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title = "Glossary"
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description = "Terminology used in this Ardour tutorial"
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chapter = false
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weight = 2
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#pre = "<b>1. </b>"
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+++
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This glossary offers brief definitions for many or the terms used throuhout the Ardour3 FLOSS Tutorial.
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**Aggregate Device** (Mac OS X)
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**Aggregate Device** (macOS)
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: An Aggregate Device is one virtual soundcard made of of two or more
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physical soundcards. PowerBooks and MacBooks made in 2007 or later will
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need this set up in order for **JACK** to have both input and output
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channels. This is set up in the **Audio MIDI Setup** application.
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need this set up in order for _JACK_ to have both input and output
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channels. This is set up in the _Audio MIDI Setup_ application.
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**AIFF**
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: A sound file format developed by Apple and commonly used for lossless
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@ -24,10 +24,11 @@ functionality to the Linux operating system.
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**Amplitude** (mixing)
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: The strength of an audio signal. The scale of amplitude is
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**logarithmic**, since it expresses the physical ratio of power between
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_*logarithmic_, since it expresses the physical ratio of power between
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one sound and another. Levels in digital audio systems are usually
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represented as the number of Decibels below the clipping point of 0 dB.
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See also **loudness**.
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See also _loudness_.
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**Arm** (Track to record/Ardour to record)
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: Action that makes Ardour ready to start recording. Before recording in
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Ardour, one or more tracks need to be armed first, and then Ardour needs
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@ -41,17 +42,17 @@ intentional sound transformation.
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**Attenuation**
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: Reducing the **level** of an audio signal, usually measured using a
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**logarithmic** scale. See also **gain**.
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_logarithmic_ scale. See also _gain_.
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**Audio MIDI Setup** (Mac OS X)
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: The Audio MIDI Setup utility is a program that comes with the Mac OS X
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**Audio MIDI Setup** (macOS)
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: The Audio MIDI Setup utility is a program that comes with the macOS
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operating system for adjusting the computer's audio input and output
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configuration settings and managing MIDI devices.
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**Audio Unit Plugins**
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: Audio Unit (AU) is a plugin architecture in Mac OS X computers. It may
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: Audio Unit (AU) is a plugin architecture in macOS computers. It may
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be thought of as Apple's equivalent to the popular VST plugin format by
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Steinberg. Mac OS X comes with a collection of AU plug-ins such as EQ
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Steinberg. MacOS comes with a collection of AU plug-ins such as EQ
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filters, dynamic processors, delay, reverb, time stretch, among others.
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**Audition**
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@ -76,23 +77,23 @@ amplitude usually sound louder.
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**Bands** (equalization)
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: The particular frequency regions to be boosted or attenuated in the
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process of **Equalization**.
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process of _Equalization_.
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**Bars** (music)
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: Same as 'measure', a bar is a metrical unit. In Western notation, it is
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the space comprised between two vertical lines drawn through the staff.
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The specific duration of a bar depends of its **time signature** and the
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current **Tempo** of the music.
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The specific duration of a bar depends of its _time signature_ and the
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current _tempo_ of the music.
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**Bass** (Frequencies)
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: A generic way of referring to the lower frequencies of the **Spectrum**
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: A generic way of referring to the lower frequencies of the _spectrum_
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of a sound.
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**Beat**
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: The basic pulse underlying a piece of music.
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**Beats per Minute**
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: Beats per minute (BPM) is a measure of Tempo in music. A rate of 60
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: Beats per minute (BPM) is a measure of tempo in music. A rate of 60
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beats per minute means that one beat will occur every second; 120 bpm
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equals two beats per second, and so on. BPM indications usually appear
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at the beginning of a traditional musical score as a metronome mark (for
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@ -103,11 +104,11 @@ example, "quarter note equals 60", meaning one quarter note per second).
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or 1.
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**Bit Depth**
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: Refers to the number of bits used to write a **sample**. In the CD
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: Refers to the number of bits used to write a _sample_. In the CD
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standard, each sample of audio is represented by a 16-bit number. This
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gives 2\^16 (two to the power of sixteen = 65,536) possible values that
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a sample can have. A higher bit depth means a greater possible **dynamic
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range**. Studio recordings are usually first made recorded with a bit
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a sample can have. A higher bit depth means a greater possible _dynamic
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range_. Studio recordings are usually first made recorded with a bit
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depth of 24 (or even 32) to preserve as much detail before transfer to
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CD. DVDs are made at 24 bit, while video games from the 1980s remain
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famous for their distinctively rough "8 bit sound". Bit depth is also
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@ -127,9 +128,9 @@ computer if you don't have an external sound card. In a laptop, they are
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the common input (mic) and output (headphone) connections.
