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name: github pages
on:
push:
branches:
- main # Set a branch to deploy
pull_request:
jobs:
deploy:
runs-on: ubuntu-20.04
steps:
- uses: actions/checkout@v2
with:
submodules: true # Fetch Hugo themes (true OR recursive)
fetch-depth: 0 # Fetch all history for .GitInfo and .Lastmod
- name: Setup Hugo
uses: peaceiris/actions-hugo@v2
with:
hugo-version: 'latest'
# extended: true
- name: Build
run: hugo --minify
- name: Deploy
uses: peaceiris/actions-gh-pages@v3
if: github.ref == 'refs/heads/main'
with:
github_token: ${{ secrets.GITHUB_TOKEN }}
publish_dir: ./public

3
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[submodule "themes/hugo-theme-relearn"]
path = themes/hugo-theme-relearn
url = git@github.com:McShelby/hugo-theme-relearn.git

674
LICENSE
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GNU GENERAL PUBLIC LICENSE
Version 3, 29 June 2007
Copyright (C) 2007 Free Software Foundation, Inc. <https://fsf.org/>
Everyone is permitted to copy and distribute verbatim copies
of this license document, but changing it is not allowed.
Preamble
The GNU General Public License is a free, copyleft license for
software and other kinds of works.
The licenses for most software and other practical works are designed
to take away your freedom to share and change the works. By contrast,
the GNU General Public License is intended to guarantee your freedom to
share and change all versions of a program--to make sure it remains free
software for all its users. We, the Free Software Foundation, use the
GNU General Public License for most of our software; it applies also to
any other work released this way by its authors. You can apply it to
your programs, too.
When we speak of free software, we are referring to freedom, not
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If conditions are imposed on you (whether by court order, agreement or
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Notwithstanding any other provision of this License, you have
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14. Revised Versions of this License.
The Free Software Foundation may publish revised and/or new versions of
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If the Program specifies that a proxy can decide which future
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Later license versions may give you additional or different
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15. Disclaimer of Warranty.
THERE IS NO WARRANTY FOR THE PROGRAM, TO THE EXTENT PERMITTED BY
APPLICABLE LAW. EXCEPT WHEN OTHERWISE STATED IN WRITING THE COPYRIGHT
HOLDERS AND/OR OTHER PARTIES PROVIDE THE PROGRAM "AS IS" WITHOUT WARRANTY
OF ANY KIND, EITHER EXPRESSED OR IMPLIED, INCLUDING, BUT NOT LIMITED TO,
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IN NO EVENT UNLESS REQUIRED BY APPLICABLE LAW OR AGREED TO IN WRITING
WILL ANY COPYRIGHT HOLDER, OR ANY OTHER PARTY WHO MODIFIES AND/OR CONVEYS
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GENERAL, SPECIAL, INCIDENTAL OR CONSEQUENTIAL 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.
17. Interpretation of Sections 15 and 16.
If the disclaimer of warranty and limitation of liability provided
above cannot be given local legal effect according to their terms,
reviewing courts shall apply local law that most closely approximates
an absolute waiver of all civil liability in connection with the
Program, unless a warranty or assumption of liability accompanies a
copy of the Program in return for a fee.
END OF TERMS AND CONDITIONS
How to Apply These Terms to Your New Programs
If you develop a new program, and you want it to be of the greatest
possible use to the public, the best way to achieve this is to make it
free software which everyone can redistribute and change under these terms.
To do so, attach the following notices to the program. It is safest
to attach them to the start of each source file to most effectively
state the exclusion of warranty; and each file should have at least
the "copyright" line and a pointer to where the full notice is found.
<one line to give the program's name and a brief idea of what it does.>
Copyright (C) <year> <name of author>
This program is free software: you can redistribute it and/or modify
it under the terms of the GNU General Public License as published by
the Free Software Foundation, either version 3 of the License, or
(at your option) any later version.
This program is distributed in the hope that it will be useful,
but WITHOUT ANY WARRANTY; without even the implied warranty of
MERCHANTABILITY or FITNESS FOR A PARTICULAR PURPOSE. See the
GNU General Public License for more details.
You should have received a copy of the GNU General Public License
along with this program. If not, see <https://www.gnu.org/licenses/>.
Also add information on how to contact you by electronic and paper mail.
If the program does terminal interaction, make it output a short
notice like this when it starts in an interactive mode:
<program> Copyright (C) <year> <name of author>
This program comes with ABSOLUTELY NO WARRANTY; for details type `show w'.
This is free software, and you are welcome to redistribute it
under certain conditions; type `show c' for details.
The hypothetical commands `show w' and `show c' should show the appropriate
parts of the General Public License. Of course, your program's commands
might be different; for a GUI interface, you would use an "about box".
You should also get your employer (if you work as a programmer) or school,
if any, to sign a "copyright disclaimer" for the program, if necessary.
For more information on this, and how to apply and follow the GNU GPL, see
<https://www.gnu.org/licenses/>.
The GNU General Public License does not permit incorporating your program
into proprietary programs. If your program is a subroutine library, you
may consider it more useful to permit linking proprietary applications with
the library. If this is what you want to do, use the GNU Lesser General
Public License instead of this License. But first, please read
<https://www.gnu.org/licenses/why-not-lgpl.html>.

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# Ardour Tutorial
This is a crash course into [Ardour](https://ardour.org), a free/libre digital
audio workstation.
The content was originally written around in 2009 during a Book Sprint led by
Derek Holzer for [FLOSS Manuals](http://archive.flossmanuals.net/ardour/). It
was later updated by multiple contributors and maintained by Bruno Ruviaro.
All credits are on the
[Credits](https://prokoudine.github.io/ardour-tutorial/en/appendices/credits/)
page.
This updated version is technically a port from Jekyll to Hugo and content-wise
mostly an update to match many changes between Ardour v4/v6 and v7.0 plus some
new material. The intention is to make it the official Ardour tutorial for
beginners and maintain it as part of the upstream project.

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---
title: "{{ replace .Name "-" " " | title }}"
date: {{ .Date }}
draft: true
---

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baseURL = 'https://prokoudine.github.io/ardour-tutorial'
languageCode = 'en-us'
defaultContentLanguage = "en"
title = 'Ardour Tutorial'
theme = 'hugo-theme-relearn'
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#landingPageURL = "/"
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identifier = "usermanual"
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[[Languages.en.menu.shortcuts]]
name = "<i class='fas fa-fw fa-users'></i> Forum"
identifier = "forum"
url = "https://discourse.ardour.org/"
weight = 20
[[Languages.en.menu.shortcuts]]
name = "<i class='fas fa-fw fa-bullhorn'></i> Credits"
url = "en/appendices/credits/"
weight = 30
[Languages.fr]
title = "Tutoriel Ardour"
weight = 1
languageName = "Français"
landingPageURL = "https://prokoudine.github.io/ardour-tutorial"
#landingPageURL = "/"
landingPageName = "<i class='fas fa-home'></i> Accueil"
[[Languages.fr.menu.shortcuts]]
name = "<i class='fab fa-fw fa-github'></i> Ce tutoriel dans GitHub"
identifier = "github"
url = "https://github.com/prokoudine/ardour-tutorial"
weight = 10
[[Languages.fr.menu.shortcuts]]
name = "<i class='fas fa-fw fa-home'></i> Page d'accueil d'Ardour"
url = "https://ardour.org/"
weight = 11
[[Languages.fr.menu.shortcuts]]
name = "<i class='fas fa-fw fa-bookmark'></i> Manuel utilisateur"
identifier = "usermanual"
url = "https://manual.ardour.org"
weight = 20
[[Languages.fr.menu.shortcuts]]
name = "<i class='fas fa-fw fa-users'></i> Forum"
identifier = "forum"
url = "https://discourse.ardour.org/"
weight = 20
[[Languages.fr.menu.shortcuts]]
name = "<i class='fas fa-fw fa-bullhorn'></i> Credits"
url = "en/appendices/credits/"
weight = 30
[Languages.ru]
title = "Введение в Ardour"
weight = 1
languageName = "Russian"
landingPageURL = "/"
#landingPageURL = "/"
landingPageName = "<i class='fas fa-home'></i> Начало"
#
#[[Languages.en.menu.shortcuts]]
#name = "<i class='fab fa-fw fa-github'></i> Репозиторий в GitHub"
#identifier = "ds"
#url = "https://github.com/brunoruviaro/ardour4-tutorial/"
#weight = 10
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#[[Languages.en.menu.shortcuts]]
#name = "<i class='fas fa-fw fa-home'></i> Сайт Ardour"
#url = "https://ardour.org/"
#weight = 11
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#[[Languages.en.menu.shortcuts]]
#name = "<i class='fas fa-fw fa-bookmark'></i> Руководство пользователя"
#identifier = "hugodoc"
#url = "https://manual.ardour.org"
#weight = 20
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#url = "/appendices/credits"
#weight = 30

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title = "Home"
description = "Ardour v7.0 tutorial"
+++
# Ardour v7.0 tutorial
**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
supports standard file formats, such as BWF, WAV, WAV64, AIFF and CAF,
and it can use LADSPA, LV2, VST and AudioUnit plugin formats.
{{< figure src="/ardour-tutorial/images/Ardour6.png" alt="Ardour 6" >}}
This tutorial provides a beginner's introduction to using Ardour for basic sound
recording and editing tasks. It assumes you already have Ardour up and running
on your computer.
For information on how to install Ardour on Linux and Mac OS X, please visit the
[Requirements](https://ardour.org/requirements.html) page. For Linux users,
distributions such as [KXStudio](http://kxstudio.sourceforge.net/)
and [UbuntuStudio](http://ubuntustudio.org/) offer a wide selection of useful
music software, including Ardour.
{{% button href="https://ardour.org/download.html" icon="fas fa-download" %}}Download latest Ardour{{% /button %}}
Contents:
1. [Introduction](introduction/)
2. [Getting started](getting-started/)
3. [Recording](recording/)
4. [Editing sessions](editing-sessions/)
5. [Mixing sessions](mixing-sessions/)
6. [Exporting sessions](exporting-sessions/)
7. [Saving sessions](saving-sessions/)
8. [Appendices](appendices/)

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title = "Home"
description = "Ardour v7.0 tutorial"
+++
# Tutoriel pour Ardour v7.0
**Ardour** est un enregistreur sur disque dur complet et professionnel, ainsi qu'une station de travail audio numérique (STAN). Ardour est un logiciel libre et open source (FLOSS). Il offre un nombre illimité de pistes et de bus audio, une édition non destructive et non linéaire avec annulation illimitée et un routage du signal de n'importe où à n'importe quel endroit. Il prend en charge les formats de fichiers standard, tels que BWF, WAV, WAV64, AIFF et CAF et il peut utiliser les formats de plugins LADSPA, LV2, VST et AudioUnit.
{{< figure src="/ardour-tutorial/images/Ardour6.png" alt="Ardour 6" >}}
Ce tutoriel est une introduction à l'utilisation d'Ardour pour des tâches basiques d'enregistrement et d'édition de sons.
Il suppose que vous avez déjà installé Ardour sur votre ordinateur.
Pour plus d'informations sur l'installation d'Ardour sur Linux et Mac OS X, veuillez consulter la page [Configuration requise](https://ardour.org/requirements.html). Pour les utilisateurs de Linux, les distributions telles que [KXStudio](http://kxstudio.sourceforge.net/), [UbuntuStudio](http://ubuntustudio.org/) offrent un large choix de logiciels musicaux utiles, dont Ardour.
{{% button href="https://ardour.org/download.html" icon="fas fa-download" %}}Téléchargez la dernière version d'Ardour{{% /button %}}
Contenu :
1. [Introduction](introduction/)
2. [Getting started](getting-started/)
3. [Recording](recording/)
4. [Editing sessions](editing-sessions/)
5. [Mixing sessions](mixing-sessions/)
6. [Exporting sessions](exporting-sessions/)
7. [Saving sessions](saving-sessions/)
8. [Appendices](appendices/)

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+++
title = "Начало"
description = "Вводный курс по Ardour v7.0"
+++
# Вводный курс по Ardour v7.0
**Ardour** это профессиональный полнофункциональный рекордер с жестким диском и
цифровая звуковая рабочая станция (DAW). Ardour — свободное программное
обеспечение с открытым исходным кодом (free/libre open source software).
Программа поддерживает неограниченное количество звуковых дорожек и шин,
неразрушающее, нелинейное редактирование с неограниченной отменой и
маршрутизацию сигнала от чего угодно куда угодно. Он поддерживает стандартные
форматы файлов, такие как BWF, WAV, WAV64, AIFF и CAF, и может использовать
форматы плагинов LADSPA, LV2, VST и AudioUnit.
{{< figure src="/ardour-tutorial/images/Ardour6.png" alt="Ardour 6" >}}
Это руководство представляет собой введение для начинающих и описывает решение
основных задач звукозаписи и редактирования. Предполагается, что на вашем
компьютере уже установлен и работает Ardour. Обратите внимание, что это
руководство (пока) не охватывает какие-либо MIDI-функции.
Чтобы узнать, как установить Ardour в Linux и macOS, посетите страницу
[«Требования»](https://ardour.org/requirements.html). Для пользователей Linux
такие дистрибутивы, как [KXStudio](http://kxstudio.sourceforge.net/) и [Ubuntu
Studio](http://ubuntustudio.org/), предлагают широкий выбор полезного
музыкального программного обеспечения, включая Ardour.
{{% button href="https://ardour.org/download.html" icon="fas fa-download" %}}Скачать самую новую версию{{% /button %}}
Содержание:
1. [Введение](introduction/)
2. [Первые шаги](getting-started/)
3. [Запись](recording/)
4. [Редактирование](editing-sessions/)
5. [Микширование](mixing-sessions/)
6. [Экспорт](exporting-sessions/)
7. [Сохранение сессий](saving-sessions/)
8. [Приложения](appendices/)

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+++
title = "Appendices"
chapter = true
weight = 8
pre = "<b>8. </b>"
+++
### Chapter 8
# Appendices
Where to find more info about Ardour and how to improve this tutorial
Contents:
1. [Further help](further-help/)
2. [Glossary](glossary/)
3. [Credits](credits/)
4. [License](license/)
5. [How to contribute to this tutorial](how-to-contribute/)

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+++
title = "Appendices"
chapter = true
weight = 8
pre = "<b>8. </b>"
+++
### Chapitre 8
# Annexes
Où trouver plus d'informations sur Ardour et comment améliorer ce tutoriel
Table des matières :
1. [Aide supplémentaire](further-help/)
2. [Glossaire](glossary/)
3. [Crédits](credits/)
4. [Licence](licence/)
5. [Comment contribuer à ce tutoriel](how-to-contribute/)

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+++
title = "Приложения"
chapter = true
weight = 8
pre = "<b>8. </b>"
+++
### Глава 8
# Приложения
Где получить больше информации об Ardour и как улучшить этот урок
Содержание:
1. [Дальнейшая помощь](further-help/)
2. [Словарь терминов](glossary/)
3. [Авторы урока](credits/)
4. [Лицензия](license/)
5. [Как улучшить этот урок](how-to-contribute/)

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+++
title = "Credits"
chapter = false
weight = 3
+++
The main body of the manual was written during a **Book Sprint** led by Derek
Holzer in the [moddr_lab](http://moddr.net "moddr_lab @ WORM, Rotterdam") at
WORM in Rotterdam, the Netherlands, between 23 and 27 November 2009, with input
and support from the international community of Ardour users and developers.
The tutorial was originally written for Ardour 2.X versions. The original FLOSS
manual can be found at
[flossmanuals.net](http://archive.flossmanuals.net/ardour/index.html).
Original contributors: Adam Hyde, Bruno Ruviaro, Dave Peticolas, Walter
Langelaar, David Elwell, Thomas Goose, Derick H., Rob Fell, William Abernathy,
Derek Holzer, Stefan Hanser, Tomasz Kaye, Dick MacInnis, Mr Stock, Ross Johnson,
Jon Cohrs, Claudia Borges, Ma Rk, Al Thompson, Jay Maechtlen, Christopher
Stamper, Thomas Margolf, Mark Lindhout, Joern Nettingsmeier.
It was further updated in 2010 by Chou Shoichi, Damian Soto, Ross Johnson,
Christian Herzberg, Malcolm Smith, Giorgio Moscardi.
In December 2014, the tutorial was updated for Ardour 3.5 and moved to GitHub.
The text was completely revised, and screenshots were replaced with newer ones.
In August 2015, a similar revision was made to update all screenshots and text
to Ardour 4.2. The 2014 and 2015 revisions were made by Bruno Ruviaro and Alex
Christie.
2016/2017 fixes by Dan "dannybpng" and Jougleur.
2018 update by Miroslav Šulc.
2021 update for Ardour v6 by Luca Aquino.
2022/2023 update for Ardour v7 by Alexandre Prokoudine.

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+++
title = "Credits"
chapter = false
weight = 3
+++
Le corps principal du manuel a été écrit lors d'un **Book Sprint** mené par Derek
Holzer dans le [moddr_lab] (http://moddr.net "moddr_lab @ WORM, Rotterdam") au
WORM à Rotterdam, Pays-Bas, entre le 23 et le 27 novembre 2009, avec l'aide et le
soutien de la communauté internationale des utilisateurs et des développeurs d'Ardour.
Le tutoriel a été écrit à l'origine pour les versions 2.X d'Ardour. Le manuel FLOSS
est disponible à l'adresse suivante
[flossmanuals.net](http://archive.flossmanuals.net/ardour/index.html).
Le contributeurs originaux : Adam Hyde, Bruno Ruviaro, Dave Peticolas, Walter
Langelaar, David Elwell, Thomas Goose, Derick H., Rob Fell, William Abernathy,
Derek Holzer, Stefan Hanser, Tomasz Kaye, Dick MacInnis, Mr Stock, Ross Johnson,
Jon Cohrs, Claudia Borges, Ma Rk, Al Thompson, Jay Maechtlen, Christopher
Stamper, Thomas Margolf, Mark Lindhout, Joern Nettingsmeier.
Il a été mis à jour en 2010 par Chou Shoichi, Damian Soto, Ross Johnson,
Christian Herzberg, Malcolm Smith, Giorgio Moscardi.
En décembre 2014, le tutoriel a été mis à jour pour Ardour 3.5 et déplacé sur GitHub.
Le texte a été complètement révisé, et les captures d'écran ont été remplacées par de nouvelles.
En août 2015, une révision similaire a été faite pour mettre à jour toutes les captures d'écran et le texte
à Ardour 4.2. Les révisions de 2014 et 2015 ont été faites par Bruno Ruviaro et Alex
Christie.
2016/2017 corrections par Dan "dannybpng" et Jougleur.
2018 mises à jour par Miroslav Šulc.
2021 mises à jour pour Ardour v6 par Luca Aquino.
2022/2023 mises à jour pour Ardour v7 par Alexandre Prokoudine.

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+++
title = "Further help"
chapter = false
weight = 1
+++
There are a couple of resources on the Internet to help you learn Ardour and
fix some of the problems that you might have along the way.
## Ardour Manual
The official [Ardour Manual](http://manual.ardour.org/) is the main reference to Ardour. It is a work in progress, meaning you will not find every single feature explained there (yet). But it is already an amazing resource:
## Getting Help via Chat
A good way to get support when learning Ardour and working with it is using the
**Chat** function. Ardour has a built-in "Chat" option, found in the main menu
under `Help > Chat` to connect (via your web browser) to the Ardour
[IRC](http://en.wikipedia.org/wiki/IRC) channel at libera.chat.
You could also use your IRC-capable chat application (like Pidgin or Xchat) to
connect to the Ardour channel (\#ardour or \#ardour-osx) at the libera.chat
network, or use this weblink directly:
[https://web.libera.chat//#ardour](https://web.libera.chat//#ardour)
Enter a nickname and connect, you are welcome!
In such a IRC Chat channel or room, you find the Ardour developers and other
users to chat about using Ardour, problems and/or bugs you are facing, or about
suggestions for Ardour which you want to discuss.
## Getting Help via Mailing Lists
For those that prefer mailing lists to IRC chatting, the [Ardour
Users](http://lists.ardour.org/listinfo.cgi/ardour-users-ardour.org%20) mailing
list is also a good place where users and some developers discuss all kinds of
problems and ideas related to using Ardour. This is an active list, with many
helpful and knowledgeable users around to help guide less experienced people.
There are sometimes more general discussions about topics like recording
technique, audio interface selection, etc.
## Getting Help via Forum
The Ardour team also maintains an active [forum](https://discourse.ardour.org/)
where you can ask for help, discuss bugs and feature requests, and post your
music composed, recorded, arranged, and mixed with Ardour.

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+++
title = "Further help"
chapter = false
weight = 1
+++
Il existe quelques ressources sur Internet pour vous aider à apprendre Ardour et
à résoudre les problèmes que vous pourriez rencontrer en cours de route.
## Manuel Ardour
Le [manuel Ardour](http://manual.ardour.org/) officiel est la référence principale pour Ardour.
Il s'agit d'un travail en cours, ce qui signifie que vous n'y trouverez pas (encore)
toutes les fonctionnalités expliquées. Mais c'est déjà une ressource formidable :
## Obtenir de l'aide par chat
Un bon moyen d'obtenir de l'aide lorsque vous apprenez Ardour et que vous travaillez
avec est d'utiliser la fonction **Chat**. Ardour a une option "Chat" intégrée,
que l'on trouve dans le menu principal sous `Help > Chat` pour vous connecter
(via votre navigateur web) au forum Ardour [IRC](http://en.wikipedia.org/wiki/IRC)
de Ardour à libera.chat.
Vous pouvez également utiliser votre application de chat compatible IRC (comme Pidgin ou Xchat)
pour vous connecter au canal Ardour (\#ardour ou \#ardour-osx) sur le réseau libera.chat
ou utiliser directement ce lien web :
[https://web.libera.chat//#ardour](https://web.libera.chat//#ardour)
Entrez un pseudo et connectez-vous, vous êtes les bienvenus !
Dans un tel canal ou salle de chat IRC, vous trouverez les développeurs d'Ardour et
d'autres utilisateurs pour discuter de l'utilisation d'Ardour,
des problèmes et/ou bogues que vous rencontrez, ou des suggestions pour Ardour dont vous voulez discuter.
## Obtenir de l'aide via les listes de diffusion
Pour ceux qui préfèrent les listes de diffusion au chat IRC, la liste de diffusion
[utilisateurs Ardour](http://lists.ardour.org/listinfo.cgi/ardour-users-ardour.org%20) est également
un bon endroit où les utilisateurs et certains développeurs discutent de toutes sortes de problèmes
et idées liés à l'utilisation d'Ardour. C'est une liste active, avec de nombreux d'utilisateurs utiles
et compétents pour aider les personnes moins expérimentées.
Il y a parfois des discussions plus générales sur des sujets comme la technique d'enregistrement,
le choix de l'interface audio, etc.
## Obtenir de l'aide via le forum
L'équipe Ardour maintient également un [forum](https://discourse.ardour.org/) actif
où vous pouvez demander de l'aide, discuter des bogues et des demandes de fonctionnalités,
et poster votre musique composée, enregistrée, arrangée et mixée avec Ardour.

