</h3>
15514 If the frames-per-second do not match, Ardour can either re-calculate
15515 and map the frames, or the configured FPS (<kbd class="menu">Session >
15516 Properties</kbd>) can be changed automatically while the slave is active.
15517 The behavior is configured with the checkbox <kbd class="option">Edit
15518 > Preferences > Transport > Match session video frame rate to
15519 external timecode</kbd>.
15523 When enabled, the session video frame rate will be changed to match that
15524 of the selected external timecode source. When disabled, the session video
15525 frame rate will not be changed to match that of the selected external
15526 timecode source. Instead the frame rate indication in the main clock will
15527 flash red, and Ardour will convert between the external timecode standard
15528 and the session standard.
15531 <p class="warning">
15532 29.97 drop-frame timecode is another corner case. While the SMPTE 12M-1999
15533 specifies 29.97df as 30000/1001 frames per second, not all hardware devices
15534 follow that standard. The checkbox
15535 <kbd class="option">Lock to 29.9700 fps instead of 30000/1001</kbd> allows
15536 to use a compatibility mode for those devices.
15540 When enabled, the external timecode source is assumed to use 29.970000 fps
15541 instead of 30000/1001. SMPTE 12M-1999 specifies 29.97df as 30000/1001. The
15542 <abbr title="specification">spec</abbr> further mentions that drop-frame
15543 timecode has an accumulated error of -86 ms over a 24-hour period.
15544 Drop-frame timecode would compensate exactly for a NTSC color frame rate
15545 of 30 * 0.9990 (ie 29.970000). That is <em>not</em> the actual rate. However,
15546 some vendors use that rate—despite it being against the specs—because the variant of using exactly 29.97 fps yields zero timecode
15550 <h3>Clock Sync Lock</h3>
15553 As described in the
15554 <a href="http://manual.ardour.org/synchronization/on-clock-and-time/">On Clock and Time</a>
15555 chapter, timecode and clock are independent. If the external timecode
15556 source is not in sample-sync with the audio hardware (and JACK), Ardour
15557 needs to run at varispeed to adjust for the discrepancy.
15561 The checkbox <kbd class="option">External timecode is sync locked</kbd>
15562 allows to select the behavior according to your setup. When enabled, it
15563 indicates that the selected external timecode source shares sync (Black
15564 & Burst, Wordclock, etc) with the audio interface.
15568 In other words: if enabled, Ardour will only perform initial
15569 synchronization and keep playing at speed 1.0 instead of vari-speed
15570 adjusting to compensate for drift.
15574 Note that vari-speed is unavailable when recording in Ardour, and all
15575 tracking happens at speed 1.0. So if you want to record in sync with
15576 external timecode it must be sample-locked or it will drift over time.
15579 <h3>MIDI Clock</h3>
15582 <dfn>MIDI Clock</dfn> is not a timecode format but tempo-based time. The
15583 absolute reference point is expressed as beats-per-minute and Bar, Beat
15584 and Tick. There is no concept of sample-locking for MIDI clock signals.
15585 Ardour will vari-speed if necessary to chase the incoming signal.
15589 Note that the MIDI Clock source must be connected to the
15590 <code>ardour:MIDI clock in</code> port.
15593 <h3>LTC—Linear Timecode</h3>
15596 The <dfn>LTC</dfn> slave decodes an incoming LTC signal on a JACK audio
15597 port. It will auto-detect the frame rate and start locking to the signal
15598 once two consecutive LTC frames have been received.
15602 The incoming timecode signal needs to arrive at the
15603 <code>ardour:LTC-in</code> port. Port-connections are restored for each
15604 session and the preference dialog offers an option to select it for all
15609 Ardour's transport is aligned to LTC-frame start/end positions according
15610 to the SMPTE 12M-1999 specification, which means that the first bit of an
15611 LTC-Frame is aligned to different Lines of a Video-Frame, depending on the
15612 TV standard used. Only for Film (24fps) does the LTC-Frame directly match
15613 the video Frame boundaries.
15616 <img src="/images/ltc-transport-alignment.png" title="LTC frame alignment" alt="LTC frame alignment"/>
15617 <p><em>Figure: LTC frame alignment for the 525/60 TV standard</em></p>
15620 Ardour supports vari-speed and backwards playback but will only follow
15621 speed changes if the <kbd class="optoff">sync locked</kbd> option is
15626 While Ardour is chasing LTC, the main transport clock will display the
15627 received Timecode as well as the delta between the incoming signal and
15628 Ardour's transport position.
15632 A global offset between incoming timecode and Ardour's transport can be
15633 configured in <kbd class="menu">Session > Properties</kbd>.
15637 The user-bits in the received LTC frame are ignored.
15640 <h3>MTC—MIDI Timecode</h3>
15643 Ardour's MTC slave parses <dfn>full timecode messages</dfn> as well as
15644 MTC <dfn>quarter-frame messages</dfn> arriving on the
15645 <code>ardour:MTC in</code> port. The transport will only start rolling
15646 once a complete sequence of 8 quarter frames has been received.
