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The main body of the manual was written during a Book Sprint led by Derek @@ -21,14 +21,14 @@ In August 2015, a similar revision was made to update all screenshots and text to Ardour 4.2. The 2014 and 2015 revisions were made by Bruno Ruviaro and Alex Christie.
2016/2017 fixes by Dan “dannybpng” and Jougleur.
2018 update by Miroslav Šulc.
2021 update for Ardour v6 by Luca Aquino.
2022 update for Ardour v7 by Alexandre Prokoudine.
FURTHER HELP || GLOSSARY || -LINKS
Besides the URLs listed in the Links chapter, there are a couple of @@ -25,14 +25,14 @@ selection, etc.
GLOSSARY || LINKS || CREDITS || -LICENSE
This glossary offers brief definitions for many or the terms used throuhout the Ardour3 FLOSS Tutorial.
Appendices: FURTHER HELP || LINKS || -CREDITS
Where to find more info about Ardour and how to improve this tutorial
All chapters copyright of the authors (see below). Unless otherwise @@ -202,14 +202,14 @@ DAMAGES ARISING OUT OF THE USE OR INABILITY TO USE THE PROGRAM (INCLUDING BUT NOT LIMITED TO LOSS OF DATA OR DATA BEING RENDERED INACCURATE OR LOSSES SUSTAINED BY YOU OR THIRD PARTIES OR A FAILURE OF THE PROGRAM TO OPERATE WITH ANY OTHER PROGRAMS), EVEN IF SUCH HOLDER OR -OTHER PARTY HAS BEEN ADVISED OF THE POSSIBILITY OF SUCH DAMAGES.
END OF TERMS AND CONDITIONS
Useful links:
http://ardour.org/
http://manual.ardour.org/
http://jackaudio.org/
http://jackosx.com/
http://jamin.sourceforge.net/
http://jamin.sourceforge.net/en/tutorial.html
Appendices: FURTHER HELP || GLOSSARY || -CREDITS
In the following chapters we will use Ardour to create a short rhythmic passage using several drumkit samples.
We will continue working on this passage in later tutorials, such as Working @@ -27,14 +27,14 @@ of the Editor window and drag-and-dropping the tracks in the order you Up/Down shortcut to move it up or down.
You can also use the V check boxes in this tab to view or hide tracks in the main canvas.
Here we have ordered the drumkit so that the kick drum is on the bottom, the snare and high-hat are in the middle, and the clap is on top.
In the next step we will learn about setting up the meter to organize these -samples into a rhythm.
Next: SETTING UP THE METER
We have already learned a bit about the Grab Mode (select/move objects) and Range Mode. In this chapter we will get an overview of all the Edit Modes @@ -50,14 +50,14 @@ points altogether.
In the following chapter, we will see how to take the regions we have -edited and create looped sections from them.
Next: Creating looped sections
You can easily repeat sections of audio in your Ardour session.
Here, we take the short rhythmic passage we created in Working with Regions and duplicate it to make a loop.
Before duplicating the passage, it is a good idea to combine individual regions @@ -44,14 +44,14 @@ example, 16). After duplication our session looks something like this:
The single Duplicate command from the same menu (Alt+D). This lets you make a single copy at a time.The single duplicate action with Ctrl+Click on the region + Drag a copy.ContinuingIn the next tutorial we will learn about stretching/shrinking regions that are -longer or shorter than one bar in order to fit the rhythm of our passage.Next: STRETCHING/SHRINKING REGIONS
The single Duplicate command from the same menu (Alt+D). This lets you make a single copy at a time.
The single duplicate action with Ctrl+Click on the region + Drag a copy.
In the next tutorial we will learn about stretching/shrinking regions that are -longer or shorter than one bar in order to fit the rhythm of our passage.
Next: STRETCHING/SHRINKING REGIONS
In this section you will learn a few more things you can do with regions.
Right-clicking a selected region reveals a context menu. The first item in the menu (labeled with the region’s name) contains a large sub-menu. @@ -42,14 +42,14 @@ main menu Region > Edit > Combine:
Region > Edit > Combine
Notice that the resulting combined region has the word “compound” attached to its name.
In the following chapter, we will learn a bit more about the powerful -tools Ardour has available by changing Edit Modes.
Next: CHANGING EDIT MODES
How to arrange tracks, then cut, loop, and stretch regions
In one of the previous chapters we already discussed that Ardour operates on sessions that encompass all material you have: audio clips, MIDI clips, all @@ -52,14 +52,14 @@ choice and you don’t want these files on the disk anymore because they tak space.
