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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+
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+
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+**END OF TERMS AND CONDITIONS**
+

content/appendices/links/index.en.md

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++++
+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

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++++
+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

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++++
+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)

content/editing-sessions/changing-edit-modes/index.en.md

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+title = "Changing edit modes"
+chapter = false
+weight = 6
+#pre = "<b>1. </b>"
++++
+
+We have already learned a bit about the Grab Mode (select/move objects) and Range Mode. In
+this chapter we will get an overview of all the **Edit Modes** and
+**Cursor Modes** available on that part of the Editor Window.
+
+## Edit Modes and Cursor Modes
+
+![Ardour Edit Modes](en/Ardour6_Edit_Modes_Cursor_Modes.png)
+
+These controls define the behavior of the main canvas and the different
+functions of the cursor.
+
+The drop-down **Edit Mode** menu contains three options. **Slide Edit**
+is the standard mode, and the one we will be using in this tutorial. It
+allows you to freely drag regions around horizontally (within the same
+track) and vertically (between tracks). The other two options limit or
+block your ability to move regions from their positions, but we will not
+cover them in detail here.
+
+### Grab Mode (shortcut "*G*")
+
+![G](en/Ardour4_EditModes_G.png)
+
+This Cursor Mode allows you to select or move objects such as regions
+and breakpoints (in an automation curve). When this Cursor Mode is
+selected, your cursor pointer will look like a little hand icon.
+
+### Range Mode (shortcut "*R*")
+
+![R](en/Ardour4_EditModes_R.png)
+
+This Cursor Mode allows you to click and drag to define or resize time
+Ranges.  When this Cursor Mode is selected, your cursor pointer will
+look like a vertical line. Time ranges can be selected over one or several tracks, depending on the selection of your tracks.
+
+### **Cut Mode** (shortcut *"C"*)
+
+![C](en/Ardour4_EditModes_C.png)
+
+Use this Cursor Mode to split Regions into smaller Regions. The cursor turns into the shape of scissors. This allows you to point and click on a Region to split it at the cursor.
+
+{{% notice tip %}}
+You can cut Regions directly from the Grab Mode too (sometimes this method can be more practical.) Without leaving the Grab Mode, simply place the mouse at the desired location on the Region to be cut, and hit the shortcut *"S"* (for "split"). Important: your Edit Point (to the right of the Grid settings) must be set to Mouse.
+{{% /notice %}}
+
+### **Stretch/Shrink Region** (shortcut *"T"*)
+
+![T](en/Ardour4_EditModes_T.png)
+
+This Cursor Mode allows you to drag and resize the duration of an entire
+Region without changing the Pitch. This is sometimes called 'Time
+stretching', hence the shortcut **"T"**. Please see the chapter on
+**Stretching/Shrinking Regions** for more details. When this Cursor Mode
+is selected, your cursor pointer will look like a diagonal arrow.
+
+### **Audition Mode (listen to specific regions)**
+
+![Audition](en/Ardour4_EditModes_Audition.png)
+
+This Cursor Mode allows you to click on any existing Region on any track
+and have it immediately played back. Playback stops at the end of the
+Region. When this Cursor Mode is selected, your cursor pointer will look
+like a small loudspeaker icon.
+
+{{% notice tip %}}
+You can also quickly audition a selected Region without leaving the Grab Mode. Simply select a Region and hit the shortcut key "*H*".
+{{% /notice %}}
+
+### **Draw Mode (shortcut D)**
+
+Use this mode to draw gain automation points. Cursor looks like a pencil. Automation will be discussed in detail in the chapter [Using Automation](../using-automation).
+
+You can also *edit* individual points in this mode if you bring your cursor right on top of the automation point you want to move (mouse will turn into a small cross). However, if you are not precise this may accidentally create a new automation point. If this becomes a problem, you should use the next Mode, which only allows for editing existing points, not creating new ones.
+
+![D](en/Ardour4_EditModes_D.png)
+
+### **Internal Edit Mode (shortcut E)**
+
+Use this mode to edit existing gain automation points. Cursor looks like a hand, and turns into a small cross when you are on top of an existing point. Click (hold the click down) and drag in order to move points.
+
+![E](en/Ardour4_EditModes_E.png)
+
+### MIDI
+
+The last two buttons explained above are also used to create and edit MIDI information.
+
+### Horizontal Zoom and view options
+
+![Z](en/Ardour6_Zoom_Options.png)
+
+The main shortcuts you will probably be using all the time are "*-*" and "*=*" (zoom out and zoom in, respectively). Zooming will happen in relation to the Edit Point currently chosen (Mouse, Marker, or Playhead). If in doubt of which Edit Point to choose, try Mouse.
+
+The Zoom to Session button (shortcut "*_*" - that's the underscore character) zooms in or out as needed so that you can see the Start and End markers of your project.
+
+All the zoom options discussed above control the amount of *horizontal* content you will be seeing on screen. Once you have a session with several tracks, you will also want to control the amount of *vertical* content you are able to fit (see) on the screen. There are several ways to do this:
+
+* Use the "*Number of visible tracks*" drop down menu to select how many tracks you want to fit on your screen.
+* Use the "*Shrink tracks*" button to make all selected tracks smaller.
+* Use the "*Expand tracks*" button to make all selected tracks larger.
+* You can also change an individual track size by dragging from its bottom edge, or right clicking on the track header and selecting the desired "Height".
+
+#### The navigation tool
+
+You can use the navigation tool at the bottom of the Editor window in order to scroll up and down the session, and adjust horizontal and vertical zoom by adjusting the size of the viewing rectangle.
+
+![navigation](en/Ardour4_Navigation.png)
+
+## Continuing
+
+In the following chapter, we will see how to take the Regions we have
+edited and **Creating Looped Sections** from them.
+
+Next: [Creating looped sections](../creating-looped-sections)