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+++
title = "Glossary"
description = "Terminology used in this Ardour tutorial"
chapter = false
weight = 2
+++
This glossary offers brief definitions for many or the terms used throuhout the Ardour3 FLOSS Tutorial.
**Aggregate Device** (macOS)
: An Aggregate Device is one virtual soundcard made of of two or more
physical soundcards. PowerBooks and MacBooks made in 2007 or later will
need this set up in order for _JACK_ to have both input and output
channels. This is set up in the _Audio MIDI Setup_ application.
**AIFF**
: A sound file format developed by Apple and commonly used for lossless
and uncompressed audio. AIFF files are compatible with Windows,
Macintosh and Linux operating systems.
**ALSA** (Linux)
: Advanced Linux Sound Architecture. ALSA provides audio and MIDI
functionality to the Linux operating system.
**Amplitude** (mixing)
: The strength of an audio signal. The scale of amplitude is
_*logarithmic_, since it expresses the physical ratio of power between
one sound and another. Levels in digital audio systems are usually
represented as the number of Decibels below the clipping point of 0 dB.
See also _loudness_.
**Arm** (Track to record/Ardour to record)
: Action that makes Ardour ready to start recording. Before recording in
Ardour, one or more tracks need to be armed first, and then Ardour needs
to be armed itself.
**Artifacts** (sound)
: Perceivable distortion or decrease in sound quality generated as a
by-product of certain signal processing operations. Artefacts are
usually seen as undesirable or unexpected results of an otherwise
intentional sound transformation.
**Attenuation**
: Reducing the **level** of an audio signal, usually measured using a
_logarithmic_ scale. See also _gain_.
**Audio MIDI Setup** (macOS)
: The Audio MIDI Setup utility is a program that comes with the macOS
operating system for adjusting the computer's audio input and output
configuration settings and managing MIDI devices.
**Audio Unit Plugins**
: Audio Unit (AU) is a plugin architecture in macOS computers. It may
be thought of as Apple's equivalent to the popular VST plugin format by
Steinberg. MacOS comes with a collection of AU plug-ins such as EQ
filters, dynamic processors, delay, reverb, time stretch, among others.
**Audition**
: The auditioner is a hidden mixer strip which auditioned regions are
played back through. Auditioning a region will play only that region,
without processing sends or plugins.
**Automation**
: Automation is the automatic adjustment of various parameters such as
gain, panning or plugin settings. Changes can be made once and then will
be repeated every time the mix is replayed. Automation in Ardour is
controlled by automation lines linked to each Track or Bus.
**Auxiliary Controls**
: Buttons on the top right side of the controls found in the Editor
Window: Punch In/Out, Auto Play, Auto Return, Auto Input, Click, Solo,
and Audition.
**Amplitude**
: The level or magnitude of a signal. Audio signals with a higher
amplitude usually sound louder.
**Bands** (equalization)
: The particular frequency regions to be boosted or attenuated in the
process of _Equalization_.
**Bars** (music)
: Same as 'measure', a bar is a metrical unit. In Western notation, it is
the space comprised between two vertical lines drawn through the staff.
The specific duration of a bar depends of its _time signature_ and the
current _tempo_ of the music.
**Bass** (Frequencies)
: A generic way of referring to the lower frequencies of the _spectrum_
of a sound.
**Beat**
: The basic pulse underlying a piece of music.
**Beats per Minute**
: Beats per minute (BPM) is a measure of tempo in music. A rate of 60
beats per minute means that one beat will occur every second; 120 bpm
equals two beats per second, and so on. BPM indications usually appear
at the beginning of a traditional musical score as a metronome mark (for
example, "quarter note equals 60", meaning one quarter note per second).
**Bit**
: A bit (**bi**nary dig**it**) is a single number with a value of either 0
or 1.
**Bit Depth**
: Refers to the number of bits used to write a _sample_. In the CD
standard, each sample of audio is represented by a 16-bit number. This
gives 2\^16 (two to the power of sixteen = 65,536) possible values that
a sample can have. A higher bit depth means a greater possible _dynamic
range_. Studio recordings are usually first made recorded with a bit
depth of 24 (or even 32) to preserve as much detail before transfer to
CD. DVDs are made at 24 bit, while video games from the 1980s remain
famous for their distinctively rough "8 bit sound". Bit depth is also
referred to as **word length**.
**Buffer Size** (JACK)
: The buffer is a section of memory specifically allotted to temporary
signal data. Small buffer sizes allow a lower latency and so are needed
when using audio applications that require real-time interaction. The
drawback is that CPU consumption for the system is higher with smaller
buffer sizes. Larger buffers (like 512 or 1024) can be used when there
is no such requirement.
**Built-in Input and Output**
: These are the default interfaces for getting sound in and out of your
computer if you don't have an external sound card. In a laptop, they are
the common input (mic) and output (headphone) connections.
**Bus**
: A bus is similar to a track except that it does not contain its
own regions. You cannot record directly into a bus or drag regions into
it. The _Mixer_ strip vertically represents the signal flow of a bus,
whereas the Main Canvas horizontally displays time-based information for
each bus (such as automation lines).
**BWF**
: Broadcast Wave Format (BWF) is an extension of the popular Microsoft
WAVE audio format and is the recording format of most file-based
non-linear digital recorders used for motion picture and television
production. This file format allows the inclusion of metadata to
facilitate the seamless exchange of sound data between different
computer platforms and applications.
**CAF**
: CAF (Core Audio Format) is a file format for storing audio, developed by
Apple. It is compatible with macOS 10.4 and higher. The Core Audio
Format is designed to overcome limitations of older digital audio
formats, including AIFF and WAV. Just like the QuickTime .mov file
format, a .caf file format can contain many different audio formats,
metadata tracks, and much more data.
**Center Frequency**
: In some EQ plugins, the user has the possibility of choosing the center
frequency for each of the frequency bands. The center frequency of a
Band will be the one most sharply attenuated or reinforced by the
equalizer for that specific band. Frequencies surrounding the center
frequency will be less affected.
**Click** (Mouse)
: In this manual, it specifically means to click on the left button of
your mouse. Whenever the right button is required, the action is
referred to as "right-click".
**Clipping**
: Clipping occurs when a signal is too high in level to be reproduced. Any
samples too high in level will simply be truncated, resulting in
_distortion_, loss of audio detail, and artefact _frequencies_ which
were not present in the original sound.
**Clipping Point**
: The clipping point of a digital system is referred to as 0 dB, and
the level of any sound is measured in how far below the clipping point
it is (-10 dB, -24 dB, etc).
**Clocks**
: The two big numerical displays near the top of the _Editor_ window. They can
display the time in a number of formats: _Timecode_, _Bars:Beats_,
_Minutes:Seconds_, and _Samples_.
**Compile**
: FLOSS applications are distributed as source code, which is human-readable but
cannot be run as an actual application. To turn this source code into a running
application, it must first be Compiled. When you download a disk image for macOS
or a software package from your distribution (such as Ubuntu, Debian or Fedora),
it has been compiled for you already. However, if you wish to add features (such
as support for _VST Plugins_) which your distribution does not provide, then
you must compile the application from source code yourself.
**Compression**(DSP)
: Essentially, compression makes the quiet parts of a signal louder
without changing the level of
the louder parts. This entails a reduction of the actual dynamic range:
a compressed sound is less dynamic (has a smaller range of levels)
**Compression** (data)
: Like any other data, audio data can be compressed so that it uses less
hard disk space. Compression such as FLAC, ALAC, or MLP reduce the size
of audio files compared to WAV or AIFF without changing the data, which
is referred to as lossless compression. Audio can be compressed to a
still smaller size by using lossy compression such as MP3, Ogg Vorbis or
AAC but this is achieved by removing data which can have an audible
effect.
**Connections Manager**(JACK)
: The window in Jack that allows to manage all connections between audio
inputs and outputs.
**CoreAudio**(macOS)
: CoreAudio provides audio functionality to the macOS operating system.
**Cursor Modes**
: These are the six buttons just below the Transport commands in the
Editor Window. The six different functions that the mouse pointer can
have in Ardour are: Select/Move Objects, Select/Move Ranges, Select Zoom
Range, Draw Gain Automation, Stretch/Shrink Regions, Listen to Specific
Regions.
**Decibels**
: Decibel is a logarithmic scale used to measure many quantities,
including the gain_, level_ or loudness_ of a signal. Decibel
is usually abbreviated to dB and in digital audio usually denotes how
far under 0 dBFS (the clipping_ point of a system) a signal is.
**Delay** (effect)
: The amount of time between one event and another. As an audio effect, a delay
takes an incoming sound signal and delays it for a certain length of time. When
mixed with the original sound, an "echo" is heard. By using _feedback_ to return
the delayed signal back into the delay (usually after lowering its _gain_),
multiple echos with a _decay_ result.
**Destructive Editing/Recording**
: Destructive actions are those that permanently modify or erase the original
data (sound files) in the course of editing or recording.
**Distortion** : Distortion occurs when an audio signal is changed in some way
that produces _frequencies_ not present in the original. Distortion can be
deliberate or unwanted, and can be produced by driving the signal to a
_clipping_point_, or by using mathematical transformations to alter the shape (or
"waveform") of the signal (usually referred to as "waveshaping").
**Disk Image (.dmg)**
: A disk image is a single file containing the complete contents and
structure representing a data storage medium or device. By
double-clicking on a .dmg file on a Mac, a virtual device will be
mounted to your Desktop (it will look as if you had inserted a USB
device or a DVD, for example). Many software installers in OS X are
available as .dmg files.
**Driver**(JACK)
: Software written to control hardware. CoreAudio is the Mac sound driver.
ALSA is the most common Linux driver.
**DSP**
: Digital Signal Processing.
**Dynamic Range**
: Used to refer to the difference between the loudest and the quietest
sound that can possibly recorded, as well as the amount of detail which
can be heard in between those extremes. Sounds which are too quiet to be
recorded are said to be below the **noise floor**of the recording system
(microphone, recorder, sound card, audio software, etc). Sounds which
are too loud will be **distorted**or **clipped**.
**Edit** **Modes**
: The three available Edit Modes (**Slide Edit**, **Slice Edit**, and
**Lock Edit**) control the behavior of editing operations in the **Main
Canvas**.
**Edit Point**
: The point in the Main Canvas where an action such as Paste takes place.
This can be the Mouse, the Playhead or a Marker.
**Editor Window**
: Ardour provides two ways of viewing a session: the Editor and the Mixer.
The Editor represents the time based aspects of a session: it shows
tracks and busses as horizontal timeline displays, with material within
the tracks (audio, MIDI, video, automation data, etc.) arranged along
the horizontal (time) axis.
**EQ**
: See Equalization.
**Equalization**
: Equalization (EQ) is the process of adjusting the relative levels of
different frequencies in a recording or signal. In other words, it is
the process of boosting or attenuating the various frequency bands of a
sound according to a chosen artistic goal.
**Filter**
: A type of signal processing that supresses some frequencies.
**Floating Point Numbers**
: It is simply a number with a decimal point. "Floating Point" refers to
the specific technique the computer uses to represent a larger range of
integer and non-integer values.
**FLAC**
: An open source lossless audio format generally compatible with Linux,
Windows and Macintosh. Unlike AIFF and WAV, FLAC is a compressed format,
allowing file sizes to be reduced.
**FLOSS**
: FLOSS stands for Free Libre Open Source Software. FLOSS Manuals is a
collection of manuals about free and open source software together with
the tools used to create them and the community that uses those tools.
They include authors, editors, artists, software developers, activists,
and many others.
**Format** (audio file)
: The types of sound file that sounds are saved as. Among the most common
are AIFF, WAV, FLAC, mp3 and Ogg Vorbis.
**fps**
: Frames Per Second. Frame rate, or frame frequency is the frequency
(rate) at which an imaging device produces unique consecutive images
called frames. The term applies equally well to computer graphics, video
cameras, film cameras, and motion capture systems. Frame rate is most
often expressed in frames per second (FPS).
**Frequency**
: Refers to the number of times an oscillation occurs in one second.
Frequency is measured in **Hertz**, and is correlated to the **pitch**
of a sound. Frequency is a **linear** scale, while pitch is
**logarithmic**. The pitch 'A' above the middle C has a frequency of 440
Hz. The 'A' one octave above is twice that frequency (880 Hz).
**Gain**
: Increasing the **level**of an audio signal, usually measured using a
**logarithmic** scale. See also **attenuation**.
**Grid**
: The Grid is a system of points that a Region might snap to while editing
it. The Grid can be "No Grid", "Grid" or "Magnetic".
**Grid Points**
: The points in the **Grid** which Regions will snap to when it is active.
Grid Points may be minutes, seconds, video frames, bars, beats or some
multiple of beats.
**Hertz**
: A term used to describe the number of times something occurs in one
second. In digital audio, it is used to describe the **sampling rate**,
and in acoustics it is used to describe the **frequency** of a sound.
Thousands of Herz are described as kHz (kilo Herz).
**High Shelf**
: In an **Equalizer**, a **Shelf** cuts or boosts everything above (High
Shelf) or below (Low Shelf) a specific frequency.
**Headroom**
: The range of **Decibels** between the region's maximum **Peak**and the
**Clipping Point** is commonly referred to as **Headroom**. It is common
recording practice to keep approximately three to six Decibels of
Headroom between the maximum of your signal and the Clipping Point.
**Jack Audio Connection Kit (JACK)**
: JACK is a low-latency 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. You must install JACK for
Linux or JackOSX before you can use Ardour.
**JackOSX** (OS X)
: The name of the version of **JACK** that runs on macOS. See **JACK**
for more details.
**JackPilot**
: The control interface that comes with JackOSX.
**Jack Server**
: The Jack Server is the "engine" or "backend" of the Jack Audio
Connection Kit.
**Jack Router**
: The Jack Router allows audio to be routed from one application to
another using the **Jack Server**.
**JAMin**
: JAMin is the Jack Audio Connection Kit Audio Mastering interface. JAMin
is an open source application designed to perform professional audio
mastering of stereo input streams. It uses **LADSPA** for digital signal
processing (DSP).
**LADSPA Plugins**
: Linux Audio Developer Simple Plugin API (LADSPA) is a standard that
allows software audio processors and effects to be plugged into a wide
range of audio synthesis and recording packages. For instance, it allows
a developer to write a reverb program and bundle it into a LADSPA
"plugin library." Ordinary users can then use this reverb within any
LADSPA-friendly audio application. Most major audio applications on
Linux support LADSPA.
**Latency**
: Latency is the amount of time needed to process all the samples coming
from sound applications on your computer and send it to the soundcard
for playback, or to gather samples from the sound card for recording or
processing. A shorter latency means you will hear the results quicker,
giving the impression of a more responsive system. However, with a
shorter latency you also run a greater risk of **glitches** in the audio
because the computer might not have enough time to process the sound
before sending it to the soundcard. A longer latency means fewer
glitches, but at the price of a slower response time. Latency is
measured in milliseconds.
**Limiting**
: The process by which the amplitude of the output of a device is
prevented from exceeding a predetermined value.
**Linear**
: A scale of numbers which progresses in an additive fashion, such as by
adding one (1, 2, 3, 4...), two (2, 4, 6, 8...) or ten (10, 20, 30,
40...). Multiplying an audio signal, for example, by either a linear or
a logarithmic scale will produce very different results. The scale of
**frequency** is linear, while the scales of **pitch** and **gain** are
logarithmic.
**Linux kernel**
: The core of the GNU/Linux operating system. In a **Real-time System**,
this kernel is usually **Compiled**with new parameters which speed up
the use of audio applications in the system.
**Lock Edit**
: One of the three available **Edit Modes**, Lock Edit is similar to
**Slice Edit**, but regions will remain at their original positions
regardless of any edit operation performed.
**Logarithmic**
: A scale of numbers which progresses according to a certain ratio, such
as exponentially (2, 4, 8, 16, 256...). Both scales of **pitch** and
**gain** are logarithmic, while the scale of **frequency** is linear.
**Lossless**
: See **Compression** (data)
**Lossy**
: See Compression (data)
**Loudness**
: Unlike **amplitude**, which expresses the physical power of a sound,
loudness is the perceived strength of a sound. Tones at different
frequencies may be perceived as being at different loudnesses, even if
they are at the same amplitude.
**LV2**
: LV2 is an open standard for plugins and matching host applications,
mainly targeted at audio processing and generation. LV2 is a simple but
extensible successor of LADSPA, intended to address the limitations of
LADSPA which many applications have outgrown.
**Main Canvas**
: In the Editor Window of Ardour, the Main Canvas is the space just below
the timeline rulers where Tracks and Busses are displayed horizontally.
**Master Out**
: A master out is a bus to which all (or most) tracks and other busses
send their output. It provides a convenient single point of control for
the output of Ardour, and is a typical location for global effects.
Master out use is enabled by default, and the master out bus is set up
to be stereo.
**Meter**
: The grouping of strong and weak beats into larger units called bars or
measures.
**Mixing**
: Audio mixing is the process by which a multitude of recorded sounds are
combined into one or more channels, most commonly two-channel stereo. In
the process, the levels, frequency content, dynamics and panoramic
position of the source signals are commonly manipulated and effects such
as reverb may be added.
**MIDI**
: MIDI is an industry-standard protocol defined
in^[](http://en.wikipedia.org/wiki/Musical_Instrument_Digital_Interface#cite_note-0)^
1982 that enables electronic musical instruments such as keyboard
controllers, computers and other electronic equipment to communicate,
control, and synchronize with each other. MIDI allows computers,
synthesizers, MIDI controllers, sound cards, samplers and drum machines
to control one another, and to exchange system data. MIDI does not
transmit audio signals, but simply messages such as note number (pitch),
velocity (intensity), note-on, and note-off.
**Mixer Strip**
: Each track and bus is represented in the Mixer Window by a vertical
Mixer Strip** that contains various controls related to signal flow.
There are two places in Ardour in which you can see mixer strips. The
mixer window is the obvious one, but you can also view a single mixer
strip on the left hand side of the Editor (shift + E to hide/view)
**Mixer Window**
: The Mixer shows the session by representing tracks vertically as Mixer
Strips, with controls for gain, record enable, soloing, plugins etc. The
Mixer represents the signal flow of Tracks and Busses in an Ardour
session. The mixer window provides a view that mimics a traditional
hardware mixing console.
**Monitoring**
: Monitoring is the process of routing a specific mix or submix of your
session into separate outputs (like headphones). For example, a musician
being recorded may want to listen to existing material while performing.
Ardour and JACK make it easy to setup monitor outs since any incoming
signal can then be delivered back to any output, optionally mixed
together with other signals and with any kind of sound processing added.
**Mono**
: A mono sound file contains only one channel of audio. A mono track in
Ardour has only one input and handles mono sound files.
**MP3**
: A lossy, size-compressed sound file **Format**.
**Graphic Equalizer/Multi-Band Equalizer**
: A Graphic (or Multi-Band) Equalizer consists of a bank of sliders for
boosting or attenuating different frequency of a sound.
**Non-destructive Editing/Recording**
: This is a form of editing where the original content is not modified in
the course of editing. Behind the scenes, the original sound file is
kept intact, and your edits are in fact a list of instructions that
Ardour will use in order to reconstruct the signal from the original
source when you play it back. For example, creating fade-ins and
fade-outs on your Regions is a type of non-destructive editing.
**Normalize**
: To normalize an audio signal means to adjust its **Gain** so that it
peaks at the maximum the sound card allows before **Clipping**.
**Normal Mode**
: See **Track Mode**.
**Note value**
: The proportional duration of a note or rest in relation to a standard
unit. For instance, a 'quarter note' (crotchet) is so-called because its
relative duration is one quarter of a whole note (semibreve).
**Octave** (music)
: A distance of 12 semitones between two notes. In **Hertz**, the ratio of
an octave is 2:1. For example, the note 'A' above the middle C has a
frequency of 440 Hz. The note 'A' one octave above is 880 Hz, and one
octave below is 220 Hz.
**Ogg Vorbis**
: An open source lossy, size-compressed sound file format.
**Panning**
: Panning is the location of sounds in the **Stereo Field**.
**Parametric Equalizer**
: The Parametric Equalizer is the most versatile type of**EQ** used for
**Mixing** because of its extensive control over all the parameters of
filtering.
**Peaks**
: Peaks are a graphical representation of the maximum **Levels** of a
**Region**.
**Peak Meters**
: Peak Meters are a running representation of the maximum Levels of a
Region, and are located next to the Fader in the Mixer Window, and also
in the Track Mixer, of each Track.
**Pitch**
: Pitch represents the perceived fundamental frequency of a
sound.^[](http://en.wikipedia.org/wiki/Pitch_(music)#cite_note-0)^^^It
is one of the three major auditory attributes of sounds along with
loudness and timbre. In MIDI, pitch is represented by a number between 0
and 127, with each number representing a key on a MIDI keyboard. The
relation of pitch to **Frequency** is **Logarithmic**. This means that a
sound which is heard as one **Octave**(+12 MIDI notes) above another one
is twice the frequency in Hz, while a sound one octave below (-12 MIDI
notes) is half the frequency.
**Playhead**
: In Ardour, the Playhead is the red line that moves in time (i.e., left
to right) to indicate the current playback position.
**Plugin**
: In computing, a plugin consists of a computer program that interacts
with a host application (in this case, Ardour) to provide a certain
function "on demand", usually a very specific one. Reverb, filters, and
equalizers are examples of plugins that can be used in Ardour in
association with Tracks or Busses.
**Portaudio**
: A free and open source set of **audio drivers**for Linux and macOS.
**Post-Fader** (Plugin or Send)
: In the Mixer Strip, the post-fader area is the black space below the
gain slider, to which plugins or sends can be added. The input of these
plugins and sends will be the signal *after* any manual or automated
gain change (thus "post-fader").
**Pre-Fader** (Plugin or Send)
: In the Mixer Strip, the pre-fader area is the black space above the gain
slider, to which plugins or sends can be added. The input of these
plugins and sends will be the incoming signal *before* it is affected by
any manual or automated gain changes controlled by the slider (thus
"pre-fader").
**Quantization**
: In signal processing, quantization may refer to bit depth (see **bit
depth** definition). In MIDI, quantization refers to the process of
aligning notes to a precise temporal grid. This results in notes being
set on beats or exact fractions of beats. MIDI sequencers typically
include some type of quantization function.
**Range**
: A segment of time. Ranges are created with the Select/Move Ranges tool
and may include one or more tracks. Loop and punch ranges are special
types of ranges that are created and manipulated with the loop/punch
ranges meter.
**Real-time System**(Linux)
: In a **Real-time System**, the **Linux kernel** is usually recompiled
(rebuilt) with new parameters, and other settings in the system are
optimized which speed up the use of audio applications in the system.
**Regions**
: Regions are the basic elements of editing and composing in Ardour. Each
region represents all or part of an audio file. Removing a region from a
track does not remove the audio file from the disk.
**Region List**
: The region list is located at the right hand side of the Editor Window
and it shows all the regions associated with the session.
**Reverberation**
: Reverberation is the persistence of sound in a particular space after
the original sound source is
removed.^[](http://en.wikipedia.org/wiki/Reverberation#cite_note-0)^^^A
reverberation, or reverb, is created when a sound is produced in an
enclosed space causing a large number of echoes to build up and then
slowly decay as the sound is absorbed by the walls and air. Digital
reverberation can be added to a sound in Ardour through the use of
plugins.
**Right Click** (mouse)
: Click on the right button of your mouse.
**Routing**
: Routing is sending an audio signal from somewhere to somewhere else.
Signals can be routed not only from the outside world into Ardour and
vice-versa, but also within Ardour itself (for example, from a Track to
a Bus).
**Rulers**
: Rulers are the thin horizontal bars that display the time line, helping
to see when exactly a region or sound starts or stops. Also displayed
with the rulers are the meter and tempo markers, the location markers,
the range markers and the loop/punch ranges.
**Sample** (data)
: In digital audio, a sample is the smallest possible segment of a
recorded sound. In CD audio, for example, it takes 44,100 samples to
make one second of recorded sound, and so we can say that the **sampling
rate** is 44,100 **Hertz**. Samples also have a **bit depth** which
determines the **dynamic range** that is possible to record and
playback. Common bit depths are 16 (for CD audio), 24 (for studio
recording and DVDs) or 32 (for sounds inside the computer).
**Sample** (music)
: In electronic music, the word sample can mean any portion of sound
extracted from an existing piece of music to be reused in a new
composition.
**Sampler**
: An electronic music instrument or software which plays back a recorded
sound (or **sample**) whenever it is sent a **note** message. The
**pitch** of the note determines how fast or slow the sample is played
back, which emulates the pitch changes in other instruments. Samples can
be looped (played over and over) and one-shot (played once).
**Sampling Rate**
: The rate at which the computer records and plays back sound, which is
measured in **Hertz**representing the number of **samples**per second.
CD audio is recorded and played at 44,100 Hz (or 44.1 kHz), while DVD
audio runs at 96,000 Hz (96 kHz) and cheap consumer gadgets like voice
recorders, video games, mobile phones, toys and some MP3 players often
use a rate of 22,050 Hz (22.05 kHz) or even less. The sampling rate
determines the highest **frequency** that can be recorded or played,
which is expressed by the Nyquist number (half the sampling rate).
Playing back sounds at a different sampling rate then they were recorded
at will result in hearing that sound at the "wrong speed".
**Send**
: An optional auxiliary output for a track or bus.
**Session**
: A session is all of the information that constitutes one project in
Ardour. Each session is saved in its own folder containing all the
audio, region and parametric data, and a master file with the .ardour
extension.
**Shelf**
: In an **Equalizer**, a **Shelf** cuts or boosts everything above (High
Shelf) or below (Low Shelf) a specific frequency.
**Slice Edit**
: One of the three available **Edit Modes**, Slice Edit does not allow
dragging regions around, but still allows you to perform slice
operations (such as cut, paste, and split). Space between regions will
be kept constant after any edit operation that affects it. If you delete
the second half of a region, for example, any subsequent regions on the
same track will automatically move back in the time grid.
**Slide Edit**
: Another one of the three available **Edit Modes**, Slide Edit is the
default mode. It allows you to drag regions around horizontally (within
the same track) and vertically (between tracks).
**SMPTE timecode**
: : A set of cooperating standards to label individual frames of video
or film with a timecode defined by the Society of Motion Picture and
Television Engineers. Timecodes are added to film, video or audio
material, and have also been adapted to synchronize music. They provide
a time reference for editing, synchronization and identification.
**Snap Mode**
: The **Snap Mode** menus are found just below the **Clocks**. They
control the amount **Quantization** of the time grid, i.e., the amount
of "snap" an audio **Region** has to the type of grid you have chosen.
**Snapshots**
: Saving a snapshot in Ardour is similar to saving the session to a new
file to avoid overwriting the original session file. A snapshot contains
the current state of your work, while sharing all the audio and data
files of the Session. If you were trying to find a "Save As" function in
Ardour, saving a snapshot is probably what you are looking for.
**Solo**
: Toggle switch found in track controls and mixer strips. When toggled on,
only solo tracks will send output. Several tracks can be marked solo at
once. The general Solo button (top row of controls in the Editor Window)
can be used to un-solo all soloed tracks at once.
**Spectrum**
: The representation of a signal in terms of its frequency components.
**Stereo**
: A stereo sound file contains two channels of audio (usually known as
Left and Right channels). A stereo track in Ardour has two inputs and
outputs, in order to record and playback stereo files.
**Stereo Field**
: Stereo field is the perception of spatial location of sounds based on a
sound reproduction system of 2 channels (Left and Right).
**Take**(recording)
: A sequence of sound recorded continuously at one time.
**Tape Mode**
: See **Track Mode**.
**Tempo**(music)
: The rate at which beats occur. Precise Tempo indications are measured in
**bpm** (beats per minute), although subjective indications are also
common in scores (Allegro, Adagio, Very Fast, etc).
**Terminal**
: A "terminal" is the text-based interface that allows to operate a
computer by typing commands into it. Most computer users today rely
solely on a graphical interface to control their systems. Both macOS
and Linux though, include a terminal which may make some tasks easier
for some users.
**Timecode**
: A time code is a sequence of numeric codes generated at regular
intervals by a timing system. The SMPTE family of timecodes is almost
universally used in film, video and audio production.
**Time Signature** (music)
: A sign placed at the start of a piece of music (after the clef and key
signature) or during the course of it, indicating the meter of the
music.
**Track**
: A Track is the place to where you can drag a **Region** from your
**Region List**and where you can record sounds coming from an
outside source. The Mixer Strip vertically represents the signal flow of
a track, whereas the Main Canvas horizontally displays time-based
information for each track.
**Track Mode**
: **Track Mode** gives you a choice between **Normal Mode** and **Tape
Mode**. Normal Mode creates a new Region for each Recording **Take**,
while **Tape Mode** destructively records--in other words the previous
Take of a Track is eliminated with each new Take.
**Transport**
: The buttons located on the upper left corner of the Editor Window, with
controls such as Rewind, Play, Stop.
**Treble**(frequencies)
: Generic way of referring to high frequencies of the **Spectrum** of a
sound.
**VST (Virtual Studio Technology)**
: [Steinberg](http://en.wikipedia.org/wiki/Steinberg) VST is an
interface for integrating software audio synthesizer and effect plugins
with audio editors and digital workstations such as Ardour. VST and
similar technologies use digital signal processing to simulate
traditional recording studio hardware with software. Thousands of
plugins exist, both commercial and freeware. VST was created by
Steinberg.
**WAV**
: A sound file format developed by Microsoft and IBM and commonly used for
lossless and uncompressed audio. WAV files are compatible with Windows,
Macintosh and Linux operating systems.
**Waveform**
: The time-domain visual representation of a sound. Waveforms are drawn
inside the colored rectangles representing Regions in the Main Canvas.
**Word length**
: See **Bit Depth**.

