From 7baa22c338984effd871bb611ffe39aec9a419d0 Mon Sep 17 00:00:00 2001 From: Alexandre Prokoudine Date: Mon, 25 Apr 2022 01:50:30 +0300 Subject: [PATCH] Metadata + all caps --- content/appendices/glossary/index.en.md | 111 +++++++++--------- .../appendices/how-to-contribute/index.en.md | 1 + content/appendices/license/index.en.md | 1 + content/editing-sessions/_index.en.md | 1 + content/recording-audio/_index.en.md | 2 +- .../recording-audio/index.en.md | 20 ++-- .../routing-between-applications/index.en.md | 4 +- .../understanding-routing/index.en.md | 22 ++-- 8 files changed, 80 insertions(+), 82 deletions(-) diff --git a/content/appendices/glossary/index.en.md b/content/appendices/glossary/index.en.md index cd6c32a..0481a8f 100644 --- a/content/appendices/glossary/index.en.md +++ b/content/appendices/glossary/index.en.md @@ -1,17 +1,17 @@ +++ title = "Glossary" +description = "Terminology used in this Ardour tutorial" chapter = false weight = 2 -#pre = "1. " +++ This glossary offers brief definitions for many or the terms used throuhout the Ardour3 FLOSS Tutorial. -**Aggregate Device** (Mac OS X) +**Aggregate Device** (macOS) : An Aggregate Device is one virtual soundcard made of of two or more physical soundcards. PowerBooks and MacBooks made in 2007 or later will -need this set up in order for **JACK** to have both input and output -channels. This is set up in the **Audio MIDI Setup** application. +need this set up in order for _JACK_ to have both input and output +channels. This is set up in the _Audio MIDI Setup_ application. **AIFF** : A sound file format developed by Apple and commonly used for lossless @@ -24,10 +24,11 @@ functionality to the Linux operating system. **Amplitude** (mixing) : The strength of an audio signal. The scale of amplitude is -**logarithmic**, since it expresses the physical ratio of power between +_*logarithmic_, since it expresses the physical ratio of power between one sound and another. Levels in digital audio systems are usually represented as the number of Decibels below the clipping point of 0 dB. -See also **loudness**. +See also _loudness_. + **Arm** (Track to record/Ardour to record) : Action that makes Ardour ready to start recording. Before recording in Ardour, one or more tracks need to be armed first, and then Ardour needs @@ -41,17 +42,17 @@ intentional sound transformation. **Attenuation** : Reducing the **level** of an audio signal, usually measured using a -**logarithmic** scale. See also **gain**. +_logarithmic_ scale. See also _gain_. -**Audio MIDI Setup** (Mac OS X) -: The Audio MIDI Setup utility is a program that comes with the Mac OS X +**Audio MIDI Setup** (macOS) +: The Audio MIDI Setup utility is a program that comes with the macOS operating system for adjusting the computer's audio input and output configuration settings and managing MIDI devices. **Audio Unit Plugins** -: Audio Unit (AU) is a plugin architecture in Mac OS X computers. It may +: Audio Unit (AU) is a plugin architecture in macOS computers. It may be thought of as Apple's equivalent to the popular VST plugin format by -Steinberg. Mac OS X comes with a collection of AU plug-ins such as EQ +Steinberg. MacOS comes with a collection of AU plug-ins such as EQ filters, dynamic processors, delay, reverb, time stretch, among others. **Audition** @@ -76,23 +77,23 @@ amplitude usually sound louder. **Bands** (equalization) : The particular frequency regions to be boosted or attenuated in the -process of **Equalization**. +process of _Equalization_. **Bars** (music) : Same as 'measure', a bar is a metrical unit. In Western notation, it is the space comprised between two vertical lines drawn through the staff. -The specific duration of a bar depends of its **time signature** and the -current **Tempo** of the music. +The specific duration of a bar depends of its _time signature_ and the +current _tempo_ of the music. **Bass** (Frequencies) -: A generic way of referring to the lower frequencies of the **Spectrum** +: A generic way of referring to the lower frequencies of the _spectrum_ of a sound. **Beat** : The basic pulse underlying a piece of music. **Beats per Minute** -: Beats per minute (BPM) is a measure of Tempo in music. A rate of 60 +: Beats per minute (BPM) is a measure of tempo in music. A rate of 60 beats per minute means that one beat will occur every second; 120 bpm equals two beats per second, and so on. BPM indications usually appear at the beginning of a traditional musical score as a metronome mark (for @@ -103,11 +104,11 @@ example, "quarter note equals 60", meaning one quarter note per second). or 1. **Bit Depth** -: Refers to the number of bits used to write a **sample**. In the CD +: Refers to the number of bits used to write a _sample_. In the CD standard, each sample of audio is represented by a 16-bit number. This gives 2\^16 (two to