Hugo port + i18n + original content + first updates

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+date: {{ .Date }}
+draft: true
+---
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+languageCode = 'en-us'
+defaultContentLanguage = "en"
+
+title = 'Ardour Tutorial'
+theme = 'hugo-theme-learn'
+
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+weight = 1
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+landingPageURL = "/en"
+#landingPageURL = "/"
+landingPageName = "<i class='fas fa-home'></i> Home"
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+
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+weight = 20
+
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+identifier = "forum"
+url = "https://discourse.ardour.org/"
+weight = 20
+
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+name = "<i class='fas fa-fw fa-bullhorn'></i> Credits"
+url = "/appendices/credits"
+weight = 30
+
+[Languages.ru]
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+weight = 1
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+#landingPageURL = "/"
+landingPageName = "<i class='fas fa-home'></i> Начало"
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+#url = "/appendices/credits"
+#weight = 30

content/_index.en.md

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+---
+title: "Home"
+---
+
+# Ardour v7.0 tutorial
+
+**Ardour** is a professional, full-featured hard disk recorder and Digital Audio 
+Workstation (DAW). Ardour is Free/Libre Open Source Software (FLOSS). It
+features unlimited audio tracks and buses, non-destructive, non-linear
+editing with unlimited undo, and anything-to-anywhere signal routing. It
+supports standard file formats, such as BWF, WAV, WAV64, AIFF and CAF,
+and it can use LADSPA, LV2, VST and AudioUnit plugin formats.
+
+{{< figure src="/images/Ardour6.png" alt="Ardour 6" >}}
+
+This tutorial provides a beginner's introduction to using Ardour for basic sound 
+recording and editing tasks. It assumes you already have Ardour up and running
+on your computer. Please note that this tutorial does not (yet) cover any MIDI
+functionality.
+
+For information on how to install Ardour on Linux and Mac OS X, please visit the
+[Requirements](https://ardour.org/requirements.html) page. For Linux users, 
+distributions such as [KXStudio](http://kxstudio.sourceforge.net/)
+and [UbuntuStudio](http://ubuntustudio.org/) offer a wide selection of useful
+music software, including Ardour.
+
+{{% button href="https://ardour.org/download.html" icon="fas fa-download" %}}Download latest Ardour{{% /button %}}

content/appendices/_index.en.md

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++++
+title = "Appendices"
+chapter = true
+weight = 8
+pre = "<b>8. </b>"
++++
+
+### Chapter 8
+# Appendices
+
+Where to find more info about Ardour and how to improve this tutorial

content/appendices/credits/index.en.md

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++++
+title = "Credits"
+chapter = false
+weight = 4
+#pre = "<b>1. </b>"
++++
+
+The main body of the manual was written during a **Book Sprint** led by Derek
+Holzer in the [moddr_lab](http://moddr.net "moddr_lab @ WORM, Rotterdam") at
+WORM in Rotterdam, the Netherlands, between 23 and 27 November 2009, with input 
+and support from the international community of Ardour users and developers. 
+The tutorial was originally written for Ardour 2.X versions. The original FLOSS
+manual can be found at [flossmanuals.net](http://archive.flossmanuals.net/ardour/index.html).
+
+Original contributors: Adam Hyde, Bruno Ruviaro, Dave Peticolas, Walter 
+Langelaar, David Elwell, Thomas Goose, Derick H., Rob Fell, William Abernathy, 
+Derek Holzer, Stefan Hanser, Tomasz Kaye, Dick MacInnis, Mr Stock, Ross Johnson, 
+Jon Cohrs, Claudia Borges, Ma Rk, Al Thompson, Jay Maechtlen, Christopher
+Stamper, Thomas Margolf, Mark Lindhout, Joern Nettingsmeier.
+
+It was further updated in 2010 by Chou Shoichi, Damian Soto, Ross Johnson, 
+Christian Herzberg, Malcolm Smith, Giorgio Moscardi.
+
+In December 2014, the tutorial was updated for Ardour 3.5 and moved to GitHub.
+The text was completely revised, and screenshots were replaced with newer ones. 
+In August 2015, a similar revision was made to update all screenshots and text 
+to Ardour 4.2. The 2014 and 2015 revisions were made by Bruno Ruviaro and Alex 
+Christie.
+
+2016/2017 fixes by Dan "dannybpng" and Jougleur.
+
+2018 update by Miroslav Šulc.
+
+2021 update for Ardour v6 by Luca Aquino.
+
+<!-- 2022 update for Ardour v7 by Alexandre Prokoudine. -->
+
+[FURTHER HELP](../further-help)   ||
+[GLOSSARY](../glossary)   ||
+[LINKS](../links)
+
+

