![]() My tests had the following main objectives: ![]() ![]() See the relevant traffic on sites such as Linux Musicians and KVR Audio for user reports and other helpful information.Īs I mentioned previously, I planned a series of short test projects to introduce some of Ardour3’s new features. Nevertheless, despite these dire conditions, many users report satisfactory performance with some plugins. Given the inherent complexities of supporting non-native audio plugins by means of an external emulation layer, no official support is available for builds of Ardour enabled for Windows VSTs. The support mechanism is built on code from the FeSTige project and requires the libwine package. Notable examples include Loomer Aspect and String, discoDSP Discovery, Nick Powell’s amSynth, Rui Nuno Capela’s V1 instruments, Modartt Pianoteq, TAL NoiseMaker, and Calf synthesizer plugins.Īrdour3 can be compiled with support for VST/VSTi plugins in native Windows format (i.e., with their original DLL extension). Currently, the Linux audio armory can claim nothing like the vast selection of VSTi plugins available for Windows sequencers, but some good ones are available. With its support for the LV2 and native VST formats, Ardour3 can assign instrument plugins to MIDI tracks. Presets can be saved and loaded in all formats, and a “MIDI learn” function lets you easily bind MIDI controllers to plugin parameters. Native GUIs are supported, although you can opt to have Ardour provide the graphic interface. The OS X version loses the VST but adds the AU format to the list. The Linux version of Ardour3 supports plugins in LADSPA, LV2, and VST formats. For now, I’ll look at the plugin situation. Later, I’ll describe in detail some of the sequencer’s impressive features and some of its limitations. At last, you can record, edit, and play MIDI sequences in Ardour along with your audio tracks – with sample-accurate synchronization if you want it. Version 3.0 introduces Ardour’s own MIDI sequencer, along with a host of other amenities that expand its utility and enhance the user’s workflow. MIDI time code (MTC) and MIDI machine control (MMC) commands can be sent and received for synchronization with external devices or programs and for remote transport control. MIDI is supported in Ardour’s 2.x release series, but only in a control capacity. Its feature set has evolved generally along lines established in other DAWs, minus their MIDI sequencing capabilities. See the Ardour website for more information regarding recommended hardware.Īrdour began its life as an audio-centric workstation that provided a set of powerful tools for recording and editing acoustic and electroacoustic performances. No special graphics capabilities are required, although serious users will want to consider a graphics card that supports a dual-monitor video configuration. Serious users should consider the multichannel interfaces from RME and M-Audio, but Ardour can use any hardware supported by the ALSA kernel sound driver or the FFADO project (for FireWire interfaces). Ardour’s audio and MIDI channel I/O limitations are determined by your hardware capabilities. You’ll need a fast 32-bit or 64-bit CPU, preferably a multicore processor, with a large fast hard disk and as much RAM as your motherboard can bear. ![]() A somewhat limited, but completely free, pre-built demo version can be downloaded, and because Ardour is a free and open source project licensed under the GPL, its source code is freely available from the project’s Git repository.īigger and faster is definitely better for serious digital audio work. Subscribers get their updates for free for as long as they remain subscribed otherwise, another one dollar payment is required. If you want a ready-to-run binary for either platform, you can become an Ardour subscriber or make a purchase payment equal to or greater than US$ 1.00. The editor can also display the automation control curve for each track’s output level, panner, and plugin parameters.Īrdour3 is currently available in nearly identical versions for Linux and OS X. The editor displays audio or MIDI data as a region or regions within a track, and each region is subject to various editing procedures, such as cut/copy/paste operations and time/pitch compression/expansion. The mixer configures each channel’s input source, output level, plugin chain, panning, and so forth.
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