View File

@ -1,192 +0,0 @@
+++
title = "How to contribute"
description = "How to contribute to this intro tutorial"
chapter = false
weight = 5
+++
## What Kind Of Contributions We Accept
We intentionally limit the scope of this tutorial to very basic techniques that
are sufficient to get users started with recording, mixing, and exporting with
Ardour. So we'll gratefully accept patches that do not change the scope in any
major way: bug fixes, better explanations, better illustrations etc. We also
encourage translations of the ardour-tutorial.
## Using Markdown Syntax And Extras
All text files use Markdown syntax with a few extras. We use a limited subset of
available options and one shortcode specific to HTML5, a `<figure>` element
([see here](https://gohugo.io/content-management/shortcodes/#figure) for more
info). Another extra feature available in the template of choice is a so called
shortcode for notice boxes that look like this:
{{% notice tip %}}
Some text
{{% /notice %}}
We generally stick to two type of notice boxes: 'tip' and 'warning'.
The rest is really straightforward:
- Single underscore like `_Name_` makes italics and is used for UI elements like
window captions.
- Double asterisk like `**OK**` makes bolds and is reserved for button captions.
- Backticks around some text are typically reserved for menu paths and filenames.
## How to Submit Changes
The repository with this tutorial is available on GitHub. The general idea is
that you fork the repository, make changes in a branch, then create a pull
request. Please [see
here](https://docs.github.com/en/pull-requests/collaborating-with-pull-requests/proposing-changes-to-your-work-with-pull-requests/creating-a-pull-request)
for a complete guide.
## How To Create And Submit A Translation
The entire tutorial can be translated into a different language. Once you create
a git branch to separate your work, here is what you do next.
### Translating Menu
The menu is stored in `config.toml`, inside the `[Languages]` section. For each
language, that section has two parts:
1. The main part where names of chapters and pages chow up.
2. The 'shortcuts' menu with links to Ardour's homepage, forum etc.
To translate the header of the main part, copy and paste the entire block that
starts with `[Languages.en]` and then:
1. Change the language code in `[Languages.en]`.
2. Translate the title.
3. Submit the name of the language that will show up in the drop-down list of
available translations. We encourage you to use language
or the local one, in your alphabet — whichever works for you.
4. Change the two-letter language code in the line that starts with
`landingPageURL`.
5. Translate the caption of the homepage of the tutorial in the line that starts
with `landingPageName`.
Thus
~~~
[Languages.en]
title = "Ardour tutorial"
weight = 1
languageName = "English"
landingPageURL = "/ardour-tutorial/en/"
#landingPageURL = "/"
landingPageName = "<i class='fas fa-home'></i> Home"
~~~
translates to e.g.:
~~~
[Languages.ru]
title = "Введение в Ardour"
weight = 1
languageName = "Russian"
landingPageURL = "/ardour-tutorial/ru/"
#landingPageURL = "/"
landingPageName = "<i class='fas fa-home'></i> Начало"
~~~
This main part of the menu will start automatically accumulating links to
translated pages as you start adding pages with translations.
Use the same approach to translate the shortcuts menu. E.g. the link to Ardour's
website
~~~
[[Languages.en.menu.shortcuts]]
name = "<i class='fas fa-fw fa-home'></i> Ardour's homepage"
url = "https://ardour.org/"
weight = 11
~~~
becomes
~~~
#[[Languages.ru.menu.shortcuts]]
#name = "<i class='fas fa-fw fa-home'></i> Сайт Ardour"
#url = "https://ardour.org/"
#weight = 11
~~~
Please keep all translations of the menu in a single larger block.
### Translating Chapters And Pages
All content lives inside the `content` folder where subfolders are names of
chapters like _Recording_ (`recording`), _Mixing sessions_ (`mixing-sessions`)
etc. Here is the general structure:
~~~
/content # The root folder for all content
/content/_index.en.md # The start page you see when you click Home
/content/chapter-folder/ # The folder for an entire chapter like "Recording"
/content/chapter-folder/_index.en.md # Chapter
/content/chapter-folder/page/ # Folder for a page in a chapter, e.g. "Understanding Routing"
/content/chapter-folder/page/index.md # Original text of that page in English
/content/chapter-folder/page/en/ # Screenshots created with English user interface
~~~
All text files have a language code right in the file name:
- regular pages are named `index.XX.md`,
- chapters are named `_index.XX.md`,
where XX is a two-letter language code like 'de' for German or 'fr' for French. You should be able to use four-letter codes as well, e.g. 'pt_BR' or 'es_AR'.
Supposing you want to translate the _Getting Started_ chapter into French. Here
is how you do it.
1. Create a copy of `getting-started/_index.en.md` and name it `_index.fr.md`.
Now you should have `_index.en.md` and `_index.fr.md` in the same folder.
2. Translate `_index.fr.md`. If you already translated the main menu, you should
be able to open the original page in English, switch the language to 'Français'
and see your translated page.
3. Go to the `starting-ardour` subfolder, create a copy of `index.en.md` and
name it `index.fr.md` and then translate it.
4. Repeat step 3 for all subfolders. This should give you the translation of an
entire chapter on getting started with Ardour.
### Translating User Interface Elements and Screenshots
If Ardour's user interface is available in the language you are translating this
tutorial into, it is generally up to you to decide if you refer to localized
user interface or not.
We know that users are very passionate about both localized and non-localized
UIs, so one approach you could take is to create localized screenshots, refer to
localized user interface and then mention the English counterparts in
parenthesis. Here is an example of a translation into German:
> Nach dem Import einiger Sounds aus dem heruntergeladenen Sample-Pack
(Bassdrum, Snare, Hi-Hat, Clap) sieht unsere Session so aus (in diesem Fall
haben wir die Option _Dateien als neue Spuren hinzufügen_ (EN: _Add files as new
tracks_) verwendet und beim Start der Session eingefügt.
If you intend to create screenshots of localized user interface, please create a
subfolder that's named after a language code (two-letter of four-letter,
whichever is applicable) and place your screenshots there. Having done so,
please update references to screenshots in the text. E.g.
~~~
src="en/ardour7-save-template.png"
~~~
becomes
~~~
src="de/ardour7-schablone-speichern.png"
~~~
### Submitting Translation
The process is the same as for general patches: submit a pull request. See above
for a link to a step-by-step guide.

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@ -1,322 +0,0 @@
+++
title = "License"
description = "This tutorial's license"
chapter = false
weight = 4
+++
License
-------
All chapters copyright of the authors (see below). Unless otherwise
stated all chapters in this manual licensed with **GNU General Public
License version 2**.
This documentation is free documentation; you can redistribute it and/or
modify it under the terms of the GNU General Public License as published
by the Free Software Foundation; either version 2 of the License, or (at
your option) any later version.
This documentation is distributed in the hope that it will be useful,
but WITHOUT ANY WARRANTY; without even the implied warranty of
MERCHANTABILITY or FITNESS FOR A PARTICULAR PURPOSE. See the GNU General
Public License for more details.
You should have received a copy of the GNU General Public License along
with this documentation; if not, write to the Free Software Foundation,
Inc., 51 Franklin Street, Fifth Floor, Boston, MA 02110-1301, USA.
General Public License
----------------------
Version 2, June 1991
Copyright (C) 1989, 1991 Free Software Foundation, Inc.
51 Franklin Street, Fifth Floor, Boston, MA 02110-1301, USA
Everyone is permitted to copy and distribute verbatim copies
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@ -1,39 +0,0 @@
+++
title = "Recommended plugins"
description = "Plugins we recommend to use with Ardour"
chapter = false
weight = 6
+++
## Filters and processing
- [LSP plugins](https://lsp-plug.in/), an extensive set of plugins for effects and channel processing
- [dpl.lv2](https://x42-plugins.com/x42/x42-limiter), a look-ahead digital peak limiter
- [fil4.lv2](https://x42-plugins.com/x42/x42-eq), a 4 band parametric equalizer with additional low & high shelfing and high & low-pass filters
<!-- - [airwindows](https://www.airwindows.com/) -->
## Visualization
- [x42 Meter Collection](https://x42-plugins.com/x42/x42-meters), a big help in analyzing audio
- [sisco.lv2](https://x42-plugins.com/x42/x42-scope), an oscilloscope
- [spectra.lv2](https://x42-plugins.com/x42/x42-spectra), a spectrum analyzer
## Drums and percussion
- [AVL Drumkits](https://x42-plugins.com/x42/x42-avldrums), a drum sampler with two built-in kits
- [DrumGizmo](https://drumgizmo.org), a drum sampler with separately downloadable kits
- [Geonkick](https://github.com/free-sm/geonkick), a drums/percussion synthesizer
## Synthesizers
- [Cardinal](https://github.com/DISTRHO/Cardinal), a modular synthesizer with Eurorack aesthetics
- [OB-Xd](https://github.com/reales/OB-Xd), a soft synth resembling vintage Oberheim OB-X synth
- [Dexed](https://github.com/asb2m10/dexed), a Yamaha DX7 simulator
- [Odin2](https://www.thewavewarden.com/odin2), a 24-voice polyphonic synth
- [Surge XT](https://surge-synthesizer.github.io/), a hybrid synthesizer
- [Vital](https://vital.audio/), a spectral warping wavetable synth
<!-- - [Helm](https://tytel.org/helm/) -->
[This website](http://linuxsynths.com/) keeps a track of all software
synthesizers available for Linux.

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@ -1,38 +0,0 @@
+++
title = "Recommended plugins"
description = "Plugins we recommend to use with Ardour"
chapter = false
weight = 6
+++
## Filtres and traitement
- [LSP plugins](https://lsp-plug.in/), un ensemble complet de greffons pour les effets et le traitement des canaux,
- [dpl.lv2](https://x42-plugins.com/x42/x42-limiter), un limiteur de crête numérique à anticipation,
- [fil4.lv2](https://x42-plugins.com/x42/x42-eq), un égaliseur paramétrique à 4 bandes avec des filtres passe-haut et passe-bas et des filtres d'étagement bas et haut additionnels.
<!-- - [airwindows](https://www.airwindows.com/) -->
## Visualisation
- [x42 Meter Collection](https://x42-plugins.com/x42/x42-meters), une grande aide dans l'analyse audio
- [sisco.lv2](https://x42-plugins.com/x42/x42-scope), un oscilloscope
- [spectra.lv2](https://x42-plugins.com/x42/x42-spectra), un analyseur de spectre
## Batterie et percussion
- [AVL Drumkits](https://x42-plugins.com/x42/x42-avldrums), un échantillonneur de batterie avec deux kits intégrés
- [DrumGizmo](https://drumgizmo.org), un échantillonneur de batterie avec des kits à télécharger séparément
- [Geonkick](https://github.com/free-sm/geonkick), un synthétiseur batterie/percussion
## Synthétiseurs
- [Cardinal](https://github.com/DISTRHO/Cardinal), un synthétiseur modulaire avec l'esthétique Eurorack
- [OB-Xd](https://github.com/reales/OB-Xd), un synthétiseur doux ressemblant au synthétiseur vintage Oberheim OB-X
- [Dexed](https://github.com/asb2m10/dexed), un simulateur de Yamaha DX7
- [Odin2](https://www.thewavewarden.com/odin2), un synthétiseur polyphonique 24-voix
- [Surge XT](https://surge-synthesizer.github.io/), un synthétiseur hybride
- [Vital](https://vital.audio/), un synthétiseur à table d'ondes à déformation spectrale
<!-- - [Helm](https://tytel.org/helm/) -->
[Ce site internet](http://linuxsynths.com/) garde une trace de tous les synthétiseurs
synthétiseurs disponibles pour Linux.

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@ -1,24 +0,0 @@
+++
title = "Editing sessions"
description = "The basics of editing Ardour sessions"
chapter = true
weight = 4
pre = "<b>4. </b>"
+++
### Chapter 4
# Editing sessions
How to arrange tracks, then cut, loop, and stretch regions
Contents:
1. [Non-destructive editing](non-destructive-editing/)
2. [Arranging tracks](arranging-tracks/)
3. [Setting up time signature](setting-up-time-signature/)
4. [Using ranges](using-ranges/)
5. [Working with regions](working-with-regions/)
6. [Further region operations](further-region-operations/)
7. [Changing edit modes](changing-edit-modes/)
8. [Creating looped sections](creating-looped-sections/)
9. [Stretching & shrinking regions](stretching-shrinking-regions/)

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@ -1,24 +0,0 @@
+++
title = "Editer des sessions"
description = "Les bases de l'édition de sessiosn dans Ardour"
chapter = true
weight = 4
pre = "<b>4. </b>"
+++
### Chapitre 4
# Editer des sessions
Comment arranger les pistes, puis couper, boucler et étirer les régions.
Contenu :
1. [Edition Non-destructrice](non-destructive-editing/)
2. [Pistes d'arrangement](arranging-tracks/)
3. [Configuration de la signature temporelle](setting-up-time-signature/)
4. [Utiliser les plages](using-ranges/)
5. [Travailler avec les régions](working-with-regions/)
6. [Autres opérations sur les régions](further-region-operations/)
7. [Changer les modes d'édition](changing-edit-modes/)
8. [Créer des sections en boucle](creating-looped-sections/)
9. [Étirer et réduire les régions](stretching-shrinking-regions/)

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@ -1,24 +0,0 @@
+++
title = "Редактирование"
description = "Основы редактирования сессий Ardour"
chapter = true
weight = 4
pre = "<b>4. </b>"
+++
### Глава 4
# Редактирование сессий
Как расставить дорожки, а затем резать, зацикливать и растягивать области
Содержание:
1. [Недеструктивное редактирование](non-destructive-editing/)
2. [Расстановка дорожек](arranging-tracks/)
3. [Настройка тактового размера](setting-up-time-signature/)
4. [Использование выделений](using-ranges/)
5. [Работа с областями](working-with-regions/)
6. [Дополнительные операции с областями](further-region-operations/)
7. [Режимы редактирования](changing-edit-modes/)
8. [Создание повторяющихся частей](creating-looped-sections/)
9. [Растягивание и сжатие областей](stretching-shrinking-regions/)

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@ -1,68 +0,0 @@
+++
title = "Arranging tracks"
description = "How to organize regions on the timeline in Ardour"
chapter = false
weight = 2
+++
In the following chapters we will use Ardour to create a short rhythmic passage
using several drumkit samples.
We will continue working on this passage in later tutorials, such as _Working
with Regions_ and _Creating Looped Sections_. We assume that you have read
the chapters in the _Getting Started_ section already, and are familiar with
_Importing Audio_, _Tracks_, and the _Timeline_.
## Importing Samples
The first step is to add some sounds, which is discussed at length in the
_Importing Audio_ chapter. Here, we are using the _Add existing media_
dialog (**Ctrl + I**) to import some drumkit samples as regions. The samples
used in this tutorial were obtained from a sample pack from the
[freesound.org](http://www.freesound.org/) website (the
[Nord Drum Mini Kit](https://freesound.org/people/menegass/packs/10430/) sample
pack).
{{< figure alt="FS1" src="en/ardour7-freesound-1.png" >}}
After importing a few sounds from the downloaded sample pack (bass drum, snare,
hi-hat, clap), our session looks like this (in this case we used the _Add files
as new tracks_ option, and inserted _at session start_. The drumkit samples
appear as new individual tracks in the _Editor_ window, each with the name of the
audio file used. If the file names are too long or obscure, you may want to
rename your tracks for clarity.
{{< figure alt="FS2" src="en/ardour7-freesound-2.png" >}}
## Organizing the Tracks
Let's rename the tracks so we can quickly see the location of each instrument.
To do that, double-click on the track name to edit it.
{{< figure alt="FS3" src="en/ardour7-freesound-3.png" >}}
You may also wish to rearrange the order of the tracks from top to bottom in the
editor window. Do that by clicking the _Tracks & Busses_ tab at the far right
of the _Editor_ window and drag-and-dropping the tracks in the order you want.
{{< figure alt="FS4" src="en/ardour7-freesound-4.png" >}}
Another option to rearrange tracks is to select a track and use **Ctrl+Arrow
Up/Down** shortcut to move it up or down.
{{% notice tip %}}
You can also use the V check boxes in this tab to view or hide
tracks in the main canvas.
{{% /notice %}}
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. 
{{< figure alt="FS6" src="en/ardour7-freesound-5.png" >}}
## Continuing
In the next step we will learn about setting up the meter to organize these
samples into a rhythm.
Next: [SETTING UP TIME SIGNATURE](../setting-up-time-signature)

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+++
title = "Changing edit modes"
description = "Edit modes for regions in Ardour"
chapter = false
weight = 7
+++
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 _cursor modes_ available on that part of the _Editor_ window.
![Ardour Edit Modes](en/Ardour6_Edit_Modes_Cursor_Modes.png?width=30vw)
## Edit Modes
These controls define the behavior of the main canvas and the different
functions of the cursor.
The drop-down _Edit_ mode menu contains three options:
**Slide mode**
: This is the standard mode. It allows you to freely drag regions around
horizontally (within the same track) and vertically (between tracks).
**Ripple mode**
: Automatically moves regions when you cut or shift one of the regions. E.g. if
you cut a portion of an audio interview that isn't interesting, Ardour will
shift all regions in all tracks to the left so that there would be no silence
where content used to be.
**Lock mode**
: However you edit a region with this mode on, the content of the region will
always be where it is. You can only move the region up or down between tracks,
but not left or right.
We will only use the _Slide_ edit mode in this tutorial.
## Cursor Modes
### Grab Mode
![G](en/ardour7-grab-edit-mode.png?width=20vw)
This cursor mode (**G** shortcut) allows you to select or move objects such as
regions and breakpoints (in an automation curve). When this cursor mode is
selected, your cursor pointer will look like a little hand icon.
### Range Mode
![R](en/ardour7-range-edit-mode.png?width=20vw)
This cursor mode (**R** shortcut) allows you to click and drag to define or
resize time ranges.  When this cursor mode is selected, your cursor pointer will
look like a vertical line. Time ranges can be selected over one or several
tracks, depending on the selection of your tracks.
### Cut Mode
![C](en/ardour7-cut-edit-mode.png?width=20vw)
Use this cursor mode (**C** shortcut) to split regions into smaller regions. The
cursor turns into the shape of scissors. This allows you to point and click on a
region to split it at the cursor.
{{% notice tip %}}
You can cut regions directly from the _Grab_ mode too (sometimes this method can
be more practical.) Without leaving the _Grab_ mode, simply place the mouse at
the desired location on the region to be cut, and hit the **S** shortcut (for
"split"). Important: your edit point (to the left of the _Modes_ toolbar) must
be set to _Mouse_.
{{% /notice %}}
### Audition Mode
![Audition](en/ardour7-audition-edit-mode.png?width=20vw)
This cursor mode allows you to click on any existing region on any track and
have it immediately played back. Playback stops at the end of the region. When
this cursor mode is selected, your cursor pointer will look like a small
loudspeaker icon.
{{% notice tip %}}
You can also quickly audition a selected region without leaving the _Grab_ mode.
Simply select a region and hit the shortcut key **H**.
{{% /notice %}}
### Stretch/Shrink Region
![T](ardour7-stretch-shrink-edit-mode.png?width=20vw)
This cursor mode (**T** shortcut) allows you to drag and resize the duration of
an entire region without changing the pitch. This is sometimes called "time
stretching', hence the **T** shortcut. Please see the chapter on
_Stretching/Shrinking Regions_ for more details. When this cursor mode is
selected, your cursor pointer will look like a diagonal arrow.
### Draw Mode
{{< figure alt="D" src="en/ardour7-draw-edit-mode.png" >}}
This mode (**D** shortcut) has 4 use cases:
1. Drawing new automation points (automation will be discussed in detail in the
[Using Automation](../../mixing-sessions/using-automation/) chapter).
2. Drawing new MIDI regions.
3. Drawing new MIDI notes in MIDI regions.
4. Editing existing MIDI notes and automation points when a region is
sufficiently zoomed in.
If you haven't zoomed in enough, it's easy to create either a new MIDI note or a
new automation point you did not need. If this becomes a problem, you should use
the next mode which only allows for editing existing points and notes, not
creating new ones.
For drawing MIDI notes, the toolbar additionally has controls for default note
length, MIDI channel, and velocity.
### Internal Edit Mode
![E](en/ardour7-internal-edit-mode.png?width=20vw)
Use this mode (**E** shortcut) to edit existing automation points or MIDI notes.
For automation points, the cursor looks like a hand and turns into a small cross
when you are on top of an existing point. Click, hold, and drag in order to move
points.
For MIDI notes, the cursor looks like a hand with a quarter note above it when
you hover the middle of note, that's for selecting a note and moving it around.
Hovering either the left or the right border of a note will change the cursor
and allow adjusting start/end position (and thus duration) of a note.
For both automation points and MIDI notes, you can press **Ctrl** and click on
multiple items to add them to a selection of items, then move multiple notes or
points altogether.
{{< figure src="en/ardour7-internal-edit-mode-multiple-points.png" alt="Moving multiple automation points" >}}
For MIDI notes specifically, you can also use rubberband selection: place the
cursor anywhere outside existing notes (the cursor will lose the quarter note
symbol), then press left mouse button and start dragging. A selection frame will
appear. All notes it touches will be selected.
{{< figure src="en/ardour7-internal-edit-mode-rubberband-selection.png" alt="Rubberband selection of notes" >}}
## Continuing
In the following chapter, we will see how to take the regions we have
edited and create looped sections from them.
Next: [CREATING LOOPED SECTIONS](../creating-looped-sections)

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title = "Creating looped sections"
description = "Creating and combining region duplicates in Ardour"
chapter = false
weight = 8
+++
You can easily repeat sections of audio in your Ardour session.
Here, we take the short rhythmic passage we created in _Working with Regions_
and duplicate it to make a loop.
Before duplicating the passage, it is a good idea to combine individual regions
in the same track into a single one: it is easier to move them around this way,
and it prevents you from accidentally moving a single hihat out of place, for
example. There are two ways of doing this: _Combine Regions_ (allows you to
"uncombine" later on), and _Consolidate Range_ ("writes it in stone", does not
allow you to separate them later).
If you are still planning on making alterations to the rhythm (adding, removing,
or moving individual regions), it may be better to use the _Combine_ regions
option. If you like the sequence the way it is and don't want or don't care to
have the ability to separate them later, use _Consolidate Range_ option.
## Combine Regions
Simply select all the regions you want to combine:
{{< figure alt="combine" src="en/ardour7-combine-regions-1.png" >}}
Then go to menu `Region > Edit > Combine` (or right-click on the selected
regions and find the same option through the context menu, as shown below):
{{< figure alt="combine2" src="en/ardour7-combine-regions-2.png" >}}
The combined regions will look like this (note the word "compound" appended to
the name):
{{< figure alt="combine4" src="en/ardour7-combine-regions-3.png" >}}
Should you need to separate them again in the future, simply select the compound
region and go to the same menu and choose the option _Uncombine_.
## Consolidating the Range
A more permanent alternative to _Combine_ is to use the _Consolidate_. When
you've arranged your regions into a single "loop cycle" and you're satisfied
with the sound, create a _range_ with all the regions that will make up the
loop.
First, make sure every track used in the loop is selected. Unselected tracks are
gray, and selected ones are colored (depending on UI theme). If any of the
tracks you used are not selected, hold down the **Shift** key while clicking on
them to add them to the selected group. Finally, use the Range tool to select
the entire loop. 
Once again, the _Grid_ setting will help you to set the range precisely to the
start and end points of your metric bar. Once you have the entire loop selected,
right-click on the range and select _Consolidate range_. If you would like any
automation or plugin effects you have added to the loop to be included, select
_Consolidate range with processing_.
{{< figure alt="consolidate" src="en/ardour7-consolidate-range-1.png" >}}
When the range is consolidated, new regions will appear in each track, each
containing all the repetitions of the samples which you set up in the previous
steps. Remember, once the range is consolidated, there is no way to undo this
operation. In any case, if you find that you need to alter the rhythm in any
way, you can always retrieve the original individual samples from the region
List and rebuild the pattern with them.
{{< figure alt="consolidate2" src="en/ardour7-consolidate-range-2.png" >}}
## Duplicating the Range
After you have merged individual regions that form your pattern (using
either _Combine_) or _Consolidate)_), it's time to duplicate the
pattern to make it loop for several bars.
The _Multi-Duplicate_ feature (seen in the [Working with
regions](../working-with-regions/) chapter) is a good way to accomplish this.
Go back to _Grab_ mode (**G**) , select all regions, and hit
**Shift+D**. Choose how many times you want to duplicate the pattern (for
example, 16). After duplication our session looks something like this:
{{< figure alt="multi-dup" src="en/ardour7-multi-duplicate.png" >}}
Just for review, other options you could have used for duplication are:
- The _Fill Track_ command from menu `Region > Duplicate > Fill 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 (**Alt+D**). This
lets you make a single copy at a time.
- The single duplicate action with **Ctrl+Click** on the region + _Drag a copy_.
## Continuing
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](../stretching-shrinking-regions)

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+++
title = "Editing MIDI regions"
chapter = false
weight = 10
+++
Almost all the MIDI editing happens in the _Internal Edit_ mode (**E**
shortcut). The vast majority of the work there involves tweaking position and
duration of notes, adjusting velocity, and editing automation. Ardour provides
tools to edit these settings both interactively and numerically.
So let's review available tool and then do a quick exercise.
Most of the editing assumes having at least one note selected in a MIDI region.
We'll start with selecting notes.
## Selecting notes
There are multiple ways to select notes in the _Internal Edit_ mode, it really
depends on what you want to do.
To select one note, just single-click it. To add another note to the
selection, press and hold **Ctrl**, then click that note. To remove a note
from the selection, again, press and hold **Ctrl**, then click it.
If you need to extend an existing selection to another note and include all
notes inbetween, press and hold **Shift**, then click the note that you want
to extend the selection to.
To select multiple adjucent notes, you can do a regular rubberband selection.
Move the mouse pointer to a blank part of the canvas that is close to those
notes, press and hold the left mouse button, then drag the mouse to "draw" a
rectangular area. All notes inside that area will be selected. Release the
mouse button to complete the selection.
{{< figure src="en/rubberband-selection.png" alt="Rubberband selection" >}}
Finally, if you need to select all notes, just press **Ctrl+A**.
Once you selected multiple notes, you can mass-edit them in various ways.
## Editing start and end of notes
To edit the start or the end of the note, hover an edge of a note until you
see the mouse pointer change its icon. Then press and hold the left mouse
button, drag left or right to edit, release the mouse button to confirm the
edit.
Snapping options apply here, when snapping is enabled. Moreover, if multiple
notes are selected, they all will be shrunk or extended.
{{< figure src="en/drag-note-ends.png" alt="Drag note ends" >}}
Quantization effectively means adjusting start and end times of notes in a way
that makes them snap to a grid of your choice. It is something you will
probably use after real-time recording. Ardour provides some flexibility when
applying quantization: you can snap to grid just the starts, just the ends, or
both.
Another command that effectively adjusts the duration of notes is _Legatize_.
When you have two notes that begin at different positions on the timeline,
_Legatize_ adjusts the end of the note that begins earlier so that it ends
exactly where the second note begins. This might mean either expanding or
shrinking the duration of the the earlier note:
{{< figure src="en/legatize.png" alt="legatize" >}}
As you can see, the first note is expanded to join the second one, and second
one is shrunk to join the third one, and the third one is expanded to join the
fourth one.
## Shifting and transposing notes
You can shift and/or transpose selected notes by just pressing arrow keys on
your keyboard. Alternatively, you can hover the middle of one of the selected
nodes, press the left mouse button, hold it and then drag the selection
left/right or up/down (or both).
You can also transpose by a given amount of octaves and semitones in one go.
Left-click on the region where some notes are selected, choose _Transpose..._.
Then specify the amount of octaves and semitones to transpose by.
{{< figure src="en/transpose.png" alt="Transpose MIDI notes" >}}
## Editing velocity
Ardour uses two ways to represent a note's velocity: through color coding and
through a 2D chart.
{{< figure src="en/velocities.png" alt="Velocities" >}}
The paler the note and the shorter the dark line inside the note, the lower the
velocity. A deep red note and the dark line going through the entire note mean
the velocity is at (on near) its maximum value.
To quickly change a note's velocity, hover its middle on the canvas, then start
scrolling the mouse wheel up and down to change the velocity value. When
multiple notes are selected, each will receive the same amount of adjustment. So
you can select, let's say, 3 notes at 25, 50, and 100 velocity values
respectively, increment each one by 20, and end up with notes that have 45, 70,
and 120 for velocities.
{{< figure src="en/velocity-tooltip.png" alt="Velocity tooltip" >}}
A simple way to numerically change velocity (as well as MIDI channel, pitch, and
position) is to use the note's properties dialog. Right-click on a note or
multiple notes, then select _Edit…_.
![Editing note properties](en/note-properties.png?width=45vw)
If multiple notes have been selected, you can mass-change them to the same
value. For that enable the _Set selected notes to this velocity_ option before
applying changes.
## Editing example start to end
Let's have a look at this quick real-time performance capture.
{{< figure src="en/example-original.png" alt="" >}}
Even without listening to it, a few things stand out:
- wrong start times;
- wrong durations;
- velocity all over the place.
Let's fix it and start with positions and durations.
1. Press **E** to switch to the _Internal Edit_ mode.
Rubberband-select all visible notes.
{{< figure src="en/example-select-all.png" alt="" >}}
2. Right-click and select _Quantize_ (or just press **Q**). Use _1/8 Note_
or _Main Grid_ for note starts and ends, because in this case, it's the
same thing.
{{< figure src="en/example-quantize-dialog.png" alt="" >}}
This is already much better:
{{< figure src="en/example-quantize-result.png" alt="" >}}
But there are some overlapping notes.
3. Right-click and select _Legatize_.
{{< figure src="en/example-legatize.png" alt="" >}}
4. Press **Arrow Left** key just once to shift all selected notes by one grid
unit (it's _1/8 Note_) so that they start right at the beginning of the bar:
{{< figure src="en/example-shift-left.png" alt="" >}}
Positions are all fine now. But there's more.
5. It's time to cleanup velocity. Select all notes but the first one in each of
the two bars. You can do that by pressing **Ctrl+A**, then press and hold
**Ctrl** and click on the first note in each bars to deselect them. Or you can
rubber-band select the first portion (sans the first note), then press and hold
**Shift** and add the second portion (sans the first note in that bar as well).
{{< figure src="en/example-select-all-but-firsts.png" alt="" >}}
6. Right-click, select _Transform_. We need to set this to more or less the same
lower velocity, let's say, 60. So we set Velocity, we set it to an exact value,
and we use 60:
{{< figure src="en/example-transform-all-60.png" alt="" >}}
This, again, much better:
{{< figure src="en/example-now-all-60.png" alt="" >}}
But it's going to sound a little too robotic if we keep it that way.
7. Let's call the _Transform_ dialog again and add a tiny bit of random
variation:
{{< figure src="en/example-transform-variation-56-to-64.png" alt="" >}}
Given the small range of the variation, the difference won't be very visible.
But if you hover individual notes, you'll see that notes' velocities are now
somewhere between 56 and 64.
8. Finally, click the first note of the first bar and use mouse wheel scrolling
to set its velocity to 82, then repeat for the first note of the second bar. You
will now how a regular velocity pattern where the first note of each bar sounds
louder than the rest of the notes in each bar.
{{< figure src="en/example-regular-velocity-pattern.png" alt="" >}}
## Continuing
This was the last chapter of the _Editing Regions_ section. Next we go into
_Mixing_.
Next: [MIXING SESSIONS](../../mixing-sessions/the-mixer-strip/)
<!-- ## Editing and creating automation -->