content/editing-sessions/creating-looped-sections/index.en.md

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++++
+title = "Creating looped sections"
+chapter = false
+weight = 7
+#pre = "<b>1. </b>"
++++
+
+You can easily repeat sections of audio in your Ardour session.
+
+Here, we take the short rhythmic passage we created in **Working with Regions**
+and duplicate it to make a loop.
+
+Before duplicating the passage, it is a good idea to combine individual
+regions in the same track into a single one: it is easier to move them
+around this way, and it prevents you from accidentally moving a single
+hihat out of place, for example. There are two ways of doing this:
+**Combine Regions** (allows you to "uncombine" later on), and
+**Consolidate Range** ("writes it in stone", does not allow you to
+separate them later).
+
+If you are still planning on making alterations to the rhythm (adding,
+removing, or moving individual regions), it may be better to use the
+**Combine** regions option. If you like the sequence the way it is and
+don't want or don't care to have the ability to separate them later, use
+**Consolidate Range** option.
+
+## Combine Regions
+
+Simply select all the regions you want to combine:
+
+![combine](en/Ardour4_Combine_Regions_1.png)
+
+Then go to menu *Region > Edit > Combine* (or right-click on the
+selected regions and find the same option through the context menu, as
+shown below):
+
+![combine2](en/Ardour4_Combine_Regions_2.png) 
+
+The combined regions will look like this (note the word "compound"
+appended to the name):
+
+![combine4](en/Ardour4_Combine_Regions_3.png) 
+
+Should you need to separate them again in the future, simply select the
+compound region and go to the same menu and choose the option
+"*Uncombine*". 
+
+## Consolidating the Range
+
+A more permanent alternative to **Combine** is to use **Consolidate**.
+When you've arranged your Regions into a single "loop cycle" and you're
+satisfied with the sound, create a **Range** with all the regions that
+will make up the loop. First, make sure every Track used in the loop is
+selected. Unselected Tracks are gray, and selected ones are blue. If any
+of the Tracks you used are not selected, hold down the *Shift* key while
+clicking on them to add them to the selected group. Finally, use the
+Range tool to select the entire loop. 
+
+Once again, the **Grid** setting will help you to set the range
+precisely to the start and end points of your metric bar. Once you have
+the entire loop selected, Right-Click on the range and select
+"*Consolidate range*". If you would like any Automation or Plugin
+effects you have added to the loop to be included, select "*Consolidate
+range with processing*".
+
+![consolidate](en/Ardour4_Consolidate_Range_1.png) 
+
+When the range is **Consolidated**, new Regions will appear in each
+Track, each containing all the repetitions of the samples which you set
+up in the previous steps. Remember, once the range is consolidated,
+there is no way to undo this operation. In any case, if you find that
+you need to alter the rhythm in any way, you can always retrieve the
+original individual samples from the Region List and rebuild the pattern
+with them.
+
+![consolidate2](en/Ardour4_Consolidate_Range_2.png)
+
+## Duplicating the Range
+
+After you have merged individual regions that form your pattern (using
+either **Combine** or **Consolidate**), it's time to duplicate the
+pattern to make it loop for several bars.
+
+The **Multi-Duplicate** feature (seen in the
+[Working with regions](../working-with-regions/) chapter) is a good way
+to accomplish this. Go back to Grab mode (shortcut **G**), select all regions, 
+and hit **Shift + D**. Choose how many times you want to duplicate the pattern
+(for example, 16). After duplication our session looks something like this:
+
+![multi-dup](en/Ardour4_Multi-Duplicate.png) 
+
+Just for review, other options you could have used for duplication are:
+
+-   The **Fill Track** command from menu *Region > Duplicate > Fill
+    Track*. This would fill the entire track with copies of the selected
+    regions, all the way up to the **End Marker**. 
+
+-   The single **Duplicate** command from the same menu (shortcut
+    "*Alt*" + "*D*"). This lets you make a single copy at a time. 
+
+-   The single duplicate action with "*Control*" + *Click on the region* + *Drag a copy*.
+
+## Continuing
+
+In the next tutorial we will learn about **Stretching/Shrinking
+Regions** that are longer or shorter than one bar in order to fit the
+rhythm of our passage.
+
+Next: [STRETCHING/SHRINKING REGIONS](../stretching-shrinking-regions)