content/appendices/further-help/index.en.md

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++++
+title = "Further help"
+chapter = false
+weight = 1
+#pre = "<b>1. </b>"
++++
+
+Besides the URLs listed in the Links chapter, there are a couple of
+resources on the Internet to help you learn Ardour and fix some of the
+problems that you might have along the way.
+
+## Ardour Manual
+
+The official Ardour Manual is the main reference to Ardour. It is a work in progress, meaning you will not find every single feature explained there (yet). But it is already an amazing resource:
+
+[http://manual.ardour.org/](http://manual.ardour.org/)
+
+## Getting Help via Chat
+
+A good way to get support when learning Ardour and working with it is
+using the **Chat** function. Ardour has a built in "Chat" option, found
+in the Main Menu under *Help > Chat* to connect (via your web browser)
+to the Ardour [IRC](http://en.wikipedia.org/wiki/IRC) channel at
+libera.chat.
+
+You could also use your IRC capable chat application (like Pidgin or
+Xchat) to connect to the Ardour channel (\#ardour or \#ardour-osx) at
+the libera.chat network, or use this weblink directly:
+
+[https://web.libera.chat//#ardour](https://web.libera.chat//#ardour)
+
+Enter a nickname and connect, you are welcome!
+
+In such a IRC Chat channel or room, you find the Ardour developers and
+other users to chat about using Ardour, problems and/or bugs you are
+facing, or about suggestions for Ardour which you want to discuss.
+
+## Getting Help via Mailing Lists
+
+For those that prefer mailing lists to IRC chatting, the Ardour Users
+mailing list is also a good place where users and some developers
+discuss all kinds of problems and ideas related to using Ardour. This is
+an active list, with many helpful and knowledgeable users around to help
+guide less experienced people. There are sometimes more general
+discussions about topics like recording technique, audio interface
+selection, etc.
+
+[http://lists.ardour.org/listinfo.cgi/ardour-users-ardour.org](http://lists.ardour.org/listinfo.cgi/ardour-users-ardour.org%20)
+
+## Ardour Website
+
+- [Homepage](http://ardour.org)
+- [Forum](https://discourse.ardour.org/)
+
+**Appendices:**
+
+[FURTHER HELP](../further-help)   ||
+[GLOSSARY](../glossary)   ||
+[LINKS](../links)   ||
+[CREDITS](../credits)	||
+[LICENSE](../license)