15650 Ardour supports vari-speed and backwards playback but will only follow
15651 MTC speed changes if the <kbd class="optoff">sync locked</kbd> option
15656 When Ardour is chasing MTC, the main transport clock will display the
15657 received Timecode as well as the delta between the incoming signal and
15658 Ardour's transport position.
15661 <h3>JACK Transport</h3>
15664 When slaved to jack, Ardour's transport will be identical to
15665 JACK-transport. As opposed to other slaves, Ardour can be used to control
15666 the JACK transport states (stopped/rolling). No port connections need to
15667 be made for jack-transport to work.
15671 JACK-transport does not support vari-speed, nor offsets. Ardour does not
15672 chase the timecode but is always in perfect sample-sync with it.
15676 JACK-transport also includes temp-based-time information in Bar:Beats:Ticks
15677 and beats-per-minute. However, only one JACK application can provide this
15678 information at a given time. The checkbox
15679 <kbd class="option">Session > Properties > JACK Time Master</kbd>
15680 configures Ardour to act as translator from timecode to BBT information.
15684 title: Overview of all Timecode related settings
15685 menu_title: Overview of Timecode settings
15690 Timecode settings are accessed from the menu in three places:
15694 <li><kbd class="menu">Session > Properties > Timecode</kbd></li>
15695 <li><kbd class="menu">Edit > Preferences > Transport</kbd></li>
15696 <li><kbd class="menu">Edit > Preferences > MIDI</kbd></li>
15699 <h2>Timecode Settings</h2>
15701 <dt><kbd class="menu">Timecode frames-per-second</kbd></dt>
15703 Configure timecode frames-per-second (23.976, 24, 24.975, 25, 29.97,
15704 29.97 drop, 30, 30 drop, 59.94, 60). Note that all fractional
15705 framerates are actually fps*(1000.0/1001.0).
15707 <dt><kbd class="menu">Pull up/down</kbd></dt>
15709 Video pull-up modes change the effective samplerate of Ardour to
15710 allow for changing a film soundtrack from one frame rate to another.
15711 See <a href="http://en.wikipedia.org/wiki/Telecine">Telecine</a>
15713 <dt><kbd class="menu">Slave Timecode offset</kbd></dt>
15715 The specified offset is added to the received timecode (MTC or
15718 <dt><kbd class="menu">Timecode Generator offset</kbd></dt>
15720 Specify an offset which is added to the generated timecode (so far only LTC).
15722 <dt><kbd class="option">JACK Time Master</kbd></dt>
15724 Provide Bar|Beat|Tick and other information to JACK.
15727 <p>These settings are session specific.</p>
15730 <h2>Transport Preferences</h2>
15732 <dt><kbd class="menu">External timecode source</kbd></dt>
15734 Select timecode source: JACK, LTC, MTC, MIDI Clock
15736 <dt><kbd class="option">Match session video frame rate to external timecode</kbd></dt>
15738 This option controls the value of the video frame rate <em>while
15739 chasing</em> an external timecode source. When enabled, the
15740 session video frame rate will be changed to match that of the selected
15741 external timecode source. When disabled, the session video frame rate
15742 will not be changed to match that of the selected external timecode
15743 source. Instead the frame rate indication in the main clock will flash
15744 red and Ardour will convert between the external timecode standard and
15745 the session standard.
15747 <dt><kbd class="option">External timecode is sync locked</kbd></dt>
15749 Indicates that the selected external timecode source shares sync (Black
15750 & Burst, Wordclock, etc) with the audio interface.
15752 <dt><kbd class="option">Lock to 29.9700 fps instead of 30000/1001</kbd></dt>
15754 The external timecode source is assumed to use 29.97 fps instead of
15755 30000/1001. SMPTE 12M-1999 specifies 29.97df as 30000/1001. The spec
15756 further mentions that drop-frame timecode has an accumulated error of -86ms
15757 over a 24-hour period. Drop-frame timecode would compensate exactly for a
15758 NTSC color frame rate of 30 * 0.9990 (ie 29.970000). That is not the actual
15759 rate. However, some vendors use that rate—despite it being against
15760 the specs—because the variant of using exactly 29.97 fps has zero
15763 <dt><kbd class="menu">LTC incoming port</kbd></dt>
15765 Offers a session agnostic way to retain the LTC port connection.
15767 <dt><kbd class="option">Enable LTC generator</kbd></dt>
15768 <dd>Does just what it says.</dd>
15769 <dt><kbd class="option">Send LTC while stopped</kbd></dt>
15771 Enable to continue to send LTC information even when the transport
15772 (playhead) is not moving. This mode is intended to drive analog tape
15773 machines which unspool the tape if no LTC timecode is received.
15775 <dt><kbd class="menu">LTC generator level</kbd></dt>
15777 Specify the Peak Volume of the generated LTC signal in dbFS. A good value
15778 is 0 dBu (which is -18 dbFS in an EBU calibrated system).
15781 <p>These settings are common to all sessions.</p>
15784 <h2>MIDI Preferences</h2>
15786 <dt><kbd class="option">Send MIDI Timecode</kbd></dt><dd>Enable MTC generator</dd>
15787 <dt><kbd class="option">Send MIDI Clock</kbd></dt><dd>Enable MIDI Clock generator</dd>
15789 <p>These settings are also common to all sessions.</p>
15793 title: Working with Field Recorders in Ardour
15799 title: Working with Video in Ardour
15805 title: Video Timeline and Monitoring
15810 Ardour offers a <dfn>video timeline</dfn> and <dfn>video monitoring</dfn>
15811 for convenient audio mixing and editing to video, in order to produce
15812 film soundtracks and music videos, or perform TV postproduction tasks.