content/editing-sessions/further-region-operations/index.en.md

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+title = "Further region operations"
+chapter = false
+weight = 5
+#pre = "<b>1. </b>"
++++
+
+In this section you will learn a few more things you can do with Regions.
+
+Right-clicking a selected Region reveals a context menu. The first item
+in the menu (labeled with the Region's name) contains a large sub-menu.
+All of these operations are also available from Ardour's main *Region*
+menu.
+
+This section describes a few of the most commonly used operations
+accessible from these menus.
+
+![region menu 1](en/Ardour4_Region_Menu_1.png)
+
+-   **Play**: play back from the beginning to the end of
+    that Region (shortcut "*H*").
+-   **Loop**: set the loop range to fit that region's duration, and
+    start looping it right away.
+-   **Rename**: change a region's name.
+-   **Properties**: lots of information on the region, plus ability to
+    change its gain.
+-   **Position**: among other options, in this sub-menu you will find
+    The **Lock** toggle box: it locks the Region so that it cannot be
+    Moved or Trimmed. It can still be Split, however, and the resulting
+    Regions will be unlocked.
+-   **Edit**: in this sub-menu you find useful tools such as **Pitch Shift** (shortcut "*Alt + 8*") and **Reverse** (shortcut "*Alt + 4*"). Pitch Shift alters the pitch of a region without changing its duration. Reverse makes the region play backwards.
+-   **Gain**: useful options such as **Mute** (shortcut "*Alt + 1*), **Normalize** (shortcut "*Alt + 3*"), **Boost Gain** (shortcut "*Alt + 6*"), and **Cut Gain** (shortcut "*Alt + 7*").
+-   **Duplicate**: includes Duplicate (shortcut "*Alt + D*"), Multi-Duplicate, and Fill Track.
+    These were explained in detail in the chapter [Working with
+    Regions](../working-with-regions). 
+-   **Spectral Analysis**: window displaying the overall frequency
+    content of the Region.
+
+Feel free to explore by yourself other sub-menus not mentioned above.
+Many of them are mirrors of the options you find under Ardour's
+*Region* menu. Below we go into a bit more details on some of the most
+useful functions. 
+
+## Pitch Shifting
+
+The **Pitch Shift** (shortcut "*Alt + 8*") function alters the pitch of a region without 
+changing its duration. The function applies a pitch-shifting algorithm 
+to create a new audio clip based on the source clip.
+
+The Pitch Shift window allows the user to specify the amount and direction of
+transposition desired. The window includes a **Preserve Formants**
+button. When pitch shifting by large amounts, the Preserve Formants
+option can give results that sound slightly more natural, particularly
+when used on vocal material.
+
+![pitch shift](en/Ardour4_Pitch_Shift_Window.png) 
+
+## Normalize
+
+The **Normalize** function (shortcut *"Alt" + "3"*) non-destructively boosts the level of the 
+selected Region so that the **Peaks** are at 0 dB or less. When Normalizing 
+to 0.0, the region will be as loud as possible while avoiding **Clipping**. 
+Sometimes you may find useful to normalize a region to a value less than 0, 
+such as -1.0, -3.0, or -6.0 decibels, so it doesn't become too loud. 
+
+![normalize](en/Ardour4_Normalize_Window.png) 
+
+Two other useful gain operations for regions are Boost Gain (*"Alt" + "6"*), and Cut Gain (*"Alt" + "7"*). Be sure to try them out.
+
+## Reverse
+
+The **Reverse** (shortcut "*Alt + 4*") function reverses the selected region of audio, in 
+effect causing it to play backwards. Reversing a region creates a 
+new audio file 'behind the scenes'.
+
+## Operations on two or more selected Ranges
+
+If more than one range is selected, the operation will apply to all of
+them (for example, Normalize, Reverse, etc.)
+
+### Combine
+
+Some operations from the context menu will only become available when
+two or more regions are selected. For example, let's take a look at the
+"Combine" function, under the sub-menu "Edit". First we select two
+adjacent regions:
+
+![combine](en/Ardour4_Region_Combine.png)
+
+Then we choose "Combine" from the right-click context menu, or from
+Ardour's main menu *Region > Edit > Combine*: 
+
+![combine 2](en/Ardour4_Region_Combine_2.png)
+
+As a result, the selected regions are combined into one. This is
+particulary useful when you have found an exact sequence of regions that
+works just as you want, and then you would like to copy and/or move the
+whole sequence as group.
+
+Notice that the resulting combined region has the word "compound"
+attached to its name. 
+
+![combine 3](en/Ardour4_Region_Combine_3.png) 
+
+## Continuing
+
+In the following chapter, we will learn a bit more about the powerful
+tools Ardour has available by changing **Edit Modes**.
+
+Next: [CHANGING EDIT MODES](../changing-edit-modes)

content/editing-sessions/setting-up-the-meter/index.en.md

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+title = "Setting up the meter"
+chapter = false
+weight = 2
+#pre = "<b>1. </b>"
++++
+
+The **Meter** determines the musical speed of the passage we are
+composing, as measured in **Beats Per Minute**.
+
+If we are composing something rhythmic, it will also determine the lengths of the
+sound samples we use to some extent. So it is important to be able to
+set up the Meter before we continue.
+
+To see the meter-related timelines for our session, we can right-click
+anywhere in the "header" of the Rulers and check the following options: **Meter**, **Bars & Beats**, and **Tempo**.
+
+![Meter](en/Ardour4_Meter_Timeline.png) 
+
+It is possible to set a **Meter** and **Tempo** for the entire Ardour
+session, as well as to change them at different points in the same
+session.
+
+To change the Tempo and Meter (time signature) for the entire session, use the corresponding buttons located underneath the secondary clock:
+
+![Tempo_and_Meter](en/Ardour5_Edit_Meter_and_Tempo.png) 
+
+For the **Tempo** (button on the left), choose the number of BPM (**Beats Per Minute**) for your session.
+
+For the **Meter** (button on the right; the letters "TS" on the button mean "Time Signature"), you can enter new values for the **Beats Per Bar** as well as the **Note Value**. Click "*Apply*" to apply the changes globally to your session.
+
+If the Meter or Tempo of your session changes later in the song or
+composition, simply add a new marker by right-clicking in the Meter or
+Tempo timeline and selecting **New Tempo** or **New Meter** and entering
+the new Tempo or Meter in the resulting dialog.
+
+Continuing
+----------
+
+Next, we will explore **Using Ranges** to set up a loop we can listen to
+while we arrange the rhythm.
+
+Next: [USING RANGES](../using-ranges)