content/appendices/glossary/index.en.md

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++++
+title = "Glossary"
+chapter = false
+weight = 2
+#pre = "<b>1. </b>"
++++
+
+This glossary offers brief definitions for many or the terms used throuhout the Ardour3 FLOSS Tutorial.
+
+**Aggregate Device** (Mac OS X)
+: 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.
+
+**AIFF**
+: A sound file format developed by Apple and commonly used for lossless
+and uncompressed audio. AIFF files are compatible with Windows,
+Macintosh and Linux operating systems.
+
+**ALSA** (Linux)
+: Advanced Linux Sound Architecture. ALSA provides audio and MIDI
+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
+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**. 
+**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
+to be armed itself.
+
+**Artifacts** (sound)
+: Perceivable distortion or decrease in sound quality generated as a
+by-product of certain signal processing operations. Artefacts are
+usually seen as undesirable or unexpected results of an otherwise
+intentional sound transformation.
+
+**Attenuation**
+: Reducing the **level** of an audio signal, usually measured using a
+**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
+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
+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
+filters, dynamic processors, delay, reverb, time stretch, among others.
+
+**Audition**
+: The auditioner is a hidden mixer strip which auditioned regions are
+played back through. Auditioning a region will play only that region,
+without processing sends or plugins.
+
+**Automation**
+: Automation is the automatic adjustment of various parameters such as
+gain, panning or plugin settings. Changes can be made once and then will
+be repeated every time the mix is replayed. Automation in Ardour is
+controlled by automation lines linked to each Track or Bus.
+
+**Auxiliary Controls**
+: Buttons on the top right side of the controls found in the Editor
+Window: Punch In/Out, Auto Play, Auto Return, Auto Input, Click, Solo,
+and Audition.
+
+**Amplitude**
+: The level or magnitude of a signal. Audio signals with a higher
+amplitude usually sound louder.
+
+**Bands** (equalization)
+: The particular frequency regions to be boosted or attenuated in the
+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.
+
+**Bass** (Frequencies)
+: 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 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
+example, "quarter note equals 60", meaning one quarter note per second).
+
+**Bit**
+: A bit (**bi**nary dig**it**) is a single number with a value of either 0
+or 1. 
+
+**Bit Depth**
+: 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
+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
+referred to as **word length**. 
+
+**Buffer Size** (JACK)
+: The buffer is a section of memory specifically allotted to temporary
+signal data. Small buffer sizes allow a lower latency and so are needed
+when using audio applications that require real-time interaction. The
+drawback is that CPU consumption for the system is higher with smaller
+buffer sizes. Larger buffers (like 512 or 1024) can be used when there
+is no such requirement.
+
+**Built-in Input and Output**
+: These are the default interfaces for getting sound in and out of your
+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
+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,
+whereas the Main Canvas horizontally displays time-based information for
+each bus (such as automation lines).
+
+**BWF**
+: Broadcast Wave Format (BWF) is an extension of the popular Microsoft
+WAVE audio format and is the recording format of most file-based
+non-linear digital recorders used for motion picture and television
+production. This file format allows the inclusion of metadata to
+facilitate the seamless exchange of sound data between different
+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
+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,
+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
+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. 
+
+**Click** (Mouse)
+: In this manual, it specifically means to click on the left button of
+your mouse. Whenever the right button is required, the action is
+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
+were not present in the original sound.
+
+**Clipping Point**
+: The clipping point of a digital system is referred to as 0 dB, and
+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.
+
+**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. 
+
+**Compression**(DSP)
+: Essentially, compression makes the quiet parts of a signal louder
+without changing the level of 
+the louder parts. This entails a reduction of the actual dynamic range:
+a compressed sound is less dynamic (has a smaller range of levels) 
+
+**Compression** (data)
+: Like any other data, audio data can be compressed so that it uses less
+hard disk space. Compression such as FLAC, ALAC, or MLP reduce the size
+of audio files compared to WAV or AIFF without changing the data, which
+is referred to as lossless compression. Audio can be compressed to a
+still smaller size by using lossy compression such as MP3, Ogg Vorbis or
+AAC but this is achieved by removing data which can have an audible
+effect. 
+
+**Connections Manager**(JACK)
+: 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.
+
+**Cursor Modes**
+: These are the six buttons just below the Transport commands in the
+Editor Window. The six different functions that the mouse pointer can
+have in Ardour are: Select/Move Objects, Select/Move Ranges, Select Zoom
+Range, Draw Gain Automation, Stretch/Shrink Regions, Listen to Specific
+Regions.
+
+**Decibels**
+: Decibel is a logarithmic scale used to measure many quantities,
+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. 
+
+**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. 
+
+**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").
+
+**Disk Image (.dmg)**
+: A disk image is a single file containing the complete contents and
+structure representing a data storage medium or device. By
+double-clicking on a .dmg file on a Mac, a virtual device will be
+mounted to your Desktop (it will look as if you had inserted a USB
+device or a DVD, for example). Many software installers in OS X are
+available as .dmg files. 
+
+**Driver**(JACK)
+: Software written to control hardware. CoreAudio is the Mac sound driver.
+ALSA is the most common Linux driver.
+
+**DSP**
+: Digital Signal Processing.
+
+**Dynamic Range**
+: Used to refer to the difference between the loudest and the quietest
+sound that can possibly recorded, as well as the amount of detail which
+can be heard in between those extremes. Sounds which are too quiet to be
+recorded are said to be below the **noise floor**of the recording system
+(microphone, recorder, sound card, audio software, etc). Sounds which
+are too loud will be **distorted**or **clipped**. 
+
+**Edit** **Modes**
+: The three available Edit Modes (**Slide Edit**, **Slice Edit**, and
+**Lock Edit**) control the behavior of editing operations in the **Main
+Canvas**.
+
+**Edit Point**
+: The point in the Main Canvas where an action such as Paste takes place.
+This can be the Mouse, the Playhead or a Marker.
+
+**Editor Window**
+: Ardour provides two ways of viewing a session: the Editor and the Mixer.
+The Editor represents the time based aspects of a session: it shows
+tracks and busses as horizontal timeline displays, with material within
+the tracks (audio, MIDI, video, automation data, etc.) arranged along