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+++
title = "Further region operations"
description = "Pitch-shifting, normalizing and other operations on regions in Ardour"
chapter = false
weight = 6
+++
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.
All of these operations are also available from Ardour's main *Region*
menu.
This section describes a few of the most commonly used operations
accessible from these menus.
{{< figure alt="Region menu" src="en/ardour7-region-menu.png" >}}
**Play**
: Play back from the beginning to the end of that region (**H** shortcut).
**Tag**
: Give a region some meaningful tag, e.g. "Good" that helps distinguishing it
from others in the _Regions_ list
**Loop**
: Set the loop range to fit that region's duration, and start looping it right
away.
**Rename**
: Change a region's name.
**Properties**
: Lots of information on the region, plus the ability to change its gain.
**Position**
: Among other options, in this sub-menu you will find the _Lock_ toggle box: it
locks the region so that it cannot be moved or trimmed. It can still be split,
however, and the resulting regions will be unlocked.
**Edit**
: This submenu contains useful tools such as _Pitch Shift_ (**Alt+8**) and
_Reverse_ (**Alt+4**). _Pitch Shift_ alters the pitch of a region without
changing its duration. _Reverse_ makes the region play backwards.
**Gain**
: Has useful options such as _Mute_ (**Alt+1**), _Normalize_ (**Alt+3**),
_Boost Gain_ (**Alt+6**), and _Cut Gain_ (**Alt+7**).
**Duplicate**
: Includes _Duplicate_ (shortcut **Alt+D**), _Multi-Duplicate_, and _Fill Track_.
These were explained in detail in the
[Working with Regions](../working-with-regions) chapter.
**Loudness Analysis**
: Estimates loudness of a region in LUFS, as well as _Peak_ and _True Peak_
values.
**Spectral Analysis**
: Window displaying the overall frequency content of the region.
Feel free to explore by yourself other submenus not mentioned above. Many of
them are mirrors of the options you find under Ardour's *Region* menu. Below we
go into a bit more details on some of the most useful functions.
## Pitch Shifting
The _Pitch Shift_ (**Alt+8**) function alters the pitch of a region without
changing its duration. The function applies a pitch-shifting algorithm to
create a new audio clip based on the source clip.
The _Pitch Shift_ window allows the user to specify the amount and direction of
transposition desired. The window includes a _Preserve Formants_ option. When
pitch shifting by large amounts, the preserve formants option can give results
that sound slightly more natural, particularly when used on vocal material.
![Pitch Shift](en/ardour7-pitch-shift-window.png?height=30vh)
## Normalize
The _Normalize_ function (**Alt+3** shortcut) non-destructively boosts the level
of the selected region so that the _peaks_ are at 0 dB or less. When
normalizing to 0.0, the region will be as loud as possible while avoiding
clipping. Sometimes you may find useful to normalize a region to a value less
than 0, such as -1.0, -3.0, or -6.0 decibels, so it doesn't become too loud.
![Normalize](en/ardour7-normalize-window.png?width=20vw)
Two other useful gain operations for regions are _Boost Gain_ (**Alt+6**) and
_Cut Gain_ (**Alt+7**), both incrementing gain by 1dB upwards or downwards.
Be sure to try them out.
## Reverse
The _Reverse_ (**Alt+4**) function reverses the selected region of audio, in
effect causing it to play backwards. Reversing a region creates a new audio
file "behind the scenes".
## Operations On Two Or More Selected Ranges
If more than one range is selected, the operation will apply to all of them (for
example, _Normalize_, _Reverse_, etc.)
### Combine
Some operations from the context menu will only become available when two or
more regions are selected. For example, let's take a look at the _Combine_
function, under the sub-menu _Edit_. First we select two adjacent regions:
{{< figure alt="combine" src="en/ardour7-region-combine-1.png" >}}
Then we choose _Combine_ from the right-click context menu, or from Ardour's
main menu `Region > Edit > Combine`:
{{< figure alt="combine 2" src="en/ardour7-region-combine-2.png" >}}
As a result, the selected regions are combined into one. This is 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.
{{< figure alt="combine 3" src="en/ardour7-region-combine-3.png" >}}
## Continuing
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](../changing-edit-modes)

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title = "Non-destructive editing"
description = "What is non-destructive editing and how does it work in Ardour?"
chapter = false
weight = 1
+++
In one of the previous chapters we already discussed that Ardour operates on
sessions that encompass all material you have: audio clips, MIDI clips, all
effects applied to tracks and busses etc. Before we get to actual editing, let's
talk about basics of non-destructive editing, how it's implemented in Ardour,
and why it should give you peace of mind when you do some heavy editing.
## What does non-destructive editing actually mean?
In a nutshell, a non-destructive approach to editing means this: whatever you
do, your source material always stays intact. Instead of writing to original
files, a program would rather describe changes you applied, store them in a
project file, and then "replay" them when loading that project.
## How does it work in Ardour?
Here is a quick example. Let's record a short audio clip, cut it in half and
then drag the right half to the right creating a gap:
{{< figure src="en/non-destructive-editing-cut-move-example.gif"
alt="Cutting and moving a audio region" >}}
Here is what actually happens here. Ardour creates a region that references the
original audio file and uses all of its data, from the first to the last sample.
When you split the file in two, Ardour creates two regions, and they both
reference the original file. But now the project file says: the left region
starts at this point in time, begins with the first sample of the original file
and stops at that sample in the middle, and the second region starts at a
different point in time with that sample in the middle of the original file, and
then it stops at the last sample of the original file.
You can cut an audio region into as many smaller clips as you like, move them
around tracks, change their start/end points, stretch or contract them etc. The
original audio file will never change on the disk.
When you save a project, all that information is preserved in the session file.
When you reopen the session, Ardour reads all these references, loads original
files and recreates all edited audio regions from original audio files. That's
what "replaying changes" really means.
If you don't like the way you edited an original take and you are way too far
into editing to undo the changes, you can start all over again without recording
a new take. For that, you can open the right sidebar by pressing **Shift+L**, go
to the _Sources_ tab, grab the name of the original audio file of the take, drop
it on any track and then move it around, cut etc.
{{< figure src="en/non-destructive-editing-redo-all-over-again.gif"
alt="Redo the editing all over again" >}}
Moreover, any effects you apply to a track are also non-destructive. Ardour will
apply them to original audio stream and play the result on-the-fly.
In case of MIDI clips played through a synthesizer, Ardour will use the
synthesizer to render a stream of audio data while the playhead is rolling,
capture that audio stream, apply effects to it, and then play the resulting
audio stream as you go.
## Differences between audio and MIDI regions
As you already know, audio files are always intact. But MIDI regions are
different: you can actually edit their contents, and the changes are saved to
MIDI files on the disk.
One case where this matters is when you want to combine multiple regions into
one. You can do that with audio regions by selecting the ones you want to merge
and them use `Region > Edit > Combine`. This will create a kind of a meta-region
that references N audio files on the disk.
However you cannot do the same with MIDI regions primarily because they are
editable on disk, and thus combining something that can physically change can
wreak havoc on data continuity.
## Where does Ardour store source material?
Consider this generic project. You have here several audio tracks representing
drums, two audio tracks for bass and solo guitar, and a MIDI track for electric
piano.
{{< figure src="en/session-example.png" alt="Session example" >}}
If you go to the session folder, you'll find there a number of subfolders,
including these two:
- 'interchange', this is where source audio and MIDI files are stored;
- 'plugins', here Ardour saves the state of every instance of every plugin
used in the project.
When you record one instrument, every take you do is represented by one physical
audio file per channel. So if you did three takes in a stereo track, you'll have
6 audio files.
## Does Ardour ever change audio data on disk?
The only time Ardour does anything to actual audio files on the disk is when you
explicitely tell you to remove audio files that aren't used anywhere in the
project. Typically this is done when you did dozens of takes, you made your
choice and you don't want these files on the disk anymore because they take
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.
## Continuing
Now that you are familiar with basics of non-destructive editing, let's do some
actual arranging and editing.
Next: [ARRANGING TRACKS](../arranging-tracks)

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title = "Setting up time signature"
description = "How to set up time signature in Ardour"
chapter = false
weight = 3
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The _time signature_ determines the musical speed of the passage we are
composing and is measured in _beats per bars_.
If we are composing something rhythmic, it will also determine the lengths of
the sound samples we use to some extent. So it is important to be able to set
up the time signature before we continue.
To see the time-signature-related timelines for the session, you can
right-click anywhere in the "header" of the rulers and check the following
options: _Time Signature_, _Bars & Beats_, and _Tempo_.
{{< figure src="en/ardour7-ts-timeline.png" alt="Time signature">}}
There is always at least one marker for both the time signature and the tempo
in the session, right in the beginning of the timeline. You can change either
of the two further in the session. To do that, you need to pick either time
or bar and beat on the timeline, right-click on the dedicated timeline lane,
choose _New Time Signature_ or _New Tempo_, and provide a new value in the
newly opened dialog.
{{< figure src="en/ardour7-new-time-signature.png" alt="New Time Signature" >}}
You can also easily change the latest time signature or tempo even if you
scrolled past the point in time where you can see the marker on the timeline.
Simply click on either tempo or TS button right below the secondary clock and
provide a new value in the newly opened dialog.
![Tempo and Time Signature](en/Ardour5_Edit_TS_and_Tempo.png?width=25vw)
For the tempo (button on the left), choose the number of beats per minute (bpm)
for your session.
For the _time signature_ (button with "TS" caption on the right), you can
enter new values for the _beats per bar_ as well as the _note value_.
## Continuing
Next, we will explore using ranges to set up a loop we can listen to while we
arrange the rhythm.
Next: [USING RANGES](../using-ranges)

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title = "Stretching & shrinking regions"
description = "Stretching and shrinking regions in Ardour"
chapter = false
weight = 9
+++
Regions can be stretched or shrunk in length without changing their pitch by
using the _Stretch/Shrink Regions_ tool (**T** shortcut, for "Time-stretch").
![Stretch/Shrink Regions tool](en/ardour7-stretch-shrink-edit-mode.png?width=20vw)
A small adjustment to the length of a region may not cause noticeable sound
_artifacts_. However, the more extreme the change in length, the more obvious
the effect of processing on the sound.
To use _Stretch/Shrink Regions_, place your cursor on top of the region, and
then click-drag left or right. While dragging, you will see a highlighted area
which represents the new duration to which the region will be shrunk or
stretched when you release the mouse at the current position. Ardour will also
display the new duration of the region next to the highlighted area in units of
the primary clock.
{{< figure src="en/ardour7-stretch-shrink-highlight.png" alt="Stretching highlight" >}}
## Time-Stretching a Region to Fit the Loop
In the image below, we've added another sound sample—this time, a [synthesizer
line from freesound.org](https://freesound.org/people/walkerbelm/sounds/1168/)
to the rhythmic passage we composed in the _Creating Looped Sections_ chapter.
After importing this synth line, you will see that the length of the new region
doesn't match the existing rhythm we've already created. It's too long to be one
bar and too short to be two bars. More importantly, while the first note matches
the beginning of the kick drum's sound above, the second note is clearly
off-beat.
{{< figure src="en/ardour7-stretch-shrink-1.png" alt="Non-matching regions" >}}
We can correct this by using the _Stretch/Shrink_ tool. Select the region you
wish to stretch, switch to the tool, click on the right side of the region, then
drag the cursor until the newly created highlight area matches the new length,
that is, all the way to the second bar (again assisted by the _Grid_ settings).
{{< figure src="en/ardour7-stretch-shrink-action.png" alt="Stretching" >}}
When you release the mouse button, the _Time Stretch Audio_ dialog appears. You
can experiment with different settings for the _Time Stretch_ operation. Each
will affect the sound in a different way. It's a good idea to try different
stretch settings to find out which one gives you the result you're most happy
with.
![Time Stretch Audio dialog](en/ardour7-stretch-shrink-2.png?width=30vw)
Click **Stretch/Shrink** in the _Time Stretch Audio_ dialog to start the
operation.
When the 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.
{{< figure src="en/ardour7-stretch-shrink-3.png" alt="Stretched audio region" >}}
## Continuing
Now let's talk about editing MIDI regions.
Next: [EDITING MIDI REGIONS](../editing-midi-regions/)

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title = "Using ranges"
description = "How to create and edit range selection in Ardour"
chapter = false
weight = 4
+++
A _range_ is a selection of the timeline that can include one or more tracks. It
has many uses like selecting a portion of audio/MIDI data to cut it.
{{< figure src="en/ardour7-range-example.png" alt="Range example" >}}
## Creating ranges
There are two common ways to create a range:
1. You can do it with the _Grab_ tool (**G** shortcut) when the _Smart_ mode is
enabled. In that case you need to position the mouse pointer around the middle
of a track vertically to start selecting data rather than picking and moving a
region. The mouse pointer looking like a vertical line means you are good to
start selecting.
2. You can also use the dedicated _Range_ tool (**R** shortcut). In this case,
just click and drag anywhere on the canvas to start selecting.
You can select data of multiple tracks at once as seen on the screenshot above.
To do that, just drag the mouse pointer upwards or downwards crossing the
border between tracks.
When the _Editor List_ dock is available, you can see range properties on top of
it: start/end times of the range as well as its duration. When a range is
created, the _Tracks & Busses_ tab will also select tracks that the range
crosses.
![Range properties](en/ardour7-range-properties.png?height=60vh)
It can be useful to create ranges that align with the edges of regions on your
timeline. To do that, enable the _Snap_ option in the toolbar and select _No
Grid_ in the drop-down list next to it.
![Snap to region boundaries](en/ardour7-snap-to-region-boundaries.png?width=10vw)
## Editing ranges
Once you created a range, you can easily tweak it's start and end positions by
hovering range boundaries with the mouse pointer, grabbing them and dragging to
the left or to the right.
{{< figure src="en/ardour7-editing-ranges.gif" alt="Editing ranges" >}}
If you forgot to include a track into a range, you don't need to redo the range
selection. Just hold **Ctrl** button and click on the track's header on the
canvas. Alternatively, hold **Ctrl** and click on track's name in the _Tracks &
Busses_ tab of the _Editor List_ dock.
{{< figure src="en/ardour7-adding-track-to-range.gif" alt="Adding track to range" >}}
## Playing back ranges in a loop
Returning to our rhythmic passage example, we will want to hear the passage we
are composing, perhaps as a loop, while we are moving the samples around. To do
that, we must create a range to listen to within our session, so that we can
return to exactly this point in the session again and again.
{{< figure src="en/ardour7-loop-range-menu-command.png" alt="Loop Range in the right-click menu" >}}
Zoom out if needed (**-**) to see full bars in the timeline. Use the _Range_
tool to select an entire bar, then right-click inside a range and pick one of
the two commands:
1. _Loop Range_ (on the screenshot above) to create a loop and start playing it
immediately.
2. _Set loop from selection_ to only create loop markers withut immediate
playback.
{{< figure src="en/ardour7-looped-range-playback.png" alt="Looped range playback" >}}
As long as loop markers are there, you can start playing back that portion of
the timeline in a loop whenever you like (on the screenshot above). To do that,
either click the **Play loop range** button in the _Transport_ toolbar or press
the **L** shortcut.
![Loop range button in Transport](en/ardour7-play-loop-range-button.png?width=35vw)
You can also tweak the position of loop markers while playing the range in a
loop. Just grab a marker and drag it to the left or to the right.
## More editing options for ranges
There are more operations you can do on ranges, all available in the right-click
menu:
- _Separate_ will cut the original regions at range borders.
- _Duplicate_ will create one copy of the range and place it starting at the
right border of the range. Any existing data will be overlaid, so you can still
access it.
- _Crop Region To Range_ will trim affected regions to the extent of the range.
You can also inspect loudness and spectral characteristics of data in a range or
export just the data inside a range rather than the entire session (see [this
chapter](../../exporting-sessions/exporting-a-range/) for more info on exporting
ranges).
## Continuing
In the next step, we will learn about working with regions to compose a rhythm
with these samples.
Next: [WORKING WITH REGIONS](../working-with-regions)

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title = "Working with regions"
description = "Selecting, splitting, moving regions in Ardour"
chapter = false
weight = 5
+++
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 as how to _fade in_ or _fade out_
their volume and create _crossfades_ between them. Some of these options may
need to happen at specific _edit points_ in the composition, or according to the
musical _meter_ we can define with the _timeline_ and the _grid_ as well.
## Selecting Regions
The _Grab_ mode (**G** shortcut) is the tool to select and move objects. It is
located just below the transport menu in the _Editor_ window (the little "hand"
icon). You will use this tool a lot in your Ardour work.
![Object Tool](en/ardour7-grab-mode.png?width=30vw)
When it is active, your mouse pointer will look like a little hand icon.
Try all of the operations below, for practice:
- Click on the waveform of the region to select it. Click and drag on a region
to move it around (left and right within the same track, but also up and down
onto other tracks).
- Use **Ctrl+Click** to create and drag around a _copy_ of the region.
- You can select multiple regions by holding the **Shift** key while clicking
on each region you want to select.
- You can also drag a selection box over multiple regions to select them all.
![Object selection](en/ardour7-object-selection.png?width=50vw)
- Move multiple regions at the same time after selecting them.
- You can select several sequential regions on one track all at once by holding
down the **Shift** key while selecting the first and the last regions of the
sequence (copy a few regions on the same track to try this out).
- When you select a single region, make sure to click on the waveform section of
its rectangle. The lower stripe with the region name is used for a different
action (see the _Trimming Regions_ section below).
- Use the **Del** key to delete selected regions.
- Standard copy (**Ctrl+C**), cut (**Ctrl+X**), and paste (**Ctrl+V**)
operations also work with regions.
## Moving Regions
While moving a region, a _timecode_ will appear on the screen in yellow numbers.
This timecode is the region's starting point on the timeline. The unit of this
timecode is the same as the unit of the primary clock, which you can change by
right-clicking on the clock and choosing a new unit (_Minutes:Seconds_,
_Bar:Beats_, etc).
You can move regions horizontally (sideways) to a different point in time on the
same track, or you can move the selected region vertically (up or down) to a
different track.
When a set of one or more regions is selected, you can move the whole set by
dragging with the mouse.
{{% notice tip %}}
Make sure to select the region in its waveform section, because selecting the
bottom title bar area is used for a different action (see _Trimming Regions_
below).
{{% /notice %}}
## Duplicating Regions
In addition to **Ctrl+Click+Drag** and standard copy/paste, Ardour offers
other handy ways to duplicate regions. Use the _Grab_ mode (select/move
objects) to select one or more regions, then use the _Duplicate_ function to
make one or more copies (menu `Regions > Duplicate`). Three options are
available:
- _Duplicate_ (shortcut **Alt+D**): make a copy of the selected region on
the same track, immediately after the original.
- _Multi-Duplicate_ (shortcut **Shift+D**): make multiple copies of the
selected region at once (same track, in sequence). You can specify the number
of duplications.
- _Fill Track_: make as many copies of the selected region as needed to fill
the entire track, all the way up to the _End_ marker on the timeline.
In the following screenshot, regions have been duplicated using the methods
above.
{{< figure alt="Duplicate" src="en/Ardour4_Region_Duplicate.png" >}}
## Using Edit Points
When you use the standard copy/cut/paste commands, where exactly will the
regions be pasted? The exact location is determined by the edit point
drop-down menu.
![Edit Point](en/ardour7-edit-point-menu.png?width=25vw)
If _Mouse_ is selected as the edit point, the copied region will be pasted at
the current position of the mouse.
If _Playhead_ is selected as the edit point, the copied region will be pasted
at the red playhead line on the same track where the original region is.
Finally, if _Marker_ is selected as the edit point, then the copied region
will be pasted immediately after the currently selected _location marker_.
## Markers
It is very useful to be able to tag different locations in a session for later
use when editing and mixing. Ardour supports several ways for doing this. The
most common method is using _location markers_, which define specific positions
in time.
Location markers can be added to the timeline by right-clicking on the
_Location Markers_ strip and selecting _Add New Location Marker_. If you don't
see the _Location Markers_ strip, right-click on the timeline and select it to
make it visible. Location markers can also be selected with the mouse and
moved to new positions. Right-clicking on a location marker lets you rename
the marker, among other options.
{{< figure alt="Location Marker" src="en/Ardour4_Location_Marker.png" >}}
{{% notice tip %}}
When you first create a new session, two location markers are automatically
added by default. These are the _start_ and _end_ markers that you see in
the screenshot above. If you don't see the _end_ marker, zoom out enough and
you will find it.
{{% /notice %}}
## Splitting Regions
To _split_ a region simply means to divide a single region into two independent
regions. There are two ways of accomplishing this:
* You can use the _Cut_ mode (**C** shortcut) to point and click anywhere you
want to split; or
* You can stay in the _Grab_ mode and use the **S** shortcut (for "Split").
In this last case, the point at which a region will be split depends on the
currently selected edit point. If _Mouse_ is selected as your current edit
point, select a region and place the cursor at the point you would like to
_Split_, then type **S**" (same as going to menu `Edit > Split Region`).
{{< figure alt="Split" src="en/Ardour4_Split_Region.png" >}}
After being split, the original single region becomes two independent regions,
with a new name for each, as in the image above. The two new regions are now
entirely independent. You can move and edit them separately.
{{< figure alt="Split" src="en/Ardour4_Split_Region_Moved.png" >}}
Regions can also be split by using the playhead or a marker as the edit point.
The split regions will receive a name derived from the original name of its
parent region, and you will see this reflected in your regions list. For
example, in the image above, you see two regions called _pink.15_ and _pink.16_,
which means there were split from a parent region called "pink" (not shown in
image).
{{% notice tip %}}
Splitting ranges will follow your grid settings. For example, if you have an
active grid set for bars, splits will happen at the bar boundaries. If you
choose _No Grid_, splits will happen wherever the edit point is, regardless of
any grid.
{{% /notice %}}
## Trimming Regions
If you move the cursor near the left or right side edge of a region, you will
see that the pointer becomes an arrow. Click and drag inwards from either end
of the region, and the region will be shortened accordingly. This is called
_trimming_ the region. Regions can be trimmed from the start of the region
(drag from left to right at the edge) or from the end (drag from right to
left).
This action is non-destructive: no audio is actually being deleted. It is as
if you were just "hiding" those portions of the region that you don't want or
don't need anymore. Later on, you can "un-trim" the region (i.e., extend it
back to its original full size), even if it has been moved or copied to a new
track.
{{< figure alt="Trim" src="en/Ardour4_Trimming_Regions.gif" >}}
{{% notice tip %}}
Like splitting, trimming will obey grid settings. If you don't want your
trimming to be constrained to any grid, simply turn the grid off (_No Grid_).
{{% /notice %}}
## Deleted Regions
Because Ardour is non-destructive, the regions you have deleted from tracks
are not completely removed from the session. They can always be accessed again
from the region list on the far right side of the _Editor_ window (Regions can
be dragged from the list onto any tracks).
## Creating Fades in Regions
A _fade_ is a change in the volume of a region, either as the region starts or
as it ends. A fade at the start of the region is a _fade in_, and at the end
of a region it is a _fade out_. Each region has two small handles along the
top corners, which can be dragged inwards from either edge to create a fade in
or fade out. The screenshot below shows a fade in (indicated by the shaded
area).
{{< figure alt="Fades1" src="en/Ardour4_Fades_1.png" >}}
In fact, every region has a fade in and fade out built-in. By default, the
region fade is very short and serves to avoid clicks in the transitions at
the start and end of the region. By adjusting the regions fade length as shown
above, a more gradual transition can be accomplished.
By right-clicking on one of the fades (the shaded area), the speed of the fade
can also be adjusted.
{{< figure alt="Fade Options" src="en/Ardour4_Fade_Options.png" >}}
## Crossfading Between Two Regions
When one region fades out while another fades in, this is called a
_crossfade_. If the two regions are in different tracks, you can use the
method described above with the fade in and fade out handles. The following
screenshot shows an example.
{{< figure alt="Crossfade" src="en/Ardour4_Crossfade_1.png" >}}
However, if both regions are in the same track, you need to overlap them in
order to create a crossfade. When regions overlap on the same track, Ardour
treats them as *layers*, that is, one of the regions is considered to be on
top of the other. The important rule to understand is:
*The fade in (or fade out) of the topmost region represents the crossfade
between the two regions.*
Once you understand this principle, it's easy to create and control crossfades
between regions. Here's an example. The two separate regions seen below will
be made to overlap in order to create a crossfade.
{{< figure alt="Crossfade2" src="en/Ardour4_Crossfade_2.png" >}} 
Note that we did not add any extra fade out to the first region, but we did
add a longer fade in to the second region. Then we drag the second region
partly on top of the first:
{{< figure alt="Crossfade3" src="en/Ardour4_Crossfade_3.png" >}}
The fade in of the second region works now as the crossfade between the two
regions. In other words, the first region will fade out in a mirror image way
as the second region fades in.
In order for this to work, though, we need to make sure that the region that
has the desired fade is *on top* in Ardour's layering system. In order to
change layering of regions, select a region and go to the menu `Region >
Layering`.
![Crossfade4](en/ardour7-crossfade-4.png?width=50vw)
The difference may be hard to hear if you are doing this with the very short
percussive sounds we imported earlier. To really hear the effect, import a
couple of longer samples to try it out (for example, a sample of rain sounds,
and another of a human voice). Overlap several seconds of your long samples on
the same track. You will hear the difference as you move the second region to
the bottom (_Lower to Bottom_), and then back to top (_Raise to Top_). When
it's on top, we will hear the desired crossfade. When it's at the bottom, we
will hear no crossfade, just an abrupt change from first to second region
(assuming your first region has no fade out specified, as in the screenshots
above).
## Using Grid Settings
Experiment with the _Grid Mode_ setting, as discussed in the _Setting Up the
Timeline_ chapter, to give different kinds of quantization — in other
words, to constrain the boundaries of each region to certain grid points.
Here, the grid has been activated and set to _Beats/16_, to quantize the
regions to sixteenth notes within each bar. You may wish to trim the endpoints
of some of the samples, as discussed above, to fit within the metric structure
you have set up.
{{< figure alt="Beat" src="en/ardour7-beat.png" >}}
## Continuing
In the next chapter, we will explore a few more things you can do with regions
Next: [FURTHER REGION OPERATIONS](../further-region-operations)

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+++
title = "Exporting sessions"
description = "How to export sessions, regions, and ranges in Ardour"
chapter = true
weight = 6
pre = "<b>6. </b>"
+++
### Chapter 6
# Exporting sessions
How to export a region, a selection of data, and a whole session
Contents:
1. [Exporting a session](exporting-a-session/)
2. [Exporting a region](exporting-a-region/)
3. [Exporting a range](exporting-a-range/)

