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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.
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 @@ -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 @@ -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 @@ -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 @@ -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
In the previous chapter we already discussed that Ardour operates on sessions @@ -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 Meter determines the musical speed of the passage we are @@ -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 @@ -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 @@ -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 @@ -10,14 +10,14 @@ file on your computer. As we learned previously, exporting an isolated Region do 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 @@ -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
An audio track is a place where you can drag a region from your region @@ -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 @@ -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
TODO
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
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 a 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 composition 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.
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.
Right-click on the names of rulers and you will see a menu with all the possible rulers at your disposition. You may uncheck rulers that you don’t need in order to save screen space. More information on these -operations can be found in the Setting up the Timeline and Setting -up the Meter chapters.
Just below the Rulers is where Tracks and Busses are displayed. In the -example below, you can see one Bus called “Master” and one Track -called “MyTrack”. MyTrack also contains one region, which -represents an audio file with a drawing of its waveform. More -information on Tracks and Busses can be found in the Creating a Track -or Bus chapter.
The Editor Mixer is located at the left of the Edit Window. It displays +operations can be found in the +Setting up the Timeline and +Setting Up the Meter chapters.
Just below the rulers is where tracks and busses are displayed. In the example +below, you can see one bus called Master and one track called MyTrack. +MyTrack also contains one region which represents an audio file with a drawing +of its waveform. More information on tracks and busses can be found in the +Creating a Track or Bus chapter.
This is a bird’s-eye view of the entire session.
There are two major use cases +here:
Navigating around the project. Just grab the rectangle and drag it around to +pan over the entire project.
Tweaking zoom and position of the visible part of the project. Grab any part +of the visible rectangle’s border and drag it inwards or outwards to zoom in or +out respectively.
The Editor Mixer is located at the left of the Edit Window. It displays the Mixer Strip of the currently selected Track or Bus. It controls the volume, Plugins and Routing for the Track or Bus to which it corresponds. You can toggle to view or hide the Editor Mixer by clicking on the menu View > Show Editor Mixer (shortcut “Shift” + “E”). -This Mixer is covered in the Using the Mixer Strip chapter.
The space on the right of Ardour’s Editor Window can have 5 different +This Mixer is covered in the Using the Mixer Strip chapter.
The space on the right of Ardour’s Editor Window can have 5 different functions, depending on which tab is currently selected: Regions, Tracks/Busses, Snapshots, Track & Bus Groups, and Ranges and Marks. Regions is the tab selected by default. This part of the @@ -53,14 +57,14 @@ represent audio files stored on the hard drive which can be dragged from the Regions List directly onto a track in the main canvas. More information on Regions can be found in the Working With Regions chapter. The Tracks tab is covered in the Arranging Tracks chapter, -and Snapshots are discussed in the Saving Snapshots chapter.
Next up is the Mixer window where you control…
Next: Mixer window
The next sections will explain basics of main Ardour’s windows:
Editor | Mixer | Recorder | -Cue
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: Cue window
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.
Once you import some audio files to Ardour, play them back and start @@ -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 @@ -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 @@ -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 @@ -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 the loud parts @@ -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 @@ -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 @@ -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 @@ -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 @@ -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 @@ -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 @@ -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 @@ -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
Learn how to route signal and record audio and MIDI
Besides Importing Audio, another way to create Regions in your Ardour @@ -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 @@ -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
Routing an audio signal is sending it from somewhere to somewhere else.
In addition to getting audio signals to and from Ardour, routing plays @@ -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
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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