+the horizontal (time) axis.
+
+**EQ**
+: See Equalization.
+
+**Equalization**
+: Equalization (EQ) is the process of adjusting the relative levels of
+different frequencies in a recording or signal. In other words, it is
+the process of boosting or attenuating the various frequency bands of a
+sound according to a chosen artistic goal.
+
+**Filter**
+: A type of signal processing that supresses some frequencies. 
+
+**Floating Point Numbers**
+: It is simply a number with a decimal point. "Floating Point" refers to
+the specific technique the computer uses to represent a larger range of
+integer and non-integer values.
+
+**FLAC**
+: An open source lossless audio format generally compatible with Linux,
+Windows and Macintosh. Unlike AIFF and WAV, FLAC is a compressed format,
+allowing file sizes to be reduced. 
+
+**FLOSS**
+: FLOSS stands for Free Libre Open Source Software. FLOSS Manuals is a
+collection of manuals about free and open source software together with
+the tools used to create them and the community that uses those tools.
+They include authors, editors, artists, software developers, activists,
+and many others.
+
+**Format** (audio file)
+: The types of sound file that sounds are saved as. Among the most common
+are AIFF, WAV, FLAC, mp3 and Ogg Vorbis. 
+
+**fps**
+: Frames Per Second. Frame rate, or frame frequency is the frequency
+(rate) at which an imaging device produces unique consecutive images
+called frames. The term applies equally well to computer graphics, video
+cameras, film cameras, and motion capture systems. Frame rate is most
+often expressed in frames per second (FPS). 
+
+**Frequency**
+: Refers to the number of times an oscillation occurs in one second.
+Frequency is measured in **Hertz**, and is correlated to the **pitch**
+of a sound. Frequency is a **linear** scale, while pitch is
+**logarithmic**. The pitch 'A' above the middle C has a frequency of 440
+Hz. The 'A' one octave above is twice that frequency (880 Hz).
+
+**Gain**
+: Increasing the **level**of an audio signal, usually measured using a
+**logarithmic** scale. See also **attenuation**.
+
+**Grid**
+: The Grid is a system of points that a Region might snap to while editing
+it. The Grid can be "No Grid", "Grid" or "Magnetic". 
+
+**Grid Points**
+: The points in the **Grid** which Regions will snap to when it is active.
+Grid Points may be minutes, seconds, video frames, bars, beats or some
+multiple of beats. 
+
+**Hertz**
+: A term used to describe the number of times something occurs in one
+second. In digital audio, it is used to describe the **sampling rate**,
+and in acoustics it is used to describe the **frequency** of a sound.
+Thousands of Herz are described as kHz (kilo Herz). 
+
+**High Shelf**
+: In an **Equalizer**, a **Shelf** cuts or boosts everything above (High
+Shelf) or below (Low Shelf) a specific frequency.
+
+**Headroom**
+: The range of **Decibels** between the region's maximum **Peak**and the
+**Clipping Point** is commonly referred to as **Headroom**. It is common
+recording practice to keep approximately three to six Decibels of
+Headroom between the maximum of your signal and the Clipping Point.
+
+**Jack Audio Connection Kit (JACK)**
+: JACK is a low-latency audio system which manages connections between
+Ardour and the soundcard of your computer, and between Ardour and other
+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**
+for more details. 
+
+**JackPilot**
+: The control interface that comes with JackOSX. 
+
+**Jack Server**
+: The Jack Server is the "engine" or "backend" of the Jack Audio
+Connection Kit. 
+
+**Jack Router**
+: The Jack Router allows audio to be routed from one application to
+another using the **Jack Server**. 
+
+**JAMin**
+: JAMin is the Jack Audio Connection Kit Audio Mastering interface. JAMin
+is an open source application designed to perform professional audio
+mastering of stereo input streams. It uses **LADSPA** for digital signal
+processing (DSP).
+
+**LADSPA Plugins**
+: Linux Audio Developer Simple Plugin API (LADSPA) is a standard that
+allows software audio processors and effects to be plugged into a wide
+range of audio synthesis and recording packages. For instance, it allows
+a developer to write a reverb program and bundle it into a LADSPA
+"plugin library." Ordinary users can then use this reverb within any
+LADSPA-friendly audio application. Most major audio applications on
+Linux support LADSPA.
+
+**Latency**
+: Latency is the amount of time needed to process all the samples coming
+from sound applications on your computer and send it to the soundcard
+for playback, or to gather samples from the sound card for recording or
+processing. A shorter latency means you will hear the results quicker,
+giving the impression of a more responsive system. However, with a
+shorter latency you also run a greater risk of **glitches** in the audio
+because the computer might not have enough time to process the sound
+before sending it to the soundcard. A longer latency means fewer
+glitches, but at the price of a slower response time. Latency is
+measured in milliseconds.
+
+**Limiting**
+: The process by which the amplitude of the output of a device is
+prevented from exceeding a predetermined value.
+
+**Linear**
+: A scale of numbers which progresses in an additive fashion, such as by
+adding one (1, 2, 3, 4...), two (2, 4, 6, 8...) or ten (10, 20, 30,
+40...). Multiplying an audio signal, for example, by either a linear or
+a logarithmic scale will produce very different results. The scale of
+**frequency** is linear, while the scales of **pitch** and **gain** are
+logarithmic.
+
+**Linux kernel**
+: The core of the GNU/Linux operating system. In a **Real-time System**,
+this kernel is usually **Compiled**with new parameters which speed up
+the use of audio applications in the system. 
+
+**Lock Edit**
+: One of the three available **Edit Modes**, Lock Edit is similar to
+**Slice Edit**, but regions will remain at their original positions
+regardless of any edit operation performed.
+
+**Logarithmic**
+: A scale of numbers which progresses according to a certain ratio, such
+as exponentially (2, 4, 8, 16, 256...). Both scales of **pitch** and
+**gain** are logarithmic, while the scale of **frequency** is linear.
+
+**Lossless**
+: See **Compression** (data) 
+
+**Lossy**
+: See Compression (data)
+
+**Loudness**
+: Unlike **amplitude**, which expresses the physical power of a sound,
+loudness is the perceived strength of a sound. Tones at different
+frequencies may be perceived as being at different loudnesses, even if
+they are at the same amplitude.
+
+**LV2** 
+: LV2 is an open standard for plugins and matching host applications,
+mainly targeted at audio processing and generation. LV2 is a simple but
+extensible successor of LADSPA, intended to address the limitations of
+LADSPA which many applications have outgrown.
+
+**Main Canvas**
+: In the Editor Window of Ardour, the Main Canvas is the space just below
+the timeline rulers where Tracks and Busses are displayed horizontally.
+
+**Master Out**
+: A master out is a bus to which all (or most) tracks and other busses
+send their output. It provides a convenient single point of control for
+the output of Ardour, and is a typical location for global effects.
+Master out use is enabled by default, and the master out bus is set up
+to be stereo.
+
+**Meter**
+: The grouping of strong and weak beats into larger units called bars or
+measures. 
+
+**Mixing**
+: Audio mixing is the process by which a multitude of recorded sounds are