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+++
title = "Exporter des sessions"
description = "Comment exporter des session, des régions et des plages dans Ardour"
chapter = true
weight = 6
pre = "<b>6. </b>"
+++
### Chapitre 6
# Exporter des sessions
Comment exporter une région, une sélection de données et une session entière.
Contenu :
1. [Exporter une session](exporting-a-session/)
2. [Exporter une région](exporting-a-region/)
3. [Exporter une plage](exporting-a-range/)

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title = "Экспорт"
description = "Как экспортировать сессии, области и выделения в Ardour"
chapter = true
weight = 6
pre = "<b>6. </b>"
+++
### Глава 6
# Экспорт сессий
Как экспортировать область, выделенные данные и всю сессию
Содержание:
1. [Экспорт сессии](exporting-a-session/)
2. [Экспорт области](exporting-a-region/)
3. [Экспорт выделения](exporting-a-range/)

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title = "Exporting a range"
description = "How to export ranges in Ardour"
chapter = false
weight = 3
+++
As you have already learned in previous chapters, 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.
## Exporting a Range
To export a range, follow these steps:
1. Click on the **Range Mode** button (**R** shortcut)
![Range mode](en/ardour7-range-edit-mode.png?width=250)
2. Make a range selection:
{{< figure src="en/ardour7-exporting-range-1.png" alt="Make a range selection" >}}
3. Right click on the range and choose _Export Range_ from the menu:
{{< figure src="en/ardour7-exporting-range-2.png" alt="Export Range in menu" >}}
This will open the familiar _Export_ dialog explained in the [Exporting
Sessions](../exporting-a-session) chapter. Choose your options, if any, and
click **Export**. The range will be exported and saved as an audio file.
### What Exactly Is a Range?
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.
![Range duration](en/ardour7-range-duration.png?width=600)
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.
### How to Create a Range Marker and Then Re-select a Range
Range markers are essentially two location markers the are grouped together to mark the beginning and end of a section on the timeline. Range markers look like this:
{{< figure src="en/ardour7-range-markers.png" alt="Range markers" >}}
You can use range markers to "bookmark" one or more ranges that you need to remember or use again later. Here is how you can do that.
1. Make a range selection either in _Range_ mode or in _Grab_ mode with _Smart_
option enabled.
2. Create range markers in one of the following ways:
* Right-click on a range selection and choose _Add Range Marker_.
* From the timeline, right click on the _Range Markers_ horizontal space and choose _New Range_.
* From one or more selected regions, right-click on the region and choose _Add
Single Range Marker_ (if a single region is selected), or _Add Range Marker Per
Region_ (if multiple regions are selected).
3. Click anywhere outside the range selection to lose it.
4. Right-click on either of the two range selection markers on the timeline and
choose the _Select Range_ menu option. The range selection will be restored.
{{% notice tip %}}
You can clear all existing range markers by right-clicking on the _Range Markers_ area of the timeline and choosing _Clear All Ranges_.
{{% /notice %}}
## Continuing
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](../../saving-sessions/saving-a-session/)

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title = "Exporting a region"
description = "How to export regions in Ardour"
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You may wish to export only a region of your session, perhaps to use as a
sample in another application, or to edit it in a different program. This
chapter shows you how to do that.
## Exporting a Region
To export a region, select it in _Grab_ mode and then right-click into the
sub-menu _Export_, or use the top menu: `Region > Export`.
![export region](en/ardour7-export-region-in-right-click-menu.png?width=600)
This will open up the same export dialog box explained in the
[Exporting Sessions](../exporting-a-session) chapter. Choose your options and
click **Export**. Only the selected region will be exported.
{{% notice tip %}}
Not all parameters and edits are taken into consideraton when exporting a
region. Trimmed, split, stretched and reversed regions can be exported, but
edits such as panning and automation are _not_ exported.
{{% /notice %}}
Also, the volume of the audio track itself or the _Master_ bus will not affect
the exported file. To export these edits, please see the chapters on exporting
a range and exporting a session.
## Exporting Several Regions At Once
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.
1. In _Grab_ mode (**G** shortcut), select all the regions you want to export.
They do not need to be on the same track.
{{< figure alt="export region" src="en/ardour7-export-multiple-regions-1.png" >}}
2. Go to the `Region > Ranges` menu and choose _Add Range Marker Per Region_.
{{< figure alt="export region" src="en/ardour7-export-multiple-regions-2.png" >}}
3. Ardour has now just created range markers that fit exactly the beginning and
ending of your selected regions (see the green rectangles in the range markers
ruler):
{{< figure alt="export region" src="en/ardour7-export-multiple-regions-3.png" >}}
4. Go to the `Session > Export` menu and choose _Export to Audio File(s)_
(**Alt+E**).
5. 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.
6. 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.
{{< figure alt="export region" src="en/ardour7-export-multiple-regions-4.png" >}}
7. Go back to the main tab (_File format_) and click **Export**.
Your regions have now been exported to single audio files.
{{% notice tip %}}
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.
{{% /notice %}}
## Continuing
Finally, the next chapter will discuss _Exporting Ranges_ rather than just an
individual region. The last trick (exporting multiple regions at once) in fact
already involved using ranges, as you may have guessed.
Next: [EXPORTING A RANGE](../exporting-a-range)

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title = "Exporting a session"
description = "How to export sessions in Ardour"
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_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.
## Export the Entire Session
Once you have finished your composition, the most common export operation is to
export the entire session to an audio file.
### Bird's Eye View of Entire Session
At this point it's a good idea to zoom out and take a look at your whole session
before exporting.
* Select "All" from the "Number of visible tracks" menu:
{{< figure alt="track heights" src="en/ardour7-track-height.png" >}}
* Click on the **Zoom to Session** button (third button in the zoom options):
![zoom options](en/ardour7-session-zoom-all.png?width=200)
* You should now have a nice overview of your whole session, like this:
{{< figure alt="birds eye view" src="en/ardour7-birds-eye-view.png" >}}
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.)
#### Start and End Markers
Finally, make sure the _start_ and _end_ markers on the ocation markers
timeline are in the right place.
Everything included between the _start_ and _end_ markers will be exported, so
you have to set the markers first if they are not in the correct position. In
the image below, clearly the _end_ marker is too far to the right in the
timeline. This will result in a huge silence after the end of the piece (that
is, between the last region and the _end_ marker).
{{< figure src="en/ardour7-end-marker-too-far.png" alt="The end marker is too far" >}}
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.
## Export it!
To export a session, use the top menu:
`Session > Export > Export to Audio File(s)...`. This will open up a dialog box
with a number of options.
{{< figure alt="Export Session dialog" src="en/ardour7-exporting-settings.png" >}}
**Preset**
: This is *NOT* where you write the file name. Don't worry about this field now.
**Format**
: This allows you to choose the file format (WAV, MP3, OGG, FLAC, etc.). The
default is CD (Red Book), which will give you a 16-bit WAV file with 44.1kHz
sample rate.
**Add another format**
: If you'd like to export in more than one format at the same time, click on
this tab.
**Location**
: This is the place where you will find the file after it is saved. By default,
it is in the `export` folder that lives inside your main session folder. You
could also click **Browse** and select the Desktop, for example.
**Label**
: _This_ is where you can create a unique name for the file. Ardour will
automatically append the session name to the exported file, so if you don't
write anything here the name may end up something generic like `my-session.wav`.
Use this field to give a unique name to your file.
Having chosen your options, click **Export**. After the operation is finished,
you can find the file using your file browser.
{{% notice tip %}}
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.
{{% /notice %}}
## Normalization
Sometimes the rendered audio is either too loud or too quiet to match demands
imposed by various popular streaming services like YouTube or Spotify. Ardour
provides a tool called _Loudness Assistant_ to help with that.
In layman terms, it analyzes everything that goes through the _Master_ bus,
estimates how loud the signal is, and then suggests correcting it upwards or
downwards so that overall loudness would be just about right for this or that
popular streaming service.
While you can apply loudness (gain) correction directly to the _Master_ bus's
output and benefit from having more manual control over the result, the most
convenient way is to apply normalization at the exporting stage. You can do
that two ways:
1. Just pick a popular service in the drop-down list under _Formats_. Ardour has
presets for Apple Music, Deezer, Spotify, YouTube etc.
2. If the service is not listed in the presets, click the **Edit** button to
open a dialog with advanced exporting settings, enable _Normalize_, choose
_Loudness_ rather than _Peak_, and then set the desired LUFS value.
{{< figure src="en/ardour7-edit-exporting-format.png" alt="Edit the exporting Format" >}}
## Continuing
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](../exporting-a-region)

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### Chapter 2
# Getting started
Create your first session and learn the basics of Ardour's user interface
Contents:
1. [Starting Ardour](starting-ardour/)
2. [Overview of the interface](overview-of-the-interface/)
3. [Creating tracks and busses](creating-tracks-and-busses/)
4. [Importing audio](importing-audio/)
5. [Setting up the timeline](setting-up-the-timeline/)

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### Chapitre 2
# Pour commencer
Créez votre première session et apprenez les bases de l'interface utilisateur d'Ardour
Contenu :
1. [Démarrer Ardour](starting-ardour/)
2. [Vue d'ensemble de l'interface](overview-of-the-interface/)
3. [Création de pistes et de bus](creating-tracks-and-busses/)
4. [Import audio](importing-audio/)
5. [Configuration de la ligne de temps](setting-up-the-timeline/)

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### Глава 2
# Первые шаги
Создайте свою первую сессию и познакомьтесь с интерфейсом Ardour
Содержание:
1. [Запуск Ardour](starting-ardour/)
2. [Обзор интерфейса](overview-of-the-interface/)
3. [Создание дорожек и шин](creating-tracks-and-busses/)
4. [Импорт звуковых файлов](importing-audio/)
5. [Настройка таймлайна](setting-up-the-timeline/)

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## What are tracks?
A track typically represents a part played with one instrument or sung with
voice. That part can start in the very beginning and finish at the very end of
a song. Or there can be multiple occurences of that instrument/voice within a
song, in which case there will likely be multiple _regions_, or _clips_,
inside a track.
A region is just a portion of audio or MIDI data. For example, a 'Lead guitar'
track can have several regions, one per each solo. Meanwhile, a 'Drums' track
could be just one huge MIDI region spanning the entire song.
An _audio_ track is usually self-contained as it has all the data to play back
music. A _MIDI_ track, however, is comprised of instructions that need to be
interpreted and executed to provide actual sound to listen to.
A region represents an audio clip, i.e., one of your sound files or just a
portion of a sound file. In the image below, the horizontal strip areas marked
"*MyTrack*" and "*short-drone-mono*" are tracks. The rectangles containing audio
information are called regions (for example, the region "*wheels-mono.1*" is
contained within *MyTrack*).
![Tracks](en/Ardour6_Tracks.png?width=30vw)
## What are busses?
A _bus_ is similar to a track except that it does not contain its own regions.
You cannot record directly into a bus or drag regions into it. However, you
can add plugins to a bus and then feed the output of multiple tracks into that
bus (see below for details).
A MIDI bus is similar to an audio bus: no regions, just processing incoming
stream of data and outputting processed data.
The area marked _Master_ in your session is an example of a bus. Typically
every session has a _Master_ bus. All the audio to be exported from your
session will be sent to the Master bus.
## How are tracks and busses used?
Audio-processing _plugins_ and _automation_ can be applied to both tracks and
busses.
Audio tracks can be routed to busses. In fact, many tracks can be simultaneously
routed to one bus. busses are traditionally used as a convenient way to apply
any kind of signal processing to many tracks at once. For instance, you might
find it useful to route all tracks that contain drum sounds to a single Bus that
you would call '*drum bus*'. Then, if you decide that all your drum tracks are
too loud, you can quickly adjust the level of the '*drum bus*' rather than
adjusting each separate track that feeds into it.
Another use of a bus would be to have a common reverberation plugin, so that any
audio track which requires the reverb effect could be routed to a single bus.
## Adding tracks and busses
**Right-click** in the empty area beneath any existing tracks and busses.
Alternatively, click on the menu `Track > Add track, Bus, or VCA...` (**Ctrl+Shift+N** shortcut). The following window will appear:
![Add track](en/Ardour7_Add_Track_or_Bus.png?width=45vw)
Ardour offers different track types depending on the type of data they contain.
This tutorial will only cover audio tracks and busses. (see the [Ardour
manual](http://manual.ardour.org/working-with-tracks/track-types/) for details
on all track types or their brief explanation in a section below).
Choose _Audio tracks_ or _Audio busses_ to specify whether you want to create audio
tracks or busses.
The _Add_ numeric input box lets you specify how many tracks (or busses) you would
to like to create.
You can optionally give a _Name_ to the track or bus being created. The
_Configuration_ drop-down menu allows you to specify how many channels of audio
you'd like the new track or Bus to handle. For example, if you will be recording
your voice on this track using a single microphone, choose _Mono_. If you plan
to import a clip from an existing song and place it on this track, choose
_Stereo_. The choice made here will also affect which plugins you can use on the
track (mono tracks cannot use stereo plugins and vice versa).
{{% notice tip %}}
When you create a new MIDI track, the name is automatically taken from
whatever virtual instrument you pick by default.
{{% /notice %}}
The _Position_ menu lets you choose where you want the new track or bus to be
placed: first, last, before or after the selection.
You can safely ignore the other options for now. To learn more about each of
them, please check [this page of the complete Ardour
manual](http://manual.ardour.org/working-with-tracks/adding-tracks-and-busses/).
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 want to add multiple
tracks with different configuration, opt for **Add selected items (and leave
dialog open)** instead.
## Other types of tracks and busses
When adding tracks and busses to your project, you'll see more options
available.
**Foldback busses** are meant for stage monitoring mixes where you might want
giving each performer a customized mix that goes right into their earpiece.
E.g. more rhythm section and less brass section in the mix for a solo
guitarist. [See
here](https://manual.ardour.org/ardours-interface/foldback-strip/) for more
details.
**VCA masters** are another way to group tracks. These mixer strips provide
a single fader for multiple tracks. Please refer to the [user
manual](https://manual.ardour.org/ardours-interface/control-masters/) for more
information.
## Continuing
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 AND MIDI](../importing-audio-and-midi)

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## Que sont les pistes ?
Une piste représente généralement une partie jouée par un instrument ou chantée par une voix.
Cette partie peut commencer au tout début et se terminer à la toute fin de la chanson, ou il peut y avoir plusieurs occurrences de cet instrument/cette voix dans un morceau, auquel cas il y aura probablement plusieurs _régions_, ou _clips_ à l'intérieur d'une piste.
Une région est simplement une portion de données audio ou MIDI. Par exemple, une piste 'Lead guitar' peut avoir plusieurs régions, une pour chaque solo. En revanche, une piste "Drums" (batterie) pourrait n'être qu'une énorme région MIDI couvrant l'ensemble du morceau.
Une piste _audio_ est généralement autonome car elle contient toutes les données nécessaires à la lecture de la musique. Une piste _MIDI_, en revanche, est constituée d'instructions qui doivent être interprétées et exécutées pour fournir un son réel à écouter.
Une région représente un clip audio, c'est-à-dire l'un de vos fichiers audio ou juste une partie d'un fichier audio. Dans l'image ci-dessous, les zones de bande horizontale marquées "*MyTrack*" et "*short-drone-mono*" sont des pistes. Les rectangles contenant des informations audio sont appelés régions (par exemple, la région "*wheels-mono.1*" est contenue dans contenue dans *MyTrack*).
![Pistes](en/Ardour6_Tracks.png?width=30vw)
## Que sont les bus ?
Un _bus_ est similaire à une piste, sauf qu'il ne contient pas ses propres régions.
Vous ne pouvez pas enregistrer directement dans un bus ni y faire glisser des régions. Cependant, vous pouvez ajouter des greffons à un bus, puis alimenter la sortie de plusieurs pistes dans ce bus (voir ci-dessous).
Un bus MIDI est similaire à un bus audio : pas de régions, juste le traitement du flux de données entrant et la sortie des données traitées.
La zone marquée _Master_ dans votre session est un exemple de bus. En général, chaque session possède un bus _Master_. Tous les fichiers audio à exporter de votre session sera envoyé vers le bus Master.
## Comment sont utilisés les pistes et les bus ?
Les _greffons_ de traitement audio et l'_automation_ peuvent être appliqués aux pistes et aux bus.
Les pistes audio peuvent être acheminées vers des bus. En fait, plusieurs pistes peuvent être acheminées simultanément vers un seul bus. Les bus sont traditionnellement utilisés comme un moyen pratique d'appliquer tout type de traitement de signal à plusieurs pistes à la fois. Par exemple, il peut être utile de diriger toutes les pistes contenant des sons de batterie vers un seul bus que vous appellerez "*bus de batterie*". Ensuite, si vous décidez que toutes vos pistes de batterie sont trop fortes, vous pouvez rapidement ajuster le niveau du "*bus de batterie*" plutôt que de plutôt que d'ajuster chaque piste séparée qui l'alimente.
Une autre utilisation d'un bus serait d'avoir un plugin de réverbération commun, de sorte que toute piste audio nécessitant l'effet de réverbération puisse être acheminée vers un seul bus.
## Ajouter des pistes et des bus
**Faites un clic droit** dans la zone vide située sous les pistes et les bus existants.
Alternativement, cliquez sur le menu `Piste > Ajouter une piste, un Bus, ou un VCA...` ( ** raccourci Ctrl+Shift+N** ). La fenêtre suivante apparaîtra :
![Ajouter une piste](en/Ardour7_Add_Track_ou_Bus.png?width=45vw)
Ardour propose différents types de pistes en fonction du type de données qu'elles contiennent.
Ce tutoriel ne traitera que des pistes et bus audio. (voir le [Manuel d'Ardour
manuel](http://manual.ardour.org/working-with-tracks/track-types/) pour plus de détails
sur tous les types de pistes ou leur brève explication dans une section ci-dessous).
Choisissez _Pistes audio_ ou _Bus audio_ pour spécifier si vous souhaitez créer des pistes ou des bus audio.
La zone de saisie numérique _Add_ vous permet de spécifier le nombre de pistes (ou de bus) que vous souhaitez créer.
Vous pouvez éventuellement donner un _Nom_ à la piste ou au bus à créer. Le menu déroulant _configuration_ vous permet de spécifier le nombre de canaux audio que vous souhaitez pour la nouvelle piste ou le nouveau bus. Par exemple, si vous allez enregistrer votre voix sur cette piste à l'aide d'un seul microphone, choisissez _Mono_. Si vous prévoyez d'importer un clip d'un morceau existant et de le placer sur cette piste, choisissez _Stereo_. Le choix effectué ici affectera également les plugins que vous pouvez utiliser sur la piste (les pistes mono ne peuvent pas utiliser la stéréo).
{{% notice tip %}}
Lorsque vous créez une nouvelle piste MIDI, le nom est automatiquement tiré de l'instrument virtuel que vous choisissez par défaut.
{{% /notice %}}
Le menu _Position_ vous permet de choisir où vous voulez placer la nouvelle piste ou le nouveau bus : en premier, en dernier, avant ou après l'instrument virtuel.
Vous pouvez ignorer les autres options pour l'instant. Pour en savoir plus sur chacune d'entre elles, consultez [cette page du manuel complet d'Ardour complet](http://manual.ardour.org/working-with-tracks/adding-tracks-and-busses/).
Cliquez sur le bouton **Add and Close** pour créer les pistes ou les bus que vous venez de configurer, et fermer automatiquement la fenêtre _Add Track_. Les pistes que vous venez de créer apparaîtront comme de nouvelles lignes dans le canevas principal. Si vous souhaitez ajouter plusieurs pistes avec une configuration différente, optez pour **Add selected items (et laisser la boîte de dialogue ouverte)** à la place.
## Autres types de voies et de bus
Lorsque vous ajoutez des pistes et des bus à votre projet, d'autres options sont disponibles.
**Les bus foldback** sont conçus pour les mixages de monitoring de scène où vous pourriez vouloir donner à chaque interprète un mixage personnalisé qui va directement dans son oreillette.
Par exemple, plus de section rythmique et moins de section de cuivre dans le mixage d'un guitariste solo. [Voir ici](https://manual.ardour.org/ardours-interface/foldback-strip/) pour plus de détails.
Les **VCA masters** sont une autre façon de regrouper les pistes. Ces bandes de mixage fournissent un seul fader pour plusieurs pistes. Veuillez vous référer au [manuel de l'utilisateur manuel](https://manual.ardour.org/ardours-interface/control-masters/) pour plus d'informations.
## Poursuivre
Une fois que vous avez ajouté une ou plusieurs pistes, vous souhaitez y placer du matériel audio pour travailler. Passez aux chapitres **Importer de l'audio** et **Enregistrer de l'audio** pour apprendre comment faire.
Suivant : [IMPORTER DE L'AUDIO ET DU MIDI](../importing-audio-and-midi)

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You can reuse existing audio and MIDI files by adding them as regions on
existing or new tracks. To do so, press the **Ctrl+I** shortcut or go to the
`Session > Import` menu to open the _Add Existing Media_ dialog, pick a file
of interest, and import it.
{{< figure alt="Add Media" src="en/ardour7-import-as-new-tracks.png" >}}
Some settings are the same for audio and MIDI, some are format-specific.
## Playing existing files
Before you import a file, it's a good idea to make sure it's the right one. On
the right side of the _Add Existing Media_ dialog you will see a section
allowing you to inspect the properties of the file you selected. Here you will
see the name, number of channels, sample rate, format and length of the sound
file, along with any tags you have chosen to add to the file.
The **Play** button allows you to preview the file. You can also select
**Auto-play** if you would like to hear a sound file immediately as soon as
you click on it in the file browser (without having to push the **Play**
button).
For MIDI files, you can select a virtual instrument that will be used to play
the selected MIDI file, although you won't be able to select a particular
synth patch.
## Choosing Tracks and Insertion Point
There are some common scenarios for importing media files: importing multiple
audio files as new tracks and inserting them into the session start, importing
multiple audio files to the list of of available sources for later use,
importing one MIDI file into an existing track at the playhead position, etc.
So there are two important options here: where to insert a region generally
(which track, if at all), and which point of the timeline to insert to.
The _Add files …_ drop-down list if where you choose the former, and the
_Insert at_ drop-down list is where you choose the latter.
## Inserting to Sources list
Let's start with the scenario where you import some audio files into the list of sources.
{{% notice tip %}}
If you do not have any suitable audio files on your hard drive to follow these
steps, visit [freesound.org](http://www.freesound.org/)), where you can find a
large collection of Public Domain and Creative Commonslicensed samples in a
variety of sample rates and formats.
{{% /notice %}}
Select some files and in the _Add files…_ drop-down list choose _to source
list_. Make sure the _Mapping_ options says _one region per file_.
{{< figure alt="Add to source list" src="en/ardour7-to-source-list.png" >}}
You will notice that the option _Copy files to session_ is checked by default.
This will make a copy of the imported file(s) into the folder of the current
session. This is safer, but it uses more disk space. If you uncheck this option
(not recommended!), Ardour will use the sound file from its current location on
the hard drive. In this case, if the file is moved to a new location on the hard
drive, you will run into trouble, because Ardour won't be able to find it the
next time you open this session. **It is highly recommended that you leave this
box checked (_Copy files to session_)**.
Click **OK** to proceed.
The file(s) you have imported will appear listed in your _Sources_ list. This
list is located at the far right of the editor window. If you don't see it,
make sure _Show Editor List_ is checked under the _View_ menu.
![Editor List](en/ardour7-audio-imported-to-sources-list.png?height=50vh)
By dragging and dropping an audio file listed on the _Sources_ list onto the
main canvas, you can insert it in an existing or new track. If you drag it into
an existing track, it will be added there. If you drag onto the empty space
beneath existing tracks, a new track will be automatically created to
accommodate it.
Release the mouse button to complete the drag-and-drop operation. A new region
will be inserted at the exact time point where you dropped it.
{{% notice tip %}}
If a sound file is selected in the Editor List (i.e., if it is highlighted in
blue), the next time you click on that file name, Ardour will think you are
trying to rename the region (the name will become editable). More likely you
were just trying to click to drag and drop the file onto a track. In order to
click and drag a previously _highlighted_ region from the list, you need to
point and click in the empty space right before or after the name.
{{% /notice %}}
Important: always make sure you are placing stereo regions on stereo tracks. If
you drag a stereo file onto a mono audio track, only the left channel will be
used. In the screenshot below, a stereo file with very distinct left and right
channels was dragged onto a stereo track and a nono track. Notice that in the
mono track only the left channel is displayed (and played back). 
{{< figure alt="Stereo Mono" src="en/Ardour4_Stereo_Mono_Comparison.png" >}}
## Importing Directly to a Track
As mentioned earlier, the _Add existing media_ dialog also allows you to import
audio files directly onto tracks.
Choose _Add files… as new tracks_ to automatically create a new track and add
the selected file to it. The track will be named after the sound file name.
{{< figure alt="Add as New Tracks" src="en/ardour7-import-as-new-tracks.png" >}}
If you have previously selected one or more tracks, the menu will display the
additional option _Add files… to selected tracks_ to add a sound file into the
already existing selected track.
Note that if you import a multitrack MIDI file, Ardour will always create one new track per one existing track in the MIDI file and map them accordingly.
When adding files as new tracks, note that the _Mapping_ options lets you
choose between _one track per channel_ and _one track per file_. For the
purpose of this tutorial, choose _one track per file_, otherwise the left and
right channels of a stereo file will be split into two separate tracks.
## Choose Insert Point
When using either one of the options above (_Add as new track_ or _Add to
selected tracks_), you should also specify where in the track you want the new
region to be placed. In the screenshot below, we are choosing _session start_.
{{< figure alt="Insert At" src="en/ardour7-insert-point-list.png" >}}
The region appears in a new track in the session. The new track automatically
receives the name of the imported sound file.
The sound file will also appear in the _Regions_ list so that it can be
inserted into other tracks as well by dragging and dropping it.
## Remove Regions from Tracks
To remove a region from a track, you can select it with the mouse and use the
*Cut* function from the menu, the **Control** (or **Apple**) key and the **X**
key, the **Delete** key or the key combination of **Fn + Backspace** (which is
used, for example, on a laptop keyboard that does not have a proper **Delete**
key).
{{% notice warning %}}
**Save your work often!** The shortcut **Control + S** is your friend. Use it
a lot, all the time.
{{% /notice %}}
## Continuing
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](../setting-up-the-timeline) or
[RECORDING AUDIO](../../recording-audio)