15816 The video capabilities are:
15820 <li>Import a single video and optionally extract the soundtrack from it.</li>
15821 <li>Provide a video monitor window, or full-screen display, of the
15822 imported video in sync with any of the available Ardour timecode
15824 <li>Display a frame-by-frame (thumbnail) timeline of the video.</li>
15825 <li>Allow for a configurable timecode offset.</li>
15826 <li><em>Lock</em> audio regions to the video.</li>
15827 <li>Move audio regions with the video at video-frame granularity.</li>
15828 <li>Export the video, trim start and end, add blank frames and/or
15829 multiplex it with the soundtrack of the current session.</li>
15833 The setup of the video subsystem is modular and can be configured
15834 in different ways, including:
15838 <li>One machine for all video decoding, video monitoring and audio editing
15840 <li>Two machines, one for video monitoring, one for Ardour</li>
15841 <li>Three machines, separate video server (for timeline decoding
15842 and file archive), dedicated video monitor, and Ardour</li>
15846 Ardour does <em>not</em>:
15850 <li>allow for more than one video to be loaded at a time.</li>
15851 <li>provide video editing capabilities</li>
15855 title: Video Timeline Setup
15860 No configuration is required if you intend to run everything on a single
15861 machine, and if you acquired Ardour from
15862 <a href="http://www.ardour.org"
15863 title="http://www.ardour.org">http://www.ardour.org</a>.
15864 Everything is pre-configured and included with the download/install.
15867 <h2>Single Machine</h2>
15870 If you compile Ardour from source, or have installed it from a 3rd party
15871 repository, three additional tools will need to be installed manually,
15872 which are used by Ardour to provide video features:
15876 <li>xjadeo (the video monitor application): <a href="http://xjadeo.sf.net"
15877 title="http://xjadeo.sf.net" rel="nofollow">http://xjadeo.sf.net</a></li>
15878 <li>harvid (a video decoder used for the thumbnail timeline): <a
15879 href="http://x42.github.com/harvid/" title="http://x42.github.com/harvid/"
15880 rel="nofollow">http://x42.github.com/harvid/</a></li>
15881 <li>ffmpeg, ffprobe (used to import/export video, extract soundtracks and
15882 query video information): <a href="http://ffmpeg.org" title="http://ffmpeg.org"
15883 rel="nofollow">http://ffmpeg.org</a></li>
15887 Ardour requires xjadeo ≥ version 0.6.4, harvid ≥ version 0.7.0 and ffmpeg (known to work versions: 1.2, 2.8.2)
15891 The Ardour development team is in control of the first two applications. ffmpeg however can be a bit of a problem. To avoid conflicts with distribution packages, Ardour looks for <code>ffmpeg_harvid</code> and <code>ffprobe_harvid</code>.
15895 All four applications need to be found in <code>$PATH</code> (e.g.
15896 <code>$HOME/bin</code> or <code>/usr/local/bin</code>). For convenience the
15897 binary releases of harvid include ffmpeg_harvid and ffprobe_harvid, but if
15898 your distribution provides suitable ffmpeg commands you can also just create
15902 <kbd class="cmd lin">sudo ln -s /usr/bin/ffmpeg /usr/bin/ffmpeg_harvid</kbd>
15903 <kbd class="cmd lin">sudo ln -s /usr/bin/ffprobe /usr/bin/ffprobe_harvid</kbd>
15906 Binary releases are available from ardour.org as well as an installer script:
15907 <a href="https://github.com/Ardour/ardour/blob/master/tools/videotimeline/install_video_tools.sh"
15908 title="https://github.com/Ardour/ardour/blob/master/tools/videotimeline/install_video_tools.sh"
15909 rel="nofollow">install_video_tools.sh</a>.
15913 The easiest way to install the video-utilities is by running the following
15914 line in a terminal:
15917 <kbd class="cmd lin">sh -c "$(curl -s -L http://git.io/tVUCkw)"</kbd>
15919 <h2>Studio Setup</h2>
15922 Please read the info in the previous section to familiarize yourself with
15923 the tools involved first. Setting up a proper A/V post-production studio
15924 can be a complicated task. As much as we streamline and simplify the
15925 <em>single machine</em> setup, the <dfn>studio setup</dfn> is focused on modularity.