Even then, you do it in two steps. First you go to Session > Clean-up > Clean-up Unused Sources to put unused original files into a trash bin, then you separately go to Session > Clean-up > Flush Wastebasket to actually tell Ardour to remove unused files physically.
Session > Clean-up > Clean-up Unused Sources
Session > Clean-up > Flush Wastebasket
Now that you are familiar with basics of non-destructive editing, let’s do some -actual arranging and editing.
Next: Arranging tracks
The time signature determines the musical speed of the passage we are composing and is measured in beats per bars.
If we are composing something rhythmic, it will also determine the lengths of @@ -21,14 +21,14 @@ Simply click on either tempo or TS button right below the secondary clock and provide a new value in the newly opened dialog.
For the tempo (button on the left), choose the number of beats per minute (bpm) for your session.
For the time signature (button with “TS” caption on the right), you can enter new values for the beats per bar as well as the note value.
Next, we will explore using ranges to set up a loop we can listen to while we -arrange the rhythm.
Next: USING RANGES
This was the last chapter of the Editing Regions section. Next we go into -Mixing.
Next: MIXING SESSIONS
A range is a selection of the timeline that can include one or more tracks. It has many uses like selecting a portion of audio/MIDI data to cut it.
There are two common ways to create a range:
You can do it with the Grab tool (G shortcut) when the Smart mode is @@ -41,14 +41,14 @@ access it.
In the next step, we will learn about working with regions to compose a rhythm -with these samples.
Next: WORKING WITH REGIONS
Sections of audio are called regions in Ardour. To compose the short rhythmic passage we’ve been working on, we will need to know how to select, move, @@ -121,14 +121,14 @@ words, to constrain the boundaries of each region to certain grid points. Here, the grid has been activated and set to Beats/16, to quantize the regions to sixteenth notes within each bar. You may wish to trim the endpoints of some of the samples, as discussed above, to fit within the metric structure -you have set up.
In the next chapter, we will explore a few more things you can do with regions
Next: FURTHER REGION OPERATIONS
Learn how to export a selected portion (Range) of your Session.
Exporting is the process of saving a Region, Track or Session to a file on your computer. As we learned previously, exporting an isolated Region does not export all of the changes you might have made to that Region. To export edits such as Panning, Fader Automation, and Plugin effects, you must Export either a Range or the entire Session.
To export a range, follow these steps:
This will open the familiar Export dialog explained in the Exporting a Session chapter. Choose your options, if any, and click Export. The Range will be exported and saved as an audio file.
To define a Range is simply to specify a beginning and ending point in time. The Selection display to the right of the secondary clock shows the start and end times of the selected range, as well as its duration. The Range created through the method above will disappear as soon as you click outside of it.
The Export Range command will export everything that plays through the Master Bus, exactly as it plays back in -your Session. If any of the Tracks have the Mute or Solo buttons engaged, this will also affect which Tracks are heard in the Exported file.
Range Markers are essentially two location markers the are grouped together to mark the beginning and end of a section in the timeline. You can user Range Markers to “bookmark” (so to speak) one or more Ranges that you need to remember or use again later. Range Markers look like this on the timeline:
There are a few ways to create Range Markers:
You can clear all existing Range Markers by right-clicking on the Range Markers area of the timeline and choosing “Clear All Ranges”.
You now know how to Export isolated Regions, selected Ranges from your Session, or the entire Session as a Stereo Mix. The last section of this tutorial explains saving sessions, snapshots, and templates.
Next: SAVING A SESSION
You may wish to export only a region of your session, perhaps to use as a sample in another application, or to edit it in a different program. This @@ -21,14 +21,14 @@ them manually can be tedious. Here’s one way of exporting several regions once.
Region > Ranges
Go to the Session > Export menu and choose Export to Audio File(s) (Alt+E).
Session > Export
In the export dialog box, click on the Time span tab. You will see all the newly created ranges listed there. There is also a default range that stands for the entire session.
Under Time Span, click Select All and de-select the very first range (the “session” range). The reason is because we want to export the shorter ranges, not the whole session.
Go back to the main tab (File format).
Click Export.
Your regions have now been exported to single audio files.
This method exports everything that falls under each defined time range. In other words, if you have other regions in other tracks sounding simultaneously with the region(s) you want to export, they will be mixed together. Another way of looking at it is this: the export operation will export everything that plays under the defined time ranges. If that is not what you want, you can use solo or mute buttons on select tracks to ensure you export only what you want.