content/editing-sessions/stretching-shrinking-regions/index.en.md

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+title = "Stretching & shrinking regions"
+chapter = false
+weight = 8
+#pre = "<b>1. </b>"
++++
+
+Regions can be stretched or shrunk in length without changing their
+Pitch by using the **Stretch/Shrink Regions** tool (shortcut "*T*", for
+"Time stretch").
+
+A small adjustment to the length of a Region may not
+cause noticeable sound **Artifacts**. However, the more extreme the
+change in length, the more obvious the effect of processing on the
+sound.
+
+![stretch](en/Ardour4_EditModes_T.png) 
+
+To use **Stretch/Shrink Regions**, place your cursor on top of the
+region, and then Click-drag left or right. While dragging, you will see
+a highlighted area, which represents the new duration to which the
+Region will be shrunk or stretched when you release the mouse at the
+current position.
+
+![stretching](en/Ardour4_Stretch_Shrink_Action.png)
+
+## Time-Stretching a Region to Fit the Loop
+
+In the image below, we've added another sound sample—this time, a
+synthesizer line—from [freesound.org](http://www.freesound.org) to the
+rhythmic passage we composed in the **Creating Looped Sections** chapter
+(search for "1168 so synth" in the **Search Freesound** tab of Ardour if
+you'd like to get the same sample. Import it as a new track).
+
+After importing this synth line, we see that the length of our new
+Region doesn't match the existing rhythm we've already created. It's too
+long to be one bar and too short to be two bars.
+
+![stretch1](en/Ardour4_Stretch_Shrink_1.png) 
+
+We can correct this by using the Stretch/Shrink tool. Select the Region
+you wish to stretch, and drag the new length to the end of the second
+Bar, again assisted by the Grid settings.
+
+When you release the mouse button, the **Time Stretch Audio** dialog will
+appear. You can experiment with different settings for the Time Stretch
+operation. Each will affect the sound in different ways. It's a good
+idea to experiment with a few different stretch settings to find out
+which gives the result you're most happy with.
+
+![stretch2](en/Ardour4_Stretch_Shrink_2.png) 
+
+Click **Stretch/Shrink** in the Time Stretch dialog to start the
+operation.
+
+When the Time Stretch operation is complete, the region of the
+synthesizer line will now be exactly two Bars long, and should fit in
+with the rhythm we already created with the drum samples.
+
+![stretch3](en/Ardour4_Stretch_Shrink_3.png) 
+
+## Continuing
+
+This was the last chapter of the **Editing Regions** section. Next we go into Mixing.
+
+Next: [MIXING SESSIONS](../the-mixer-strip)

content/editing-sessions/using-ranges/index.en.md

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+title = "Using ranges"
+chapter = false
+weight = 3
+#pre = "<b>1. </b>"
++++
+
+A **Range** is a selection of the Timeline that can include one or more
+Tracks.
+
+The Range tool (shortcut "*R*") is located just below the
+Transport Menu in the Edit Window.
+
+![Range Tool](en/Ardour4_Range_Tool.png) 
+
+When you have selected the Range tool, your mouse pointer will look like a vertical line.
+
+It can be useful to create Range selections that align with the edges of
+regions on your Timeline. Selecting the "*Grid*" and "*Region bounds*"
+items for Grid and Grid Point menus respectively makes this easy.
+
+![Region Bounds](en/Ardour4_Grid_Region_Bounds.png) 
+
+To make a Range selection, drag anywhere on the Timeline. The current
+Grid and Grid Point options determine exactly how the Range selection
+behaves. Once a Range has been selected, Right-Clicking on it opens a
+menu with Range-specific operations.
+
+![Range selection](en/Ardour4_Range_Selection_and_Menu.png) 
+
+**Loop range**, for example, sets up **Loop Markers** around the current
+Range and begins looped playback. The **Loop Start** and **Loop End**
+points can be changed by moving the green triangles which correspond to
+each point.
+
+![Range Loop](en/Ardour4_Range_Loop.png) 
+
+Other useful options here for editing allow you to **Duplicate** the
+Range, **Select All** within the Range or **Crop** the Range.
+
+Setting Up a Loop
+-----------------
+
+Returning to our rhythmic passage example, we will want to hear the
+passage we are composing, perhaps as a loop, while we are moving the
+samples around. To do that, we must create a Range to listen to within
+our session, so that we can return to exactly this point in the Session
+again and again.
+
+Zoom out if needed (shortcut "*-*") to see full bars in the timeline.
+Use the Range tool to select an entire bar with the help of the Grid
+settings, and right-click inside that range to "*Set loop from
+selection*". You will probably want to set the **Grid** so that your
+actions snap to certain metric elements of the session (for example,
+snapping to **Beats**). Once the one-bar loop has been set up, the
+screen will look like this: 
+
+![Bar Loop](en/Ardour4_Range_Bar_Loop.png) 
+
+This will set up a loop range which you can play by using the **Play
+Loop** button in the **Transport Menu** at the very top of the Editor
+Window (shortcut: "*L*"). While the Range is looping, you can use the
+**Solo** button on each track to listen to each instrument individually.
+
+![Loop Solo](en/Ardour4_Range_One_Bar_Loop_Solo.png) 
+
+Continuing
+----------
+
+In the next step, we will learn about **Working With Regions** to
+compose a rhythm with these samples.
+
+Next: [WORKING WITH REGIONS](../working-with-regions)