+combined into one or more channels, most commonly two-channel stereo. In
+the process, the levels, frequency content, dynamics and panoramic
+position of the source signals are commonly manipulated and effects such
+as reverb may be added. 
+
+**MIDI**
+: MIDI is an industry-standard protocol defined
+in^[](http://en.wikipedia.org/wiki/Musical_Instrument_Digital_Interface#cite_note-0)^
+1982 that enables electronic musical instruments such as keyboard
+controllers, computers and other electronic equipment to communicate,
+control, and synchronize with each other. MIDI allows computers,
+synthesizers, MIDI controllers, sound cards, samplers and drum machines
+to control one another, and to exchange system data. MIDI does not
+transmit audio signals, but simply messages such as note number (pitch),
+velocity (intensity), note-on, and note-off.
+
+**Mixer Strip**
+: Each track and bus is represented in the Mixer Window by a vertical
+Mixer Strip** that contains various controls related to signal flow.
+There are two places in Ardour in which you can see mixer strips. The
+mixer window is the obvious one, but you can also view a single mixer
+strip on the left hand side of the Editor (shift + E to hide/view) 
+
+**Mixer Window**
+: The Mixer shows the session by representing tracks vertically as Mixer
+Strips, with controls for gain, record enable, soloing, plugins etc. The
+Mixer represents the signal flow of Tracks and Busses in an Ardour
+session. The mixer window provides a view that mimics a traditional
+hardware mixing console.
+
+**Monitoring**
+: Monitoring is the process of routing a specific mix or submix of your
+session into separate outputs (like headphones). For example, a musician
+being recorded may want to listen to existing material while performing.
+Ardour and JACK make it easy to setup monitor outs since any incoming
+signal can then be delivered back to any output, optionally mixed
+together with other signals and with any kind of sound processing added.
+
+**Mono**
+: A mono sound file contains only one channel of audio. A mono track in
+Ardour has only one input and handles mono sound files. 
+
+**MP3**
+: A lossy, size-compressed sound file **Format**. 
+
+**Graphic Equalizer/Multi-Band Equalizer**
+: A Graphic (or Multi-Band) Equalizer consists of a bank of sliders for
+boosting or attenuating different frequency of a sound. 
+
+**Non-destructive Editing/Recording**
+: This is a form of editing where the original content is not modified in
+the course of editing. Behind the scenes, the original sound file is
+kept intact, and your edits are in fact a list of instructions that
+Ardour will use in order to reconstruct the signal from the original
+source when you play it back. For example, creating fade-ins and
+fade-outs on your Regions is a type of non-destructive editing. 
+
+**Normalize**
+: To normalize an audio signal means to adjust its **Gain** so that it
+peaks at the maximum the sound card allows before **Clipping**.
+
+**Normal Mode**
+: See **Track Mode**. 
+
+**Note value**
+: The proportional duration of a note or rest in relation to a standard
+unit. For instance, a 'quarter note' (crotchet) is so-called because its
+relative duration is one quarter of a whole note (semibreve). 
+
+**Octave** (music) 
+: A distance of 12 semitones between two notes. In **Hertz**, the ratio of
+an octave is 2:1. For example, the note 'A' above the middle C has a
+frequency of 440 Hz. The note 'A' one octave above is 880 Hz, and one
+octave below is 220 Hz. 
+
+**Ogg Vorbis**
+: An open source lossy, size-compressed sound file format. 
+
+**Panning**
+: Panning is the location of sounds in the **Stereo Field**. 
+
+**Parametric Equalizer**
+: The Parametric Equalizer is the most versatile type of**EQ** used for
+**Mixing** because of its extensive control over all the parameters of
+filtering. 
+
+**Peaks**
+: Peaks are a graphical representation of the maximum **Levels** of a
+**Region**. 
+
+**Peak Meters**
+: Peak Meters are a running representation of the maximum Levels of a
+Region, and are located next to the Fader in the Mixer Window, and also
+in the Track Mixer, of each Track. 
+
+**Pitch**
+: Pitch represents the perceived fundamental frequency of a
+sound.^[](http://en.wikipedia.org/wiki/Pitch_(music)#cite_note-0)^^^It
+is one of the three major auditory attributes of sounds along with
+loudness and timbre. In MIDI, pitch is represented by a number between 0
+and 127, with each number representing a key on a MIDI keyboard. The
+relation of pitch to **Frequency** is **Logarithmic**. This means that a
+sound which is heard as one **Octave**(+12 MIDI notes) above another one
+is twice the frequency in Hz, while a sound one octave below (-12 MIDI
+notes) is half the frequency.
+
+**Playhead**
+: In Ardour, the Playhead is the red line that moves in time (i.e., left
+to right) to indicate the current playback position. 
+
+**Plugin**
+: In computing, a plugin consists of a computer program that interacts
+with a host application (in this case, Ardour) to provide a certain
+function "on demand", usually a very specific one. Reverb, filters, and
+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.
+
+**Post-Fader** (Plugin or Send)
+: In the Mixer Strip, the post-fader area is the black space below the
+gain slider, to which plugins or sends can be added. The input of these
+plugins and sends will be the signal *after* any manual or automated
+gain change (thus "post-fader"). 
+
+**Pre-Fader** (Plugin or Send)
+: In the Mixer Strip, the pre-fader area is the black space above the gain
+slider, to which plugins or sends can be added. The input of these
+plugins and sends will be the incoming signal *before* it is affected by
+any manual or automated gain changes controlled by the slider (thus
+"pre-fader").
+
+**Quantization**
+: In signal processing, quantization may refer to bit depth (see **bit
+depth** definition). In MIDI, quantization refers to the process of
+aligning notes to a precise temporal grid. This results in notes being
+set on beats or exact fractions of beats. MIDI sequencers typically
+include some type of quantization function.
+
+**Range**
+: A segment of time. Ranges are created with the Select/Move Ranges tool
+and may include one or more tracks. Loop and punch ranges are special
+types of ranges that are created and manipulated with the loop/punch
+ranges meter.
+
+**Real-time System**(Linux)
+: In a **Real-time System**, the **Linux kernel** is usually recompiled
+(rebuilt) with new parameters, and other settings in the system are
+optimized which speed up the use of audio applications in the system.
+
+**Regions**
+: Regions are the basic elements of editing and composing in Ardour. Each
+region represents all or part of an audio file. Removing a region from a
+track does not remove the audio file from the disk.
+
+**Region List**
+: The region list is located at the right hand side of the Editor Window
+and it shows all the regions associated with the session. 
+
+**Reverberation**
+: Reverberation is the persistence of sound in a particular space after
+the original sound source is
+removed.^[](http://en.wikipedia.org/wiki/Reverberation#cite_note-0)^^^A
+reverberation, or reverb, is created when a sound is produced in an
+enclosed space causing a large number of echoes to build up and then
+slowly decay as the sound is absorbed by the walls and air. Digital
+reverberation can be added to a sound in Ardour through the use of
+plugins. 
+
+**Right Click** (mouse)
+: Click on the right button of your mouse.
+
+**Routing**
+: Routing is sending an audio signal from somewhere to somewhere else.