Finally, the next chapter will discuss Exporting Ranges rather than just an individual region. The last trick (exporting multiple regions at once) in fact -already involved using ranges, as you may have guessed.
Next: EXPORTING A RANGE
Exporting is the process of saving a Region, Track, or entire Session to a +Home > Exporting sessions > Exporting a session
Exporting is the process of saving a region, track, or entire session to a file on your computer which you can listen to, burn as a CD-R, or convert -to an MP3 to share on a website.
Once you have finished your composition, the most common export operation is to export the entire Session to an audio file.
At this point it’s a good idea to Zoom Out and take a look at your whole session before exporting.
Listen to your piece one last time and make sure you hear everything the way you want (any Solo or Mute button you forgot to deactivate? Any volume adjusment left to do? etc.)
Finally, make sure the Start and End markers are in the right place.
-
Everything included between the Start and End Location Markers in the Timeline will be exported, so you have to set the markers first if they are not in the correct position. In the image below, clearly the End marker is too far to the right in the timeline. This will result in a huge silence after the end of the piece (that is, between the last Region and the End marker).
If your End marker is too far after the end of your piece, click and drag it to the left until it is pretty close to the end of the very last Region of your composition.
To Export a Session, use the top menu: Session > Export > Export to Audio File(s)…. This will open up a dialogue box with several options.
Having chosen your options, click Export. After the operation is finished, you can find the file using your file browser.
Export is handled through the Master Bus, so the final file will include all the sounds from Tracks and Busses that were routed to it. This will include any Normalizing, Fading, Panning, and Automation you have created, along with the individual edits made to the Regions as well. If any of the Tracks have the Mute or Solo buttons engaged, this will also affect which Tracks will be heard in the Exported file.
Click on the tabs “Time span” and “Channels” in case you need to access advanced export options.
At the end of this chapter, you now have an Exported Stereo Mix representing your entire Session. You may also want to know how to export individual Regions or selected Ranges from your Session. This will be covered briefly in the next two chapters.
Next: EXPORTING REGIONS
Once you have finished your composition, the most common export operation is to export the entire session to an audio file.
At this point it’s a good idea to zoom out and take a look at your whole session before exporting.
Finally, make sure the start and end markers on the ocation markers +timeline are in the right place.
Everything included between the start and end markers will be exported, so +you have to set the markers first if they are not in the correct position. In +the image below, clearly the end marker is too far to the right in the +timeline. This will result in a huge silence after the end of the piece (that +is, between the last region and the end marker).
If your end marker is too far after the end of your piece, click and drag it to the left until it is pretty close to the end of the very last region of your composition.
To export a session, use the top menu: Session > Export > Export to Audio File(s).... This will open up a dialogue box with a number of options.
Session > Export > Export to Audio File(s)...
my-session.wav
Export is handled through the Master bus, so the final file will include all +the sounds from tracks and busses that were routed to it. This will include any +normalizing, fading, panning, and automation you have created, along with the +individual edits made to the regions as well. If any of the tracks have the +Mute or Solo buttons engaged, this will also affect which tracks will be heard in the exported file.
Click on the tabs Time span and Channels in case you need to access advanced exporting options.
At the end of this chapter, you now have an exported stereo mix representing +your entire session. You may also want to know how to export individual regions +or selected ranges from your session. This will be covered briefly in the next +two chapters.
How to export a region, a selection of data, and a whole session
An audio track is a place where you can drag a region from your region list and where you can record sounds coming from an outside source.
A region represents an audio clip, i.e., one of your sound files or just a @@ -57,14 +57,14 @@ a single fader for multiple tracks. Please refer to the for more information.
Once you’ve added one or more tracks, you will want to put some audio material into them to work with. Continue on to the Importing Audio and Recording -Audio chapters to learn how to do this.
Next: Importing audio
Sections of audio are known as regions in Ardour. A Region can be an entire sound file or a portion of it. Here you will learn how to import audio files @@ -65,14 +65,14 @@ used, for example, on a laptop keyboard that does not have a proper Dele key).
Save your work often! The shortcut Control + S is your friend. Use it a lot, all the time.
Now that you have some material in your session, you might want customizing the timeline to better suit your needs or jump to recording new material live.
Next: Setting up the timeline or -Recording audio
Create your first session and learn the basics of Ardour’s user interface
The Cue window provides tools to set up live performance using Ardour. We are not going to use Cue in this tutorial, so this is just a quick overview to give you a basic idea what all this is about.