the power of sixteen = 65,536) possible values that -a sample can have. A higher bit depth means a greater possible **dynamic -range**. Studio recordings are usually first made recorded with a bit +a sample can have. A higher bit depth means a greater possible _dynamic +range_. Studio recordings are usually first made recorded with a bit depth of 24 (or even 32) to preserve as much detail before transfer to CD. DVDs are made at 24 bit, while video games from the 1980s remain famous for their distinctively rough "8 bit sound". Bit depth is also @@ -127,9 +128,9 @@ computer if you don't have an external sound card. In a laptop, they are the common input (mic) and output (headphone) connections. **Bus** -: A bus is similar to a **Track** except that it does not contain its +: A bus is similar to a track except that it does not contain its own regions. You cannot record directly into a bus or drag regions into -it. The Mixer Strip vertically represents the signal flow of a bus, +it. The _Mixer_ strip vertically represents the signal flow of a bus, whereas the Main Canvas horizontally displays time-based information for each bus (such as automation lines). @@ -143,7 +144,7 @@ computer platforms and applications. **CAF** : CAF (Core Audio Format) is a file format for storing audio, developed by -Apple. It is compatible with Mac OS X 10.4 and higher. The Core Audio +Apple. It is compatible with macOS 10.4 and higher. The Core Audio Format is designed to overcome limitations of older digital audio formats, including AIFF and WAV. Just like the QuickTime .mov file format, a .caf file format can contain many different audio formats, @@ -151,7 +152,7 @@ metadata tracks, and much more data. **Center Frequency** : In some EQ plugins, the user has the possibility of choosing the center -frequency for each of the Frequency Bands. The center frequency of a +frequency for each of the frequency bands. The center frequency of a Band will be the one most sharply attenuated or reinforced by the equalizer for that specific band. Frequencies surrounding the center frequency will be less affected. @@ -164,7 +165,7 @@ referred to as "right-click". **Clipping** : Clipping occurs when a signal is too high in level to be reproduced. Any samples too high in level will simply be truncated, resulting in -**distortion**, loss of audio detail, and artefact **frequencies** which +_distortion_, loss of audio detail, and artefact _frequencies_ which were not present in the original sound. **Clipping Point** @@ -173,19 +174,18 @@ the level of any sound is measured in how far below the clipping point it is (-10 dB, -24 dB, etc). **Clocks** -: The two big numerical displays near the top of the Editor Window. They -can display the time in a number of formats: Timecode, Bars:Beats, -Minutes:Seconds, and Samples. +: The two big numerical displays near the top of the _Editor_ window. They can +display the time in a number of formats: _Timecode_, _Bars:Beats_, +_Minutes:Seconds_, and _Samples_. **Compile** -: FLOSS applications are distributed as source code, which is -human-readable but cannot be run as an actual application. To turn this -source code into a running application, it must first be Compiled. When -you download a disk image for Mac OS X or a software package from your -distribution (such as Ubuntu, Debian or Fedora), it has been compiled -for you already. However, if you wish to add features (such as support -for **VST Plugins**) which your distribution does not provide, then you -must Compile the application from source code yourself. +: FLOSS applications are distributed as source code, which is human-readable but +cannot be run as an actual application. To turn this source code into a running +application, it must first be Compiled. When you download a disk image for macOS +or a software package from your distribution (such as Ubuntu, Debian or Fedora), +it has been compiled for you already. However, if you wish to add features (such +as support for _VST Plugins_) which your distribution does not provide, then +you must compile the application from source code yourself. **Compression**(DSP) : Essentially, compression makes the quiet parts of a signal louder @@ -206,8 +206,8 @@ effect. : The window in Jack that allows to manage all connections between audio inputs and outputs. -**CoreAudio**(Mac OS X) -: CoreAudio provides audio functionality to the Mac OS X operating system. +**CoreAudio**(macOS) +: CoreAudio provides audio functionality to the macOS operating system. **Cursor Modes** : These are the six buttons just below the Transport commands in the @@ -218,29 +218,26 @@ Regions. **Decibels** : Decibel is a logarithmic scale used to measure many quantities, -including the **gain**, **level** or **loudness** of a signal. Decibel +including the gain_, level_ or loudness_ of a signal. Decibel is