15930 <li>Synchronization ardour → video-display-box should be accomplished by external
15931 means jack-transport(netjack), MTC, LTC
15932 (<abbr title="Open Sound Control—"postmodern MIDI"">OSC</abbr> and/or
15933 ssh-pipe work but introduce additional latency + jitter)</li>
15934 <li>Ardour launches <code>XJREMOTE</code> (environment variable, default 'xjremote' which comes with xjadeo).</li>
15935 <li>Either use a custom shell script that ssh'es into the remote box and launches/controls xjadeo there, selects the sync-source and passes though communication between ardour ⇔ xjadeo via ssh (xjadeo is launched stopped with the session).</li>
15936 <li>..or override xjremote's behavior – instead of IPC with a local running xjadeo-process, using <abbr title="Open Sound Control—"postmodern MIDI"">OSC</abbr> for example. xjadeo would run permanently and Ardour will just tell it to load files and set offsets via <acronym title="Open Sound Control—"postmodern MIDI"">OSC</acronym>. see <a href="http://xjadeo.git.sourceforge.net/git/gitweb.cgi?p=xjadeo/xjadeo;a=blob_plain;f=contrib/xjremote-osc" title="http://xjadeo.git.sourceforge.net/git/gitweb.cgi?p=xjadeo/xjadeo;a=blob_plain;f=contrib/xjremote-osc" rel="nofollow">xjremote-osc</a> example script.</li>
15937 <li>If the video server runs remotely, Ardour needs to be configured in Ardour > Preference > Video (hostname of the video-server).</li>
15938 <li> Ideally the machines have a common shared folder (NFS or similar). Ardour's import (audio-extract) and export (mux) functionality depends on having access to the video file. Also Ardour's video-import transcodes the file into a suitable proxy-format that allows reliable seeking to any frame…</li>
15942 title: Transcoding, Formats & Codecs
15947 This chapter provides a short primer on video files, formats and
15948 codecs – because it is often cause for confusion:
15952 A video file is a <dfn>container</dfn>. It usually contains one
15953 <dfn>video track</dfn> and one or more <dfn>audio tracks</dfn>.
15954 How these tracks are stored in the file is defined by the
15955 <dfn>file format</dfn>. Common formats are
15956 avi, mov, ogg, mkv, mpeg, mpeg-ts, mp4, flv, or vob.
15960 Each of the tracks by itself is encoded using a <abbr
15961 title="Coder-Decoder"><dfn>Codec</dfn></abbr>. Common video codecs
15962 are h264, mpeg2, mpeg4, theora, mjpeg, wmv3. Common audio codecs are
15963 mp2, mp3, dts, aac, wav/pcm.
15967 Not all codecs can be packed into a given format. For example the
15968 mpeg format is limited to mpeg2, mpeg4 and mp3 codecs (not entirely true).
15969 DVDs do have stringent limitations as well. The opposite would be .avi;
15970 pretty much every audio/video codec combination can be contained in an avi
15975 To make things worse, naming conventions for video codecs and formats are
15976 often identical (especially MPEG ones) which leads to confusion.
15977 All in all it is a very wide and deep field. Suffice there are different
15978 uses for different codecs and formats.
15981 <h2>Ardour specific issues</h2>
15984 Ardour supports a wide variety of video file formats codecs. More specifically, Ardour itself actually does not support any video at all but delegates handling of video files to <a href="http://ffmpeg.org">ffmpeg</a>, which supports over 350 different video codecs and more than 250 file formats.
15988 When importing a video into Ardour, it will be <dfn>transcoded</dfn> (changed from one format and codec to another) to avi/mjpeg for internal use (this allows reliable seeking to frames at low CPU cost—the file size will increase, but hard disks are large and fast).
15992 The export dialog includes presets for common format and codec combinations (such as DVD, web-video,..). If in doubt use one of the presets.
15996 As last note: every time a video is transcoded, the quality can only get worse. Hence for the final mastering/<abbr title="Multiplexing Audio and Video">muxing</abbr> process, one should always to back and use the original source of the video.
16000 title: Workflow & Operations
16004 <h2>Overview of Operations</h2>
16006 <dl class="wide-table">
16007 <dt><kbd class="menu">Session > Open Video</kbd></dt>
16008 <dd>Add/replace a video to/on the timeline</dd>
16009 <dt><kbd class="menu">Window > View Monitor</kbd></dt>
16010 <dd>Open/close external video monitor window</dd>
16011 <dt><kbd class="menu">View > Video Monitor > …</kbd></dt>
16012 <dd>Various settings of the video monitor</dd>
16013 <dt><kbd class="menu">Session > Export > Video</kbd></dt>
16014 <dd>Export session and multiplex with video-file</dd>
16015 <dt><kbd class="mouse">Left</kbd>-drag the video in the timeline</dt>
16016 <dd>Re-align video and move 'locked' audio-regions along</dd>
16017 <dt>Context-menu on the video-timeline: <kbd class="menu"> 'lock'</kbd></dt>
16018 <dd>Prevent accidental drags</dd>
16019 <dt>Audio region context menu: <kbd class="menu">Position > Lock to video</kbd></dt>
16020 <dd>Mark audio region(s) to be moved along with the video.</dd>
16023 <h2>Adding Video</h2>
16026 Adding video is a two-step process: select a video file, and choose
16027 import mode and optionally select an audio track to extract.
16031 The first step is rather straight-forward. The panel on the right side
16032 allows to seek through the video and displays basic file information.