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title = "Import audio et MIDI"
description = "Importer des fichiers audio et MIDI dans des pistes Ardour"
chapter = false
weight = 4
+++
Vous pouvez réutiliser des fichiers audio et MIDI existants en les ajoutant comme régions sur des pistes existantes ou nouvelles. Pour ce faire, appuyez sur le raccourci **Ctrl+I** ou allez dans le menu `Session > Import` pour ouvrir la boîte de dialogue _Add Existing Media_, sélectionnez un fichier d'intérêt et l'importer.
{{< figure alt="Add Media" src="en/ardour7-import-as-new-tracks.png" >}}
Certains paramètres sont les mêmes pour l'audio et le MIDI, d'autres sont spécifiques au format.
## Lecture de fichiers existants
Avant d'importer un fichier, il est bon de s'assurer que c'est le bon. Dans la partie droite de la boîte de dialogue _Ajouter un média existant_, vous verrez une section vous permettant d'inspecter les propriétés du fichier que vous avez sélectionné. Vous y verrez le nom, le nombre de canaux, la fréquence d'échantillonnage, le format et la longueur du fichier ainsi que les balises que vous avez choisi d'ajouter au fichier.
Le bouton **Jouer** vous permet de prévisualiser le fichier. Vous pouvez également sélectionner**Lecture automatique** si vous souhaitez écouter un fichier sonore dès que vous cliquez dessus dans le navigateur de fichiers (sans avoir à appuyer sur le bouton **Lecture**).
Pour les fichiers MIDI, vous pouvez sélectionner un instrument virtuel qui sera utilisé pour jouer le fichier MIDI sélectionné. le fichier MIDI sélectionné, bien que vous ne puissiez pas sélectionner un patch de synthétiseur particulier.
## Choix des pistes et du point d'insertion
Il existe des scénarios courants pour l'import de fichiers multimédias : l'import de plusieurs fichiers audio en tant que nouvelles pistes et les insérer dans le début de la session, importer plusieurs fichiers audio dans la liste des sources disponibles pour une utilisation ultérieure, import d'un fichier MIDI dans une piste existante à la position de la tête de lecture, etc. Il y a donc deux options importantes ici : où insérer une région généralement (quelle piste, si c'est le cas), et à quel endroit de la timeline insérer.
La liste déroulante _Add files ..._ vous permet de choisir la première option, et la liste déroulante _Ajouter des fichiers ..._ vous permet de choisir la première option, et la liste déroulante _Insérer à_ vous permet de choisir la seconde.
## Insertion dans la liste des sources
Commençons par le scénario où vous importez quelques fichiers audio dans la liste des sources.
{{% notice tip %}}
Si vous n'avez pas de fichiers audio appropriés sur votre disque dur pour suivre ces étapes, visitez [freesound.org](http://www.freesound.org/)), où vous pouvez trouver une grande grande collection d'échantillons du domaine public et sous licence Creative Commons dans une dans une variété de taux d'échantillonnage et de formats.
{{% /notice %}}
Sélectionnez quelques fichiers et dans la liste déroulante _Add files..._ choisissez _to source source_. Assurez-vous que les options _Mapping_ indiquent _une région par fichier_.
{{< figure alt="Ajouter à la liste des sources" src="en/ardour7-to-source-list.png" >}}
Vous remarquerez que l'option _Copier les fichiers dans la session_ est cochée par défaut.
Cela fera une copie du ou des fichiers importés dans le dossier de la session actuelle. C'est plus sûr, mais cela utilise plus d'espace disque. Si vous décochez cette option (ce qui n'est pas recommandé !), Ardour utilisera le fichier son à partir de son emplacement actuel sur le disque dur. Dans ce cas, si le fichier est déplacé vers un nouvel emplacement sur le disque dur, vous rencontrerez des difficultés, car Ardour ne pourra pas le retrouver la prochaine fois que vous ouvrirez cette session. **Il est fortement recommandé de laisser cette case cochée (_Copier les fichiers dans la session_)**.
Cliquez sur **OK** pour continuer.
Le(s) fichier(s) que vous avez importé(s) apparaîtra(ont) dans votre liste _Sources_. Cette liste est située à l'extrême droite de la fenêtre de l'éditeur. Si vous ne la voyez pas, assurez-vous que la case _Montrer la liste de l'éditeur_ est cochée dans le menu _Visualisation_.
!Liste de l'éditeur](fr/ardour7-audio-imported-to-sources-list.png?height=50vh)
En faisant glisser et en déposant un fichier audio répertorié dans la liste des _Sources_ sur le canevas principal, vous pouvez l'insérer dans une piste existante ou nouvelle. Si vous le faites glisser dans une piste existante, il y sera ajouté. Si vous le faites glisser sur l'espace vide sous les pistes existantes, une nouvelle piste sera automatiquement créée pour pour l'accueillir.
Relâchez le bouton de la souris pour terminer l'opération de glisser-déposer. Une nouvelle région sera insérée à l'endroit exact où vous l'avez déposée.
{{% notice tip %}}
Si un fichier son est sélectionné dans la liste de l'éditeur (c.-à-d. s'il est surligné en bleu), la prochaine fois que vous cliquerez sur le nom de ce fichier, Ardour pensera que vous essayez de renommer la région (le nom deviendra éditable). Il est plus probable que vous essayiez simplement de cliquer pour glisser et déposer le fichier sur une piste. Pour cliquer et faire glisser une région précédemment _surlignée_ depuis la liste, vous devez pointer et cliquer dans l'espace vide juste avant ou après le nom.
{{% /notice %}}
Important : vérifiez toujours que vous placez des régions stéréo sur des pistes stéréo.
Si vous faites glisser un fichier stéréo sur une piste audio mono, seul le canal gauche sera utilisé. Dans la capture d'écran ci-dessous, un fichier stéréo avec des canaux gauche et droit très distincts ont été glissés sur une piste stéréo et une piste nono. Remarquez que dans la piste mono, seul le canal gauche est affiché (et lu).
{{< figure alt="Stereo Mono" src="en/Ardour4_Stereo_Mono_Comparison.png" >}}
## Importer directement sur une piste
Comme mentionné précédemment, la boîte de dialogue _Ajouter un média existant_ vous permet également d'importer des fichiers audio directement sur des pistes.
Choisissez _Ajouter des fichiers... comme nouvelles pistes_ pour créer automatiquement une nouvelle piste et y ajouter le fichier sélectionné. La piste sera nommée d'après le nom du fichier audio.
{{< figure alt="Ajouter comme nouvelles pistes" src="en/ardour7-import-as-new-tracks.png" >}}
Si vous avez précédemment sélectionné une ou plusieurs pistes, le menu affiche l'option supplémentaire _Ajouter des fichiers... aux pistes sélectionnées_ pour ajouter un fichier sonore dans la piste sélectionnée déjà existante.
Notez que si vous importez un fichier MIDI multipiste, Ardour créera toujours une nouvelle piste pour une piste existante dans le fichier MIDI et les mappera en conséquence.
Lorsque vous ajoutez des fichiers en tant que nouvelles pistes, notez que les options _Mapping_ vous permettent de choisir entre _une piste par canal_ et _une piste par fichier_. Pour les besoins de ce tutoriel, choisissez _une piste par fichier_, sinon les canaux droite d'un fichier stéréo seront divisées en deux pistes distinctes.
## Choisir le point d'insertion
Lorsque vous utilisez l'une des options ci-dessus (_Ajouter comme nouvelle piste_ ou _Ajouter aux pistes sélectionnées_), vous devez également choisir le point d'insertion. Dans la capture d'écran ci-dessous, nous choisissons _début de session_.
{{< figure alt="Insert At" src="en/ardour7-insert-point-list.png" >}}
La région apparaît dans une nouvelle piste de la session. La nouvelle piste reçoit automatiquement le nom du fichier son importé.
Le fichier son apparaîtra également dans la liste _Regions_ afin qu'il puisse être inséré dans d'autres pistes en le faisant glisser et en le déposant.
## Supprimer des régions des pistes
Pour supprimer une région d'une piste, vous pouvez la sélectionner avec la souris et utiliser la fonction *Couper* dans le menu, la touche **Control** (ou **Apple**) et la touche **X** la touche **Delete** ou la combinaison de touches **Fn + Backspace** (utilisée par exemple sur un ordinateur portable).
{{% notice warning %}}
**Sauvegardez souvent votre travail!** Le raccourci **Control + S** est votre ami. Utilisez-le beaucoup, tout le temps.
{{% /notice %}}
## Poursuivre
Maintenant que vous avez du matériel dans votre session, vous pourriez vouloir personnaliser la timeline pour mieux répondre à vos besoins ou passer à l'enregistrement de nouveaux éléments en direct.
Suivant : [CONFIGURATION DE LA LIGNE DE TEMPS](../setting-up-the-timeline) ou
[ENREGISTREMENT AUDIO](../../recording-audio)

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title = "Installing plugins"
description = "How to install plugins for Ardour"
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While Ardour already ships with some plugins, chances are that you will need
more than that: a more sophisticated compressor or reverb, a sampler that
can play a high-quality orchestra library, a polyphonic synthesizer etc.
Ardour supports mutiple plugins APIs:
- **Linux**: LADSPA, LV2, VST2.x, VST3
- **Windows**: LADSPA, LV2, VST2.x, VST3
- **macOS**: LADSPA, LV2, VST2.x, VST3, AU
You can find a list of recommended free/libre plugins
[in the appendix](../../appendices/plugins/).
## Installing plugins
### LADSPA and LV2
These plugins mostly don't have binary builds for Windows and macOS, so on
those systems, most of the time you will be dealing with VST2, VST3, or AU.
On Linux, LV2 is a very popular option. If you only install plugins from your
distribution's repository, there is nothing else you should do. Ardour will
pick up new plugins easily. But if you do build a plugin from source code, the
build script will typically attempt to copy a `plugin-name.lv2` folder either
to `/usr/local/lib/lv2` or to `~/.lv2`.
### VST2.x
VST2 plugins do not have vendor-recommended location for installation, so what
you can do is:
1. Unpack all your VST2.x plugins to the same folder. (On Linux, `~/.vst` is
commonly suggested.)
2. In Ardour, go to _Edit > Preferences > Plugins > VST_ and in the VST2.x
section, click the **Edit** button to add a new path to VST2.x plugins.
3. Add the path to the folder you created in step 1. Ardour will ask if you
want to rescan plugins. Say 'yes'.
This approach works on each supported operating system.
### VST3
The VST3 specification has hardcoded system paths for storing plugins. On
Windows and macOS, most of the time, you get your plugins installed to the
right folder, so all you need to do is re-scan plugin folders.
On Linux, in many cases you get a ZIP archive with a `plugin-name.vst3` folder
inside. That folder needs to go to `~/.vst3` or, should you want all users on
that computer to have access, to `/usr/local/lib/vst3`.
### AU
These macOS-specific plugins get installed from DMG to the correct folders.
All you need to do is re-scan those folders.
## Re-scanning folders for installed plugins
Upon installation it is recommended to re-scan available plugins. This is
typically done with the _Plugin Manager_ (_Window > Plugin Manager_).
{{< figure src="en/plugin-manager.png" alt="Plugin manager" >}}
If you only installed new plugins, discovering those will be sufficient. In
the left sidebar of the _Plugin Manager_, click **Discover New/Updated**, the
wait for the scan to finish.
If you removed some of the previously installed plugins, it's best to do a
full re-scan. Click **Re-scan All** instead and wait for the scan to finish.
## Continuing
Now that you know what to do if you want to install an effect plugin or a
software synthesizer, let's learn how to record audio and MIDI to Ardour.
Next: [RECORDING AUDIO](../../recording/recording-audio/)

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title = "Installing plugins"
description = "How to install plugins for Ardour"
chapter = false
weight = 6
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Ardour est déjà livré avec quelques greffons, mais il y a de fortes chances que
vous ayez besoin de plus que cela :
un compresseur ou une réverbération plus sophistiqués, un échantillonneur, etc.
un échantillonneur capable de jouer une bibliothèque d'orchestres de haute qualité,
un synthétiseur polyphonique, etc.
Ardour supporte plusieurs API de greffons :
- **Linux** : LADSPA, LV2, VST2.x, VST3
- **Windows** : LADSPA, LV2, VST2.x, VST3
- **macOS** : LADSPA, LV2, VST2.x, VST3, AU
Vous pouvez trouver une liste de plugins libres/libre recommandés
[en annexe](../../appendices/plugins/).
## Installation des plugins
### LADSPA et LV2
La plupart de ces greffons n'ont pas de version binaire pour Windows et macOS.
Alors sur ces systèmes, la plupart du temps vous aurez affaire à VST2, VST3, ou AU.
Sous Linux, LV2 est une option très populaire. Si vous n'installez que des
greffons provenant du dépôt de votre distribution, il n'y a rien d'autre à faire.
Ardour récupérera facilement les nouveaux greffons. Mais si vous compilez un greffons
à partir du code source, le script de compilation essaiera de copier
un dossier `nom du plugin.lv2` soit dans `/usr/local/lib/lv2` ou dans `~/.lv2`.
### VST2.x
Les greffons VST2 n'ont pas d'emplacement recommandé par le vendeur pour l'installation.
Ce que vous pouvez faire, c'est :
1. Décompresser tous vos plugins VST2.x dans le même dossier.
(Sous Linux, `~/.vst` est généralement suggéré).
2. Dans Ardour, allez dans _Editer > Préférences > greffons > VST_ et dans la section VST2.x,
cliquez sur le bouton **Editer** pour ajouter un nouveau chemin pour les greffons VST2.x.
3. Ajoutez le chemin vers le dossier que vous avez créé à l'étape 1.
Ardour vous demandera si vous si vous voulez rescanner les greffons. Dites "oui".
Cette approche fonctionne sur tous les systèmes d'exploitation pris en charge.
### VST3
La spécification VST3 a des chemins système codés en dur pour le stockage des plugins.
Sous Windows et macOS, la plupart du temps, vos greffons sont installés dans le bon dossier.
Tout ce que vous avez à faire est de re-scanner les dossiers de greffons.
Sous Linux, dans de nombreux cas, vous obtenez une archive ZIP avec un dossier
`plugin-name.vst3` à l'intérieur. Ce dossier doit aller dans `~/.vst3` ou,
si vous voulez que tous les utilisateurs de l'ordinateur y aient accès,
dans `/usr/local/lib/vst3`.
### AU
Ces plugins spécifiques à macOS sont installés à partir du DMG dans les bons dossiers.
Tout ce que vous avez à faire est de re-scanner ces dossiers.
## Re-scanner les dossiers pour les greffons installés
Lors de l'installation, il est recommandé de scanner à nouveau les greffons disponibles.
Cela se fait typiquement avec le _Plugin Manager_ (_Window > Plugin Manager_).
{{< figure src="en/plugin-manager.png" alt="Plugin manager" >}}
Si vous n'avez installé que de nouveaux greffons, il suffit de les découvrir.
Dans la barre latérale gauche du _Plugin Manager_, cliquez sur **Discover New/Updated**,
puis sur **Discover New/Updated**. Attendez que l'analyse se termine.
Si vous avez supprimé certains des greffons précédemment installés, il est préférable
de procéder à une nouvelle analyse complète.
Cliquez plutôt sur **Re-scanner tout** et attendez la fin de l'analyse.
## Poursuivre
Maintenant que vous savez ce qu'il faut faire si vous voulez installer un greffon d'effet
ou un synthétiseur logiciel, apprenons à enregistrer de l'audio et du MIDI dans Ardour.
Suivant : [ENREGISTREMENT AUDIO](../../recording/recording-audio/)

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title = "Overview of the Interface"
description = "Basics of Ardour's user interface"
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This section will give you a basic overview of Ardour's user interface.
We will take a look at shared elements of the interface, main windows, and focus
on the _Editor_ window and the _Mixer_ window. Later chapters will give more
detailed information on each feature listed here.
## Ardour's window
Here is a typical view of a project opened in Ardour:
![Main window of Ardour 7](en/ardour7-main-window-parts.png)
There are two larger parts of the user interface:
1. Static part that contains program's menu, transport panel, clocks, navigation
timeline, and various controls. We'll talk about it later on this page.
2. Dynamic part that changes depending on the currently opened window. We'll
talk about that on further pages covering every window (Editor, Mixer, Recorder,
Cue).
Let's get on with the static part and focus on features that will be of
immediate use to you.
## Program's menu
This is a fairly straightforward way of accessing features in any program, you
shouldn't have any problems navigating it. Session-specific commands are in the
_Session_ menu, everything that is related to playing and recording is in the
_Transport_ menu, most editing features are in _Edit_ and so on.
![Ardour program menu](en/ardour7-program-menu.png?width=50vw)
For convenience, item-specific features are duplicated in the right-click menu.
For instance, you'll find the contents of the _Region_ menu in the right-click
menu for a selected region (a clip that you can see on the timeline, see further
pages of the tutorial).
## Info Panel
This panel displays useful information about the currently opened project
(sampling rate, latency, DSP load) as well as how many estimated minutes of
recording are available given the current amount of free disk space.
![Ardour info panel](en/ardour7-info-panel.png?width=50vw)
If you right-click on it, you will see more options such as name of the current
project snapshot (more on that later) and wall clock (as seen on the screenshot
above).
## Transport panel
The transport panel allows easily navigating the project: going to session
start/end, playing entire session or just a selection (called 'range' in
Ardour), initiating recording.
![Transport Panel](en/ardour7-transport-panel.png?width=15vw)
The bottom of the panel has jog/shuttle controls for skipping backward and
forward at various speed while playing back the contents of the session.
In case you want the transport panel sans jog-shuttle controls somewhere else on
the screen, you can open a floating window called _Transport Controls_
(`Window > Transport Controls`). You can move this window anywhere on the
screen and resize it.
## Clocks
![Clocks](en/Ardour6_Clocks.png?width=30vw)
The main _clocks_ are located next to the transport controls. Clocks in Ardour
can display time in 4 different formats: Time Code, Bars:Beats, Minutes:Seconds,
and Samples. Right-click on the clock to select a format. You can also turn the
clock off. The reason for having two transport clocks is that it allows you to
see the playhead position in two different time units without having to change
any settings.
If you are working in a home studio where you use a footswitch to toggle
recording and you are a few meters away from the screen, you might want a bigger
clock. Use `Window > Big Clock` to open a clock window that will float on top of
all other windows and resize it to your liking.
![Big Clock](en/ardour7-big-clock.png?width=50vw)
Please see the [Setting Up the Timeline](../setting-up-the-timeline) chapter
for more details on the clocks.
## Navigation timeline
To the right of these two clocks you can see the _mini-timeline_, also called
_Navigation Timeline_. It's a convenient way to be reminded of cues and location
markers, especially when you are in the _Recorder_ window where the timeline
doesn't have those rulers.
![Navigation timeline](en/ardour7-navigation-timeline.png?width=40vw)
Please check the Ardour manual for more information on the
[mini-timeline](https://manual.ardour.org/ardours-interface/mini-timeline/).
## Switching Between Windows
To the right of the global toolbar, right after the _Navigation Timeline_ and
the master bus output meter, you'll find a convenient widget to switch between
major Ardour windows — Editor, Mixer, Recorder, and Cue.
![Window switcher](en/ardour7-window-switcher.png?width=6vw)
Alternatively, you can use **Ctrl+PageUp/PageDown** to cycle through windows,
much like in any web browser.
You can also use the **Alt+M** shortcut to switch between _Editor_ and _Mixer_
windows. If you are currently in either _Recorder_ or _Cue_ window, pressing
that shortcut for the first time will take you to the _Mixer_ window, and the
another one will take you to the _Editor_ window.
## Continuing
The next sections will explain basics of main Ardour's windows:
[Editor](editor-window) | [Mixer](mixer-window) | [Recorder](recorder-window) |
[Cue](cue-window)

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title = "Vue d'ensemble de l'interface"
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Cette section vous donnera un aperçu de base de l'interface utilisateur d'Ardour.
Nous examinerons les éléments communs de l'interface, les fenêtres principales et nous nous concentrerons sur les fenêtres _Editor_ et _Mixer_. Les chapitres suivants donneront des informations plus détaillées sur chacune des fonctionnalités énumérées ici.
## Fenêtre d'Ardour
Voici une vue typique d'un projet ouvert dans Ardour :
![Fenêtre principale d'Ardour 7](en/ardour7-main-window-parts.png)
L'interface utilisateur se compose de deux grandes parties :
1. Partie statique qui contient le menu du programme, le panneau de transport, les horloges, la navigation de la ligne temporelle et diverses commandes. Nous en parlerons plus tard dans cette page.
2. Partie dynamique qui change en fonction de la fenêtre actuellement ouverte. Nous en
Nous en parlerons sur d'autres pages couvrant chaque fenêtre (Editeur, Mixeur, Enregistreur,
Cue).
Passons maintenant à la partie statique et concentrons-nous sur les fonctionnalités qui vous seront utiles dans l'immédiat.
## Menu du programme
Il s'agit d'un moyen assez simple d'accéder à n'importe quelle fonctionnalité du programme. Vous ne devriez pas avoir de problèmes pour vous y retrouver. Les commandes spécifiques à la session se trouvent dans le menu _Session_, tout ce qui est lié à la lecture et à l'enregistrement se trouve dans le menu _Transport_, la plupart des fonctions d'édition se trouvent dans _Edit_ et ainsi de suite.
![Menu programme Ardour](en/ardour7-program-menu.png?width=50vw)
Pour des raisons de commodité, les fonctions spécifiques à un élément sont dupliquées dans le menu du clic droit. Par exemple, vous trouverez le contenu du menu _Region_ dans le menu contextuel pour une région sélectionnée (un clip que vous voyez sur la ligne de temps, voir les autres pages du tutoriel).
## Panneau Info
Ce panneau affiche des informations utiles sur le projet actuellement ouvert (taux d'échantillonnage, latence, charge du DSP) ainsi que le nombre de minutes d'enregistrement disponibles en fonction de l'espace disque restant.
![Panneau Info Ardour](en/ardour7-info-panel.png?width=50vw)
Si vous cliquez dessus avec le bouton droit de la souris, vous verrez apparaître d'autres options telles que le nom de l'instantané actuel du projet (nous y reviendrons plus tard) et l'horloge murale (comme on le voit sur la capture d'écran ci-dessus).
## Panneau Transport
Le panneau de transport permet de naviguer facilement dans le projet : aller au début/à la fin de la session, jouer toute la session ou seulement une sélection (appelée 'range' (plage) dans le logiciel), lancer l'enregistrement.
![Panneau Transport](en/ardour7-transport-panel.png?width=15vw)
Le bas du panneau comporte des commandes de type jog/shuttle permettant de sauter en arrière et en avant à différentes vitesses pendant la lecture du contenu de la session.
Si vous souhaitez que le panneau de transport sans les commandes jog-shuttle soit placé ailleurs sur l'écran, vous pouvez ouvrir une fenêtre flottante appelée _Contrôles de transport_.
(`Window > Transport Controls`). Vous pouvez déplacer cette fenêtre n'importe où sur l'écran
l'écran et la redimensionner.
## Horloges
![Horloges](en/Ardour6_Clocks.png?width=30vw)
Les horloges principales sont situées à côté des commandes de transport. Les horloges dans Ardour peuvent afficher l'heure dans 4 formats différents : Time Code, Bars:Beats, Minutes:Seconds et Échantillons. Faites un clic droit sur l'horloge pour sélectionner un format. Vous pouvez également désactiver l'horloge. La raison pour laquelle il existe deux horloges de transport est que cela vous permet de voir la position de la tête de lecture dans deux unités de temps différentes sans avoir à modifier les paramètres.
Si vous travaillez dans un home studio où vous utilisez un commutateur au pied pour basculer
l'enregistrement et que vous êtes à quelques mètres de l'écran, vous voudrez peut-être une plus grande horloge. Utilisez `Window > Big Clock` pour ouvrir une fenêtre d'horloge qui flottera au-dessus de toutes les autres fenêtres et redimensionnez-la à votre convenance.
![Grosse horloge](en/ardour7-big-clock.png?width=50vw)
Veuillez consulter le chapitre [Mise en place de la ligne de temps](../setting-up-the-timeline) pour plus de détails sur les horloges.
## Navigation dans la ligne de temps
A droite de ces deux horloges, vous pouvez voir la _mini-timeline_, également appelée _Temps de navigation_. C'est un moyen pratique de se rappeler les repères et les marqueurs d'emplacement, en particulier lorsque vous êtes dans la fenêtre _Recorder_ où la ligne de temps n'a pas ces règles.
![Navigation ligne de temps](en/ardour7-navigation-timeline.png?width=40vw)
Veuillez consulter le manuel Ardour pour plus d'informations sur la ![mini-timeline](https://manual.ardour.org/ardours-interface/mini-timeline/).
## Passage d'une fenêtre à l'autre
A droite de la barre d'outils globale, juste après la _Navigation Timeline_ et le compteur de sortie du bus maître, vous trouverez un widget pratique pour basculer entre les les principales fenêtres d'Ardour - Editor, Mixer, Recorder, et Cue.
![Commutateur de fenêtre](en/ardour7-window-switcher.png?width=6vw)
Vous pouvez également utiliser **Ctrl+PageUp/PageDown** pour faire défiler les fenêtres, comme dans n'importe quel navigateur Web.
Vous pouvez également utiliser le raccourci **Alt+M** pour basculer entre les fenêtres _Editor_ et _Mixer_. Si vous êtes actuellement dans la fenêtre _Recorder_ ou _Cue_, le fait d'appuyer sur ce raccourci pour la première fois vous amènera à la fenêtre _Mixer_, et une autre fois vous amènera à la fenêtre _Editor_.
## Poursuivre
Les sections suivantes expliquent les principes de base des fenêtres principales d'Ardour :
[Editor](editor-window) | [Mixer](mixer-window) | [Recorder](recorder-window) | [Cue](cue-window)

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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.
## User interface elements
The user interface follows the general approach expected by users of other
applications with this type of a feature set.
{{< figure src="en/ardour7-cue-window-sections.png" alt="" >}}
Here are the main UI parts:
1. A grid of clip launchers
2. A browser for reusable clips
3. Clip settings
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.
## Non-linear workflow
Working with clip launchers is commonly referred to as non-linear workflow,
because it is based on looped playback of pre-recorded clips where you don't
have to go from scene A to scene H directly.
You can set up your clip launchers in a way that a clip in scene _B_ will play
4 times, trigger a clip in scene _A_ that will play 2 times, then jump to clip
_C_ and play it 6 times, then go back to clip _B_, which will repeat the
entire cycle again and again until you stop it manually. And all that without
ever pressing the **Play** button in the transport to play a song from start
to finish.
## Combining linear and non-linear workflows
While you can play an entire song live without ever getting out of the _Cue_
window — especially when you have a hardware grid controller and all
pre-recorded clips you might need — you can integrate clip launchers into
regular linear workflow in the _Editor_ window. To do that, you need to add
markers in the _Cue Markers_ timeline.
Here is a simple example of that:
{{< figure src="en/ardour7-linear-and-nonlinear.png" alt="Combining linear and non-linear workflow" >}}
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.
## Continuing
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](../../creating-tracks-and-busses)

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La fenêtre _Cue_ fournit des outils pour mettre en place une performance en direct en utilisant Ardour. Nous n'allons pas utiliser _Cue_ dans ce tutoriel, il s'agit donc d'un rapide aperçu pour vous donner une idée de base de ce dont il s'agit.
## Éléments de l'interface utilisateur
L'interface utilisateur suit l'approche générale attendue par les utilisateurs d'autres d'autres applications ayant ce type de fonctionnalités.
{{< figure src="en/ardour7-cue-window-sections.png" alt="" >}}
Voici les principales parties de l'interface utilisateur :
1. Une grille de lanceurs de clips
2. Un navigateur pour les clips réutilisables
3. Les paramètres des clips
De gauche à droite, vous obtenez les pistes qui contiennent des clips (non visibles sur la timeline lorsque vous passez à la fenêtre _Editor_). De haut en bas, vous avez 8 rangées appelées scènes, de _A_ à _H_.
Le navigateur sur la droite permet de déposer facilement des clips préenregistrés sur des emplacements de clips pour les lire. Vous pouvez utiliser des clips audio et MIDI. Déposer un clip sur l'espace vide créera une nouvelle piste et remplira automatiquement le premier slot (scène _A_) avec ce clip.
Les paramètres ci-dessous permettent de personnaliser la façon dont un clip est lu, qu'il soit étiré pour correspondre à une certaine valeur de bpm, s'il déclenche la lecture d'un autre clip, etc.
## Flux de travail non linéaire
Le travail avec les lanceurs de clips est communément appelé flux de travail non linéaire, parce qu'il est basé sur la lecture en boucle de clips préenregistrés où il n'est pas nécessaire de passer directement de la scène A à la scène H.
Vous pouvez configurer vos lanceurs de clips de manière à ce qu'un clip dans la scène _B_ soit lu 4 fois, déclenche un clip dans la scène _A_ qui soit lu 2 fois, sauter ensuite sur un clip _C_ et le lit 6 fois puis revenir au clip _B_ qui répétera le cycle entier encore et encore jusqu'à ce que vous l'arrêtiez. Et tout cela sans sans jamais appuyer sur le bouton **Play** du transport pour lire un morceau du début à la fin.
## Combiner les flux de travail linéaires et non linéaires
Alors que vous pouvez jouer un morceau entier en direct sans jamais sortir de la fenêtre _Cue_ - surtout lorsque vous disposez d'un contrôleur de grille matériel et de tous les clips préenregistrés dont vous pourriez avoir besoin - vous pouvez intégrer des lanceurs de clips dans un flux de travail linéaire régulier dans la fenêtre _Editor_. Pour ce faire, vous devez ajouter des marqueurs _Cue Markers_ dans la ligne de temps .
Voici un exemple simple :
{{< figure src="en/ardour7-linear-and-nonlinear.png" alt="Combining linear and non-linear workflow" >}}
Ardour joue deux mesures d'une piste MIDI régulière qui utilise un instrument échantillonné, puis lance la scène _A_ à la mesure 3, la scène _B_ à la mesure 4, et arrête toutes les scènes à la mesure 5. Vous pouvez déclencher et arrêter des scènes à n'importe quel moment de votre projet, par ailleurs linéaire, autant de fois que vous le souhaitez.
## Poursuivre
Maintenant que vous êtes familiarisé avec les fenêtres principales d'Ardour, passons à la section suivante où nous créons une nouvelle piste et importons un fichier audio.
Suivant : [Création de pistes et bus](../../creating-tracks-and-busses)

