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The main body of the manual was written during a Book Sprint led by Derek Holzer in the moddr_lab at @@ -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.
FURTHER HELP || GLOSSARY || -LINKS
Besides the URLs listed in the Links chapter, there are a couple of resources on the Internet to help you learn Ardour and fix some of the @@ -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 stated all chapters in this manual licensed with GNU General Public @@ -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 @@ -24,14 +24,14 @@ Busses tab at the far right of the Editor Window and drag-and-dropping the tracks in the order you want.
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 and @@ -25,14 +25,14 @@ is selected, your cursor pointer will look like a diagonal arrow.
You can also quickly audition a selected Region without leaving the Grab Mode. Simply select a Region and hit the shortcut key “H”.
Use this mode to draw gain automation points. Cursor looks like a pencil. Automation will be discussed in detail in the chapter Using Automation.
You can also edit individual points in this mode if you bring your cursor right on top of the automation point you want to move (mouse will turn into a small cross). However, if you are not precise this may accidentally create a new automation point. If this becomes a problem, you should use the next Mode, which only allows for editing existing points, not creating new ones.
Use this mode to edit existing gain automation points. Cursor looks like a hand, and turns into a small cross when you are on top of an existing point. Click (hold the click down) and drag in order to move points.
The last two buttons explained above are also used to create and edit MIDI information.
The main shortcuts you will probably be using all the time are “-” and “=” (zoom out and zoom in, respectively). Zooming will happen in relation to the Edit Point currently chosen (Mouse, Marker, or Playhead). If in doubt of which Edit Point to choose, try Mouse.
The Zoom to Session button (shortcut “_” - that’s the underscore character) zooms in or out as needed so that you can see the Start and End markers of your project.
All the zoom options discussed above control the amount of horizontal content you will be seeing on screen. Once you have a session with several tracks, you will also want to control the amount of vertical content you are able to fit (see) on the screen. There are several ways to do this:
You can use the navigation tool at the bottom of the Editor window in order to scroll up and down the session, and adjust horizontal and vertical zoom by adjusting the size of the viewing rectangle.
In the following chapter, we will see how to take the Regions we have -edited and Creating 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 @@ -50,14 +50,14 @@ Track. This would fill the entire track with copies of the selected regions, all the way up to the End Marker.
The single Duplicate command from the same menu (shortcut “Alt” + “D”). This lets you make a single copy at a time.
The single duplicate action with “Control” + 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. @@ -43,14 +43,14 @@ particulary useful when you have found an exact sequence of regions that works just as you want, and then you would like to copy and/or move the whole sequence as group.
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
The Meter determines the musical speed of the passage we are composing, as measured in Beats Per Minute.
If we are composing something rhythmic, it will also determine the lengths of the @@ -15,14 +15,14 @@ session.
To change the Tempo and Meter (time signature) for the entire ses composition, simply add a new marker by right-clicking in the Meter or Tempo timeline and selecting New Tempo or New Meter and entering the new Tempo or Meter in the resulting dialog.
Next, we will explore Using Ranges to set up a loop we can listen to -while we arrange the rhythm.
Next: USING RANGES
Click Stretch/Shrink in the Time Stretch dialog to start the operation.
When the Time Stretch operation is complete, the region of the synthesizer line will now be exactly two Bars long, and should fit in -with the rhythm we already created with the drum samples.
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.
The Range tool (shortcut “R”) is located just below the @@ -30,14 +30,14 @@ screen will look like this:
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, Split and Trim these Regions, as well @@ -123,14 +123,14 @@ 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 (for example, the hihat samples in the screen below have been trimmed so that they don’t not -overlap with each other).
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 editor program. This chapter shows you how.
To Export a Region, select it (so it becomes blue), and then right-click into the sub-menu @@ -14,14 +14,14 @@ regions can be exported, but edits such as and Panning, and Exporting a Range and Exporting a Session.
If you are building a collection of samples to use later in another software, and your samples are basically trimmed and edited Regions, at the end of the process you will need to export all of them. If the number is large, exporting them manually can be tedious. Here’s one way of exporting several Regions at once.