content/editing-sessions/working-with-regions/index.en.md

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+title = "Working with regions"
+chapter = false
+weight = 4
+#pre = "<b>1. </b>"
++++
+
+Sections of audio are called **Regions** in Ardour.
+
+To compose the short rhythmic passage we've been working on, we will need to know how
+to **Select**, **Move**, **Split** and **Trim** these Regions, as well
+as how to **Fade In** or **Fade Out** their volume and create
+**Crossfades** between them. Some of these options may need to happen at
+specific **Edit Points** in the composition, or according to the musical
+**Meter** we can define with the **Timeline** and the **Grid** as well.
+
+## Selecting Regions
+
+The **Grab Mode** (shortcut "*G*") is the tool to select and move objects. It is located just below
+the Transport Menu in the Editor Window (the little "hand" icon). You
+will use this tool a lot in your Ardour work.
+
+![Object Tool](en/Ardour4_Grab_Mode.png) 
+
+When it is active, your mouse pointer will look like a little hand icon.
+
+Try all of the operations below, for practice:
+
+-   Click on the Waveform of the region to select it. Click and drag on
+    a region to move it around (left and right within the same track,
+    but also up and down onto other tracks).
+
+-   Use "*Control*" + "*Click*" to create and drag around a *copy* of
+    the region.
+
+-   You can select multiple regions by holding the "*Shift*" key while clicking on each region you want to select.
+    
+-   You can also drag a selection box over multiple Regions to select
+    them all.
+
+![object selection](en/Ardour4_Object_Selection.png) 
+
+-   Move multiple regions at the same time after selecting them. 
+
+-   You can select several sequential regions on one track all at once
+    by holding down the "Shift" key while selecting the first and the
+    last Regions of the sequence (copy a few regions on the same track
+    to try this out).
+
+-   When you select a single Region, make sure to click on the Waveform
+    section of its rectangle. The lower stripe with the Region name is
+    used for a different action (see **Trimming Regions** below).
+    
+-   Use the "Del" key to delete selected regions.
+
+-   Standard copy ("*Control*" + "*C*"), cut ("*Control*" + "X"), and
+    paste ("*Control*" + "V") operations also work with regions. 
+
+## Moving Regions
+
+While moving a Region, a **Timecode** will appear on the screen in
+yellow numbers. This Timecode is the Region's starting point on the
+**Timeline**. The unit of this timecode is the same as the unit of the
+First Clock, which you can change by right-clicking on the Second Clock
+and choosing a new unit (Minutes:Seconds, Bar:Beats, etc).
+
+You can move Regions horizontally (sideways) to a different point in
+time on the same Track, or you can move the selected Region vertically
+(up or down) to a different Track. 
+
+When a set of one or more Regions is selected, you can move the whole
+set by dragging with the mouse.
+
+{{% notice note %}}
+Make sure to select the Region in its waveform section, because
+selecting the bottom title bar area is used for a different action (see
+**Trimming Regions** below).
+{{% /notice %}}
+
+## Duplicating Regions
+
+In addition to "*Control*" + "*Click*" + *drag* and standard copy/paste,
+Ardour offers other handy ways to duplicate regions. Use the Grab Mode (Select/Move
+Objects) to select one or more Regions, then use the **Duplicate**
+function to make one or more copies (menu *Regions > Duplicate*).
+Three options are available:
+
+-   **Duplicate** (shortcut "*Alt*" + "*D*"): make a copy of the
+    selected region on the same track, immediately after the original.
+-   **Multi-Duplicate** (shortcut "*Shift*" + "*D*"): make multiple
+    copies of the selected region at once (same track, in sequence). You
+    can specify the number of duplications.
+-   **Fill Track**: make as many copies of the selected region as needed
+    to fill the entire track, all the way up to the **End** marker on
+    the timeline. 
+
+In the following screenshot, regions have been duplicated using the
+methods above.
+
+![Duplicate](en/Ardour4_Region_Duplicate.png) 
+
+## Using Edit Points
+
+When you use the standard copy/cut/paste commands, where exactly will
+the regions be pasted? The exact location is determined by the **Edit
+Point** drop-down menu.
+
+![Edit Point](en/Ardour4_Edit_Point_Menu.png) 
+
+If **Mouse** is selected as the Edit Point, the copied Region will be
+pasted at the current position of the mouse.
+
+If **Playhead** is selected as the Edit Point, the copied Region will be
+pasted at red Playhead line on the same Track where the original Region
+is.
+
+Finally, if **Marker** is selected as the Edit Point, then the copied
+Region will be pasted immediately after the currently selected
+**Location Marker**.
+
+## Markers
+
+It is very useful to be able to tag different locations in a session for
+later use when editing and mixing. Ardour supports several ways for
+doing this. The most common method is using **Location Markers**, which
+define specific positions in time. 
+ 
+Location Markers can be added to the Timeline by right-clicking on the
+Location Markers strip and selecting **Add New Location Marker**. If you
+don't see the Location Markers strip, right-click on the timeline and
+select it to make it visible. Location Markers can also be selected with
+the mouse and moved to new positions. Right-clicking on a location
+marker lets you rename the marker, among other options. 
+
+![Loc Marker](en/Ardour4_Location_Marker.png) 
+
+{{% notice tip %}}
+When you first create a new session, two location markers are
+automatically added by default. These are the **start** and **end**
+markers that you see in the screenshot above. If you don't see the
+**end** marker, zoom out enough and you will find it. 
+{{% /notice %}}
+
+## Splitting Regions
+
+To **Split** a Region simply means to divide a single Region into two
+independent Regions. There are two ways of accomplishing this:
+
+* You can use the Cut Mode (shortcut *"C"*) to point and click anywhere you want to split; or
+* You can stay in Grab Mode and use the shortcut *"S"* (for "Split"). In this last case, the point at which a Region will be split depends
+on the currently selected Edit Point. If Mouse is selected as your
+current Edit Point, select a Region and place the cursor at the point