16033 It is also useful to check if the video format/codec is supported:
16036 <img src="/images/a3_video_open.png" alt="video-open-dialog" width="300" />
16039 The second step analyzes the video file in more detail and offers import options:
16043 <dt><kbd class="menu">Import/Transcode to Session</kbd></dt>
16044 <dd>This is the default. The video will be imported in a suitable
16045 video format/codec for the timeline and video monitor and saved inside the
16046 session folder. A location other than the session folder can also be
16047 chosen (external disk, or network storage of the video server on a different
16049 <dt><kbd class="menu">Reference from Current Location</kbd></dt>
16050 <dd>Only useful for opening files that were previously encoded (are already
16051 in a good format/codec). Use with care.</dd>
16052 <dt><kbd class="menu">Do not Import Video</kbd></dt>
16053 <dd>Useful for extracting audio only.</dd>
16056 <img src="/images/a3_video_import.png" alt="Video Import Dialog" width="300" />
16059 By default the video is imported using the original width/height.
16060 If it is a large video (e.g. full-HD) it makes sense to scale it down
16061 to decrease the CPU load and disk I/O required to decode and play the
16063 A small, low-quality representation of the image is usually sufficient
16064 for editing soundtracks. The default bitrate in kbit/sec is set to use
16065 0.7 bits per pixel. (Compare: the average DVD medium uses 5000 kbit/s;
16066 at PAL resolution this is about 0.5 bits per pixel. But the DVD is
16067 using the <dfn>mpeg2</dfn>—a denser compression algorithm than the
16068 <dfn>mjpeg</dfn> codec used by Ardour.)
16071 <h2>Working with A/V</h2>
16077 <img src="/images/a3_videotimeline.png" alt="Video Timeline" width="600" />
16079 <h2 id="export">Exporting Video</h2>
16082 The video export will take audio from the current Ardour session and
16083 multiplex it with a video file. The soundtrack of the video is taken from
16084 an audio export of Ardour's master bus.
16088 An arbitrary video file can be chosen. For high quality exports, the
16089 original file (before it was imported into the timeline) should be used.
16090 This is the default behaviour if that file can be found. If not, Ardour
16091 will fall back to the imported proxy-video which is currently in use
16092 on the timeline. Any existing audio tracks on this video file are stripped.
16096 The range selection allows to cut or extend the video. If the session is
16097 longer than the video duration, black frames are prefixed or appended to
16098 the video. (Note: this process may fail with non-standard pixel aspect
16099 ratios). If Ardour's session range is shorter, the video will be cut accordingly.
16103 Audio samplerate and normalization are options for Ardour's audio exporter.
16104 The remaining settings are options that are directly passed on to ffmpeg.
16108 The file format is determined by the extension that you choose for it
16109 (.avi, .mov, .flv, .ogv, .webm,...)
16110 Note: not all combinations of format, codec, and settings produce files
16111 which are according to specifications. For example, flv files require
16112 sample rates of 22.1 kHz or 44.1 kHz, mpeg containers can not
16113 be used with ac3 audio-codec, etc. If in doubt, use one of the built-in
16117 <img src="/images/a3_video_export.png" alt="Video Export Dialog" width="300" />
16120 Ardour video export is not recommended for mastering! While ffmpeg (which is used by Ardour) can produce high-quality files, this export lacks the possibility to tweak many settings. We recommend to use winff, devede or dvdauthor to mux & master. Nevertheless this video-export comes in handy to do quick snapshots, intermediates, dailies or online videos.
16133 title: Lua Scripting in Ardour
16139 title: Lua Scripting
16144 Starting with version 4.7.213, Ardour supports Lua scripts.
16147 <p class="warning">
16148 Lua Integration is Work in Progress and far from complete.
16152 title: Scripting Documentation
16156 <p class="warning">
16157 This Documentation is Work in Progress and far from complete. Also the documented API may be subject to change.
16163 There are cases that a Ardour cannot reasonably cater for with core functionality by itself, either because they're session specific or user specific edge cases.
16167 Examples for these include voice-activate (record-arm specific tracks and roll transport depending on signal levels), rename all regions after a specific timecode, launch an external application when a certain track is soloed, generate automation curves or simply provide a quick shortcut for a custom batch operation.
16171 Cases like this call for means to extend the DAW without actually changing the DAW itself. This is where scripting comes in.
16175 "Scripting" refers to tasks that could alternatively be executed step-by-step by a human operator.
16179 Lua is a tiny and simple language which is easy to learn, yet allows for comprehensive solutions. Lua is also a glue language it allows to tie existing component in Ardour together in unprecedented ways, and most importantly Lua is one of the few scripting-languages which can be safely used in a real-time environment.
16183 A good introduction to Lua is the book <a href="http://www.lua.org/pil/">Programming in Lua</a>. The first edition is available online, but if you have the means buy a copy of the book, it not only helps to support the Lua project, but provides for a much nicer reading and learning experience.
16189 The core of ardour is a real-time audio engine that runs and processes audio. One interfaces with than engine by sending it commands. Scripting can be used to interact with or modify active Ardour session. Just like a user uses the Editor/Mixer GUI to modify the state or parameters of the session.
16193 Doing this programmatically requires some knowledge about the objects used internally. Most Ardour C++ objects and their methods are directly exposed to Lua and one can call functions or modify variables:
16196 <div style="width:80%; margin:.5em auto;">
16197 <div style="width:45%; float:left;">
16200 session->set_transport_speed (1.0);
16203 <div style="width:45%; float:right;">
16206 Session:set_transport_speed (1.0)
16211 <div style="clear:both;"></div>
16214 You may notice that there is only a small syntactic difference, in this case. While C++ requires recompiling the application for every change, Lua script can be loaded, written or modified while the application is running. Lua also abstracts away many of the C++ complexities such as object lifetime, type conversion and null-pointer checks.
