git-svn-id: svn://localhost/ardour2/branches/3.0@11040 d708f5d6-7413-0410-9779-e7cbd77b26cf
303 lines
12 KiB
XML
303 lines
12 KiB
XML
<?xml version="1.0" standalone="no"?>
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<!DOCTYPE section PUBLIC "-//OASIS//DTD DocBook XML V4.4//EN" "http://www.oasis-open.org/docbook/xml/4.4/docbookx.dtd" [
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]>
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<section id="sn-setting-up-to-record">
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<title>Setting Up To Record</title>
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<para>
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This page needs massive work
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</para>
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<para>
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It is very important that you check your system is connected and
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configured correctly before attempting to record. See Hardware
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Installation for more information on this topic.
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</para>
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<section id="setup-connections">
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<title>Connections</title>
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<para></para>
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</section>
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<section id="setup-levels">
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<title>Levels</title>
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<para></para>
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</section>
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<section id="setup-clipping">
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<title>Clipping</title>
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<para></para>
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</section>
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<section id="record-enabling-tracks">
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<title>Record Enabling Tracks</title>
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<para></para>
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</section>
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<section id="setup-monitoring">
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<title>Monitoring</title>
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<para>
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While monitoring is a broad term, here we use it to refer to the
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signal a track delivers to its channel for further processing.
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There are two available monitoring states.
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These are
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'input' (the signal being delivered to a track for potential recording), and
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'off-disk' (material you have already recorded, or silence in the absence of a region).
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</para>
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</section>
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<section id="setup-hardware-monitoring">
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<title>Hardware Monitoring</title>
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<para>
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Some multichannel audio interfaces have the ability to route an input signal
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directly to an output with very low or no latency. This is useful if your computer hardware
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is connected to the tape sends and returns of a mixing console.
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Whenever monitoring is set to input on a track, the track's input port is connected to its
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output in hardware (as would happen on a multitrack tape recorder).
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Hardware monitoring provides the best quality assurance for an engineer, as the signal path
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is exactly the same for input and off-disk monitoring.
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Level differences can be heard immediately, as can other gremlins that may ruin your recording.
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The hardware monitoring setting is only useful for interfaces supporting this feature.
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</para>
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</section>
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<section id="setup-software-monitoring">
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<title>Software Monitoring</title>
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<para>
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Software monitoring uses software to perform input monitoring.
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When set to monitor input, a tracks input signal is passed to its channel
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as if it were coming from disk, allowing plugins to be heard while recording.
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This introduces an inevitable processing delay, or latency, to the input signal.
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The size of the delay depends on the current JACK configuration, which should
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be set to as short as possible while recording.
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</para>
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</section>
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<section id="setup-latency">
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<title>Latency</title>
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<para></para>
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</section>
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<section id="setup-external-monitoring">
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<title>External Monitoring</title>
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<para>
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External Monitoring will silence the output of a track whenever the track is set
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to monitor input. It is useful if you are listening to the input signal
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using a path outside your computer (eg a mixing console).
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</para>
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</section>
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<section id="tape-machine-mode">
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<title>Tape Machine Mode</title>
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<para>
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Nearly all traditional tape recorders use the same monitoring model.
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Normally only tracks that are record-enabled will monitor input with the
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transport stopped.
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Tape machine mode emulates this behaviour.
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Some simpler machines (like a famous product by Alesis) switch all tracks to
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input on stop when auto-input is enabled, regardless of record-enable state.
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Disabling Tape Machine Mode switches to a behaviour that mimics this type of recorder.
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Be warned that if you disable Tape Machine Mode, many tracks sharing the same input
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(in software monitoring mode) will sum that input through the master buss
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(potentially including several plugins) whenever the transport is stopped.
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Since setting up a sound usually involves listening to the input with the transport
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stopped, you might not be hearing the sound you are about to record!
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Disabling this mode can also lead to surprising acoustic feedback.
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Tape Machine Mode is off by default.
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</para>
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</section>
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<section id="setup-auto-input">
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<title>Auto-Input</title>
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<para>
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When a track is record-enabled, it is set to monitor input
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regardless of the transport state. Auto input switches to off-disk monitoring
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when play is engaged. When Ardour is actually recording, the track will be set to
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monitor input again.
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Auto-Input is useful for performing punch-ins. Disable auto-input when performing
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'dry runs' of an overdub to allow a performer to hear themselves while the transport is rolling.
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</para>
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</section>
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<section id="setup-track-naming">
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<title>Track Naming</title>
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<para></para>
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</section>
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<section id="setup-default-names">
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<title>Default names</title>
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<para></para>
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</section>
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<section id="disk-allocation">
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<title> Disk Allocation </title>
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<para>
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It is of course possible to use Ardour on a single-disk system, but
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you are more likely to have performance problems this way.
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</para>
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<para>
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If you have more than one disk available, we highly recommend using
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one "system" disk and one or more "audio" disks.