+Signals can be routed not only from the outside world into Ardour and
+vice-versa, but also within Ardour itself (for example, from a Track to
+a Bus).
+
+**Rulers**
+: Rulers are the thin horizontal bars that display the time line, helping
+to see when exactly a region or sound starts or stops. Also displayed
+with the rulers are the meter and tempo markers, the location markers,
+the range markers and the loop/punch ranges. 
+
+**Sample** (data)
+: In digital audio, a sample is the smallest possible segment of a
+recorded sound. In CD audio, for example, it takes 44,100 samples to
+make one second of recorded sound, and so we can say that the **sampling
+rate** is 44,100 **Hertz**. Samples also have a **bit depth** which
+determines the **dynamic range** that is possible to record and
+playback. Common bit depths are 16 (for CD audio), 24 (for studio
+recording and DVDs) or 32 (for sounds inside the computer).
+
+**Sample** (music) 
+: In electronic music, the word sample can mean any portion of sound
+extracted from an existing piece of music to be reused in a new
+composition.
+
+**Sampler**
+: An electronic music instrument or software which plays back a recorded
+sound (or **sample**) whenever it is sent a **note** message. The
+**pitch** of the note determines how fast or slow the sample is played
+back, which emulates the pitch changes in other instruments. Samples can
+be looped (played over and over) and one-shot (played once).
+
+**Sampling Rate**
+: The rate at which the computer records and plays back sound, which is
+measured in **Hertz**representing the number of **samples**per second.
+CD audio is recorded and played at 44,100 Hz (or 44.1 kHz), while DVD
+audio runs at 96,000 Hz (96 kHz) and cheap consumer gadgets like voice
+recorders, video games, mobile phones, toys and some MP3 players often
+use a rate of 22,050 Hz (22.05 kHz) or even less. The sampling rate
+determines the highest **frequency** that can be recorded or played,
+which is expressed by the Nyquist number (half the sampling rate).
+Playing back sounds at a different sampling rate then they were recorded
+at will result in hearing that sound at the "wrong speed".
+
+**Send**
+: An optional auxiliary output for a track or bus.
+
+**Session**
+: A session is all of the information that constitutes one project in
+Ardour. Each session is saved in its own folder containing all the
+audio, region and parametric data, and a master file with the .ardour
+extension.
+
+**Shelf**
+: In an **Equalizer**, a **Shelf** cuts or boosts everything above (High
+Shelf) or below (Low Shelf) a specific frequency.
+
+**Slice Edit**
+: One of the three available **Edit Modes**, Slice Edit does not allow
+dragging regions around, but still allows you to perform slice
+operations (such as cut, paste, and split). Space between regions will
+be kept constant after any edit operation that affects it. If you delete
+the second half of a region, for example, any subsequent regions on the
+same track will automatically move back in the time grid.
+
+**Slide Edit**
+: Another one of the three available **Edit Modes**, Slide Edit is the
+default mode. It allows you to drag regions around horizontally (within
+the same track) and vertically (between tracks).
+
+**SMPTE timecode**
+: : A set of cooperating standards to label individual frames of video
+or film with a timecode defined by the Society of Motion Picture and
+Television Engineers. Timecodes are added to film, video or audio
+material, and have also been adapted to synchronize music. They provide
+a time reference for editing, synchronization and identification.
+
+**Snap Mode**
+: The **Snap Mode** menus are found just below the **Clocks**. They
+control the amount **Quantization** of the time grid, i.e., the amount
+of "snap" an audio **Region** has to the type of grid you have chosen.
+
+**Snapshots**
+: Saving a snapshot in Ardour is similar to saving the session to a new
+file to avoid overwriting the original session file. A snapshot contains
+the current state of your work, while sharing all the audio and data
+files of the Session. If you were trying to find a "Save As" function in
+Ardour, saving a snapshot is probably what you are looking for. 
+
+**Solo**
+: Toggle switch found in track controls and mixer strips. When toggled on,
+only solo tracks will send output. Several tracks can be marked solo at
+once. The general Solo button (top row of controls in the Editor Window)
+can be used to un-solo all soloed tracks at once.
+
+**Spectrum**
+: The representation of a signal in terms of its frequency components. 
+
+**Stereo**
+: A stereo sound file contains two channels of audio (usually known as
+Left and Right channels). A stereo track in Ardour has two inputs and
+outputs, in order to record and playback stereo files.
+
+**Stereo Field**
+: Stereo field is the perception of spatial location of sounds based on a
+sound reproduction system of 2 channels (Left and Right). 
+
+**Take**(recording)
+: A sequence of sound recorded continuously at one time.
+
+**Tape Mode**
+: See **Track Mode**. 
+
+**Tempo**(music)
+: The rate at which beats occur. Precise Tempo indications are measured in
+**bpm** (beats per minute), although subjective indications are also
+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
+and Linux though, include a terminal which may make some tasks easier
+for some users. 
+
+**Timecode**
+: A time code is a sequence of numeric codes generated at regular
+intervals by a timing system. The SMPTE family of timecodes is almost
+universally used in film, video and audio production.
+
+**Time Signature** (music) 
+: A sign placed at the start of a piece of music (after the clef and key
+signature) or during the course of it, indicating the meter of the
+music.
+
+**Track**
+: A Track is the place to where you can drag a **Region** from your
+**Region List**and where you can record sounds coming from an
+outside source. The Mixer Strip vertically represents the signal flow of
+a track, whereas the Main Canvas horizontally displays time-based
+information for each track. 
+
+**Track Mode**
+: **Track Mode** gives you a choice between **Normal Mode** and **Tape
+Mode**. Normal Mode creates a new Region for each Recording **Take**,
+while **Tape Mode** destructively records--in other words the previous
+Take of a Track is eliminated with each new Take.
+
+**Transport**
+: The buttons located on the upper left corner of the Editor Window, with
+controls such as Rewind, Play, Stop. 
+
+**Treble**(frequencies)
+: Generic way of referring to high frequencies of the **Spectrum** of a
+sound.
+
+**VST (Virtual Studio Technology)**
+: [Steinberg](http://en.wikipedia.org/wiki/Steinberg) VST is an
+interface for integrating software audio synthesizer and effect plugins
+with audio editors and digital workstations such as Ardour. VST and
+similar technologies use digital signal processing to simulate
+traditional recording studio hardware with software. Thousands of
+plugins exist, both commercial and freeware. VST was created by
+Steinberg. 
+
+**WAV**
+: A sound file format developed by Microsoft and IBM and commonly used for
+lossless and uncompressed audio. WAV files are compatible with Windows,
+Macintosh and Linux operating systems.
+
+**Waveform**
+: The time-domain visual representation of a sound. Waveforms are drawn
+inside the colored rectangles representing Regions in the Main Canvas.
+
+**Word length**
+: See **Bit Depth**. 
+
+**Appendices:**
+[FURTHER HELP](../further-help)   ||
+[LINKS](../links)   ||
+[CREDITS](../credits)