16218 Close ties with the underlying C++ components is where the power of scripting comes from. A script can orchestrate interaction of lower-level components which take the bulk of the CPU time of the final program.
16222 At the time of writing Ardour integrates Lua 5.3.2: <a href="http://www.lua.org/manual/5.3/manual.html">Lua 5.3 reference manual</a>.
16225 <h2>Integration</h2>
16228 Like Control surfaces and the GUI, Lua Scripts are confined to certain aspects of the program. Ardour provides the framework and runs Lua (not the other way around).
16233 In Ardour's case Lua is available:
16237 <dt>Editor Action Scripts</dt><dd>User initiated actions (menu, shortcuts) for batch processing</dd>
16238 <dt>Editor Hooks/Callbacks</dt><dd>Event triggered actions for the Editor/Mixer GUI</dd>
16239 <dt>Session Scripts</dt><dd>Scripts called at the start of every audio cycle (session, real-time)</dd>
16240 <dt>DSP Scripts</dt><dd>Audio/Midi processor—plugins with access to the Ardour session (per track/bus, real-time)</dd>
16241 <dt>Script Console</dt><dd>Action Script commandline</dd>
16245 There are is also a special mode:
16249 <dt>Commandline Tool</dt><dd>Replaces the complete Editor GUI, direct access to libardour (no GUI) from the commandline.<br/>
16250 <em>Be aware that the vast majority of complex functionality is provided by the Editor UI.</em></dd>
16253 <h2>Managing Scripts</h2>
16256 Ardour searches for Lua scripts in the <code>scripts</code> folder in <code>$ARDOUR_DATA_PATH</code>, Apart from scripts included directly with Ardour, this includes
16260 <tr><th>GNU/Linux</th><td><code>$HOME/.config/ardour5/scripts</code></td></tr>
16261 <tr><th>Mac OS X</th><td><code>$HOME/Library/Preferences/Ardour5/scripts</code></td></tr>
16262 <tr><th>Windows</th><td><code>%localappdata%\ardour5\scripts</code></td></tr>
16265 <p>Files must end with <code>.lua</code> file extension.</p>
16267 <p>Scripts are managed via the GUI</p>
16270 <dt>Editor Action Scripts</dt><dd>Menu → Edit → Scripted Actions → Manage</dd>
16271 <dt>Editor Hooks/Callbacks</dt><dd>Menu → Edit → Scripted Actions → Manage</dd>
16272 <dt>Session Scripts</dt><dd>Menu → Session → Scripting → Add/Remove Script</dd>
16273 <dt>DSP Scripts</dt><dd>Mixer-strip → context menu (right click) → New Lua Proc</dd>
16274 <dt>Script Console</dt><dd>Menu → Window → Scripting</dd>
16277 <h2>Script Layout</h2>
16280 <li>Every script must include an <code>ardour</code> descriptor table. Required fields are "Name" and "Type".</li>
16281 <li>A script must provide a <em>Factory method</em>: A function with optional instantiation parameters which returns the actual script.</li>
16282 <li>[optional]: list of parameters for the "factory".</li>
16283 <li>in case of DSP scripts, an optional list of automatable parameters and possible audio/midi port configurations, and a <code>dsp_run</code> function, more on that later.</li>
16286 <p>A minimal example script looks like:</p>
16289 <pre><code class="lua">
16291 ["type"] = "EditorAction",
16295 function factory (unused_params)
16297 Session:goto_start() -- rewind the transport
16304 The common part for all scripts is the "Descriptor". It's a Lua function which returns a table (key/values) with the following keys (the keys are case-sensitive):
16308 <dt>type [required]</dt><dd>one of "<code>DSP</code>", "<code>Session</code>", "<code>EditorHook</code>", "<code>EditorAction</code>" (the type is not case-sensitive)</dd>
16309 <dt>name [required]</dt><dd>Name/Title of the script</dd>
16310 <dt>author</dt><dd>Your Name</dd>
16311 <dt>license</dt><dd>The license of the script (e.g. "GPL" or "MIT")</dd>
16312 <dt>description</dt><dd>A longer text explaining to the user what the script does</dd>
16316 Scripts that come with Ardour (currently mostly examples) can be found in the <a href="https://github.com/Ardour/ardour/tree/master/scripts">Source Tree</a>.
16319 <h3>Action Scripts</h3>
16322 Action scripts are the simplest form. An anonymous Lua function is called whenever the action is triggered. A simple action script is shown above.
16325 There are 10 action script slots available, each of which is a standard GUI action available from the menu and hence can be bound to a keyboard shortcut.