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When you create a new session, Ardour opens an empty new window called the
_Editor_ window. The _Editor_ window is the most important window in Ardour, as
this is where you arrange track, import and edit media on the timeline, and
control plugin automation for creative effects and mixing.
Let's take a look at main parts of the _Editor_ window:
{{< figure src="en/ardour7-editor-window-sections.png" alt="Editor window sections" >}}
Here they are:
1. Editor-specific toolbar
2. Timeline
3. Tracks and busses
4. Project overview
5. Editor mixer strip
6. Regions, Tracks/Busses, Snapshots, Groups, Ranges, Marks
Let's overview them quickly.
## Editor-specific toolbar
### Edit Modes and Cursor Modes
![Edit Modes](en/ardour7-edit-modes-cursor-modes.png?width=30vw)
The _Edit Modes_ and _Cursor Modes_ controls define the behavior of the main
canvas and the different functions the cursor can have. There are three edit
modes in the drop-down menu: _Slide_, _Ripple_, and _Lock_. We will discuss them
in the [Editing sessions](../../../editing-sessions/) chapter.
To the right of the **Smart** button are the _Cursor Modes_:
- _Smart_ mode (**Y** shortcut)
- _Grab_ mode (**G** shortcut)
- _Range_ mode (**R** shortcut)
- _Cut_ mode (**C** shortcut)
- _Stretch_ mode (**T** shortcut)
- _Audition_ mode
- _Draw_ mode (**D** shortcut)
- _Internal Edit_ mode (**E** shortcut)
Most of them are discussed in the [Working With
Regions](../../../editing-sessions/working-with-regions/) section. The last two
are discussed in the **Using Automation** chapter.
The _Smart_ mode is actually a combination of _Grab_ mode and _Range_ mode. When
enabled, the mouse behaves as if it is in _Range_ mode in the upper half of a
region, and in _Grab_ mode in the lower half.
### Snap Options
The _Snap Options_ toolbar allows selecting visible grid units that affect
snapping when editing regions and, in case of MIDI regions, their contents.
![Snap](en/ardour7-snap-options-and-nudge-controls.png?width=25vw)
Here is a comparison between 1 bar grid, 1/8 note grid and 1/32 note grid:
{{< figure alt="1-bar grid, 1/8 note and 1/32 note grid" src="en/ardour7-snapping-1-bar-to-1-32-note.png" >}}
Please see the sections on
[Setting Up Time Signature](../../../editing-sessions/setting-up-time-signature/),
[Using Ranges](../../../editing-sessions/using-ranges/) and
[Working With Regions](../../../editing-sessions/working-with-regions/) for more
details.
### Track View and Zoom Options
The far right part of the toolbar has track view and zoom options.
![Zoom Options](en/ardour7-view-and-zoom-options.png?width=20vw)
Track view options allow selecting how many tracks to display at the same time,
and you can also shrink or expand the vertical zoom of selected tracks and
busses.
Zoom options allow incrementally zooming in and out, as well as zooming out to
show the entire project horizontally.
{{% notice tip %}}
Use the shortcuts **=** (the equal sign on your main keyboard) for zooming, and
**-** (the dash key on your main keyboard) for zooming out.
{{% /notice %}}
The drop-down menu controls the _zoom focus_. It defines the focus point of
zooming operations. Try zooming in and out with a different zoom focus each
time. For example, choosing _Playhead_ will cause zoom to behave in relation to
the position of the _Playhead_. _Mouse_ will take your current mouse position as
the reference, and so on.
## Timeline
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](../../setting-up-the-timeline/) and [Setting Up Time Signature](../../../editing-sessions/setting-up-time-signature/) chapters.
![Ardour Overview Rulers](en/ardour7-overview-rulers.png?width=40vw)
## Tracks and Busses
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](../../creating-tracks-and-busses/) chapter.
![Ardour Track](en/Ardour6_Track.png?width=30vw)
## Project Overview
This is a bird's-eye view of the entire session.
{{< figure src="en/ardour7-overview-panel.png" alt="Project overview" >}}
There are two major use cases here:
1. Navigating around the project. Just grab the rectangle and drag it around to
pan over the entire project.
2. Tweaking zoom and position of the visible part of the project. Grab the left
or the right side of the visible rectangle's border and drag it inwards or
outwards to zoom in or out respectively.
## Editor Mixer
The Editor Mixer is located at the left of the _Editor_ window. It displays the
mixer strip of the currently selected track or bus. It's mainly used to control
the volume, plugins, and routing for the track or the bus to which it
corresponds.
![Editor Mixer](en/Ardour6_Editor_Mixer.png?height=40vw)
You can toggle to view or hide the _Editor Mixer_ by clicking on the menu
`View > Show Editor Mixer` (**Shift + E** shortcut). This Mixer is covered in
the [Using the Mixer Strip](../mixing-sessions/the-mixer-strip/) chapter.
## Editor List
The space on the right of Ardour's _Editor_ window can have 7 different
functions, depending on which tab is currently selected: _Tracks & Busses_,
_Sources_, _Regions_, _Clips_, _Snapshots_, _Track & Bus Groups_, and _Ranges &
Marks_.
![Sources List](en/ardour7-sources-list.png?height=60vh)
- _Tracks & Busses_ provides an overview of all tracks and busses in the
project, including the invisible ones. This tab is covered in the
[Arranging Tracks](../../../editing-sessions/arranging-tracks/) chapter
- _Sources_ lists all files on the disk imported to the session.
- _Regions_ is a list of all takes in the session. You can reuse both sources
and regions by dragging them onto the canvas. You'll find more information on
regions in the [Working With
Regions](../../../editing-sessions/working-with-regions/) chapter.
- _Snapshots_ are versions of the same session saved at particular moments in
time, they are discussed in the [Saving a
Snapshot](../../../saving-sessions/saving-a-snapshot/) chapter.
- _Ranges and Marks_ is an overview of all markers in the project, with an easy
user interface to edit them.
## Continuing
Next up is the _Mixer_ window where you focus on making instruments stand out in
a song.
Next: [MIXER WINDOW](../mixer-window)

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Lorsque vous créez une nouvelle session, Ardour ouvre une nouvelle fenêtre vide appelée fenêtre _Editor_. La fenêtre _Editor_ est la fenêtre la plus importante dans Ardour, car c'est là que vous arrangez les pistes, importez et éditez les médias sur la ligne de temps, et contrôlez l'automation des greffons pour les effets créatifs et le mixage.
Voyons les principales parties de la fenêtre _Editor_ :
{{< figure src="en/ardour7-editor-window-sections.png" alt="Editor window sections" >}}
Les voici :
1. Barre d'outils spécifique à l'éditeur
2. Ligne de temps
3. Pistes et bus
4. Aperçu du projet
5. Bande de mixage de l'éditeur
6. Régions, Pistes/Bus, Instantanés, Groupes, Gammes, Marques
Passons rapidement en revue ces éléments.
## Barre d'outils spécifique à l'éditeur
### Modes d'édition et modes de curseur
![Modes d'édition](en/ardour7-edit-modes-cursor-modes.png?width=30vw)
Les contrôles _Modes d'édition_ et _Modes de curseur_ définissent le comportement du canevas principal et les différentes fonctions que peut avoir le curseur. Il existe trois modes d'édition dans le menu déroulant : _Slide_, _Ripple_ et _Lock_. Nous les aborderons dans le chapitre [Sessions d'édition](../../../editing-sessions/).
A droite du bouton **Smart** se trouvent les _Modes Curseur_ :
- Mode _Smart_ (raccourci **Y**)
- Mode _Grab_ (raccourci **G**)
- Mode _Range_ (**R** raccourci)
- Mode _Cut_ (**C** raccourci)
- Mode _Stretch_ (**T** raccourci)
- Mode Audio
- Mode Dessin (**D** raccourci)
- Mode d'édition interne (raccourci **E**)
La plupart d'entre eux sont abordés dans la section [Working With Régions](../../../editing-sessions/working-with-regions/). Les deux dernières sont abordés dans le chapitre **Utilisation de l'automatisation**.
Le mode _Smart_ est en fait une combinaison du mode _Grab_ et du mode _Range_. Lorsque activé, la souris se comporte comme si elle était en mode _Range_ dans la moitié supérieure d'une région, et en mode _Grab_ dans la moitié inférieure.
### Options d'accrochage
La barre d'outils _Options d'accrochage_ permet de sélectionner des unités de grille visibles qui affectent l'accrochage lors de l'édition des régions et, dans le cas des régions MIDI, de leur contenu.
![Accrochages](en/ardour7-snap-options-and-nudge-controls.png?width=25vw)
Voici une comparaison entre une grille 1 mesure, une grille 1/8 note et une grille 1/32 note :
{{< figure alt="1-bar grid, 1/8 note and 1/32 note grid" src="en/ardour7-snapping-1-bar-to-1-32-note.png" >}}
Voir [Configurer la signature temporelle](../../../editing-sessions/setting-up-time-signature/), [Utilisation des gammes](../../../editing-sessions/using-ranges/) et [Travailler avec des régions](../../../editing-sessions/working-with-regions/) pour plus de détails.
### Options de vue de la piste et de zoom
La partie la plus à droite de la barre d'outils comporte des options de visualisation des pistes et de zoom.
![Opions de zoom](en/ardour7-view-and-zoom-options.png?width=20vw)
Les options d'affichage des pistes permettent de sélectionner le nombre de pistes à afficher en même temps, et vous pouvez également réduire ou étendre le zoom vertical des pistes et des bus sélectionnés.
Les options de zoom permettent d'effectuer un zoom avant et arrière incrémentiel, ainsi qu'un zoom arrière pour pour afficher l'ensemble du projet à l'horizontale.
{{% notice tip %}}
Utilisez les raccourcis **=** (la touche égal de votre clavier) pour zoomer, et **-** (la touche moins de votre clavier) pour dézoomer.
{{% /notice %}}
Le menu déroulant contrôle la _focalisation du zoom_. Il définit le point de focalisation des opérations de zoom. Essayez d'effectuer des zooms avant et arrière avec un point focal différent à chaque fois. Par exemple, si vous choisissez _Playhead_, le zoom se comportera en fonction de la position de l'écran. la position de la _Playhead_. _Souris_ prendra la position actuelle de la souris comme référence, comme référence, et ainsi de suite.
## Ligne de temps
Cliquez avec le bouton droit de la souris sur les noms des règles et vous verrez apparaître un menu avec toutes les règles possibles à votre disposition. Vous pouvez décocher les règles dont vous n'avez pas besoin pour économiser de l'espace sur l'écran. Vous trouverez plus d'informations sur ces opérations dans les chapitres [Configuration de la ligne de temps](../../setting-up-the-timeline/) et [Configuration de la signature temporelle](../../../editing-sessions/setting-up-time-signature/).
![Vue d'ensemble des règles Ardour](en/ardour7-overview-rulers.png?width=40vw)
## Pistes et bus
Juste en dessous des règles se trouve l'affichage des voies et des bus. Dans l'exemple ci-dessous, vous pouvez voir un bus appelé _Master_ et une piste appelée _MyTrack_. La piste _MyTrack_ contient également une région qui représente un fichier audio avec un dessin de sa forme d'onde. Vous trouverez de plus amples informations sur les pistes et les bus dans le chapitre [Creation d'une piste ou d'un bus](../../creating-tracks-and-busses/).
![Pistes Ardour](en/Ardour6_Track.png?width=30vw)
## Vue d'ensemble du projet
Voici une vue d'ensemble de la session.
{{< figure src="en/ardour7-overview-panel.png" alt="Project overview" >}}
Il y a deux cas d'utilisation majeurs ici :
1. Naviguer dans le projet. Il suffit de saisir le rectangle et de le faire glisser autour pour parcourir l'ensemble du projet.
2. Ajuster le zoom et la position de la partie visible du projet. Saisissez le côté gauche ou le côté droit de la bordure du rectangle visible et faites-le glisser vers l'intérieur ou vers l'extérieur pour effectuer un zoom avant ou arrière respectivement.
## Mixeur de l'éditeur
Le mixeur de l'éditeur est situé à gauche de la fenêtre _Editor_. Il affiche la bande de mixage de la piste ou du bus actuellement sélectionné. Il est principalement utilisé pour contrôler le volume, les greffons et le routage de la piste ou du bus auquel il correspond.
![Mixeur de l'éditeur](en/Ardour6_Editor_Mixer.png?height=40vw)
Vous pouvez basculer pour afficher ou cacher l'_Editor Mixer_ en cliquant sur le menu `View > Show Editor Mixer` (raccourci **Shift + E**). Ce mixeur est traité dans chapitre [Utilisation de la bande de mixage](../mixing-sessions/the-mixer-strip/).
## Liste des éditeurs
L'espace à droite de la fenêtre _Editor_ d'Ardour peut avoir 7 fonctions différentes fonctions différentes, en fonction de l'onglet sélectionné : _Pistes et bus_, _Sources_, _Regions_, _Clips_, _Snapshots_, _Groupes de Pistes et de Bus_, et _Gammes et Marques_.
![Liste des sources](en/ardour7-sources-list.png?height=60vh)
- _Tracks & Busses_ fournit une vue d'ensemble de toutes les pistes et bus du projet, y compris ceux qui sont invisibles. Cet onglet est traité dans la section [Arrangement des pistes](../../../editing-sessions/arranging-tracks/).
- _Sources_ liste tous les fichiers du disque importés dans la session.
- _Regions_ est une liste de toutes les prises de la session. Vous pouvez réutiliser à la fois les sources et les régions en les faisant glisser sur le canevas. Vous trouverez de plus amples informations sur les régions dans la section [Travailler avec des régions](../../../editing-sessions/working-with-regions/).
- Les instantanés sont des versions de la même session enregistrées à des moments particuliers, elles sont abordées dans le chapitre [Enregistrer un instantané](../../../saving-sessions/saving-a-snapshot/).
- _Gammes et marques_ est une vue d'ensemble de tous les marqueurs du projet, avec une interface facile à utiliser pour les éditer.
## Poursuivre
La fenêtre _Mixer_ vous permet de faire ressortir les instruments dans un morceau.
Suivant : [FENÊTRE MIXER](../mixer-window)

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The main function of the _Mixer_ window is to display all the mixer strips for
the various tracks and busses side by side for easy reference and finetuning.
This window is mainly used during the _mixing_ process where you distribute
instruments across the virtual room and process them with effects to stand out
in a mix. It also provides access to plugins and routing features. Please see
the chapters on [understanding
routing](en/recording-audio/understanding-routing/),
[mixing](en/mixing-sessions/mixing-levels/), and [using
plugins](en/mixing-sessions/using-plugins/) for details.
The user interface of a virtual mixing console largely resembles that of a
physical mixing console where you have mixer channels with gain control and a
signal meter.
{{< figure src="en/mixer-window-sections.png" alt="Mixer Window" >}}
The _Mixer_ window has 3 larger sections:
1. Left sidebar with a list of favorite plugins, visibility control for mixer
strips, and a track/bus groups manager
2. Mixer strips for tracks and busses, including a master bus that the final
signal usually travels through
3. Optional _Monitor Section_ with features like _Pre/After Fade Listen_,
_Exclusive Solo_ etc.
## Continuing
In the next section we'll take a quick look at the _Recorder_ window that is
streamlined for launching and controlling the recording of multiple tracks at
the same time.
Next: [RECORDER WINDOW](../recorder-window)

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La principale fonction de la fenêtre _Mixer_ est d'afficher toutes les bandes de mixage pour les différentes pistes et bus, côte à côte, afin de faciliter la référence et le réglage. Cette fenêtre est principalement utilisée pendant le processus de _mixage_ où vous distribuez les instruments dans la salle virtuelle et les traitez avec des effets pour les faire ressortir dans un mixage. Elle permet également d'accéder aux greffons et aux fonctions de routage. Veuillez consulter les chapitres sur [la compréhension routage](en/recording-audio/understanding-routing/), [le mixage](en/mixing-sessions/mixing-levels/), et [l'utilisation des greffons](en/mixing-sessions/using-plugins/) pour plus de détails.
L'interface utilisateur d'une console de mixage virtuelle ressemble beaucoup à celle d'une console de mixage physique où vous disposez de canaux de mixage avec contrôle du gain et un indicateur de signal.
{{< figure src="en/mixer-window-sections.png" alt="Mixer Window" >}}
La fenêtre _Mixer_ comporte 3 grandes sections :
1. Une barre latérale gauche avec une liste de greffons favoris, un contrôle de visibilité pour les bandes de mixage et un gestionnaire de groupes de pistes/bus,
2. une bande de mixage pour les pistes et les bus, y compris un bus maître par lequel transite généralement le signal final,
3. une section moniteur optionnelle avec des fonctions comme l'écoute avant/après fondu, _Solitaire exclusif_, etc.
## Poursuivre
Dans la prochaine section, nous allons jeter un coup d'œil rapide à la fenêtre _Recorder_ qui est rationalisée pour lancer et contrôler l'enregistrement de plusieurs pistes en même temps.
Suivant : [FENÊTRE ENREGISTREUR](../recorder-window)

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title = "Recorder window"
description = "Basics of Ardour's recorder window"
chapter = false
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The _Recorder_ window is streamlined for one particular use case: recording to multiple tracks. The interface is pointedly simplified to remove all distraction.
{{< figure src="en/ardour7-recorder-window-sections.png" alt="Sections of the Recorder window" >}}
There are three major sections in the Recorder window as outlined above:
1. Window-specific toolbar
2. The timeline and the tracks representation
3. Inputs control
## Window-specific toolbar
The toolbar has specific commands and information: arming and disarming all
tracks for recording, discarding the last take, automatically switching all
inputs for signal monitoring, estimation of the time you can record to the disk
until it's out of free space etc.
{{< figure src="en/ardour7-recorder-toolbar.png" alt="Recorder toolbar" >}}
## The timeline and the tracks representation
The timeline only displays timecode, and the tracks view has no waveform
rendering at all. This helps with the use of system resources when recording
dozens of tracks simultaneously.
{{< figure src="en/ardour7-recorder-timeline-tracks.png" alt="Recorder timeline and tracks" >}}
## Inputs control
The bottom part of the window is where you control inputs: you can both monitor
input volume and rename physical ports for convenience. To do the latter, just
click on the input port name and give a new name.
{{< figure src="en/ardour7-recorder-input-renaming-dialog.png" alt="" >}}
E.g. if you have two mic inputs, one for vocal and one for guitar, naming them
accordingly will simplify picking the right one for the right track. This will
be even more convenient for audio interfaces with e.g. 18 inputs.
{{< figure src="en/ardour7-recorder-input-new-names.png" alt="" >}}
## Continuing
Finally, in the next section we'll take a quick look at the _Cue_ window that is
new in Ardour 7.0 and provides a familiar user interface to launching audio and
MIDI clips.
Next: [CUE WINDOW](../cue-window)

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title = "Fenêtre Enregistreur"
description = "Base de la fenêtre d'enregistreur Ardour"
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La fenêtre _Enregistreur_ est rationalisée pour un cas d'utilisation particulier : l'enregistrement sur plusieurs pistes. L'interface est volontairement simplifiée pour éliminer toute distraction.
{{< figure src="en/ardour7-recorder-window-sections.png" alt="Sections de la fenêtre Enregistreur" >}}
La fenêtre de l'enregistreur comporte trois sections principales, comme indiqué ci-dessus :
1. la barre d'outils spécifique à la fenêtre,
2. la ligne de temps et la représentation des pistes,
3. le contrôle des entrées.
## Barre d'outils spécifique à la fenêtre
La barre d'outils comporte des commandes et des informations spécifiques : armer et désarmer toutes les pistes pour l'enregistrement, suppression de la dernière prise, commutation automatique de toutes les entrées pour le contrôle du signal, estimation du temps d'enregistrement restant sur le disque, etc.
{{< figure src="en/ardour7-recorder-toolbar.png" alt="Barre d'outils de l'enregistreur" >}}
## La ligne de temps et la représentation des pistes
La ligne de temps n'affiche que le code temporel, et la vue des pistes n'a aucun rendu de forme d'onde. Cela permet de mieux utiliser les ressources du système lors de l'enregistrement de dizaines de pistes simultanément.
{{< figure src="en/ardour7-recorder-timeline-tracks.png" alt="Ligne de temps et pistes de l'enregistreur" >}}
## Contrôle des entrées
La partie inférieure de la fenêtre est l'endroit où vous contrôlez les entrées : vous pouvez à la fois surveiller volume d'entrée et renommer les ports physiques pour plus de commodité. Pour ce faire, il suffit de cliquer sur le nom du port d'entrée et lui donner un nouveau nom.
{{< figure src="en/ardour7-recorder-input-renaming-dialog.png" alt="" >}}
Par exemple, si vous avez deux entrées micro, une pour la voix et une pour la guitare, les nommer en conséquence simplifiera le choix de la bonne entrée. les nommer en conséquence simplifiera le choix de la bonne entrée pour la bonne piste. Cela sera encore plus pratique pour les interfaces audio comportant 18 entrées.
{{< figure src="en/ardour7-recorder-input-new-names.png" alt="" >}}
## Poursuivre
Enfin, dans la prochaine section, nous jetterons un coup d'oeil rapide à la fenêtre _Cue_, qui est nouvelle dans Ardour 7.0 et qui fournit une interface utilisateur familière pour lancer des clips audio et clips MIDI.
Suivante : [FENÊTRE CUE](../cue-window)

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Once you import some audio files to Ardour, play them back and start
familiarizing yourself with the user interface, you might want finetuning
various parts of the user interface for your needs. The timeline settings are
one of the obvious options there, because what you want to see on the timeline
largely depends on the kind of material you work on.
Users creating audio plays, documentaries, reportages or soundscapes may wish
to use minutes and seconds for units, while those recording bands or producing
electronic music will most likely use bars and beats. Video producers will
find a frames-per-second timecode handy, while those wishing for extreme
precision may even want to use samples. All of these can be viewed in Ardour
and used as a means to organize your regions and edits.
Let's talk about setting up clocks, snapping, and timeline rulers.
## Primary and Secondary Clocks
There are two clocks near the top of the _Editor_ window which can display the
time in a number of formats: *Timecode*, *Bars:Beats*, *Minutes:Seconds*, and
*Samples*. Right-click to change the format of each of the two clocks.
![Clock Units](en/Ardour6_Clock_Units.png?width=30vw)
These are called the transport clocks. The left one is the primary transport
clock and the right one is the secondary transport clock. The advantage of
having two transport clocks is that you see the playhead position in two
different time units without having to change any settings.
If you never need the second clock, you can disable it entirely. Go to
`Edit > Preferences > Appearance > Toolbar` and disable the _Display Secondary
Clock_ checkbox.
Please check the Ardour manual for more information on
[clocks](http://manual.ardour.org/ardours-interface/using-ardour-clock-displays/).
## Snap Modes
Snapping settings are located just below the clocks to the right. They control
the _quantization_ of the time grid, i.e., to which units the timeline grid is
divided and to what extent audio regions and MIDI notes get snapped when
snapping is enabled. E.g. you can snap to whole seconds when you drag an audio
region around or you could snap to a 1/16 note when creating or editing MIDI
notes.
There is one global switch, _Snap_, and then a drop-down list of grid
quantization presets: _Bar_, _1/4 note_, _1/8 note_ etc., _Triplets_,
_Timecode_, _Minutes and Seconds_, _CD frames_, and more.
![Snap](en/Ardour6_Snap_Options_and_Nudge_Controls.png?width=20vw)
When _No Grid_ quantization preset is selected, there is no grid displayed on
the tracks/busses canvas. In that case, with snapping off, nothing will snap.
And with snapping enabled, regions and notes will only snap to location markers.
## Timeline
The _timeline_ is located below the snapping settings, just above the main
canvas. By right-clicking on the timeline labels (i.e., right-click on the
left-side area where the words "Timecode, Bar:Beats, Meter" etc are displayed),
you can set the check boxes to show or hide the different types of time
information.
{{< figure alt="Timeline" src="en/ardour7-timeline-rulers.png" >}}
**Minutes/Seconds**
: To view minutes and seconds on the timeline, right-click the timeline labels
and select _Mins:Secs_.
**Bars/Beats**
: To view bars and beats on the timeline, right-click the timeline and
select _Bars & Beats_.
: It is possible to set a time signature and tempo for the entire Ardour
session, as well as to change them at different points in the same
session. For more information on this, please see the _Setting Up The
Time Signature_ chapter.
**Timecode**
: To work with SMPTE video timecode, first you need to set the _timecode
fps_ (frames per second). This can be found in the timecode tab of the
_Session Properties_ window (`Session > Properties` in menu or the **Alt+O**
shortcut).
{{< figure alt="Timecode" src="en/Ardour6_Timecode.png" >}}
Once you have done that, make sure you make the _Timecode_ ruler visible
by right-clicking in the timeline and checking the _Timecode_ box.
## Continuing
Now that you've set up the timeline, continue on to the chapter on
installing plugins. This is will come in handy in the next chapter when
you learn how to record MIDI.
Next: [INSTALLING PLUGINS](../installing-plugins)