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**Bus**
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: A bus is similar to a **Track** except that it does not contain its
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: A bus is similar to a track except that it does not contain its
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own regions. You cannot record directly into a bus or drag regions into
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it. The Mixer Strip vertically represents the signal flow of a bus,
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it. The _Mixer_ strip vertically represents the signal flow of a bus,
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whereas the Main Canvas horizontally displays time-based information for
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each bus (such as automation lines).
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@ -143,7 +144,7 @@ computer platforms and applications.
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**CAF**
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: CAF (Core Audio Format) is a file format for storing audio, developed by
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Apple. It is compatible with Mac OS X 10.4 and higher. The Core Audio
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Apple. It is compatible with macOS 10.4 and higher. The Core Audio
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Format is designed to overcome limitations of older digital audio
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formats, including AIFF and WAV. Just like the QuickTime .mov file
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format, a .caf file format can contain many different audio formats,
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@ -151,7 +152,7 @@ metadata tracks, and much more data.
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**Center Frequency**
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: In some EQ plugins, the user has the possibility of choosing the center
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frequency for each of the Frequency Bands. The center frequency of a
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frequency for each of the frequency bands. The center frequency of a
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Band will be the one most sharply attenuated or reinforced by the
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equalizer for that specific band. Frequencies surrounding the center
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frequency will be less affected.
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@ -164,7 +165,7 @@ referred to as "right-click".
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**Clipping**
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: Clipping occurs when a signal is too high in level to be reproduced. Any
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samples too high in level will simply be truncated, resulting in
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**distortion**, loss of audio detail, and artefact **frequencies** which
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_distortion_, loss of audio detail, and artefact _frequencies_ which
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were not present in the original sound.
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**Clipping Point**
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@ -173,19 +174,18 @@ the level of any sound is measured in how far below the clipping point
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it is (-10 dB, -24 dB, etc).
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**Clocks**
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: The two big numerical displays near the top of the Editor Window. They
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can display the time in a number of formats: Timecode, Bars:Beats,
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Minutes:Seconds, and Samples.
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: The two big numerical displays near the top of the _Editor_ window. They can
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display the time in a number of formats: _Timecode_, _Bars:Beats_,
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_Minutes:Seconds_, and _Samples_.
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**Compile**
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: FLOSS applications are distributed as source code, which is
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human-readable but cannot be run as an actual application. To turn this
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source code into a running application, it must first be Compiled. When
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you download a disk image for Mac OS X or a software package from your
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distribution (such as Ubuntu, Debian or Fedora), it has been compiled
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for you already. However, if you wish to add features (such as support
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for **VST Plugins**) which your distribution does not provide, then you
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must Compile the application from source code yourself.
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: FLOSS applications are distributed as source code, which is human-readable but
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cannot be run as an actual application. To turn this source code into a running
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application, it must first be Compiled. When you download a disk image for macOS
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or a software package from your distribution (such as Ubuntu, Debian or Fedora),
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it has been compiled for you already. However, if you wish to add features (such
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as support for _VST Plugins_) which your distribution does not provide, then
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you must compile the application from source code yourself.
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**Compression**(DSP)
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: Essentially, compression makes the quiet parts of a signal louder
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@ -206,8 +206,8 @@ effect.
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: The window in Jack that allows to manage all connections between audio
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inputs and outputs.
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**CoreAudio**(Mac OS X)
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: CoreAudio provides audio functionality to the Mac OS X operating system.
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**CoreAudio**(macOS)
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: CoreAudio provides audio functionality to the macOS operating system.
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**Cursor Modes**
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: These are the six buttons just below the Transport commands in the
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@ -218,29 +218,26 @@ Regions.
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**Decibels**
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: Decibel is a logarithmic scale used to measure many quantities,
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including the **gain**, **level** or **loudness** of a signal. Decibel
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including the gain_, level_ or loudness_ of a signal. Decibel
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is usually abbreviated to dB and in digital audio usually denotes how
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far under 0 dBFS (the **clipping** point of a system) a signal is.