usually abbreviated to dB and in digital audio usually denotes how -far under 0 dBFS (the **clipping** point of a system) a signal is. +far under 0 dBFS (the clipping_ point of a system) a signal is. -**Delay**(effect) -: The amount of time between one event and another. As an audio effect, a -delay takes an incoming sound signal and delays it for a certain length -of time. When mixed with the original sound, an "echo" is heard. By -using **feedback** to return the delayed signal back into the delay -(usually after lowering its **gain**), multiple echos with a **decay** -result. +**Delay** (effect) +: The amount of time between one event and another. As an audio effect, a delay +takes an incoming sound signal and delays it for a certain length of time. When +mixed with the original sound, an "echo" is heard. By using _feedback_ to return +the delayed signal back into the delay (usually after lowering its _gain_), +multiple echos with a _decay_ result. **Destructive Editing/Recording** -: Destructive actions are those that permanently modify or erase the -original data (sound files) in the course of editing or recording. +: Destructive actions are those that permanently modify or erase the original +data (sound files) in the course of editing or recording. -**Distortion** -: Distortion occurs when an audio signal is changed in some way that -produces **frequencies** not present in the original. Distortion can be +**Distortion** : Distortion occurs when an audio signal is changed in some way +that produces _frequencies_ not present in the original. Distortion can be deliberate or unwanted, and can be produced by driving the signal to a -**clipping**point, or by using mathematical transformations to alter the -shape (or "waveform") of the signal (usually referred to as -"waveshaping"). +_clipping_point_, or by using mathematical transformations to alter the shape (or +"waveform") of the signal (usually referred to as "waveshaping"). **Disk Image (.dmg)** : A disk image is a single file containing the complete contents and @@ -364,7 +361,7 @@ JACK-enabled audio programs on your computer. You must install JACK for Linux or JackOSX before you can use Ardour. **JackOSX** (OS X) -: The name of the version of **JACK** that runs on Mac OS X. See **JACK** +: The name of the version of **JACK** that runs on macOS. See **JACK** for more details. **JackPilot** @@ -585,7 +582,7 @@ equalizers are examples of plugins that can be used in Ardour in association with Tracks or Busses. **Portaudio** -: A free and open source set of **audio drivers**for Linux and Mac OS X. +: A free and open source set of **audio drivers**for Linux and macOS. **Post-Fader** (Plugin or Send) : In the Mixer Strip, the post-fader area is the black space below the @@ -762,7 +759,7 @@ common in scores (Allegro, Adagio, Very Fast, etc). **Terminal** : A "terminal" is the text-based interface that allows to operate a computer by typing commands into it. Most computer users today rely -solely on a graphical interface to control their systems. Both Mac OS X +solely on a graphical interface to control their systems. Both macOS and Linux though, include a terminal which may make some tasks easier for some users. diff --git a/content/appendices/how-to-contribute/index.en.md b/content/appendices/how-to-contribute/index.en.md index 4433993..64c0a6b 100644 --- a/content/appendices/how-to-contribute/index.en.md +++ b/content/appendices/how-to-contribute/index.en.md @@ -1,5 +1,6 @@ +++ title = "How to contribute" +description = "How to contribute to this intro tutorial" chapter = false weight = 5 +++ diff --git a/content/appendices/license/index.en.md b/content/appendices/license/index.en.md index b7b7bd5..5ae2129 100644 --- a/content/appendices/license/index.en.md +++ b/content/appendices/license/index.en.md @@ -1,5 +1,6 @@ +++ title = "License" +description = "This tutorial's license" chapter = false weight = 4 +++ diff --git a/content/editing-sessions/_index.en.md b/content/editing-sessions/_index.en.md index 7e90229..3771b99 100644 --- a/content/editing-sessions/_index.en.md +++ b/content/editing-sessions/_index.en.md @@ -1,5 +1,6 @@ +++ title = "Editing sessions" +description = "The basics of editing Ardour sessions" chapter = true weight = 4 pre = "4. " diff --git a/content/recording-audio/_index.en.md b/content/recording-audio/_index.en.md index e51c804..ad1e331 100644 --- a/content/recording-audio/_index.en.md +++ b/content/recording-audio/_index.en.md @@ -1,6 +1,6 @@ +++ title = "Recording" -description = "Learn how to route signal and record audio" +description = "Learn how to route signal and record audio with Ardour" chapter = true weight = 3 pre = "3. " diff --git a/content/recording-audio/recording-audio/index.en.md b/content/recording-audio/recording-audio/index.en.md index ac2df07..a900c15 100644 --- a/content/recording-audio/recording-audio/index.en.md +++ b/content/recording-audio/recording-audio/index.en.md @@ -16,7 +16,7 @@ your computer which have been connected to Ardour via JACK. Please see the This section will show you how to record audio from an external source (for example, a microphone) onto a track in Ardour. -![Editor Mixer Input](en/ardour7-editor-mixer-input.png) +{{< figure alt="Editor Mixer Input" src="en/ardour7-editor-mixer-input.png" >}} First, you should check that the proper inputs have been routed to the track you wish to record to. @@ -25,7 +25,7 @@ track you wish to record to. volume slider. 