Go to menu Session > Export and choose Export to Audio File(s) (shortcut “Alt” + “E”).
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”.
You 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 show 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 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
How to export a region, a selection of data, and a whole session
Learn how to launch JACK and Ardour on Ubuntu
This section will give you an overview of the basic interface of Ardour.
We will take a look at the Editor Window and the Mixer Window. Later chapters will give more detailed information on each feature listed here.
When you create a new session, Ardour opens an empty new window called @@ -79,14 +79,14 @@ mainly used during the Mixing process, and it also provides acc upper left hand corner. The check boxes in this area can be used to view and hide the Mixer Strips of the different Tracks. Finally, there is an area for managing Groups.
You can use the key combination Alt + M (Control + M on a -Mac) in order to toggle which window is on top: Editor or Mixer.
The next chapter will explain how to start a fresh new project.
Next: Starting a session
Once you have started Ardour, the Session Setup window shows up.
You can click on New Session to create a brand new session, or you -can open an existing session using the Other Sessions options. For now let’s create a fresh session, so click on New Session. The window should now look like the screenshot below.
Name your new project and click Open .
Avoid using any characters other than letters and numbers when naming your session. Avoid 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. Once you have created your Ardour session, do not manually rename any folders or files that belong to the Session.
Next: Overview of the interface
Ardour 4.X no longer requires that you have JACK (the JACK Audio Connection Kit) installed on your system. But you may want to have JACK available so that Ardour can share audio and MIDI with other Linux audio applications. If you are wondering just what on earth JACK is then take a look here: http://ardour.org/jack.
If you do not plan to use JACK with Ardour, you may skip this section. Otherwise, read on.
In a nutshell, JACK is an audio system which manages connections between Ardour and the soundcard of your computer, and between Ardour and other JACK-enabled audio programs on your computer. Ardour used to require JACK in order to run, but since version 4.0 this is optional.
More info on JACK: http://jackaudio.org/ and http://jackosx.com/.
On Ubuntu, you may use either Qjackctl or Cadence to start and stop JACK and control its settings. -If you have a properly configured KXStudio installation, JACK may be already running in the background. If not, you may have to manually start it.
On a Mac, you will need to use JackPilot. This page may be of help: Installing Jack OS X on Mac OS X. (Warning: details on that page may be outdated. Eventually we hope to include an updated page like that in this tutorial.)
Launch Cadence. If JACK is already running, you will see a window like this:
More info on Cadence: http://kxstudio.sourceforge.net/Documentation:Manual:cadence_introduction
If using Qjackctl instead, this is how it should look like:
If not yet running, use the “Setup” button to configure JACK, and hit “Start” to start JACK.
Please check this page: Starting Jack on OS X. (Warning: this page may be outdated. It’s provided here just as a starting point. Eventually we hope to include an updated version of it in this tutorial.)
More info on Jack configuration: http://kxstudio.sourceforge.net/Documentation:Manual:jack_configuration (explanation shown using Cadence, but same basic information applies to Setup window in Qjackctl).
Next: STARTING ARDOUR
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.
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 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 alone. You may @@ -67,14 +67,14 @@ parameters quite similar to those described for the SC Compressor above.
< 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 @@ -51,14 +51,14 @@ consciously 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, the obvious choice would be to raise the bass line volume. Levels can be adjusted using the @@ -34,14 +34,14 @@ just record again with lower levels.
When a collection of Tracks whose Levels are well adjusted to each other and do not Clip when added together in the Master Bus. Once this is accomplished, we can proceed to learn about Panning in the next -chapter, so that our Mix takes on a strong feeling of Stereo space.
Next: PANNING
Panning helps to establish a Stereo Field, a relative space between the speakers in which to place your sounds and instruments.
Once you have established a good balance of levels on all the Tracks, @@ -32,14 +32,14 @@ may change the balance of Levels you set up in the previous chapter, and in extreme cases can result in Clipping. When this happens, reduce the overall Levels of that Track and check again how it sits in the Mix.