16328 <h3>Session Scripts</h3>
16331 Session scripts similar to Actions Scripts, except the anonymous function is called periodically every process cycle. The function receives a single parameter—the number of audio samples which are processed in the given cycle
16335 <pre><code class="lua">
16337 ["type"] = "session",
16338 name = "Example Session Script",
16340 An Example Ardour Session Script.
16341 This example stops the transport after rolling for a specific time.]]
16344 -- instantiation options, these are passed to the "factory" method below
16345 function sess_params ()
16348 ["print"] = { title = "Debug Print (yes/no)", default = "no", optional = true },
16349 ["time"] = { title = "Timeout (sec)", default = "90", optional = false },
16353 function factory (params)
16354 return function (n_samples)
16355 local p = params["print"] or "no"
16356 local timeout = params["time"] or 90
16358 if p ~= "no" then print (a, n_samples, Session:frame_rate (), Session:transport_rolling ()) end -- debug output (not rt safe)
16359 if (not Session:transport_rolling()) then
16364 if (a > timeout * Session:frame_rate()) then
16365 Session:request_transport_speed(0.0, true)
16372 <h3>Action Hooks</h3>
16375 Action hook scripts must define an additional function which returns a <em>Set</em> of Signal that which trigger the callback (documenting available slots and their parameters remains to be done).
16379 <pre><code class="lua">
16381 ["type"] = "EditorHook",
16382 name = "Hook Example",
16383 description = "Rewind On Solo Change, Write a file when regions are moved.",
16386 function signals ()
16387 s = LuaSignal.Set()
16390 [LuaSignal.SoloActive] = true,
16391 [LuaSignal.RegionPropertyChanged] = true
16397 function factory (params)
16398 return function (signal, ref, ...)
16399 -- print (signal, ref, ...)
16401 if (signal == LuaSignal.SoloActive) then
16402 Session:goto_start()
16405 if (signal == LuaSignal.RegionPropertyChanged) then
16407 file = io.open ("/tmp/test" ,"a")
16409 io.write (string.format ("Region: '%s' pos-changed: %s, length-changed: %s\n",
16411 tostring (pch:containsFramePos (ARDOUR.Properties.Start)),
16412 tostring (pch:containsFramePos (ARDOUR.Properties.Length))
16421 <h3>DSP Scripts</h3>
16423 <p>See the scripts folder for examples for now.</p>
16425 <p>Some notes for further doc:</p>
16428 <li>required function: <code>dsp_ioconfig ()</code>: return a list of possible audio I/O configurations—follows Audio Unit conventions.</li>
16429 <li>optional function: <code>dsp_dsp_midi_input ()</code>: return true if the plugin can receive midi input</li>
16430 <li>optional function: <code>dsp_params ()</code>: return a table of possible parameters (automatable)</li>
16431 <li>optional function: <code>dsp_init (samplerate)</code>: called when instantiation the plugin with given samplerate.</li>
16432 <li>optional function: <code>dsp_configure (in, out)</code>: called after instantiation with configured plugin i/o.</li>
16433 <li>required function: <code>dsp_run (ins, outs, n_samples)</code> OR <code>dsp_runmap (bufs, in_map, out_map, n_samples, offset)</code>: DSP process callback. The former is a convenient abstraction that passes mapped buffers (as table). The latter is a direct pass-through matching Ardour's internal <code>::connect_and_run()</code> API, which requires the caller to map and offset raw buffers.</li>
16434 <li>plugin parameters are handled via the global variable <code>CtrlPorts</code>.</li>
16435 <li>midi data is passed via the global variable <code>mididata</code> which is valid during <code>dsp_run</code> only. (dsp_runmap requires the script to pass raw data from the buffers according to in_map)</li>
16436 <li>The script has access to the current session via the global variable Session, but access to the session methods are limited to realtime safe functions</li>
16439 <h2>Accessing Ardour Objects</h2>
16442 The top most object in Ardour is the <code>ARDOUR::Session</code>. Fundamentally, a Session is just a collection of other things: Routes (tracks, busses), Sources (Audio/Midi), Regions, Playlists, Locations, Tempo map, Undo/Redo history, Ports, Transport state & controls, etc.
16446 Every Lua interpreter can access it via the global variable <code>Session</code>.
16450 GUI context interpreters also have an additional object in the global environment: The Ardour <code>Editor</code>. The Editor provides access to high level functionality which is otherwise triggered via GUI interaction such as undo/redo, open/close windows, select objects, drag/move regions. It also holds the current UI state: snap-mode, zoom-range, etc. The Editor also provides complex operations such as "import audio" which under the hood, creates a new Track, adds a new Source Objects (for every channel) with optional resampling, creates both playlist and regions and loads the region onto the Track all the while displaying a progress information to the user.
16454 Documenting the bound C++ methods and class hierarchy is somewhere on the ToDo list. Meanwhile <a href="https://github.com/Ardour/ardour/blob/master/libs/ardour/luabindings.cc">luabindings.cc</a> is the best we can offer.
16460 <li>There are no bound constructors: Lua asks Ardour to create objects (e.g. add a new track), then receives a reference to the object to modify it.</li>
16461 <li>Scripts, once loaded, are saved with the Session (no reference to external files). This provides for portable Sessions.</li>
16462 <li>Lua Scripts are never executed directly. They provide a "factory" method which can have optional instantiation parameters, which returns a lua closure.</li>
16463 <li>No external lua modules/libraries can be used, scripts need to be self contained (portable across different systems (libs written in Lua can be used, and important c-libs/functions can be included with ardour if needed).</li>
16467 Ardour is a highly multithreaded application and interaction between the different threads, particularly real-time threads, needs to to be done with care. This part has been abstracted away by providing separate Lua interpreters in different contexts and restricting available interaction:
16471 <li>Editor Actions run in a single instance interpreter in the GUI thread.</li>
16472 <li>Editor Hooks connect to libardour signals. Every Callback uses a dedicated lua interpreter which is in the GUI thread context.</li>
16473 <li>All Session scripts run in a single instance in the main real-time thread (audio callback)</li>
16474 <li>DSP scripts have a separate instance per script and run in one of the DSP threads.</li>
16478 The available interfaces differ between contexts. e.g. it is not possible to create new tracks or import audio from real-time context; while it is not possible to modify audio buffers from the GUI thread.