+you would like to Split, then type "*S*" (same as going to menu **Edit** > **Split Region**).
+
+![Split](en/Ardour4_Split_Region.png)
+
+After being split, the original single Region becomes two independent regions, 
+with a new name for each, as in the image above. The two new regions are now 
+entirely independent. You can move and edit them separately.
+
+![Split](en/Ardour4_Split_Region_Moved.png)
+
+Regions can also be split by using the Playhead or a Marker as the Edit
+Point. 
+
+Split Regions will receive a name derived from the original name of its parent region, and you will see
+this reflected in your regions List. For example, in the image above, you see two regions called pink.15 and pink.16, which means there were split from a parent Region called "pink" (not shown in image).
+
+{{% notice tip %}}
+Splitting ranges will follow your Grid settings. For example, if you have an active Grid set for Bars, splits will happen at the bar boundaries. If you choose "No Grid", splits will happen wherever the Edit point is, regardless of any Grid.
+{{% /notice %}}
+
+## Trimming Regions
+
+If you move the cursor near the left or right side edge of a Region, you will see that the pointer becomes an arrow. Click and drag inwards from either end of the Region, and the Region will be shortened
+accordingly. This is called **Trimming** the Region. Regions can be
+trimmed from the start of the Region (drag from left to right at the
+edge) or from the end (drag from right to left).
+
+This action is non-destructive: no audio is actually being deleted. It
+is as if you were just "hiding" those portions of the Region that you
+don't want or don't need anymore. Later on, you can "un-trim" the Region
+(i.e., extend it back to its original full size), even if it has been
+moved or copied to a new Track.
+
+![Trim](en/Ardour4_Trimming_Regions.gif)
+
+{{% notice tip %}}
+Like Splitting, Trimming will obey **Grid** settings. If you don't want your
+trimming to be constrained to any grid, simply turn the grid off (**No
+Grid**).
+{{% /notice %}}
+
+## Deleted Regions
+
+Because Ardour is non-destructive, the Regions you have deleted from
+tracks are not completely removed from the Session. They can always be
+accessed again from the Region List on the far right side of the Editor
+Window (Regions can be dragged from the list onto any tracks).
+
+## Creating Fades in Regions
+
+A **Fade** is a change in the volume of a Region, either as the Region
+starts or as it ends. A Fade at the start of the Region is a **Fade
+In**, and at the end of a Region it is a **Fade Out**. Each Region has
+two small handles along the top corners, which can be dragged inwards
+from either edge to create a Fade In or Fade Out. The screenshot below
+shows a Fade In (indicated by the shaded area). 
+
+![Fades1](en/Ardour4_Fades_1.png) 
+
+In fact, every Region has a Fade In and Fade Out built-in. By default,
+the region fade is very short, and serves to avoid clicks in the
+transitions at the start and end of the region. By adjusting the regions
+fade length as shown above, a more gradual transition can be
+accomplished.
+
+By right-clicking on one of the Fades (the shaded area), the speed
+of the Fade can also be adjusted.
+
+![Fade Options](en/Ardour4_Fade_Options.png) 
+
+## Crossfading Between Two Regions
+
+When one Region Fades Out while another Fades In, this is called a
+**Crossfade**. If the two Regions are in different Tracks, you can use
+the method described above with the Fade In and Fade Out handles. The
+following screenshot shows an example. 
+
+![Crossfade](en/Ardour4_Crossfade_1.png) 
+
+However, if both Regions are in the same Track, you need to overlap them
+in order to create a crossfade. When regions overlap on the same track,
+Ardour treats them as *layers*, that is, one of the regions is
+considered to be on top of the other. The important rule to understand
+is:
+
+*The Fade In (or Fade Out) of the topmost region represents the
+crossfade between the two regions.*
+
+Once you understand this principle, it's easy to create and control
+crossfades between regions. Here's an example. The two separate regions
+seen below will be made to overlap in order to create a crossfade.
+
+![Crossfade2](en/Ardour4_Crossfade_2.png) 
+
+Note that we did not add any extra Fade Out to the first region, but we
+did add a longer Fade In to the second region. Then we drag the second
+region partly on top of the first:
+
+![Crossfade3](en/Ardour4_Crossfade_3.png) 
+
+The Fade In of the second region works now as the crossfade between the
+two regions. In other words, the first region will fade out in a mirror
+image way as the second region fades in.
+
+In order for this to work, though, we need to make sure that the region
+that has the desired fade is *on top* in Ardour's layering system. In
+order to change layering of regions, select a region and go to the menu
+*Region > Layering*. 
+
+![Crossfade4](en/Ardour4_Crossfade_4.png) 
+
+The difference may be hard to hear if you are doing this with the very
+short percussive sounds we imported earlier. To really hear the effect,
+import a couple of longer samples to try it out (for example, a sample
+of rain sounds, and another of a human voice). Overlap several seconds
+of your long samples on the same track. You will hear the difference as
+you move the second region to the bottom ("Lower to Bottom"), and then
+back to top ("Raise to Top"). When it's on top, we will hear the desired
+crossfade. When it's at the bottom, we will hear no crossfade, just an
+abrupt change from first to second region (assuming your first region
+has no Fade Out specified, as in the screenshots above).
+
+## Using Grid Settings
+
+Experiment with the **Grid** setting, as discussed in the **Setting Up
+the Timeline** chapter, to give different kinds of **Quantization**—in
+other words, to constrain the boundaries of each Region to certain grid
+points. Here, the Grid has been activated and set to **Beats/16**, to
+quantize the Regions to sixteenth notes within each bar. You may wish to
+Trim the endpoints of some of the samples, as discussed above, to fit
+within the metric structure you have set up (for example, the hihat
+samples in the screen below have been trimmed so that they don't not
+overlap with each other).
+
+![Beat](en/Ardour4_Beat.png) 
+
+## Continuing
+
+In the next chapter, we will explore a few more things you can do with Regions
+
+Next: [FURTHER REGION OPERATIONS](../further-region-operations)