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 Mix where all the instruments can be heard clearly.
Levels, Panning, Equalization (EQ), and Compression are the main @@ -69,14 +69,14 @@ instruction about using the Fader and Peak Meters.
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 example, a Track Fader set to -3.0 dB; or a Mono Panner set to 100% Left; etc.) These fixed values would apply for the entire Track throughout the whole Session.
But what if you would like these values to change over time in a pre-determined way? For example, you may want to have the Gain of a Track to gradually decrease over twenty seconds. Or you may want to make a sound move from Left to Right over two seconds.
This is accomplished with Automation. The Fader, Panning, and any of the parameters of the Plugins used in that Track can be automated. An @@ -38,14 +38,14 @@ menu, which is reached by Right-Clicking on the Region.
Exporting Sessions, 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 @@ -62,14 +62,14 @@ is 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 @@ -40,14 +40,14 @@ called “Effect Sends”.
Now th Add Sends to Tracks to create Plugin Busses usable by any number of Tracks, it might be helpful to learn about a few other Plugins useful in the Mixing Process. Please continue on to the following chapters -covering Dynamics and Equalizing.
Next: DYNAMICS
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 Session can be use later on. The simplest way is to save the entire @@ -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 new file, however using a Snapshot avoids overwriting the original @@ -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 in each new Session you create, such as the number of input and output @@ -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
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 @@ -42,14 +42,14 @@ tracks cannot use Stereo Plugins and vice versa).
The Position.
Click the Add and Close button to create the Tracks or Busses you have just configured, and automatically close the Add Track window. The tracks you just created will appear as new rows in the Main Canvas. If you still wanted to add more tracks after this step, you could alternatively have chosen Add selected items (and leave dialog open) instead.
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 @@ -57,14 +57,14 @@ the X key, the Delete key or the key combination of fnDelete key).
Save your work often! The shortcut “Control” + “S” is your friend. Use it a lot, all the time.
At this point, you may wish to add some new material to your Session by Recording Audio in the following chapter, or you may want to skip directly ahead to the Editing Sessions section to learn how to -arrange the Regions you have Imported into a composition.
Next: RECORDING AUDIO or ARRANGING TRACKS
How to connect tracks and busses, import and record audio in a project
Besides Importing Audio, 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 @@ -83,14 +83,14 @@ to learn how to arrange the Regions into a composition. If you plan on doing more complicated 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 (for example, the sound of a YouTube video playing in Firefox, or the output of SuperCollider or PureData). This chapter shows how to accomplish that.
The examples on this page were created on a computer running Ubuntu @@ -46,14 +46,14 @@ application) happened to be open at the same time, though its window is not visible in this screenshot. SuperCollider provides 8 default sound outputs, all of which show up as potential sources in Ardour’s Patchbay.
This concludes the Getting Started chapters. 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
Because different users will want to use Ardour for different tasks, the way time is measured in the application can be changed.
Users creating audio plays, documentaries, reportages or soundscapes may wish to use @@ -38,14 +38,14 @@ 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 groups your work in Sessions. A Session is a group of Tracks which eventually may be mixed down into a single Mono, Stereo @@ -15,14 +15,14 @@ Session folder to be stored.
When you are ready, click ‘Open
Depending on the sound settings of your computer, you may see a window like this before your session launches:
The main options are:
Audio System — probably your computer’s default audio system (ALSA for Linux, CoreAudio for Mac, etc), or JACK if you are on Linux and have it installed.
Device — it’s either your built-in sound card, or an external sound card if you have one (such as a USB interface).
Sample Rate — 48K or 44.1K are common choices.
To create an Ardour session after Ardour has already started, select Session > New in the menu.
Session > New
Once you’ve started a Session, you will most likely want to learn about setting up the timeline to match the kind of musical meter or other -timeframe which you will use. Please continue to the next chapter.
Next: SETTING UP THE TIMELINE
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 @@ -89,14 +89,14 @@ using the JACK 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
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