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far under 0 dBFS (the clipping_ point of a system) a signal is.
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**Delay**(effect)
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: The amount of time between one event and another. As an audio effect, a
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delay takes an incoming sound signal and delays it for a certain length
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of time. When mixed with the original sound, an "echo" is heard. By
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using **feedback** to return the delayed signal back into the delay
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(usually after lowering its **gain**), multiple echos with a **decay**
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result.
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**Delay** (effect)
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: The amount of time between one event and another. As an audio effect, a delay
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takes an incoming sound signal and delays it for a certain length of time. When
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mixed with the original sound, an "echo" is heard. By using _feedback_ to return
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the delayed signal back into the delay (usually after lowering its _gain_),
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multiple echos with a _decay_ result.
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**Destructive Editing/Recording**
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: Destructive actions are those that permanently modify or erase the
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original data (sound files) in the course of editing or recording.
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: Destructive actions are those that permanently modify or erase the original
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data (sound files) in the course of editing or recording.
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**Distortion**
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: Distortion occurs when an audio signal is changed in some way that
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produces **frequencies** not present in the original. Distortion can be
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**Distortion** : Distortion occurs when an audio signal is changed in some way
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that produces _frequencies_ not present in the original. Distortion can be
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deliberate or unwanted, and can be produced by driving the signal to a
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**clipping**point, or by using mathematical transformations to alter the
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shape (or "waveform") of the signal (usually referred to as
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"waveshaping").
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_clipping_point_, or by using mathematical transformations to alter the shape (or
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"waveform") of the signal (usually referred to as "waveshaping").
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**Disk Image (.dmg)**
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: A disk image is a single file containing the complete contents and
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@ -364,7 +361,7 @@ JACK-enabled audio programs on your computer. You must install JACK for
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Linux or JackOSX before you can use Ardour.
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**JackOSX** (OS X)
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: The name of the version of **JACK** that runs on Mac OS X. See **JACK**
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: The name of the version of **JACK** that runs on macOS. See **JACK**
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for more details.
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**JackPilot**
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@ -585,7 +582,7 @@ equalizers are examples of plugins that can be used in Ardour in
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association with Tracks or Busses.
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**Portaudio**
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: A free and open source set of **audio drivers**for Linux and Mac OS X.
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: A free and open source set of **audio drivers**for Linux and macOS.
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**Post-Fader** (Plugin or Send)
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: In the Mixer Strip, the post-fader area is the black space below the
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@ -762,7 +759,7 @@ common in scores (Allegro, Adagio, Very Fast, etc).
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**Terminal**
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: A "terminal" is the text-based interface that allows to operate a
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computer by typing commands into it. Most computer users today rely
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solely on a graphical interface to control their systems. Both Mac OS X
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solely on a graphical interface to control their systems. Both macOS
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and Linux though, include a terminal which may make some tasks easier
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for some users.
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@ -1,5 +1,6 @@
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+++
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title = "How to contribute"
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description = "How to contribute to this intro tutorial"
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chapter = false
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weight = 5
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+++
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|
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@ -1,5 +1,6 @@
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+++
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title = "License"
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description = "This tutorial's license"
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chapter = false
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weight = 4
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+++
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|
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@ -1,5 +1,6 @@
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+++
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title = "Editing sessions"
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description = "The basics of editing Ardour sessions"
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chapter = true
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weight = 4
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pre = "<b>4. </b>"
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|
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@ -1,6 +1,6 @@
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+++
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title = "Recording"
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description = "Learn how to route signal and record audio"
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description = "Learn how to route signal and record audio with Ardour"
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chapter = true
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weight = 3
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pre = "<b>3. </b>"
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@ -16,7 +16,7 @@ your computer which have been connected to Ardour via JACK. Please see the
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This section will show you how to record audio from an external source (for
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example, a microphone) onto a track in Ardour.
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{{< figure alt="Editor Mixer Input" src="en/ardour7-editor-mixer-input.png" >}}
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First, you should check that the proper inputs have been routed to the
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track you wish to record to.
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@ -25,7 +25,7 @@ track you wish to record to.
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volume slider.
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2. The track becomes highlighted.