The user interface is pretty much standard for this type of a feature set.
Here are the main UI parts:
From left to right you get tracks that contain clips (not visible on the timeline when you switch to the Editor window). From top to bottom you get 8 rows called scenes, A to H.
The browser on the right allows easily dropping pre-recorded clips onto clip slots for playback. You can use both audio and MIDI clips. Dropping a clip on the empty space will create a new track and automatically fill the first slot (scene A) with that clip.
Settings below allow customizing how a clip is played, whether it is stretched to match certain bpm value, whether it triggers playback of a certain other clip etc.
Working with clip launchers is commonly referred to as non-linear workflow, because it is based on looped playback of pre-recorded clips where you don’t have to go from scene A to scene H directly.
You can set up your clip launchers in a way that a clip in scene B will play 4 times, trigger a clip in scene A that will play 2 times, then jump to clip C and play it 6 times, then go back to clip B, which will repeat the entire cycle again and again until you stop it manually. And all that without ever pressing the Play button in the transport to play a song from start to finish.
While you can play an entire song live without ever getting out of the Cue window — especially when you have a hardware grid controller and all pre-recorded clips you might need — you can integrate clip launchers into regular linear workflow in the Editor window. To do that, you need to add markers in the Cue Markers timeline.
Here is a simple example of that:
Ardour plays two bars of a regular MIDI track that uses a sampled instrument, then launches scene A at bar 3, scene B at bar 4, and stops all scenes at bar 5. You can trigger and stop scenes at any time in your otherwise linear project, as many times as you like.
Now that you are familiar with main Ardour’s windows, let’s jump to the next -section where we create a new track and then import some audio file.
Next: Creating tracks and busses
When you create a new session, Ardour opens an empty new window called the Editor window. The Editor window is the most important window in Ardour, as @@ -58,14 +58,14 @@ Regions chapter.
Next up is the Mixer window where you focus on making instruments stand out in -a song.
Next: Mixer window
This section will give you a basic overview of Ardour’s user interface.
We will take a look at shared elements of the interface, main windows, and focus on the Editor window and the Mixer window. Later chapters will give more @@ -48,14 +48,14 @@ major Ardour windows — Editor, Mixer, Recorder, and Cue.
The next sections will explain basics of main Ardour’s windows:
Editor | Mixer | Recorder | -Cue
The main function of the Mixer window is to display all the mixer strips for the various tracks and busses side by side for easy reference and finetuning. @@ -21,14 +21,14 @@ strips, and a track/bus groups manager
In the next section we’ll take a quick look at the Recorder window that is streamlined for launching and controlling the recording of multiple tracks at -the same time.
Next: Recorder window
The Recorder window is streamlined for one particular use case: recording to multiple tracks. The interface is pointedly simplified to remove all distraction.
There are three major sections in the Recorder window as outlined above:
The toolbar has specific commands and information: arming and disarming all tracks for recording, discarding the last take, automatically switching all @@ -17,14 +17,14 @@ click on the input port name and give a new name.
Finally, in the next section we’ll take a quick look at the Cue window that is new in Ardour 7.0 and provides a familiar user interface to launching audio and -MIDI clips.
Next: Cue window
Once you import some audio files to Ardour, play them back and start familiarizing yourself with the user interface, you might want finetuning @@ -45,14 +45,14 @@ fps (Frames per Second). This can be found in the Timecode tab of the Session Properties window (menu Session > Properties or the Alt + O shortcut).
Session > Properties
Once you have done that, make sure you make the Timecode ruler visible by right-clicking in the Timeline and checking the Timecode box.
Now that you’ve set up the Timeline, continue on to the chapter on -creating tracks and busses to add one or more Tracks to your Session.
Next: CREATING A TRACK OR BUS
Ardour supports both Linux, Windows, and macOS. There is very little difference about how it works on all these operating systems. So while this tutorial assumes using Ubuntu Linux, you should expect it to work the same way on other operating systems and Linux flavors.
When you first start Ardour, it will ask you a few questions to make a basic customization: user interface and font scale (if you have a HiDPI display), default folder where new sessions would be created, preferred way to monitor signal being recorded etc.
This dialog will never be shown again, unless you wipe all settings. You can change all the preferences you set there at any time later in the Preferences dialog.
Once you get past the first-launch wizard, Ardour will suggest you create a new session from one of a few available templates.