16481 <h2>Current State</h2>
16483 <p>Fully functional, yet still in a prototyping stage:</p>
16486 <li>The GUI to add/configure scripts is rather minimalistic.</li>
16487 <li>The interfaces may change (particularly DSP, and Session script <code>run()</code>.</li>
16488 <li>Further planned work includes:
16490 <li>Built-in Script editor (customize/modify Scripts in-place)</li>
16491 <li>convenience methods (wrap more complex Ardour actions into a library). e.g set plugin parameters, write automation lists from a lua table</li>
16492 <li>Add some useful scripts and more examples</li>
16493 <li>Documentation (Ardour API), also usable for tab-exansion, syntax highlighting</li>
16494 <li>bindings for GUI Widgets (plugin UIs, message boxes, etc)</li>
16502 Apart from the <a href="https://github.com/Ardour/ardour/tree/master/scripts">scripts included with the source-code</a> here are a few examples without further comments...
16505 <h3>Editor Console Examples</h3>
16508 <pre><code class="lua">
16509 print (Session:route_by_remote_id(1):name())
16511 a = Session:route_by_remote_id(1);
16514 print(Session:get_tracks():size())
16516 for i, v in ipairs(Session:unknown_processors():table()) do print(v) end
16517 for i, v in ipairs(Session:get_tracks():table()) do print(v:name()) end
16519 for t in Session:get_tracks():iter() do print(t:name()) end
16520 for r in Session:get_routes():iter() do print(r:name()) end
16523 Session:tempo_map():add_tempo(ARDOUR.Tempo(100,4), Timecode.BBT_TIME(4,1,0))
16526 Editor:set_zoom_focus(Editing.ZoomFocusRight)
16527 print(Editing.ZoomFocusRight);
16528 Editor:set_zoom_focus(1)
16531 files = C.StringVector();
16532 files:push_back("/home/rgareus/data/coding/ltc-tools/smpte.wav")
16534 Editor:do_import(files, Editing.ImportDistinctFiles, Editing.ImportAsTrack, ARDOUR.SrcQuality.SrcBest, pos, ARDOUR.PluginInfo())
16537 Editor:do_import(C.StringVector():add({"/path/to/file.wav"}), Editing.ImportDistinctFiles, Editing.ImportAsTrack, ARDOUR.SrcQuality.SrcBest, -1, ARDOUR.PluginInfo())
16539 # called when a new session is loaded:
16540 function new_session (name) print("NEW SESSION:", name) end
16543 # read/set/describe a plugin parameter
16544 route = Session:route_by_remote_id(1)
16545 processor = route:nth_plugin(0)
16546 plugininsert = processor:to_insert()
16548 plugin = plugininsert:plugin(0)
16549 print (plugin:label())
16550 print (plugin:parameter_count())
16552 x = ARDOUR.ParameterDescriptor ()
16553 _, t = plugin:get_parameter_descriptor(2, x) -- port #2
16555 print (paramdesc.lower)
16557 ctrl = Evoral.Parameter(ARDOUR.AutomationType.PluginAutomation, 0, 2)
16558 ac = plugininsert:automation_control(ctrl, false)
16559 print (ac:get_value ())
16560 ac:set_value(1.0, PBD.GroupControlDisposition.NoGroup)
16562 # the same using a convenience wrapper:
16563 route = Session:route_by_remote_id(1)
16564 proc = t:nth_plugin (i)
16565 ARDOUR.LuaAPI.set_processor_param (proc, 2, 1.0)
16570 <h3>Commandline Session</h3>
16573 The standalone tool <code>luasession</code> allows one to access an Ardour session directly from the commandline. Interaction is limited by the fact that most actions in Ardour are provided by the Editor GUI.
16577 <code>luasession</code> provides only two special functions <code>load_session</code> and <code>close_session</code> and exposes the <code>AudioEngine</code> instance as global variable.
16581 <pre><code class="lua">
16582 for i,_ in AudioEngine:available_backends():iter() do print (i.name) end
16584 backend = AudioEngine:set_backend("ALSA", "", "")
16585 print (AudioEngine:current_backend_name())
16587 for i,_ in backend:enumerate_devices():iter() do print (i.name) end
16589 backend:set_input_device_name("HDA Intel PCH")
16590 backend:set_output_device_name("HDA Intel PCH")
16592 print (backend:buffer_size())
16593 print (AudioEngine:get_last_backend_error())
16595 s = load_session ("/home/rgareus/Documents/ArdourSessions/lua2/", "lua2")
16596 s:request_transport_speed (1.0)
16597 print (s:transport_rolling())
16605 title: Class Reference
16606 include: class_reference.html