content/exporting-sessions/_index.en.md

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+title = "Exporting sessions"
+chapter = true
+weight = 6
+pre = "<b>6. </b>"
++++
+
+### Chapter 6
+# Exporting sessions
+
+How to export a region, a selection of data, and a whole session

content/exporting-sessions/exporting-a-range/index.en.md

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+title = "Exporting a range"
+chapter = false
+weight = 2
+#pre = "<b>1. </b>"
++++
+
+Learn how to export a selected portion (Range) of your Session.
+
+**Exporting** is the process of saving a Region, Track or Session to a
+file on your computer. As we learned previously, exporting an isolated Region does
+not export all of the changes you might have made to that Region. To
+export edits such as **Panning**, **Fader Automation**, and **Plugin effects**,
+you must Export either a Range or the entire Session.
+
+## Exporting a Range
+
+To export a range, follow these steps:
+
+* CLick on the **Range Mode** button (shortcut "*R*")
+
+![export range 0](en/Ardour4_EditModes_R.png)
+
+* Make a Range selection:
+
+![export range 1](en/Ardour4_Export_Range_1.png)
+
+* Right click on the Range and choose "*Export Range*" from the menu:
+
+![export range 2](en/Ardour4_Export_Range_2.png)
+
+This will open the familiar Export dialog explained in the [Exporting a Session](../exporting-a-session) chapter. Choose your options, if any, and click Export. The Range will be exported and saved as an audio file.
+
+### What exactly is a Range?
+To define a Range is simply to specify a beginning and ending point in time. The **Selection** display to the right of the secondary clock shows the start and end times of the selected range, as well as its duration. The Range created through the method above will disappear as soon as you click outside of it.
+
+The Export Range command will export everything that plays through the Master Bus, exactly as it plays back in
+your Session. If any of the Tracks have the Mute or Solo buttons engaged, this will also affect which Tracks are heard in the Exported file.
+
+### What is a Range Marker? 
+Range Markers are essentially two location markers the are grouped together to mark the beginning and end of a section in the timeline. You can user Range Markers to "bookmark" (so to speak) one or more Ranges that you need to remember or use again later. Range Markers look like this on the timeline:
+
+![range markers](en/Ardour4_Export_Range_Markers.png)
+
+There are a few ways to create Range Markers:
+
+* From a Range selection, right click on it and choose "*Add Range Marker*".
+* From the timeline, right click on the "Range Markers" horizontal space and choose "*New Range*".
+* From one or more selected Regions, right click on the Region and choose "*Add Single Range Marker*" (if a single Region is selected), or "*Add Range Marker Per Region*" (if multiple Regions are selected).
+
+{{% notice tip %}}
+You can clear all existing Range Markers by right-clicking on the Range Markers area of the timeline and choosing "*Clear All Ranges*".
+{{% /notice %}}
+
+## Continuing 
+
+You now know how to Export isolated Regions, selected Ranges from your Session, or the entire Session as a Stereo Mix. The last section of this tutorial explains saving sessions, snapshots, and templates.
+
+Next: [SAVING A SESSION](../saving-a-session)

content/exporting-sessions/exporting-a-region/index.en.md

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+title = "Exporting regions"
+chapter = false
+weight = 1
+#pre = "<b>1. </b>"
++++
+
+You may wish to Export only a Region of your Session, perhaps to use as a sample in another application, or to Edit
+it in a different editor program. This chapter shows you how.
+
+## Exporting a Region
+
+To Export a Region, select it (so it becomes blue), and then right-click into the sub-menu
+**Export**, or use the top menu: *Region > Export*.
+
+![export region](en/Ardour4_Export_Region_1.png)
+
+This will open up the same Export dialog box explained in the [Exporting a Session](../exporting-a-session) chapter.
+Choose your options, and click "Export". Only the selected Region will be exported.
+
+Please note that when exporting a Region, not all parameters and edits
+are exported. **Trimmed**, **split**, **stretched** and **reversed**
+regions can be exported, but edits such as and **Panning**, and **Automation** are *not* exported.
+Also, the volume of the audio Track itself or the Master Bus will not affect the exported
+file. To export these edits, please see the chapters on **Exporting a Range** and **Exporting a Session**.
+
+## Exporting Several Regions At Once
+
+If you are building a collection of samples to use later in another software, and your samples are basically trimmed and edited Regions, at the end of the process you will need to export all of them. If the number is large, exporting them manually can be tedious. Here's one way of exporting several Regions at once.
+
+* In Grab Mode (shortcut "*G*"), select all the Regions you want to Export. They do not need to be on the same Track.
+
+![export region](en/Ardour4_Export_Region_Multiple_1.png)
+
+* Go to menu *Region > Ranges* and choose *Add Range Marker Per Region*.
+
+![export region](en/Ardour4_Export_Region_Multiple_2.png)
+
+* Ardour has now just created Range Markers that fit exactly the beginning and ending of your selected Regions (see the green rectangles in the Range Markers ruler):
+
+![export region](en/Ardour4_Export_Region_Multiple_3.png)
+
+* Go to menu *Session > Export* and choose *Export to Audio File(s)* (shortcut "*Alt*" + "*E*").
+
+* In the Export dialog box, click on the "*Time span*" tab. You will see all the newly created Ranges listed there. There is also a default Range that stands for the entire Session. 
+
+* Under "Time Span", click "*Select All*", and de-select the very first Range (the "session" Range). The reason is because we want to export the shorter Ranges, not the whole Session.
+
+![export region](en/Ardour4_Export_Region_Multiple_4.png)
+
+* Go back to the main tab ("*File format*").
+
+* Click "*Export*".
+
+You Regions have now been exported to single audio files.
+
+{{% notice info %}}
+This method exports *everything* that falls under each defined time range. In other words, if you have other regions in other tracks sounding simultaneously with the region(s) you want to export, they will be mixed together. Another way of looking at it is this: the export operation will export everything that *plays* under the defined time ranges. If that is not what you want, you can use solo or mute buttons on select tracks to ensure you export only what you want.
+{{% /notice %}}
+
+## Continuing
+
+Finally, the next chapter will show discuss **Exporting Ranges** rather
+than just an individual Region. The last trick (exporting multiple regions
+at once) in fact already involved using ranges, as you may have guessed.
+
+Next: [EXPORTING A RANGE](../exporting-a-range)

