MIDI Clock is a stream of messages sent by a MIDI sequencer of some kind that indicates musical tempo. It is used to maintain a synchronized tempo for synthesizers that have BPM-dependent voices and also for arpeggiator synchronization. It does not transmit any location information (bar number or time code) and so must be used in conjunction with a positional reference (such as timecode) for complete sync.
Ardour 2.X had a "Big Clock" window that would display the playhead position in a large, highly visible font that could be easily seen some distance from your computer screen.
In Ardour 3.0, the Big Clock window can be dynamically resized, expanding the font size to any size you feel you need or want for your particular working situation. This can make remote operation via a MIDI or OSC control surface from another room much easier, for example.
Here is the default Big Clock size:
In Ardour 2.X, there was an option to phase invert a track or bus hidden in the context menu for the track/bus name button at the top of a mixer strip.
In Ardour3, there is one phase invert button per channel visible in the mixer strip:
Although the panning GUI in Ardour 2.X was very powerful and flexible, it made the most common operations with 2in/2out panning more cumbersome than they should be. In Ardour 3.0, the old panners are used for many I/O configurations, but the special case of 2in/2out ("stereo") is now handled by a more deliberately designed GUI element, shown below:
The set of mouse cursors used in the editor window has been significantly expanded to provide more visual indication of what mouse operations (particularly drags) will do at any point in the window. Chris Goddard designed the set we are using, and the full collection is shown below:
In Ardour 2.x the solo system had complete separation between track and buss soloing. Any track that was solo'd would mute other tracks but not busses and visa versa.
Ardour 3.x introduces a more cohesive structure that not only links busses and tracks but also makes sure that the path to or from the solo'd track or buss is solo'd as well. As an example soloing a buss will also solo any tracks feeding it, and any busses it may feed into.
Although Ardour has been 64-bit compatible since it was first written, it has had a limitation in that the maximum position on its timeline was limited by using a 32bit value for this purpose. At 48kHz, this limited the timeline to about 12hrs. In Ardour 3.0, all positions are stored in 64 bit values, meaning that there is essentially no meaningful limit to the length of the timeline. If you want to record a multi-day festival and put it all in one session, Ardour 3.0 will go there with you.
Ardour 3.0 splits preferences into two sections:
- Settings that should logically apply to all sessions, because they are based on user workflow or system configuration
- Settings that are per session, because they depend or reflect session content or design
Many other DAWs have added a "session overview" element to the GUIs in recent versions, allowing you to see the entire session at some level of detail, regardless of what part of it is visible in the main editor/arrange window. Ardour 3.0 now has such a view, thanks to the efforts of Carl Hetherington, and it can be used to both get an idea of which part of the session you're currently working on, to scroll (horizontally and vertically) around the session, and to zoom in and out.
Rhythm Ferret, Ardour's counterpart to ProTools "Beat Detective", already supported transient and note onset detection in Ardour 2.X, and allowed you to split regions based on those detected features. But in Ardour 3.0, you can now do much more powerful drum and related editing because:
- detected feature "marks" can be manually moved or removed
- you can now snap the region segments to the grid
- Region menu contains "Add transient" to manually add transients at the edit point (best to use playhead as edit point)