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Resuming work on removing 'you's. Adding a screenshot to the fade shapes.

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Ed Ward 2017-10-10 19:09:11 +02:00
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118
include/create-region-fades-and-crossfades.html
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@ -1,39 +1,39 @@
<p>
Every Region has a fade-in and fade-out. By default, the region fade
is very short, and serves to de-click the transitions at the start and
end of the region. By adjusting the regions fade length, a more
end of the region. By adjusting the regions fade length, a more
gradual transition can be accomplished.
</p>
<h2>Region Fades</h2>
<p>
<dfn>Region fades</dfn> are possible at the beginning and end of
<dfn>Region fades</dfn> are possible at the beginning and end of
all audio regions. In object mode, a grip appears at the top left and
top right of an audio region when the cursor hovers over it. Placing
the cursor over the top of the grip displays the region fade cursor
tip. Click and drag the grip left or right in the timeline to
adjust the length of the fade.
tip. Clicking and dragging the grip left or right in the timeline adjusts the
length of the fade.
</p>
<h2>Crossfades</h2>
<p>
<dfn>Crossfades</dfn> refer to the behavior when you want to make
a smooth transition (mix) from one audio region to another on the same
track. Historically, this was done by splicing 2 pieces of analog
<dfn>Crossfades</dfn> refer to the behavior of two audio regions transitionning
smoothly (mixing) from one to another on the same
track. Historically, this was done by splicing two pieces of analog
tape together, and this concept was carried forward into digital
editing. Each track is a sequence of sound files (regions). If
two regions are butted against each other, there needs to be a method
to splice them smoothly together. The crossfade allows one region
to fade smoothly out, while the next region fades smoothly in, like 2
to fade smoothly out, while the next region fades smoothly in, like two
pieces of tape that have been cut at and angle, and overlapped.
</p>
<p>
But Ardour uses a more refined "layered" editing model, and
therefore it is possible for multiple regions to be stacked on a single
location with arbitrary overlaps between different layers. For
this reason, crossfades must be implemented differently. We can't
assume that a crossfade is an entitry that exists between 2 regions;
this reason, crossfades must be implemented differently. It can't be
assumed that a crossfade is an entitry that exists between two regions;
instead each region must have its own associated crossfades at each
end, and the topmost region must always crossfade down to the
underlying region(s), if any.
@ -46,29 +46,34 @@
the region(s) beneath it.
</p>
<p>
It is important to understand that region fades <em>are</em> crossfades. When one region has
another region or multiple regions beneath its fade area, then you will
hear the topmost region fade-out be mirrored as a fade-in on the
underlying region(s). The grip for the topmost region will allow
It is important to understand that region fades <em>are</em> crossfades.
When one region has another region or multiple regions beneath its fade area,
then what will be heard is the topmost region fade-out mirrored as a fade-in
on the underlying region(s). The grip for the topmost region will allow
changing the length and type of the crossfade into the underlying
region(s). In this way you can create a complicated series of
crossfades, and then layer another region atop the others, and fade
into a complicated series.
region(s). In this way complicated series of crossfades can be created, and
then another region layered atop the others, and faded into a complicated
series.
</p>
<p>
If a region doesn't have any region(s) under it, then the region is
crossfaded to silence; for convenience we call this a "fade"
crossfaded to silence; for convenience this is called a "fade"
rather than a crossfade.
</p>
<h2>Fade Shapes</h2>
<figure class=right>
<img src="/images/crossfade_menu.png">
<figcaption class=center>The fade shape context menu.</figcaption>
</figure>
<p>
To activate/deactivate or change the shape of a region's fadein or
fade-out, hover the cursor over the regionfade grip till the cursor tip
indicates region fade editing and context-click to bring up a context
menu. In the context menu there is a list of options for the
regionfade. <kbd class="menu">Activate/Deactivate</kbd> enables and
fade-out, the cursor has to be hovered over the regionfade grip until the
cursor tip indicates region fade editing, then <kbd class="mouse">right</kbd>
clicked to bring up a context menu. In the context menu is a list of options
for the regionfade. <kbd class="menu">Activate/Deactivate</kbd> enables and
disables the regionfade.
</p>
<p>
@ -80,44 +85,42 @@
The different types of fades are:
</p>
<table class="dl">
<tr><th><kbd class="menu">Linear</kbd></th><td>A simple linear coefficient decrease, and its
mathematical inverse. A Linear fade starts attentuating quickly
and then cuts off even more abruptly at lower levels. When used
as a crossfade, the signals are each -6dB attenuated at the midpoint.
