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7 <section id="sn-configuring-jack">
8 <title>Getting Audio In, Out and Around Your Computer</title>
10 Before you can begin to use Ardour, you will need to get the audio
11 input/output capabilities of your system working and properly configured.
12 There are two aspects to this process: getting your audio interface
13 (soundcard) working, and configuring it to work with the Jack Audio
14 Connection Kit (<ulink url="http://jackaudio.org/">JACK</ulink>).
17 <section id="sn-jack">
20 It is extremely important to understand that Ardour does not interact
21 directly with your audio interface when it is running. Instead, all of the
22 audio data signals that Ardour receives and generates are sent to and from
23 JACK, a piece of software that routes audio data between an audio interface
24 and audio applications, in real time.
28 Traditionally, most of the audio sources that you would want to record, as
29 well as a lot of the more significant effects processing, existed outside
30 the computer. Consequently one of the biggest issues in integrating a
31 computer into the operation of the studio is how to move audio data in and
36 However, it is becoming increasingly common for studios to use audio
37 sources and effects processing that are comprised completely of software,
38 quite often running on the same machine as an audio sequencer or digital
39 audio workstation (DAW). A new problem arises in such situations, because
40 moving audio in and out of the DAW no longer involves your hardware audio
41 interface. Instead, data has to be moved from one piece of software to
42 another, preferably with the same kind of sample synchronisation you’d
43 have in a properly configured digital hardware system. This is a problem
44 that has been solved at least a couple of times (ReWire from PropellerHeads
45 and DirectConnect from Digidesign are the two most common examples), but
46 JACK is a new design developed as an open source software project, and is
47 thusly available for anyone to use, learn from, extend, *fix or modify.
51 New users may not initially realize that by using Jack, their computer
52 becomes an extremely flexible and powerful audio tool - especially with
53 Ardour acting as the ’heart’ of the system.
57 <section id="getting-audio-working">
58 <title>Getting Your Audio Interface Working</title>
61 Although Ardour runs on OS X as well as Linux, this documentation
62 describes only a Linux (ALSA) system. The issues faced on OS X tend to be
63 entirely different, and are centered mostly on JACK. There are also
64 alternative audio device driver families for Linux but they are also not
70 Getting your audio interface working can be the hardest part of setting
71 your computer up to run Ardour, or it could be one of the easiest. The
72 level of difficulty you will face depends on the type of audio interface
73 ("soundcard") you are using, the operating system version you are using,
74 and your own understanding of how it all works.
78 In an ideal world, your computer already has a working audio interface, and
79 all you need do is to start up qjackctl and run JACK. You can determine if
80 you face this ideal situation by doing a few simple tests on your machine.
81 The most obvious test is whether you’ve already heard audio coming out of
82 your computer. If you are in this situation, you can skip ahead to
83 <xref linkend="selecting-capture-source"/>.
87 <section id="checking-for-an-audio-interface">
88 <title>Checking For an Audio Interface</title>
90 If you’ve never tried to play audio on your computer before, you should
91 use a basic playback program such as play, aplay or possibly xmms. Find an
92 audio file on your machine (<command>locate .wav</command> may help here),
93 and try to play it. There are several possibilities:
99 You may get an error from the program
109 You may hear something, but its too quiet
114 you may hear something from the wrong loudspeakers.
120 <section id="selecting-capture-source">
121 <title>Selecting Capture Source</title>
123 Many audio interfaces, particularly the cheaper varieties that are often
124 found built into computers, have ways to plug in both microphones and
125 instruments or other audio equipment to be recorded. This immediately poses
126 a question: how does Ardour (or any software) know which signal to record,
127 the one coming into the microphone input, or the one arriving at the "line
128 in" socket? The same question arises also for "high-end" audio interfaces,
129 though in different ways.
133 The short answer is: Ardour doesn’t. Instead, this is a choice you have
134 to make using a program a program that understands how to control the
135 mixing hardware on the audio interface. Linux/ALSA has a number of such
136 programs: alsamixer, gamix, aumix, kmix are just a few of them. Each of
137 them offers you a way to select which of the possible recordable signals
138 will be used for as the "capture source". How you select the preferred
139 signal varies from program to program, so you will have to consult the help
140 documentation for whichever program you choose to use.
