![]() ![]() The only argument is the URL of the Ardour OSC instance in the form osc.udp:///>, this is printed to STDERR by Ardour when the OSC is enabled. METHODS newĬonstruct a new Audio::Ardour::Control object. ![]() The methods below represent all of the actions exposed by Ardour via OSC, for more detail on what they actually do you probably want to refer to the Ardour documentation. This module uses OSC to enable control of Ardour from a Perl program. Ardour daw software#$ardcontrol->transport_stop() DESCRIPTIONĪrdour is an open source digital audio workstation software (DAW) for Unix-like systems, it provides an interface to allow it to be controlled using the Open Sound Control (OSC) protocol. ![]() My $ardcontrol = Audio::Ardour::Control->new($url) At least not on a per device basis.Audio::Ardour::Control - Automate the Ardour DAW software. I don’t hear the inherent latency of my vintage gear yet, and if I look at the numbers in the fascinating paper, I will probably never be able to hear it, and even if I could, according to your statement there would be no technical way to compensate for this latency. Whereby the latency value measured by Ardour is simply distributed half and half to input and output. So I definitely hear latency in the whole chain, but I suspect from Robin’s statement that this is mainly due to the asymmetric real latency between signal input and output, since I “only” use the midi output and the audio input in my signal chain. Ardour daw generator#What I am currently hearing (and my initial question was exactly about this) is that I am sending a midi signal from Ardour via the sound card to an external sound generator and its audio output, routed via the same sound card as the midi signal, arrives in Ardour delayed (even though I have had Ardour calculate the midi and audio latency). Only through my question and your answers here in the forum, I started to understand the issue better and better. ![]() So far I haven’t really thought about the intrinsic latency of my vintage gear. Swings in latency cannot be compensated for in the recording software, so you end up with a situation that what you can compensate doesn’t affect much, and what has bad effect can’t be compensated. My understanding is that latency of up to a few ms is not objectionable if constant, a performer will naturally compensate, but large swings in latency will throw you off. Ardour daw Patch#This paper measures a few and found that different sounds had different latency between MIDI in and audio out on the same hardware, so it isn’t necessarily even a single setting per device, but specific to the patch you choose on a particular device. Most hardware synthesizers should have in the single to low double digit milliseconds. Is this something you are hearing that you want to address, or just a theoretical problem that you want to understand? So that would be proof that vintage gear introduces its own latency, right? Then the question would remain: how could I compensate for that? ![]()
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