content/appendices/license/index.en.md

@@ -0,0 +1,322 @@
++++
+title = "License"
+chapter = false
+weight = 5
+#pre = "<b>1. </b>"
++++
+
+
+License
+-------
+
+All chapters copyright of the authors (see below). Unless otherwise
+stated all chapters in this manual licensed with **GNU General Public
+License version 2**.
+
+This documentation is free documentation; you can redistribute it and/or
+modify it under the terms of the GNU General Public License as published
+by the Free Software Foundation; either version 2 of the License, or (at
+your option) any later version.
+
+This documentation is distributed in the hope that it will be useful,
+but WITHOUT ANY WARRANTY; without even the implied warranty of
+MERCHANTABILITY or FITNESS FOR A PARTICULAR PURPOSE. See the GNU General
+Public License for more details.
+
+You should have received a copy of the GNU General Public License along
+with this documentation; if not, write to the Free Software Foundation,
+Inc., 51 Franklin Street, Fifth Floor, Boston, MA 02110-1301, USA.
+
+
+General Public License
+----------------------
+
+Version 2, June 1991
+
+Copyright (C) 1989, 1991 Free Software Foundation, Inc. 
+51 Franklin Street, Fifth Floor, Boston, MA 02110-1301, USA 
+ 
+Everyone is permitted to copy and distribute verbatim copies 
+of this license document, but changing it is not allowed. 
+
+**Preamble**
+
+The licenses for most software are designed to take away your freedom to
+share and change it. By contrast, the GNU General Public License is
+intended to guarantee your freedom to share and change free software--to
+make sure the software is free for all its users. This General Public
+License applies to most of the Free Software Foundation's software and
+to any other program whose authors commit to using it. (Some other Free
+Software Foundation software is covered by the GNU Lesser General Public
+License instead.) You can apply it to your programs, too.
+
+When we speak of free software, we are referring to freedom, not price.
+Our General Public Licenses are designed to make sure that you have the
+freedom to distribute copies of free software (and charge for this
+service if you wish), that you receive source code or can get it if you
+want it, that you can change the software or use pieces of it in new
+free programs; and that you know you can do these things.
+
+To protect your rights, we need to make restrictions that forbid anyone
+to deny you these rights or to ask you to surrender the rights. These
+restrictions translate to certain responsibilities for you if you
+distribute copies of the software, or if you modify it.
+
+For example, if you distribute copies of such a program, whether gratis
+or for a fee, you must give the recipients all the rights that you have.
+You must make sure that they, too, receive or can get the source code.
+And you must show them these terms so they know their rights.
+
+We protect your rights with two steps: (1) copyright the software, and
+(2) offer you this license which gives you legal permission to copy,
+distribute and/or modify the software.
+
+Also, for each author's protection and ours, we want to make certain
+that everyone understands that there is no warranty for this free
+software. If the software is modified by someone else and passed on, we
+want its recipients to know that what they have is not the original, so
+that any problems introduced by others will not reflect on the original
+authors' reputations.
+
+Finally, any free program is threatened constantly by software patents.
+We wish to avoid the danger that redistributors of a free program will
+individually obtain patent licenses, in effect making the program
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+
+The precise terms and conditions for copying, distribution and
+modification follow.
+
+**TERMS AND CONDITIONS FOR COPYING, DISTRIBUTION AND MODIFICATION**
+
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+a notice placed by the copyright holder saying it may be distributed
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+(Hereinafter, translation is included without limitation in the term
+"modification".) Each licensee is addressed as "you".
+
+Activities other than copying, distribution and modification are not
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+the Program is not restricted, and the output from the Program is
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+is true depends on what the Program does.
+
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+
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+
+ 
+
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+ 
+
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+
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+
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+
+**3.** You may copy and distribute the Program (or a work based on it,
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+
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+
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+**8.** If the distribution and/or use of the Program is restricted in
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+
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+
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+**END OF TERMS AND CONDITIONS**
+

