127 lines
4.9 KiB
HTML
127 lines
4.9 KiB
HTML
|
|
<p>
|
|
Ardour can be used in many different ways, from extremely simple to extremely
|
|
complex. Many projects can be handled using the following kind of
|
|
<dfn>workflow</dfn>:
|
|
</p>
|
|
|
|
<h2>Stage 1: Creating The Project</h2>
|
|
|
|
<p>
|
|
The first step is to create a new <dfn>session</dfn>, or open an existing
|
|
one. A session consists of a folder containing a session file that defines
|
|
all the information about the session. All media files used by the session
|
|
are usually stored within the session folder.
|
|
</p>
|
|
|
|
<p class="note">
|
|
More details on sessions can be found in <a href="@@sessions">Sessions</a>
|
|
chapter.
|
|
</p>
|
|
|
|
<h2>Stage 2: Creating and Importing Audio and MIDI Data</h2>
|
|
|
|
<p>
|
|
Once a session has been created, it will be necessary to add some audio
|
|
and/or MIDI material to it—which can be done in one of 3 ways:
|
|
</p>
|
|
|
|
<ul>
|
|
<li><dfn>Record</dfn> incoming audio or MIDI data, either via audio or MIDI
|
|
hardware connected to the computer, or from other applications</li>
|
|
<li><dfn>Create</dfn> new MIDI data using the mouse and/or various dialogs
|
|
</li>
|
|
<li><dfn>Import</dfn> existing media files into the session</li>
|
|
</ul>
|
|
|
|
<p>
|
|
<dfn>MIDI recordings</dfn> consist of performance data ("play note X at time
|
|
T") rather than actual sound. As a result, they are more flexible than actual
|
|
audio, since the precise sound that they will generate when played depends on
|
|
where the MIDI data is sent to. Two different synthesizers may produce very
|
|
different sounds in response to the same incoming MIDI data.
|
|
</p>
|
|
|
|
<p>
|
|
<dfn>Audio recordings</dfn> can be made from external instruments with
|
|
electrical outputs (keyboards, guitars, etc.), or via microphones or other sound capturing equipment.
|
|
</p>
|
|
|
|
<p>
|
|
Ardour can use the <dfn>JACK Audio Connection Kit</dfn> for all audio and MIDI
|
|
I/O, making recording audio/MIDI from other applications fundamentally identical
|
|
to recording audio/MIDI from audio/MIDI hardware.
|
|
</p>
|
|
|
|
<h2>Stage 3: Editing and Arranging</h2>
|
|
|
|
<p>
|
|
Once there is material within the session, it can be arranged in time. This
|
|
is done in one of the two main windows of Ardour: the <dfn>Editor</dfn>
|
|
window.
|
|
</p>
|
|
|
|
<p>
|
|
Audio/MIDI data appears in chunks called <dfn>regions</dfn>, which are
|
|
arranged into horizontal lanes called <dfn>tracks</dfn>. Tracks are stacked
|
|
vertically in the Editor window. Regions can be copied, shortened, moved, and
|
|
deleted without changing the actual data stored in the session at
|
|
all—Ardour is a <dfn>non-destructive</dfn> editor. (Almost) nothing
|
|
done while editing will ever modify the files stored on disk (with the
|
|
exception of the session file itself).
|
|
</p>
|
|
|
|
<p>
|
|
Many <dfn>transformations</dfn> can be done to the contents of regions, again
|
|
without altering anything on disk. It is possible to alter, move, delete and
|
|
remove silence from audio regions, for example.
|
|
</p>
|
|
|
|
<p>
|
|
MIDI regions can also be copied, moved, shortened, or deleted without altering
|
|
the MIDI files, though any edit like adding, suppressing or moving <em>notes</em>
|
|
inside a region results in a modification of the underlying MIDI file.
|
|
</p>
|
|
|
|
<h2>Stage 4: Mixing and Adding Effects</h2>
|
|
|
|
<p>
|
|
Once the arrangement of the session mostly complete, the next step is the
|
|
<dfn>mixing</dfn> phase. Mixing is a broad term to cover the way the audio
|
|
signals that the session generates during playback are processed and added
|
|
together into a final result that is actually heard. It can involve altering
|
|
the relative levels of various parts of the session, adding effects that
|
|
improve or transform certain elements, and others that bring the sound of the
|
|
whole session to a new level.
|
|
</p>
|
|
|
|
<p>
|
|
Ardour allows <dfn>automation</dfn> of changes to any mixing parameters (such
|
|
as volume, panning, and effects controls)—it will record the changes
|
|
made over time, using a mouse or keyboard or some external control device,
|
|
and can play back those changes later. This is very useful because often the
|
|
settings needed will vary in one part of a session compared to
|
|
another—rather than using a single setting for the volume of a track,
|
|
it may need increases followed by decreases (for example, to track the
|
|
changing volume of a singer). Using automation can make all of this
|
|
relatively easy.
|
|
</p>
|
|
|
|
<h2>Stage 5: Export</h2>
|
|
|
|
<p>
|
|
Once the arrangement and mix of the session is finalized, a single audio file
|
|
that contains a ready-to-listen to version of the work is usually desired.
|
|
Ardour allows the <dfn>exporting</dfn> of audio files in a variety of formats
|
|
(simultaneously in some cases). This exported file would typically be used in
|
|
creating a CD, or be the basis for digital distribution of the work.
|
|
</p>
|
|
|
|
<p>
|
|
Of course it is sometimes desirable to export material that isn't finished
|
|
yet—for example, to give a copy to another party to mix on their own
|
|
system. Ardour allows exporting as much of a session as desired, at any
|
|
time, in any supported format.
|
|
</p>
|
|
|