2. The track becomes highlighted. -![Highlighting a track](en/ardour7-audio-1-highlight.gif) +{{< figure alt="Highlighting a track" src="en/ardour7-audio-1-highlight.gif) 3. The vertical _Editor Mixer_ strip located on the left side of the _Editor_ window should now show the track you just selected (*Audio 1* in the image @@ -47,7 +47,7 @@ whether you are using a macOS, Windows, or Linux computer. If you don't see a connection named *system capture_1*, look for whichever connection name is likely to be your input microphone. -![Audio 1 input](en/ardour7-audio-1-input.png)  +{{< figure alt="Audio 1 input" src="en/ardour7-audio-1-input.png" >}}  The tabs that you see displayed vertically on the left are available sources. "*Audio 1 in*" on the bottom right is the @@ -85,7 +85,7 @@ checked that the proper capture inputs have been routed to the Track, you can arm the Track to record by clicking on the small red icon on the horizontal track strip (not the big one in the Transport controls). -![Arming Track](en/ardour7-arming-the-track.png)  +{{< figure alt="Arming Track" src="en/ardour7-arming-the-track.png" >}}  When properly armed, the small red icon will remain highlighted, and you will be able to see the incoming signal by looking at the _peak meter_ on the _Editor @@ -111,7 +111,7 @@ recording, click on the **Play** button in the _Transport_ menu, or press the space bar of your computer keyboard. Clicking the **Play** button again (or pressing the space bar) will stop recording. -![Recording](en/ardour7-recording.png) +{{< figure alt="Recording" src="en/ardour7-recording.png" >}} While recording, the armed track will capture the sounds from the input. Any existing sound on other tracks will play normally during the recording. This @@ -129,7 +129,7 @@ The audio in the screenshot below was recorded too loud and produced _clipping_ represented digitally), which results in a loss of information and audible distortion. The clipped peaks in the waveform are marked in red. -![Clipping](en/ardour7-clipping.png) +{{< figure alt="Clipping" src="en/ardour7-clipping.png" >}} The best and easiest way to avoid clipping is have some control over the volume of the incoming audio signal before it gets to the sound card. For example, you @@ -159,7 +159,7 @@ where it was recorded, with different takes being automatically numbered. In the screenshot below, "*Audio 1-1*" and "*Audio 1-2*" represent two different recordings made on a track named "*Audio 1*". -![Region List Rec](en/ardour7-region-list-recording.png) +{{< figure alt="Region List Rec" src="en/ardour7-region-list-recording.png" >}} You might want to plan ahead and organize your recording session by giving appropriate names to different tracks. For example, a track used only for @@ -171,7 +171,7 @@ such as "Audio 1". To rename a track, just double-click on its name (before you arm the track to record) and type in the new name. -![Rename Track](en/ardour7-rename-track.png) +{{< figure alt="Rename Track" src="en/ardour7-rename-track.png" >}} {{% notice tip %}} Did we mention how important it is to **save your work often**? Hit **Ctrl + S** @@ -189,5 +189,5 @@ soundcard, or from other JACK-enabled audio programs on your computer, you should also have a look at the [Understanding Routing](../understanding-routing) chapter. -Next: [Arranging tracks](../../editing-sessions/arranging-tracks/) or -[Understanding routing](../understanding-routing) +Next: [ARRANGING TRACKS](../../editing-sessions/arranging-tracks/) or +[UNDERSTANDING ROUTING](../understanding-routing) diff --git a/content/recording-audio/routing-between-applications/index.en.md b/content/recording-audio/routing-between-applications/index.en.md index 7a0e5eb..47f9669 100644 --- a/content/recording-audio/routing-between-applications/index.en.md +++ b/content/recording-audio/routing-between-applications/index.en.md @@ -1,8 +1,8 @@ +++ title = "Routing between applications" +description = "Routing signal from one JACK client to another" chapter = false weight = 7 -#pre = "1. " +++ Sometimes you may need to record the audio output of another program into @@ -55,7 +55,7 @@ The procedure is essentially the same: create a mono or stereo track to record the audio, set that