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Une fois que vous aurez importé quelques fichiers audio dans Ardour, que vous les aurez lus et que vous vous serez familiarisé avec l'interface utilisateur, vous voudrez peut-être affiner les réglages de différentes parties de l'interface utilisateur en fonction de vos besoins. Les paramètres de la ligne de temps sont l'une des options les plus évidentes, car ce que vous voulez voir sur la ligne de temps dépend largement du type de matériel sur lequel vous travaillez.
Les utilisateurs créant des pièces de théâtre audio, des documentaires, des reportages ou des paysages sonores peuvent souhaiter utiliser les minutes et les secondes comme unités, tandis que ceux qui enregistrent des groupes ou produisent de la musique musique électronique utiliseront probablement des mesures et des battements. Les producteurs vidéo trouveront un timecode à l'image par seconde pratique, tandis que ceux qui souhaitent une précision extrême peuvent même utiliser des échantillons. Tous ces éléments peuvent être visualisés dans Ardour et utilisés comme moyen d'organiser vos régions et vos montages.
Parlons maintenant de la configuration des horloges, du snapping et des règles de la ligne de temps.
## Horloges primaires et secondaires
Il y a deux horloges en haut de la fenêtre _Editor_ qui peuvent afficher l'heure dans un certain nombre de formats : *Timecode*, *Bars:Beats*, *Minutes:Seconds*, et *Echantillons*. Faites un clic droit pour changer le format de chacune des deux horloges.
![Unités d'horloge](en/Ardour6_Clock_Units.png?width=30vw)
Ces horloges sont appelées les horloges de transport. Celle de gauche est l'horloge de transport primaire et celle de droite l'horloge de transport secondaire. L'avantage d'avoir deux horloges de transport est que vous pouvez voir la position de la tête de lecture dans deux unités de temps différentes sans avoir à modifier les paramètres.
Si vous n'avez jamais besoin de la deuxième horloge, vous pouvez la désactiver complètement. Allez dans `Edit > Preferences > Appearance > Toolbar` et désactivez la case _Display Secondary Clock_.
Veuillez consulter le manuel Ardour pour plus d'informations sur les horloges.
[les horloges](http://manual.ardour.org/ardours-interface/using-ardour-clock-displays/).
## Modes d'accrochage
Les paramètres d'accrochage sont situés juste en dessous des horloges, à droite. Ils contrôlent la _quantification_ de la grille temporelle, c'est-à-dire les unités de la grille temporelle qui sont divisée et dans quelle mesure les régions audio et les notes MIDI sont accrochées lorsque l'accrochage est activé. Par exemple, vous pouvez faire un snap sur des secondes entières lorsque vous faites glisser une région audio ou vous pouvez faire un accrochage sur une note 1/16 lors de la création ou de l'édition de notes MIDI.
Il existe un commutateur global, _Snap_, puis une liste déroulante de presets de quantification de la grille de quantification de grille : _Bar_, _1/4 note_, _1/8 note_ etc, _Timecode_, _Minutes et Secondes_, _CAD frames_, et plus encore.
![Snap](en/Ardour6_Snap_Options_et_Contrôles_de_blocage.png?width=20vw)
Lorsque le préréglage de quantification _No Grid_ est sélectionné, aucune grille ne s'affiche sur le canevas des pistes/bus. Dans ce cas, avec le snapping désactivé, rien ne s'accrochera. Et avec le snapping activé, les régions et les notes ne s'accrocheront qu'aux marqueurs d'emplacement.
## Ligne de temps
La _timeline_ est située sous les paramètres d'accrochage, juste au-dessus du canevas principal.
principal. En cliquant avec le bouton droit de la souris sur les étiquettes de la timeline (en cliquant avec le bouton droit de la souris sur la zone de gauche où les mots "Timecode, Bar:Beats, Meter" etc. sont affichés), vous pouvez cocher les cases pour afficher ou masquer les différents types d'informations temporelles.
{{< figure alt="Timeline" src="en/ardour7-timeline-rulers.png" >}}
**Minutes/Secondes**
: Pour afficher les minutes et les secondes sur la ligne de temps, faites un clic droit sur les étiquettes de la ligne de temps et sélectionnez _Mins:Secs_.
**Mesures/Battements**
: Pour afficher les mesures et les battements sur la ligne de temps, cliquez avec le bouton droit de la souris sur la ligne de temps et sélectionnez _Bars & Beats_.
: Il est possible de définir une signature temporelle et un tempo pour l'ensemble de la session Ardour. Ardour, ainsi que de les modifier à différents moments de la même session. Pour plus d'informations à ce sujet, veuillez consulter le chapitre _Configuration de la signature temporelle_.
Time Signature_.
**Timecode**
: Pour travailler avec le timecode vidéo SMPTE, vous devez d'abord définir le _timecode fps_ (frames per second). Ceci peut être trouvé dans l'onglet timecode de la fenêtre _Session Properties_ (`Session > Properties` dans le menu ou le raccourci **Alt+O** raccourci).
{{< figure alt="Timecode" src="fr/Ardour6_Timecode.png" >}}
Une fois que vous avez fait cela, assurez-vous de rendre la règle _Timecode_ visible en cliquant avec le bouton droit de la souris sur la timeline et en cochant la case _Timecode_.
## Poursuivre
Maintenant que vous avez configuré la ligne de temps, passez au chapitre sur l'installation des greffons. Cela vous sera utile dans le prochain chapitre lorsque vous vous apprendrez à enregistrer le MIDI.
Suivant : [INSTALLER DES GREFFONS](../installing-plugins)

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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.
## First-launch wizard
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.
![GUI and font scaling](en/ardour7-gui-and-font-scaling.png?width=40vw)
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.
## Create new session
Once you get past the first-launch wizard, Ardour will suggest you create a
new _session_ from one of a few available templates.
![New session templates](en/ardour7-new-session-templates.png?width=25vw)
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.
{{% notice tip %}}
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.
{{% /notice %}}
## Choosing an audio system and its settings
At the next step, you will need to choose and configure the _audio system_.
On Linux, you have multiple audio systems (or _backends_) available. _ALSA_
is suggested by default. It is currently the recommended way to use Ardour
in production. With ALSA, there are no convenience wrappers or
abstractions. You connect to physical audio and MIDI ports directly. This
means Ardour will take over the audio interface of your choice and won't
share it with any other applications. As long as Ardour is running, any
other desktop applications you are running too won't be able to connect to
the audio interface and play any sound.
![Audio/MIDI setup](en/ardour7-alsa-backend-settings.png?width=40vw)
The _PulseAudio_ backend currently only supports playback. This means you won't
be able to record any audio as long as you use PulseAudio, but you can edit,
mix, and export in e.g. Bluetooth headphones on the go. It's also the most
convenient option when you want to follow a mixing or mastering tutorial on e.g.
YouTube and be able to listen to the output from Ardour.
![PulseAudio settings](en/ardour7-pulse-audio-settings.png?width=40vw)
Finally, there's JACK audio backend. It is designed following a client-server
architecture pattern. JACK captures all physical ports of an audio interface and
routes signal between its clients (e.g. a digital audio workstation, a software
synthesizer, a drum sequencer etc.) and various ports. It is available on both
Linux, Windows, and macOS.
Today, the use of JACK audio server is discouraged by Ardour developers except
for particular use cases like sophisticated signal routing. For simple
multichannel recording your user experience will be vastly better when relying
on native audio engine available in your operating system, like ALSA on Linux
and CoreAudio on macOS. If you absolutely need JACK, it's best to start and
control it from a separate program like
[Qjackctl](https://qjackctl.sourceforge.io/) or
[Cadence](https://kx.studio/Applications:Cadence).
Most supported audio systems have a few common settings:
- _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.
- _Buffer Size_ — especially for external USB audio, try picking an option that
results in a latency that is a multiple of 1ms (4ms, 6ms etc.) to produce less glitches.
- _Periods_ — it's often suggested to use 3 for an external USB audio interface,
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:
![Main Ardour window, empty session](en/ardour7-ardour-empty-session.png)
## Continuing
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](../overview-of-the-interface)

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title = "Démarrer Ardour"
description = "Lancement d'Ardour sur Ubuntu Linux, premiers pas"
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Ardour supporte à la fois Linux, Windows et macOS. Il y a très peu de différence dans la façon dont il fonctionne sur tous ces systèmes d'exploitation. Ainsi, bien que ce tutoriel suppose l'utilisation d'Ubuntu Linux, vous pouvez vous attendre à ce qu'il en soit de même sur d'autres systèmes d'exploitation et d'autres versions de Linux.
## Assistant de premier lancement
Lorsque vous démarrez Ardour pour la première fois, il vous posera quelques questions pour effectuer une personnalisation de base :
- interface utilisateur et échelle de police (si vous avez un écran HiDPI),
- dossier par défaut où les nouvelles sessions seront créées,
- méthode préférée pour surveiller le signal enregistré, etc.
- pour surveiller le signal en cours d'enregistrement, etc.
![IGU et mise à l'echelle des polices](en/ardour7-gui-and-font-scaling.png?width=40vw)
Cette boîte de dialogue ne sera plus jamais affichée, sauf si vous effacez tous les paramètres. Vous pouvez modifier toutes les préférences que vous y avez définies à tout moment, plus tard dans la boite de dialogue _Preferences_.
## Créer une nouvelle session
Une fois que vous avez passé l'assistant de démarrage, Ardour vous propose de créer une nouvelle _session_ à partir d'un des quelques modèles disponibles.
![Modèles de nouvelle session](en/ardour7-new-session-templates.png?width=25vw)
Une session englobe tout le matériel dont vous disposez :
- les pistes avec les données audio et MIDI,
- les effets associés aux pistes et aux bus, etc.
Ainsi, une session est un fichier de projet à partir duquel vous pouvez créer un fichier audio mono ou stéréo à livrer à un client, à utiliser dans une vidéo ou à télécharger sur un service de streaming.
Pour des raisons de simplicité, prenons une session vide comme indiqué ci-dessus.
Ardour vous proposera toujours de stocker une nouvelle session dans le dossier par défaut que vous avez défini à l'étape précédente.
Lorsque vous donnez un nom à une nouvelle session, évitez d'utiliser d'autres caractères que des que les lettres et les chiffres, comme les espaces blancs, les lettres accentuées, les `!@#$%*()+`, les points, les virgules, etc. Utilisez des tirets ou des caractères de soulignement si vous le souhaitez. Par exemple, au lieu de "Ma Grande Session !", préférez "Ma_Grande_Session", ou encore "MaGrandeSession", ou "ma-grande-session". Au lieu de "Açaí", écrivez "Acai" (sans lettres accentuées), etc.
Nommez votre nouveau projet et cliquez sur **Ouvrir**.
Une fois que vous avez créé votre session Ardour, ne renommez _pas_ manuellement les dossiers ou fichiers qui appartiennent à la session, sinon, Ardour ne parviendra pas à localiser les fichiers contenus dans ces dossiers et vous demandera de les pointer.
{{% notice tip %}}
Une fois que vous avez sauvegardé au moins une session, la boîte de dialogue _Session Setup_ se présente différemment se présentera différemment :
il y aura une liste des sessions récemment ouvertes et un moyen de ouvrir une session existante qui ne figure pas dans cette liste.
{{% /notice %}}
## Choix d'un système audio et de ses paramètres
À l'étape suivante, vous devrez choisir et configurer le _système audio_.
Sous Linux, vous disposez de plusieurs systèmes audio (ou _backends_). Le système _ALSA_ est proposé par défaut. C'est actuellement la façon recommandée d'utiliser Ardour en production. Avec ALSA, il n'y a pas d'enveloppements ou d'abstractions abstractions. Vous vous connectez directement aux ports physiques audio et MIDI. Cela signifie qu'Ardour prendra le contrôle de l'interface audio de votre choix et ne la et ne la partagera pas avec d'autres applications. Tant qu'Ardour fonctionne, toutes les applications de bureau que vous exécutez ne pourront pas se connecter à l'interface audio et jouer un son.
![Configuration audio/MIDI](en/ardour7-alsa-backend-settings.png?width=40vw)
Le backend _PulseAudio_ ne supporte actuellement que la lecture. Cela signifie que vous ne serez pas en mesure d'enregistrer de l'audio tant que vous utiliserez PulseAudio, mais vous pourrez éditer, mixer et exporter dans un casque Bluetooth par exemple. C'est aussi l'option la plus la plus pratique lorsque vous souhaitez suivre un tutoriel de mixage ou de mastering sur YouTube et être capable d'écouter la sortie d'Ardour.
![Configuration PulseAudio](en/ardour7-pulse-audio-settings.png?width=40vw)
Enfin, il y a le backend audio JACK. Il est conçu selon un modèle d'architecture client-serveur. JACK capture tous les ports physiques d'une interface audio et achemine le signal entre ses clients (par exemple, une station de travail audio numérique, un synthétiseur logiciel, un séquenceur de batterie, etc.) et les différents ports. Il est disponible à la fois sur Linux, Windows et macOS.
Aujourd'hui, l'utilisation du serveur audio JACK est découragée par les développeurs d'Ardour sauf pour des cas d'utilisation particuliers comme le routage sophistiqué du signal. Pour un simple enregistrement multicanal, l'expérience de l'utilisateur sera bien meilleure si vous utilisez sur le moteur audio natif disponible dans votre système d'exploitation, comme ALSA sur Linux et CoreAudio sur macOS. Si vous avez absolument besoin de JACK, il est préférable de le démarrer et de le contrôler à partir d'un programme distinct comme le logiciel [Qjackctl](https://qjackctl.sourceforge.io/) ou [Cadence](https://kx.studio/Applications:Cadence).
La plupart des systèmes audio pris en charge ont quelques paramètres communs :
- _Périphérique_ — soit votre carte son intégrée, soit une carte son externe si vous en avez une (telle qu'une interface USB).
- _Taux d'échantillonnage_ - 48K ou 44.1K sont des choix courants.
- _Taille du tampon_ - en particulier pour l'audio USB externe, essayez de choisir une option qui entraîne une latence multiple de 1ms (4ms, 6ms, etc.) afin de produire moins de parasites.
- _Periodes_ - il est souvent suggéré d'utiliser 3 pour une interface audio USB externe, mais vous devriez voir si vous pouvez obtenir un multiple de 1ms avec 3 ou si vous devriez revenir à 2.
Une fois que vous avez choisi, configuré et démarré le backend audio/MIDI, Ardour va essayer de découvrir les nouveaux greffons, et vous serez accueilli par la fenêtre principale d'Ardour :
![Fenêtre principale d'Ardour, session vide](en/ardour7-ardour-empty-session.png)
## Poursuivre
Dans le chapitre suivant, vous allez vous familiariser avec l'interface utilisateur d'Ardour et ses fenêtres principales :
- Éditeur,
- mixeur,
- enregistreur,
- et Cue.
Next: [VUE D'ENSEMBLE DE L'INTERFACE](../overview-of-the-interface)

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### Chapter 1
# Introduction
Basic conventions in the tutorial and an introduction to digital audio
Contents:
1. [Conventions](conventions/)
2. [What is digital audio?](what-is-digital-audio/)

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title = "Introduction"
chapter = true
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### Chapitre 1
# Introduction
Conventions de base dans le tutoriel et introduction à l'audio numérique
Contenu :
1. [Conventions](conventions/)
2. [Qu'est-ce que l'audio numérique ?](what-is-digital-audio/)

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title = "Введение"
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### Глава 1
# Введение
Общие соглашения и введение в цифровой звук
Содержание:
1. [Соглашения](conventions/)
2. [Что такое цифровой звук?](what-is-digital-audio/)

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title = "Conventions"
description = "Conventions used in this Ardour tutorial"
chapter = false
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Below are some basic conventions we have adopted in this manual.
## Mouse Clicks
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
button mouse click. A **right-click** refers to the right-hand button on
the mouse. A **Ctrl**, **Cmd** or **Apple** key pressed with a mouse
click is not the same and may in fact give a different result.
## Key Names & Combinations
The names of keys to be pressed are written in quotation marks and
italicised, like this:
**Ctrl**, **Return**, **Backspace**, **R**
Key combinations are written like this:
**Ctrl + X**
or
**Apple + X**
## Menu Navigation
Many functions are accessible in Ardour by clicking on the various menu
items. Additionally, you may need to access functions through the menus
of macOS, Ubuntu or other Linux distributions. To illustrate this, we use
two conventions: the first is illustration via screenshots (images), and
the second is through a syntax like this :
`View > Zoom > Zoom to Session`
The above example is shorthand for "first click on the _View_ menu, then
choose the _Zoom_ item of the list, and then click on _Zoom to Session_".
## Glossary Words
This tutorial does not assume any previous knowledge of computers or
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.

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Vous trouverez ci-dessous quelques conventions de base que nous avons adoptées dans ce manuel.
## Clics de souris
Ardour nécessite une souris à deux boutons pour fonctionner (ou son émulation sur votre système). Un **clic** est supposé être un clic sur le bouton gauche de la souris. Un **clic droit** correspond au bouton droit de la souris.
Une touche **Ctrl**, **Cmd** ou **Pomme** enfoncée avec un clic de souris n'est pas la même chose et peut donner un résultat différent.
## Noms des touches & combinaisons
Les noms des touches qui doivent être pressées sont écrites entre guillemets et en italiques, comme ceci :
**Ctrl**, **Return**, **Backspace**, **R**
Les combinaisons de touches sont écrites comme ceci :
**Ctrl + X**
ou
**Pomme + X**
## Navigation dans les menus
De nombreuses fonctions sont accessibles dans Ardour en cliquant sur les différents éléments de menu.
En outre, vous pouvez avoir besoin d'accéder à des fonctions par le biais des menus de macOS, Ubuntu ou d'autres distributions Linux. Pour illustrer cela, nous utilisons deux conventions : la première est l'illustration via des captures d'écran (images), et la seconde est par le biais d'une syntaxe comme celle-ci :
`Vue > Zoom > Zoom sur la session`
L'exemple ci-dessus est une abréviation de "cliquez d'abord sur le menu _Vue_, puis choisissez l'élément _Zoom_ de la liste, puis cliquez sur _Zoom sur la session_".
## Mots du glossaire
Ce tutoriel ne suppose aucune connaissance préalable des ordinateurs ou de l'édition audio, aussi les termes qui pourraient être inconnus du lecteur général sont écrits en majuscules tout au long de ce manuel, et sont listés en **caractères gras** la première fois qu'ils sont utilisés dans un chapitre. Les mots du glossaire sont également définis en ligne la première fois qu'ils apparaissent dans le manuel, et sont sont inclus dans le glossaire à la fin de ce tutoriel.

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description = "What is digital audio?"
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**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.
## Frequency and Gain
Imagine a loudspeaker. To move the air in front of it and make sound,
the membrane of the speaker must vibrate from its center position (at
rest) backwards and forwards.
The number of times the membrane vibrates each second determines the
_frequency_ (the note, or _pitch_) of the sound you hear. The distance the
membrane travels from its resting point determines the _amplitude_ (the
volume, or _loudness_) of the sound. Normally, we measure frequency in
_Hertz_ (Hz) and amplitude in _decibels_ (dB).
A microphone works like a loudspeaker in reverse: vibrations in the air
cause its membrane to vibrate. The microphone turns these acoustic
vibrations into an electrical current. If you plug this microphone into a
computer's sound card and start recording, the sound card makes thousands
of measurements of this electric current per second and records them as
numbers. The number of _samples_ (i.e. measurements) made per second is
called the _sample rate_, and the number of possible values each sample can
have is called the _bit depth_. The combination of sample rate and bit
depth indicates how closely the digital signal can reproduce the sound it
has recorded.
## Peaks and Clipping
When Ardour displays the samples which have been recorded, they appear as
the _waveform_ we see below. The center horizontal line indicates the
membrane of the speaker at rest, and the _peaks_ of the waveform indicate
the maximum _amplitude_.
{{< figure src="en/Ardour4_Digital_Audio_Waveform.png" alt="Waveform" >}}
If we take a waveform and increase its amplitude a lot, some of the peaks
may now fall outside the range that the computer can represent digitally.
The computer's inability to represent peaks outside the range of amplitude
is called _clipping_, which results in a permanent loss of digital
information, as well as a change in the sound quality which is recognizable
as _distortion_. Ardour marks clipped peaks with the color red, as can be
seen in the image below.
{{< figure src="en/Ardour4_Digital_Audio_Clipping2.png" alt="Clipping" >}}
In the image above, one can also see the _mixer strip_ on the far left,
which gives a running measurement of the peaks, as well as an indication
at the top of the _peak meters_ showing the maximum peak so far. The red
number indicates clipping has occurred.
{{% notice tip %}}
Clipping often can happen at the time of recording if you set your
microphone levels too high.
{{% /notice %}}
The range of decibels between the region's maximum peak and the clipping
point is commonly referred to as _headroom_, and common recording practice
is to keep approximately 3 to 6 decibels of headroom between the maximum of
your signal and the clipping point, with the clipping point itself being
represented as 0 dB (zero decibels). In other words, an audio region with a
comfortable amount of Headroom would have its maximum peaks between 6 dB
and 3 dB.
Also, because the peaks of audio signals add together, care must be taken when
_mixing_ several sources together to keep the combined signals from clipping.
## Sample Rate and Bit Depth
To make audio playable on a compact disc, for example, the computer must
generate 44,100 samples per second. The sample rate determines the highest
frequency which can be recorded or played back by the computer. A sampling
rate of 44.1 kHz means that the highest frequency which can be represented is
just under 22.05 kHz. Since normal human hearing lies within the range of
approximately 20 Hz to 20 kHz, this is commonly accepted as a reasonable
sample rate. Other commonly used sample rates include 48 kHz (e.g.
multi-effects pedals) or 96 kHz (DVD audio).
Each sample is recorded as a 16-bit number. One _bit_ is a piece of
information which is either 0 or 1. If there are 16 bits together to make one
sample, then there are 2^16 (65,536) possible values for each sample.
Thus, we can say that CD-quality audio has a sample rate of 44.1 kHz and
a _bit depth_ of 16 bits. Professional music recordings are usually mixed
using 24 bits to preserve the highest amount of detail before being mixed down
to 16 bits for CD. Older computer games have a distinctively rough sound,
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).
## Continuing
In the next chapter, we'll launch Ardour on Ubuntu Linux and learn the basics
of the user interface.
Next: [STARTING ARDOUR](../../getting-started/starting-ardour/).

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description = "Qu'est-ce que l'audio numérique ?"
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**Ardour** est une station de travail audio numérique (STAN). Avant de l'utiliser pour enregistrer et éditer du son, il peut être utile de revoir le fonctionnement de l'audio numérique.
## Fréquence et gain
Imaginez un haut-parleur. Pour déplacer l'air devant lui et produire un son, la membrane du haut-parleur doit vibrer d'avant en arrière à partir de sa position centrale (au repos).
Le nombre de fois que la membrane vibre chaque seconde détermine la _fréquence_ (la note, ou _pitch_) du son que vous entendez. La distance parcourue par la distance parcourue par la membrane à partir de son point de repos détermine l'_amplitude_ (le volume ou la "puissance") du son. Normalement, nous mesurons la fréquence en Hertz_ (Hz) et l'amplitude en _décibels_ (dB).
Un microphone fonctionne comme un haut-parleur à l'envers : les vibrations de l'air provoquent la vibration de sa membrane. Le microphone transforme ces vibrations acoustiques en un courant électrique. Si vous branchez ce microphone sur la carte son d'un ordinateur et que vous commencez à enregistrer, la carte son effectue des milliers de mesures de ce courant électrique chaque seconde et les enregistre sous forme de nombres. Le nombre d'échantillons (c'est-à-dire de mesures) recueilli par seconde s'appelle le "taux d'échantillonnage" et le nombre de valeurs possibles pour chacun de ces échantillons est appelé la _profondeur de bit_. La combinaison de la fréquence d'échantillonnage et de la profondeur de bits indique dans quelle mesure le signal numérique peut reproduire le son enregistré.
## Pics et écrêtage
Lorsque Ardour affiche les échantillons qui ont été enregistrés, ils apparaissent sous la forme d'une onde telle que nous la voyons ci-dessous. La ligne horizontale centrale indique la membrane du haut-parleur au repos, et les _pics_ de la forme d'onde indiquent l'_amplitude_ maximale.
{{< figure src="en/Ardour4_Digital_Audio_Waveform.png" alt="Waveform" >}}
Si nous prenons une forme d'onde et que nous augmentons fortement son amplitude, certains des picspeuvent maintenant se situer en dehors de la plage que l'ordinateur peut représenter numériquement. L'incapacité de l'ordinateur à représenter les pics en dehors de la plage d'amplitude est appelée "écrêtage", ce qui entraîne une perte permanente des données numériques, ainsi qu'une modification de la qualité du son qui est reconnaissable comme une _distorsion_. Ardour marque les pics écrêtés avec la couleur rouge, comme on peut comme on peut le voir dans l'image ci-dessous.
{{< figure src="en/Ardour4_Digital_Audio_Clipping2.png" alt="Clipping" >}}
Dans l'image ci-dessus, on peut également voir la _bande de mixage_ à l'extrême gauche, qui donne une mesure courante des pics, ainsi qu'une indication en haut des _peak meters_ montrant la crête maximale jusqu'à présent. Le chiffre rouge indique qu'il y a eu écrêtage.
{{% notice tip %}}
L'écrêtage peut souvent se produire au moment de l'enregistrement si vous réglez le niveau du microphone à un niveau trop élevé.
{{% /notice %}}
La plage de décibels entre la crête maximale de la région et le point d'écrêtage est communément appelée _headroom_, et la pratique courante d'enregistrement consiste à conserver environ 3 à 6 décibels de "headroom" entre le maximum du signal et le point d'écrêtage, lui-même étant représenté par 0 dB (zéro décibel). En d'autres termes, une région audio avec une marge confortable aurait ses pics maximums entre -6 dB et -3 dB.
De plus, comme les crêtes des signaux audio s'additionnent, il faut faire attention lorsque l'on mélange (_mixing_) plusieurs sources pour éviter que les signaux combinés ne s'écrêtent.
## Fréquence d'échantillonnage et profondeur de bits
Pour rendre l'audio lisible sur un disque compact, par exemple, l'ordinateur doit générer 44 100 échantillons par seconde. La fréquence d'échantillonnage détermine la plus haute fréquence la plus élevée qui peut être enregistrée ou lue par l'ordinateur. Un taux d'échantillonnage de 44,1 kHz signifie que la fréquence la plus élevée qui peut être représentée est
un peu moins de 22,05 kHz. L'ouïe humaine normale se situant dans une plage comprise entre 20 Hz à 20 kHz environ, cette fréquence est communément acceptée comme une fréquence d'échantillonnage raisonnable. Parmi les autres fréquences d'échantillonnage couramment utilisées, citons 48 kHz (par ex. pédales multi-effets) ou 96 kHz (DVD audio).
Chaque échantillon est enregistré sous la forme d'un nombre de 16 bits. Un _bit_ est un élément d'information information qui est soit 0 soit 1. Si 16 bits sont réunis pour former un échantillon, il y a 2^16 (65 536) valeurs possibles pour chaque échantillon.
Ainsi, nous pouvons dire que les fichiers audio de qualité CD ont une fréquence d'échantillonnage de 44,1 kHz et une _profondeur de bits_ de 16 bits. Les enregistrements musicaux professionnels sont généralement mixés 24 bits pour préserver le maximum de détails avant d'être mixés en 16 bits pour le CD. Les anciens jeux vidéo ont un son rugueux caractéristique, utilisant seulement 8 bits. En augmentant la fréquence d'échantillonnage, nous sommes capables d'enregistrer des fréquences sonores plus élevées, et en augmentant la profondeur de bit, nous pouvons utiliser une plus grande _plage dynamique_ (la différence entre les sons les plus faibles et les plus forts et les sons les plus forts qu'il est possible d'enregistrer et de lire).
## Poursuivre
Dans le prochain chapitre, nous lancerons Ardour sur Ubuntu Linux et apprendrons les bases de l'interface utilisateur.
Next: [DEMARRER ARDOUR](../../getting-started/starting-ardour/).

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### Chapter 5
# Mixing sessions
How to use basic tools to make every instrument stand out in a mix
Contents:
1. [The mixer strip](the-mixer-strip/)
2. [Mixing levels](mixing-levels/)
3. [Panning](panning/)
4. [Using plugins](using-plugins/)
5. [Using sends](using-sends/)
6. [Dynamics](dynamics/)
7. [Equalizing](equalizing/)
8. [Using automation](using-automation/)

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title = "Sessions de mixage"
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### Chapitre 5
# Sessions de mixage
Comment utiliser les outils de base pour faire ressortir chaque instrument dans un mixage
Contenu :
1. [La bande de mixage](the-mixer-strip/)
2. [Niveaux de mixage](mixing-levels/)
3. [Panoramique](panning/)
4. [Utilisation des greffons](using-plugins/)
5. [Utilisation des envois](using-sends/)
6. [Dynamiques](dynamics/)
7. [Egalisation](equalizing/)
8. [Utilisation de l'automatisation](using-automation/)

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title = "Микширование"
description = "Как микшировать сессии в Ardour"
chapter = true
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### Глава 5
# Микширование сессий
Как использовать базовые инструменты, чтобы все инструменты выделялись в миксе
Содержание:
1. [Канал микшера](the-mixer-strip/)
2. [Уровни микшера](mixing-levels/)
3. [Панорама](panning/)
4. [Использование плагинов](using-plugins/)
5. [Использование посылов](using-sends/)
6. [Динамика](dynamics/)
7. [Эквализация](equalizing/)
8. [Автоматизация](using-automation/)

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