This is the correct crossfade to use with highly-correlated signals for
a smooth transition.</td></tr>
<tr><th><kbd class="menu">Constant Power</kbd></th><td>The constant power curve starts fading
slowly and then cuts off abruptly. When used as a crossfade
between 2 audio regions, the signals are symetrically attenuated, and
they each reach -3dB at the midpoint. This is the correct crossfade to
use when you want to splice audio in the general ( uncorrelated ) case.</td></tr>
<tr><th><kbd class="menu">Symmetric</kbd></th><td>The Symmetric fade starts slowly, then
attenuates significantly before transitioning to a slower fade-out near
the end of the fade. When used as a crossfade, the Symmetric
curve is not mathematically correct like the Equal Power or Linear
curves, but it provides a slower fade-out at low volumes. This is
sometimes useful when editing 2 entire music works together so that the
transition is more gradual.</td></tr>
<tr><th><kbd class="menu">Fast</kbd></th><td>The Fast curve is a linear decibel fade; It sounds
like a perfectly smooth fader or knob moved to silence. This shape is
excellent as a general-purpose fade-in. When used as a
crossfade, the inverse fade curve maintains constant power but is
therefore non-symmetric; so its use is limited to those cases where the
user finds it appropriate.</td></tr>
<tr><th><kbd class="menu">Slow</kbd></th><td>The Slow curve is a modified linear decibel fade.
The initial curve starts more gradually so that it has a less
abrupt transition near unity. After that, it sounds like a
perfectly smooth fader or knob moved to silence. This shape is excellent as
a general-purpose fade-out. When used as a crossfade, the
inverse fade curve maintains constant power but is therefore
non-symmetric; so its use is limited to those cases where the user
finds it appropriate.</td></tr>
<tr><th><kbd class="menu">Linear</kbd></th><td>A simple linear coefficient
decrease, and its mathematical inverse. A Linear fade starts attentuating
quickly and then cuts off even more abruptly at lower levels. When used as a
crossfade, the signals are each -6dB attenuated at the midpoint. This is the
correct crossfade to use with highly-correlated signals for a smooth
transition.</td></tr>
<tr><th><kbd class="menu">Constant power</kbd></th><td>The constant power
curve starts fading slowly and then cuts off abruptly. When used as a
crossfade between 2 audio regions, the signals are symetrically attenuated,
and they each reach -3dB at the midpoint. This is the correct crossfade to
use when splicing audio in the general ( uncorrelated ) case.</td></tr>
<tr><th><kbd class="menu">Symmetric</kbd></th><td>The Symmetric fade starts
slowly, then attenuates significantly before transitioning to a slower
fade-out near the end of the fade. When used as a crossfade, the Symmetric
curve is not mathematically correct like the Equal Power or Linear curves,
but it provides a slower fade-out at low volumes. This is sometimes useful
when editing 2 entire music works together so that the transition is more
gradual.</td></tr>
<tr><th><kbd class="menu">Slow</kbd></th><td>The Slow curve is a modified
linear decibel fade. The initial curve starts more gradually so that it has
a less abrupt transition near unity. After that, it sounds like a perfectly
smooth fader or knob moved to silence. This shape is excellent as a
general-purpose fade-out. When used as a crossfade, the inverse fade curve
maintains constant power but is therefore non-symmetric; so its use is
limited to those cases where the user finds it appropriate.</td></tr>
<tr><th><kbd class="menu">Fast</kbd></th><td>The Fast curve is a linear
decibel fade; It sounds like a perfectly smooth fader or knob moved to
silence. This shape is excellent as a general-purpose fade-in. When used as
a crossfade, the inverse fade curve maintains constant power but is
therefore non-symmetric; so its use is limited to those cases where the
user finds it appropriate.</td></tr>
</table>
<p>
Although these fade shapes serve specific purposes, you might find that
any of the shapes is usable in your situation. The final decision
is mostly an artistic choice.
Although these fade shapes serve specific purposes, any of the shapes is
usable in any situation, so the final decision is mostly an artistic choice.
</p>
<p>
@ -131,4 +134,3 @@ finds it appropriate.</td></tr>
amount of effort to shorten the fade is much easier than messing with a
crossfade editor dialog.