track's inputs to the desired source, and record as usual. -![Hydrogen](en/ardour7-hydrogen.png) +{{< figure src="en/ardour7-hydrogen.png" alt="Hydrogen" >}} The screenshot above was taken while recording a drum pattern from Hydrogen directly into an Ardour tracks named _Drum N_ where N is a number from 1 to 18. diff --git a/content/recording-audio/understanding-routing/index.en.md b/content/recording-audio/understanding-routing/index.en.md index 9add722..652df02 100644 --- a/content/recording-audio/understanding-routing/index.en.md +++ b/content/recording-audio/understanding-routing/index.en.md @@ -3,7 +3,6 @@ title = "Understanding routing" description = "Routing signal in Ardour" chapter = false weight = 2 -#pre = "1. " featherlight = false +++ @@ -39,7 +38,7 @@ way to make connections to, from ,and within Ardour's mixer. You can open this window with the shortcut **Alt + P**, or through the `Window > Audio Connections` menu. -![_Audio Connection Manager_](en/ardour7-audio-connections-in-menu.png)  +{{< figure alt="Audio Connection Manager" src="en/ardour7-audio-connections-in-menu.png" >}}  The patchbay presents two groups of ports; one set of sources, and one of destinations. Sources and destinations are organized by tabs. The available @@ -52,7 +51,7 @@ in the bottom. This means that the matrix you see displays connections from available hardware sound sources (for example, a microphone), into existing Ardour tracks.  -![ACM 1](en/ardour7-audio-connection-manager-1.png)  +{{< figure alt="ACM 1" src="en/ardour7-audio-connection-manager-1.png" >}}  The green dots represent a connection. The screenshot above tells us that incoming sounds from _capture\_1_ (the first input source of your soundcard, or @@ -69,15 +68,15 @@ vertical tab) into Ardour busses (selected horizontal tab). As mentioned earlier, the default setting for all _Ardour Tracks_ is that their sound goes to the _Master_ bus. -![ACM 2](en/ardour7-audio-connection-manager-2.png) +{{< figure alt="ACM 2" src="en/ardour7-audio-connection-manager-2.png" >}} Note: remember that _Audio 1_ is a Mono track? We saw it in the earlier screenshot that _Audio 1_ only has one input slot. But now on the screenshot -above you see that "Audio 1" has two outputs (Left and Right). This is normal: +above you see that "Audio 1" has two outputs (left and right). This is normal: we define whether a track is Mono or Stereo by its *number of inputs*, not outputs. Mono tracks will hold a single channel of audio, but you can still choose to place the sound on the left or the right speaker (or anywhere in -between). More on this in the chapter **Panning**. +between). For more on this please see the _Panning_ chapter. Finally, let's explore a couple more tabs in the _Audio Connection Manager_ to see the sound going from the _Master_ bus to the actual hardware outputs (your @@ -110,7 +109,7 @@ connection line. Here is how you do it: In the following example session, there are two guitar tracks and one unused bus called _Guitar_ bus, all Stereo. -![ACM 4](en/ardour7-audio-connection-manager-4.png)  +{{< figure alt="ACM 4" src="en/ardour7-audio-connection-manager-4.png" >}}  Suppose you want to send the output from the two guitar tracks to the _Guitar_ bus instead of the _Master_ bus. This can be useful to control the volume of @@ -125,7 +124,7 @@ destinations (horizontal bottom tabs). Undo existing connections from both tracks to _Master_. Then create connections from both tracks to _Guitar_ bus. The final result would look like this: -![ACM 5](en/ardour7-audio-connection-manager-5.png)  +{{< figure alt="ACM 5" src="en/ardour7-audio-connection-manager-5.png" >}}  Now both guitar tracks are routed to the _Guitar_ bus, and no longer directly connected to the _Master_ bus. We then make sure that the _Guitar_ bus is, by @@ -149,7 +148,7 @@ of the strip. Clicking on either one will show you a menu of connection options. In the screenshot below, for example, you would click on the **1/2** button right under the track name _Guitar 1_ in order to access this menu: -![Editor Mixer In Out](en/ardour7-editor-mixer-in-out.png) +{{< figure alt="Editor Mixer In Out" src="en/ardour7-editor-mixer-in-out.png" >}} You may select a connection right there from the menu, or choose _Routing Grid_ to see a simpler version of the _Audio Connection Manager_ with only the @@ -163,10 +162,9 @@ applications like _Qjackctl_ or _Catia_, depending on your operating system. Below is an example of a _Catia_ window (Linux only) displaying the same JACK connections discussed above: -![Catia](en/Ardour4_Catia_Example.png) +{{< figure alt="Catia" src="en/Ardour4_Catia_Example.png" >}} -Continuing ----------- +## Continuing In this chapter, we covered how to manage routing inside Ardour, or between Ardour and the sound card. However, one of the strengths of using the JACK