A session encompasses all the material you have: tracks with audio and MIDI data, effects associated with tracks and busses etc. Thus, a session is essentially a project file from which you can render a mono or a stereo audio file to deliver to a client, use in a video, or upload to a streaming service.
For simplicity’s sake let’s go with an empty session as shown above.
Ardour will always automatically suggest storing a new session in the default folder that you set at the previous step.
When giving a new session a name, please avoid using any characters other than letters and numbers, like white spaces, accented letters, !@#$%*()+, periods, commas, etc. Use dashes or underscores if you like. For example, instead of “My Great Session!”, prefer “My_Great_Session”, or “MyGreatSession”, or “my-great-session”. Instead of “Açaí”, write “Acai” (without accented letters), etc.
!@#$%*()+
Name your new project and click Open .
Once you have created your Ardour session, do not manually rename any folders or files that belong to the session. Otherwise, Ardour will fail to locate the files inside those folders and will ask you to point to them.
Once you saved at least one session, the Session Setup dialog will look differently: there will be a list of recently opened sessions and a way to open an existing session that is not on that list.
At the next step, you will need to choose and configure the audio system.
On Linux, you have multiple audio systems (or backends) available. ALSA is suggested by default. It is currently the recommended way to use Ardour in @@ -33,14 +33,14 @@ results in a latency that is a multiple of 1ms (4ms, 6ms etc.) to produce less g but you should see if you can get a multiple of 1ms with 3 or if you should dial back to 2.
Once you’ve chosen, configured, and started the audio/MIDI backend, Ardour will try to discover any new plugins, and then you will be greeted with Ardour’s main -window:
In the next chapter you’ll familiarize yourself with Ardour’s user interface and its main windows: Editor, Mixer, Recorder, and Cue.
Next: Overview of the interface
Ardour is a professional, full-featured hard disk recorder and Digital Audio +
Ardour is a professional, full-featured hard disk recorder and Digital Audio Workstation (DAW). Ardour is Free/Libre Open Source Software (FLOSS). It features unlimited audio tracks and buses, non-destructive, non-linear editing with unlimited undo, and anything-to-anywhere signal routing. It @@ -15,14 +15,14 @@ functionality.
For information on how to install Ardour on Linux and Mac O distributions such as KXStudio and UbuntuStudio offer a wide selection of useful music software, including Ardour.
Below are some basic conventions we have adopted in this manual.
Ardour requires a two-button mouse to run (or the emulation of that on your system in some other way). A click is assumed to be a left @@ -20,14 +20,14 @@ audio editing, so terms which might be unfamiliar to the general reader are capitalized throughout this manual, and are listed in boldface the first time they are used in a chapter. Glossary words are also defined in-line the first time they occur in the manual, and are -included in the glossary at the end of this tutorial.
Basic conventions in the tutorial and an introduction to digital audio
Ardour is a digital audio workstation (DAW). Beforing using it to record and edit sound, it might be useful to review how digital audio works.
The diagram above shows how sound travels to and from your computer. The @@ -55,14 +55,14 @@ using only 8 bits. By increasing the sample rate, we are able to record higher sonic frequencies, and by increasing the bit depth, we are able to use a greater dynamic range (the difference between the quietest and the loudest sounds possible to record and play).
Here is a great video tutorial explaining sampling rate and bit depth in a lot -more detail:
One of the problems you may encounter in a mix is that, depending on the material, the loud parts are too loud, and/or the quiet parts are too quiet.
This kind of problem cannot be easily solved using faders to adjust the levels @@ -58,14 +58,14 @@ more complex. They have independent control over how quickly the gate opens those described for the SC Compressor above.
Now that we’ve explored some tools for getting the dynamic range exactly where you want it, it’s time to look at adjusting the balance of frequencies present in each individual track and in your overall mix. In the next chapter, we’ll -learn how to use the equalizer to do just that.
Next: EQUALIZING
An equalizer (or EQ) allows you to separately control the gain of different frequency ranges of a sound.
This can be useful not only to sculpt the timbre of an isolated sound (for @@ -58,14 +58,14 @@ using extreme EQ as a compositional parameter.
Next: USING AUTOMATION
How to use basic tools to make every instrument stand out in a mix
Levels are the volumes of each track relative to the others.
If you can’t hear a bass line above the other instruments, one obvious option would be to raise the bass line volume. Levels can be adjusted using the fader @@ -32,14 +32,14 @@ case is to just record again with lower levels.
Next: PANNING
Once you have established a good balance of levels on all the tracks, you can begin to think about panning.