content/appendices/links/index.en.md

@@ -0,0 +1,31 @@
++++
+title = "Links"
+chapter = false
+weight = 3
+#pre = "<b>1. </b>"
++++
+
+Useful links:
+
+#### Ardour:
+[http://ardour.org/](http://ardour.org/)
+
+#### Ardour reference manual (in progress):
+[http://manual.ardour.org/](http://manual.ardour.org/)
+
+#### Jack Audio Connection Kit
+[http://jackaudio.org/](http://jackaudio.org/)
+
+#### Jack OS X
+[http://jackosx.com/](http://jackosx.com/)
+
+#### JAMin
+[http://jamin.sourceforge.net/](http://jamin.sourceforge.net/)
+
+#### Tutorial: Mastering with JAMin and Ardour
+[http://jamin.sourceforge.net/en/tutorial.html](http://jamin.sourceforge.net/en/tutorial.html)
+
+**Appendices:**
+[FURTHER HELP](../further-help)   ||
+[GLOSSARY](../glossary)   ||
+[CREDITS](../credits)

content/editing-sessions/_index.en.md

@@ -0,0 +1,11 @@
++++
+title = "Editing sessions"
+chapter = true
+weight = 4
+pre = "<b>4. </b>"
++++
+
+### Chapter 4
+# Editing sessions
+
+How to arrange tracks, then cut, loop, and stretch regions

content/editing-sessions/arranging-tracks/index.en.md

@@ -0,0 +1,66 @@
++++
+title = "Arranging tracks"
+chapter = false
+weight = 1
+#pre = "<b>1. </b>"
++++
+
+In the following chapters we will use Ardour to create a short rhythmic
+passage using several drumkit samples.
+
+We will continue working on this
+passage in later tutorials, such as **Working with Regions** and
+**Creating Looped Sections**. We assume that you have read the chapters
+in the **Getting Started** section already, and are familiar with
+**Importing Audio**, **Tracks**, and the **Timeline**.
+
+Importing Samples
+-----------------
+
+The first step is to add some sounds, which is discussed at length in
+the **Importing Audio** chapter. Here, we are using the **Add existing
+media** dialog ("*Ctrl*" + "*I*") to import some drumkit samples as
+regions. The samples used in this tutorial were obtained from a sample
+pack from the [freesound.org](http://www.freesound.org/) website (Nord Drum Mini Kit sample pack, which you can download [here](https://freesound.org/people/menegass/packs/10430/)).
+
+![FS2](en/Ardour4_Freesound.png) 
+
+After importing a few sounds from the downloaded sample pack (bass drum, snare, hi-hat, clap),
+our session looks like this (in this case I used the "*Add files as new tracks*" option, and inserted "*at session
+start*". The drumkit samples appear as new individual tracks in the Editor Window, each with the name of the
+audio file used. If the file names are too long or obscure, you may want to rename your tracks for clarity.
+
+![FS2](en/Ardour4_Freesound_2.png) 
+
+Organizing the Tracks
+---------------------
+
+Now we rename the tracks so we can quickly see the location of each
+instrument (double-click on the track name to edit it).
+
+![FS3](en/Ardour4_Freesound_3.png) 
+
+You may also wish to rearrange the order of the tracks from top to
+bottom in the editor window. Do that by clicking the **Tracks &
+Busses** tab at the far right of the Editor Window and drag-and-dropping
+the tracks in the order you want.
+
+![FS4](en/Ardour4_Freesound_4.png) 
+
+{{% notice tip %}}
+You can also use the V check boxes in this tab to view or hide
+Tracks in the Main Canvas.
+{{% /notice %}}
+
+Here we have ordered the drumkit so that the kick drum is on the bottom,
+the snare and high hat are in the middle, and the clap is on top.  
+
+![FS6](en/Ardour4_Freesound_5.png) 
+
+Continuing
+----------
+
+In the next step we will learn about **Setting Up the Meter** to
+organize these samples into a rhythm.
+
+Next: [SETTING UP THE METER](../setting-up-the-meter)