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</para>
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<section id="using-the-system-disk">
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<title>Using the system disk </title>
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<para>
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The "system" disk is the main disk on which your operating system
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and (usually) all your installed software reside.
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</para>
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<para>
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If you have any other disks available, it is usually
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<emphasis>not</emphasis> advisable to put your Ardour session and
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all its soundfiles on the main system disk. The reason is that this
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disk may be used at any time by the OS or other programs and, if
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Ardour is trying to play a large amount of disk data at that moment,
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in the worst case this can cause Ardour's playback to stop
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completely. (insert screenshot of error dialog here)
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</para>
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<para>
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Even so, if you have only two disks (the system disk and your audio
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disk), it is possible that a large session will reach the
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performance limits of a single dedicated audio disk. In this case,
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it may be better to put some audio data on the system disk as
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described in the Soft RAID section below.
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</para>
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</section>
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<section id="using-multiple-disks">
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<title> Using Multiple Disks </title>
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<section id="hardware-raid">
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<title>Hardware RAID</title>
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<para>
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You can of course use a normal RAID disk array to spread data
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across multiple disks. This is beyond the scope of this manual.
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</para>
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</section>
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<section id="soft-raid-path">
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<title>Ardour's "Soft" RAID Path</title>
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<para>
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It is possible to spread the resources for your Ardour session
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across multiple disks. This can increase the number of tracks or
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regions you can work with at once.
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</para>
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<para>
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There is no reason to do this if your computer has only one disk.
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</para>
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<para>
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To use the "soft RAID" feature, manually create a new directory on
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another disk. Open the Options Editor window. Click on the
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Paths/Files tab. In the "session RAID path" text box, you will see
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that the default value is the path to the directory where your
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current session lives. But this Session RAID Path can actually be
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a colon-separated list of directories. To add your new directory
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to this list, type a single colon after the existing Session RAID
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Path, followed by the full path to the new directory. Ardour will
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now record new tracks to either directory. (question: how does
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ardour decide which files go where?)
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</para>
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<para>
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You can squeeze some more disk performance out of an existing
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session by following the above procedure, then manually moving
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some files from the
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<code>sounds/</code>
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subdirectory of the existing session into a
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<code>sounds/</code>
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subdirectory of your new directory. Be very careful when doing
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this! If you accidentally delete these sound files, Ardour cannot
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magically fix it for you.
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</para>
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<note>
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<para>
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If you use the "soft" RAID feature described above, take care to
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remember this when making and restoring session backups! You
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will not be happy if you forget to back up one of your data
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directories; and restoring a backup won't work if you don't make
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sure that the "Session RAID Path" setting corresponds to the
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directories where you actually put the restored files.
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</para>
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</note>
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</section>
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</section>
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</section>
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<section id="recording-modes">
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<title> Recording modes </title>
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<section id="destructive-recording">
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<title> destructive recording </title>
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<para>
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When creating tracks, there are 2 different options: Normal tracks
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and Tape tracks. Tape tracks implement a "destructive" style of
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recording that is useful when you will be making multiple recordings
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to the same track, and you don't want to keep a separate "region" on
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disk for each take. There is no undo function (yet) and there is no
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way to edit a tape track (yet). So what is this good for? Well,
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consider the case where you are doing a final mixdown of a project.
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You could record-enable two Tape tracks, and send the master bus
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output to these tracks. Every time you play through a section of the
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project, the resulting mix will be recorded onto the continuous tape
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track. Once you reach the end of the project, you can send the
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resultant wav file directly to the next production step. There is no
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"rendering" step required. The utility of this increases when you
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are using an outboard, automated mixer. This type of recording is
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very common on a film dubbing stage.
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</para>
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</section>
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</section>
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<section id="setup-loop-recording">
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<title>loop recording</title>
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<para></para>
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</section>
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<section id="setup-punch-recording">
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<title>Punch Recording</title>
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<para>
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Once you have recorded material onto a track, the simplest way to punch in
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(or drop in as it is known elsewhere) is to roll the transport and press the
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master record button at the desired in point. Assuming the desired track is
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record enabled, its monitoring state will be switched and recording will begin.
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Pressing it again disengages record.
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If repeatable punch-ins are required, you may use auto punch.
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</para>
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</section>
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<section id="setup-auto-punch">
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<title>Auto Punch</title>
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<para></para>
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</section>
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<section id="recording-with-a-click-track">
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<title>Recording with a Click track</title>
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<para></para>
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</section>
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<section id="the-click-track">
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<title>The Click Track</title>
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<para>
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Enabling the click Routing the click Specifying click sounds Default
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Meter Default Tempo
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</para>
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</section>
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<section id="tempo">
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<title>Tempo</title>
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<para>
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manual tempo tap tempo
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</para>
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</section>
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<!--
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<xi:include xmlns:xi="http://www.w3.org/2001/XInclude"
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href="Some_Subsection.xml" />
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-->
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</section>
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