</p>

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include/gain-envelopes.html
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@ -1,7 +1,7 @@
<figure class=right>
<img src="/images/gain-envelope1.png" alt="Default gain envelope">
<figcaption class=center>A typical gain envelope (green line).</figcaption>
<figcaption>A gain envelope (in green).</figcaption>
</figure>
<p>
@ -26,21 +26,20 @@
<p>
The default gain curve, by itself, is not very useful; in order to have more
control over the shape of the gain envelope it is necessary to add extra
control points. To add a control point to the envelope, click anywhere in the
region where there are no existing control points; it will appear <em>on the
control points. Clicking anywhere in the region where there are no existing
control points adds a control point to the envelope; it will appear <em>on the
line</em> at the X-axis of the mouse's current position in the region.
</p>
<figure class=center>
<figure class="center">
<img src="/images/gain-envelope2.png" alt="Complex gain envelope">
<figcaption class=center>A more complex gain envelope.</figcaption>
<figcaption>A more complex gain envelope.</figcaption>
</figure>
<p>
Once added, a control point can be <kbd class=mouse>Left</kbd> clicked and
Once added, a control point can be <kbd class="mouse">Left</kbd> clicked and
dragged to the desired location. Hovering over a control point will show its
current level in dB. To remove a control point, <kbd class=mouse>Left</kbd>
click it and press <kbd>Delete</kbd>, or <kbd class=mod3n></kbd><kbd
class=mouse>Right</kbd>-click on it.
current level in dB. <kbd class="mouse">Left</kbd> clicking a control point
and pressing <kbd>Delete</kbd>, or <kbd class="mod3 mouse">Right</kbd>
clicking a point deletes it.
</p>

31
include/midi-on-linux.html
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<table class="dl">
<tr><th>Systems using JACK 1, versions 0.124 or later</th>
<td>On these systems, simply start JACK with the <code>-X alsa_midi</code>
<td>On these systems, JACK must be started with the <code>-X alsa_midi</code>
server argument. To support legacy control applications, the <code>-X
seq</code> argument to the ALSA backend of JACK can also be used to get the
exact same results.</td></tr>
<tr><th>All others</th>
<td>Use a2jmidid to act as a bridge between ALSA MIDI and JACK. Do not use
the <code>-X seq</code> or <code>-X raw</code> arguments&mdash;the timing and
<td>Using a2jmidid acts as a bridge between ALSA MIDI and JACK. The <code>-X seq</code>
or <code>-X raw</code> arguments should <em>not</em> be used&mdash;the timing and
performance of these options is unacceptable.</td></tr>
</table>
@ -26,28 +26,28 @@
<p>
First it must be ensured that there is no ALSA sequencer support enabled in
JACK. To check that, open QJackCtl's <kbd class="menu">Setup</kbd> window.
Set <kbd class="menu">Settings &gt; MIDI Driver</kbd> to <kbd
class="input">none</kbd>. Then uncheck the <kbd class="optoff">Misc &gt;
Enable ALSA Sequencer support</kbd> option. Now restart the jack server
JACK. To check that, one must open QJackCtl's <kbd class="menu">Setup</kbd> window
and set <kbd class="menu">Settings &gt; MIDI Driver</kbd> to <kbd
class="input">none</kbd>, then uncheck the <kbd class="optoff">Misc &gt;
Enable ALSA Sequencer support</kbd> option. The jack server must then be restarted
before going on.
</p>
<h3>Check for a2jmidid availability</h3>
<h3>Checking for a2jmidid availability</h3>
<p>
Next, check whether a2jmidid is already installed. After starting the JACK
server, go to the command line and type:
Next, it must be checked whether a2jmidid is already installed. This is done
by starting the JACK server, then going to the command line and typing:
</p>
<kbd class="cmd lin">a2jmidid -e</kbd>
<p>
If a2jmidid does not exist, install it with the software manager of the
Linux distribution in use and try again.
If a2jmidid does not exist, it must be installed with the software manager of the
Linux distribution in use until this command responds.
</p>
<h2>Check available MIDI ports</h2>
<h2>Checking available MIDI ports</h2>
<p>
If JACK is correctly configured for MIDI, then the MIDI ports should appear
@ -62,12 +62,11 @@
</p>
<ul>
<li>If a newer version of JACK 1 is in use, just make sure the <code>-X
<li>If a newer version of JACK 1 is in use, by just making sure the <code>-X
alsa_midi</code> or <code>-X seq</code> options are enabled for whatever
technique is being used to start JACK.</li>
<li>For other versions of JACK, add <code>a2jmidid -e &amp;</code> as an
<li>For other versions of JACK, by adding <code>a2jmidid -e &amp;</code> as an
"after start-up" script in the <kbd class="menu">Setup &gt; Options</kbd> tab
of QJackCtl, so that it is started automatically whenever JACK is
started.</li>
</ul>

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