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{{< figure alt="Highlighting a track" src="en/ardour7-audio-1-highlight.gif)
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3. The vertical _Editor Mixer_ strip located on the left side of the _Editor_
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window should now show the track you just selected (*Audio 1* in the image
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@ -47,7 +47,7 @@ whether you are using a macOS, Windows, or Linux computer. If you don't see a
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connection named *system capture_1*, look for whichever connection name is
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likely to be your input microphone.
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{{< figure alt="Audio 1 input" src="en/ardour7-audio-1-input.png" >}}
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The tabs that you see displayed vertically on the left are available
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sources. "*Audio 1 in*" on the bottom right is the
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@ -85,7 +85,7 @@ checked that the proper capture inputs have been routed to the Track, you can
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arm the Track to record by clicking on the small red icon on the horizontal
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track strip (not the big one in the Transport controls).
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{{< figure alt="Arming Track" src="en/ardour7-arming-the-track.png" >}}
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When properly armed, the small red icon will remain highlighted, and you will be
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able to see the incoming signal by looking at the _peak meter_ on the _Editor
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@ -111,7 +111,7 @@ recording, click on the **Play** button in the _Transport_ menu, or press the
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space bar of your computer keyboard. Clicking the **Play** button again (or
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pressing the space bar) will stop recording.
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{{< figure alt="Recording" src="en/ardour7-recording.png" >}}
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While recording, the armed track will capture the sounds from the input. Any
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existing sound on other tracks will play normally during the recording. This
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@ -129,7 +129,7 @@ The audio in the screenshot below was recorded too loud and produced _clipping_
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represented digitally), which results in a loss of information and audible
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distortion. The clipped peaks in the waveform are marked in red.
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{{< figure alt="Clipping" src="en/ardour7-clipping.png" >}}
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The best and easiest way to avoid clipping is have some control over the volume
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of the incoming audio signal before it gets to the sound card. For example, you
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@ -159,7 +159,7 @@ where it was recorded, with different takes being automatically numbered. In the
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screenshot below, "*Audio 1-1*" and "*Audio 1-2*" represent two different
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recordings made on a track named "*Audio 1*".
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{{< figure alt="Region List Rec" src="en/ardour7-region-list-recording.png" >}}
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You might want to plan ahead and organize your recording session by giving
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appropriate names to different tracks. For example, a track used only for
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@ -171,7 +171,7 @@ such as "Audio 1".
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To rename a track, just double-click on its name (before you arm the track to
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record) and type in the new name.
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{{< figure alt="Rename Track" src="en/ardour7-rename-track.png" >}}
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{{% notice tip %}}
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Did we mention how important it is to **save your work often**? Hit **Ctrl + S**
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@ -189,5 +189,5 @@ soundcard, or from other JACK-enabled audio programs on your computer, you
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should also have a look at the [Understanding
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Routing](../understanding-routing) chapter.
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Next: [Arranging tracks](../../editing-sessions/arranging-tracks/) or
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[Understanding routing](../understanding-routing)
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Next: [ARRANGING TRACKS](../../editing-sessions/arranging-tracks/) or
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[UNDERSTANDING ROUTING](../understanding-routing)
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|
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|
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@ -1,8 +1,8 @@
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+++
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title = "Routing between applications"
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description = "Routing signal from one JACK client to another"
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chapter = false
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weight = 7
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#pre = "<b>1. </b>"
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+++
|
||||
|
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Sometimes you may need to record the audio output of another program into
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|
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@ -55,7 +55,7 @@ The procedure is essentially the same: create a mono or stereo track to
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record the audio, set that track's inputs to the desired source, and
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record as usual.
|
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{{< figure src="en/ardour7-hydrogen.png" alt="Hydrogen" >}}
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||||
The screenshot above was taken while recording a drum pattern from Hydrogen
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directly into an Ardour tracks named _Drum N_ where N is a number from 1 to 18.