content/exporting-sessions/exporting-a-session/index.en.md

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+title = "Exporting a session"
+chapter = false
+weight = 2
+#pre = "<b>1. </b>"
++++
+
+**Exporting** is the process of saving a Region, Track, or entire Session to a
+file on your computer which you can listen to, burn as a CD-R, or convert
+to an MP3 to share on a website.
+
+## Export the Entire Session
+
+Once you have finished your composition, the most common export operation is to export the entire Session to an audio file. 
+
+### Bird's Eye View of Entire Session
+
+At this point it's a good idea to Zoom Out and take a look at your whole session before exporting.
+
+* Select "All" from the menu "Number of visible tracks":
+
+![track heights](en/Ardour4_Track_Height.png)
+
+* Click on the "Zoom to Session" button (third button in the Zoom Options):
+
+![zoom options](en/Ardour6_Zoom_Options.png)
+
+* You should now have a nice overview of your whole session, like this:
+
+![birds eye view](en/Ardour4_Export_Session_Birds_Eye_View.png)
+
+Listen to your piece one last time and make sure you hear everything the way you want (any Solo or Mute button you forgot to deactivate? Any volume adjusment left to do? etc.)
+
+#### Start and End Markers
+
+Finally, make sure the *Start* and *End* markers are in the right place.
+
+![start](en/Ardour4_Export_Session_Start.png)
+![end](en/Ardour4_Export_Session_End.png)
+
+Everything included between the *Start* and *End* Location Markers in the Timeline will be exported, so you have to set the markers first if they are not in the correct position. In the image below, clearly the End marker is too far to the right in the timeline. This will result in a huge silence after the end of the piece (that is, between the last Region and the End marker).
+
+![export session](en/Ardour4_Export_Session_Start_End_ARROWS.png)
+
+If your End marker is too far after the end of your piece, click and drag it to the left until it is pretty close to the end of the very last Region of your composition.
+
+## Export it!
+
+To Export a Session, use the top menu: *Session > Export > Export to Audio File(s)...*. This will open up a dialogue box with several options.
+
+![export session dialog](en/Ardour4_Export_Session_Window_1.png)
+
+* **Preset**: this is *NOT* where you write the file name. Don't worry about this field now.
+* **Format**: this allows you to choose the file format (WAV, MP3, OGG, FLAC, etc.). The default is CD (Red Book), which will give you a WAV file.
+* **Add another format**: if you'd like to export in more than one format at the same time, click on this tab.
+* **Location**: this is the place where you will find the file after it is saved. By default, it is in the "*export*" folder that lives inside your main Session folder. You could also click "*Browse*" and select the Desktop, for example.
+* **Label**: *THIS* is where you can create a unique name for the file. Ardour will automatically append the session name to the exported file, so if you don't write anything here the name may end up something generic like "my-session.wav". Use this field to give a unique name to your file.
+
+Having chosen your options, click *Export*. After the operation is finished, you can find the file using your file browser.
+
+{{% notice tip %}}
+Export is handled through the Master Bus, so the final file will include all the sounds from Tracks and Busses that were routed to it. This will include any Normalizing, Fading, Panning, and Automation you have created, along with the individual edits made to the Regions as well. If any of the Tracks have the Mute or Solo buttons engaged, this will also affect which Tracks will be heard in the Exported file. 
+{{% /notice %}}
+
+## Advanced Options
+
+Click on the tabs "*Time span*" and "*Channels*" in case you need to access advanced export options.
+
+Continuing
+----------
+
+At the end of this chapter, you now have an Exported Stereo Mix representing your entire Session. You may also want to know how to export individual Regions or selected Ranges from your Session. This will be covered briefly in the next two chapters.
+
+Next: [EXPORTING REGIONS](../exporting-a-region)
+
+

content/getting-started/_index.en.md

@@ -0,0 +1,11 @@
++++
+title = "Getting started"
+chapter = true
+weight = 2
+pre = "<b>2. </b>"
++++
+
+### Chapter 2
+# Getting started
+
+Learn how to launch JACK and Ardour on Ubuntu