Panning helps to establish a stereo field, a relative space between the @@ -37,14 +37,14 @@ instrument: one per kick drum, one per each snare etc. The idea is that you would route a channel into a separate bus and process it differently. Using a panner control in that case is unlikely to happen.
By now, you should have a collection of tracks which are both mixed well and have an exciting stereo image. In the following chapters, we will learn about -using plugins to enhance the sound of your mix.
Next: USING PLUGINS
Mixing is the process of converting multiple tracks into a stereo or a multi-channel mix where all the instruments can be heard clearly.
Levels, panning, equalization (EQ), and compression are the main tools @@ -84,14 +84,14 @@ about using the fader and peak meters.
Finally, Routing button, marked as “Master” in the earlier screenshot, because it connects to a bus called “Master”. This was discussed earlier in the Understanding Routing chapter.
Now that we’ve had a look at the main areas of the mixer strip, we can proceed -to the Mixing Levels chapter to see how we can start to use it.
Next: MIXING LEVELS
Automation is a way of dynamically changing audio processing parameters over time.
Up to now, we have used fixed values for various parameters of our tracks, for @@ -90,14 +90,14 @@ this with fader automation, but but it would be much harder to do it using region-specific automation.
Once you have your automation in place, you are just about ready to export your stereo mix to an audio file which you can listen to or share on a website. Please continue on to the next section to learn the different ways of doing -this.
Next: EXPORTING A SESSION
Plugins can be used to enhance or transform the sound of individual tracks.
They can be applied directly to a single track, or to a group of tracks using a send. Later in this tutorial, we will discuss some plugins specific to the @@ -52,14 +52,14 @@ tend to work fine.
More information about using plugins with Ardour can be useful if that track needs a specific plugin, but if you have a plugin which is used for many tracks at the same time, you should continue to the next chapter about using sends. You can also continue to the various, plugin-specific -chapters such as Dynamics and Equalizing.
Next: USING SENDS
A Send is just an extra output for a track or bus with its own separate fader that can be used to route the signal to other points in Ardour.
Also known as auxiliary sends, they tap the signal at a specific point in @@ -51,14 +51,14 @@ are also commonly called “Effect Sends”.
Next: DYNAMICS
Learn how to route signal and record audio
Besides importing existing audio files, another way to create regions in your Ardour session is to record new audio.
The source of this audio could be the line or microphone inputs of your audio @@ -90,14 +90,14 @@ Recording than what we have discussed here, in particular with a multichannel soundcard, or from other JACK-enabled audio programs on your computer, you should also have a look at the Understanding Routing chapter.
Next: Arranging tracks or -Understanding routing
Sometimes you may need to record the audio output of another program into Ardour, e.g. the sound of a YouTube video playing in Firefox, or the output of @@ -37,14 +37,14 @@ under the Other tab. Its ports are connected directly to the inputs of tracks.
This concludes the Recording chapter. Now that you have some audio imported, recorded from a line or microphone input, or even from another application, proceed to the Arranging Tracks section and learn how to arrange your -composition.
NEXT: ARRANGING TRACKS
Routing an audio signal is sending it from somewhere to somewhere else.
In addition to getting audio signals to and from Ardour, routing plays an important part inside Ardour itself. Examples of using routing inside Ardour @@ -87,14 +87,14 @@ system is that it can also manage connections between applications on the same computer. To gain a better understanding of how this works, please continue to the chapter Routing Between Applications. If you would prefer to work only with Ardour, then skip ahead to the section on Arranging Tracks.
NEXT: ROUTING BETWEEN APPLICATIONS or -ARRANGING TRACKS
How to save a session, a snapshot of it, and a template for further reuse
There are a number of ways to save Sessions in Ardour, so that each @@ -13,14 +13,14 @@ this:
Saving -a Snapshot.
Next: SAVING A SNAPSHOT
Saving a Snapshot in Ardour is similar to saving your Session to a @@ -17,14 +17,14 @@ and switch immediately to that snapshot.
There you see a few Snapshots that we created, and the ‘my_session’ entry represents the original state of our session.
Click on any Snapshot from the list to reload it.
Sometimes it is helpful to have a default starting point for new Sessions, for example for a set-up that you use all the time when starting a new project. To learn how -to do this, please continue to the next session called Saving a Template.
Next: SAVING A TEMPLATE
If you often go through the motions of setting up the same information @@ -24,14 +24,14 @@ not included here, please feel free to propose changes (more info on how to do i FURTHER HELP || GLOSSARY || LINKS || -CREDITS
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