144 There are also a few programs that offer ways to control just one
145 particular kind of audio interface. For example, the
146 <application>hdspmixer</application> program offers control over the very
147 powerful matrix mixer present on several RME audio interface.
148 <application>envy24ctrl</application> does the same for a number of
149 interfaces built around the common ice1712/envy24 chipset, found in devices
150 from M-Audio, Terratec and others. Please note that this quite similar to
151 the situation for Windows and MacOS users, where each audio interface often
152 comes with its own control program that allows certain critical
153 configuration choices to be made.
156 <section id="problems-with-input-signal">
157 <title>"I don’t get any signal when I record …"</title>
159 The most common problem for first-time audio users on Linux is to try to
160 record something and get no signal at all, or alternatively, a very low
161 signal. The low signal problem typically arises from one or more of the
168 a microphone input plugged into the "line in" socket of the interface.
169 The signal levels delivered by microphones are very small, and require
170 amplification before they can be used by most audio circuitry. In
171 professional recording studios, this is done using a dedicated box
172 called a "pre-amplifier". If your audio interface has a "mic input"
173 socket, then it has its own pre-amplifier built in, although its
174 probably not a very good one. If you make the mistake of plugging a
175 microphone into the "line in" socket, you will get either an inaudible
176 or very quiet signal.
181 the wrong capture source selected in the audio interface’s hardware
187 the "capture" gain level in the audio interface’s hardware mixer is
188 turned down too low. You will need to use a hardware mixer application
189 (as described above) to increase this.
196 You will notice in the mixer strip for each track in ardour that you can
197 change the selection of the monitoring source between input/pre/post.
198 Adjusting the fader while watching the ’input’ levels will NOT have
199 any affect on the levels. As mentioned above, ardour is dependent on
200 external mixer settings for a source level.
206 <section id="monitoring-choices">
207 <title>Monitoring Choices</title>
209 Its unfortunate that we have to raise this issue at a point in the manual
210 where you, the reader, may not even knoiw what "monitoring" means. However,
211 it is such an absolutely critical aspect of using any digital audio
212 workstation that we need to at least cover the basics here. The only people
213 who don’t need to care about monitoring are those who will never use
214 ardour to record a live performance (even on performed using a software
219 Monitoring is the term we use to describe listening to what ardour is
220 recording. If you are playing a guitar and recording it with ardour, you
221 can probably hear the guitar’s own sound, but there are many situations
222 where relying on the sound of the instrument is completely inadequate. For
223 example, with an electronic instrument, there is no sound until the
224 electrical signal that it generates has been processed by an amplifier and
225 fed to a loudspeaker. But if Ardour is recording the instrument’s signal,
226 what is responsible for sending it to the amp+loudspeakers? It can get a
227 lot more complex than that: if you are recording multiple performers at the
228 same time, each performer needs to hear their own playing/singing, but they
229 also probably need to hear some of their colleagues’ sound as well. You
230 might be overdubbing yourself - playing a new line on an instrument while
231 listening to tracks you’ve already recorded - how do you hear the new
232 material as well as the existing stuff?
236 Well, hopefully, you’re convinced that there are some questions to be
237 dealt with surrounding monitoring, see <xref linkend="sn-monitoring"/> for
238 more in depth information.
242 <section id="using-multiple-soundcards">
243 <title>Can I use multiple soundcards</title>
245 There are really lots of great reasons why you should not even attempt to
246 do this. But seriously, save your money for a while and buy yourself a
247 properly designed multichannel soundcard.
251 <section id="qjackctl">
252 <title>Qjackctl</title>
254 JACK itself does not come with graphical user interface - to start JACK and
255 control it you need to have access to a command line and a basic knowledge
256 of Unix-like operating systems. However,
257 <ulink url="http://qjackctl.sourceforge.net/">qjackctl</ulink> is a
258 wonderful application that wraps JACK up with a graphical interface that is
259 both nice to look at and useful at same time. qjackctl is the recommended
264 <imagedata fileref="images/qjackctl.png"/>
268 You should be able to start qjackctl from the “application menu” of
269 your system, typically found on the panel/appbar/dock or whatever its
270 called that lives at the top/bottom/left/right of your screen.
274 [ need screenshot of GNOME/KDE/OSX menus here ]
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