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||||
|
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|
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|
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@ -3,7 +3,6 @@ title = "Understanding routing"
|
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description = "Routing signal in Ardour"
|
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chapter = false
|
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weight = 2
|
||||
#pre = "<b>1. </b>"
|
||||
featherlight = false
|
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+++
|
||||
|
||||
|
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@ -39,7 +38,7 @@ way to make connections to, from ,and within Ardour's mixer. You can open this
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window with the shortcut **Alt + P**, or through the
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||||
`Window > Audio Connections` menu.
|
||||
|
||||
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{{< figure alt="Audio Connection Manager" src="en/ardour7-audio-connections-in-menu.png" >}}
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|
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The patchbay presents two groups of ports; one set of sources, and one of
|
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destinations. Sources and destinations are organized by tabs. The available
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||||
|
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@ -52,7 +51,7 @@ in the bottom. This means that the matrix you see displays connections from
|
|||
available hardware sound sources (for example, a microphone), into existing
|
||||
Ardour tracks.
|
||||
|
||||
|
||||
{{< figure alt="ACM 1" src="en/ardour7-audio-connection-manager-1.png" >}}
|
||||
|
||||
The green dots represent a connection. The screenshot above tells us that
|
||||
incoming sounds from _capture\_1_ (the first input source of your soundcard, or
|
||||
|
|
@ -69,15 +68,15 @@ vertical tab) into Ardour busses (selected horizontal tab). As mentioned
|
|||
earlier, the default setting for all _Ardour Tracks_ is that their sound goes to
|
||||
the _Master_ bus.
|
||||
|
||||
|
||||
{{< figure alt="ACM 2" src="en/ardour7-audio-connection-manager-2.png" >}}
|
||||
|
||||
Note: remember that _Audio 1_ is a Mono track? We saw it in the earlier
|
||||
screenshot that _Audio 1_ only has one input slot. But now on the screenshot
|
||||
above you see that "Audio 1" has two outputs (Left and Right). This is normal:
|
||||
above you see that "Audio 1" has two outputs (left and right). This is normal:
|
||||
we define whether a track is Mono or Stereo by its *number of inputs*, not
|
||||
outputs. Mono tracks will hold a single channel of audio, but you can still
|
||||
choose to place the sound on the left or the right speaker (or anywhere in
|
||||
between). More on this in the chapter **Panning**.
|
||||
between). For more on this please see the _Panning_ chapter.
|
||||
|
||||
Finally, let's explore a couple more tabs in the _Audio Connection Manager_ to
|
||||
see the sound going from the _Master_ bus to the actual hardware outputs (your
|
||||
|
|
@ -110,7 +109,7 @@ connection line. Here is how you do it:
|
|||
In the following example session, there are two guitar tracks and one
|
||||
unused bus called _Guitar_ bus, all Stereo.
|
||||
|
||||
|
||||
{{< figure alt="ACM 4" src="en/ardour7-audio-connection-manager-4.png" >}}
|
||||
|
||||
Suppose you want to send the output from the two guitar tracks to the _Guitar_
|
||||
bus instead of the _Master_ bus. This can be useful to control the volume of
|
||||
|
|
@ -125,7 +124,7 @@ destinations (horizontal bottom tabs). Undo existing connections from both
|
|||
tracks to _Master_. Then create connections from both tracks to _Guitar_ bus.
|
||||
The final result would look like this:
|
||||
|
||||
|
||||
{{< figure alt="ACM 5" src="en/ardour7-audio-connection-manager-5.png" >}}
|
||||
|
||||
Now both guitar tracks are routed to the _Guitar_ bus, and no longer directly
|
||||
connected to the _Master_ bus. We then make sure that the _Guitar_ bus is, by
|
||||
|
|
@ -149,7 +148,7 @@ of the strip. Clicking on either one will show you a menu of connection
|
|||
options. In the screenshot below, for example, you would click on the **1/2**
|
||||
button right under the track name _Guitar 1_ in order to access this menu:
|
||||
|
||||
|
||||
{{< figure alt="Editor Mixer In Out" src="en/ardour7-editor-mixer-in-out.png" >}}
|
||||
|
||||
You may select a connection right there from the menu, or choose _Routing Grid_
|
||||
to see a simpler version of the _Audio Connection Manager_ with only the
|
||||
|
|
@ -163,10 +162,9 @@ applications like _Qjackctl_ or _Catia_, depending on your operating system.
|
|||
Below is an example of a _Catia_ window (Linux only) displaying the same JACK
|
||||
connections discussed above:
|
||||
|
||||
|
||||
{{< figure alt="Catia" src="en/Ardour4_Catia_Example.png" >}}
|
||||
|
||||
Continuing
|
||||
----------
|
||||
## Continuing
|
||||
|
||||
In this chapter, we covered how to manage routing inside Ardour, or between
|
||||
Ardour and the sound card. However, one of the strengths of using the JACK
|
||||
|
|
|
|||
Loading…
Reference in New Issue