Merge branch 'patch-1' of git://github.com/dbolton/manual

_manual/03_setting-up-your-system/02_the-mouse.html

@@ -11,8 +11,9 @@ title: The Mouse
 <ul>
 <li>time-constrained region copying
 </li>
-<li>MIDI bindings created by "learning" them from incoming MIDI
+<li><a href="/using-control-surfaces/midi-learn/">MIDI bindings</a> created by "learning" them from incoming MIDI
 </li>
 </ul>
 <p>You are strongly encouraged to invest in a 3 button mouse. You will find that a good quality mouse (especially one with a weighted, latchable scroll wheel) will make your use of Ardour vastly more efficient. They are cheap, and time is not.</p>
   
+<p>For more detailed instructions see <a href="/ardours-interface/basic-gui-operations/using-the-mouse/">Using the mouse</a>.</a></p>

_manual/04_ardours-interface/02_basic-gui-operations/03_selection-techniques.html

@@ -11,7 +11,7 @@ title: Selection Techniques
 <h2>Selecting multiple (similar) objects</h2>
 <p><kbd class="mod1">click</kbd> on an object toggles it selected status, so using <kbd class="mod1">click</kbd> on a series of objects will select (or deselect) each one of them. You can construct completely arbitrary selections with this technique.</p>
 <h2>Selecting a range of objects</h2>
-<p>In cases where the idea of "select all objects between this one and that one" makes sense, you can click one object and then Shitft click another to select both of them as well as all object in between them. </p>
+<p>In cases where the idea of "select all objects between this one and that one" makes sense, you can click one object and then Shift click another to select both of them as well as all object in between them. </p>
 <h2>Range Selection</h2>
 <p>These basic principles apply to <a href="/missing">Range Selection</a> - click-drag to select a range, <kbd class="mod1">drag</kbd> to create multiple ranges and shift-click to extend a range to cover a wider area.</p>
   

_manual/04_ardours-interface/02_basic-gui-operations/06_using-the-mouse.html

@@ -6,17 +6,19 @@ title: Using the Mouse
 
   
   <h2>Clicking</h2>
-<p>Throughout this manual, the term "click" refers to the act of pressing and releasing the leftmost mouse button (technically the button that is identified as button number 1 - your operating system may allow this be reassigned). This action is used to select objects, activate buttons, turn on/off choices, popup menus and so forth.</p>
+<p>Throughout this manual, the term "click" refers to the act of pressing and releasing the leftmost mouse button (technically identified as Button1, but your operating system may allow this to be reassigned). This action is used to select objects, activate buttons, turn on/off choices, popup menus and so forth.</p>
 <p>On touch surfaces, it also corresponds to a regular, single-finger tap on the GUI.</p>
 <h2>Right Clicking</h2>
-<p>Throughout this manual, the term "right-click" refers to the act of pressing and releasing the rightmost mouse button (technically the button that is identified as button number 3 - your operating system may allow this be reassigned). This action is used to pop up "context menus" (hence the term "context click", which you will also see). It is also used by default in combination with the shift key for deleting objects within the editor window.</p>
+<p>Throughout this manual, the term "right-click" refers to the act of pressing and releasing the rightmost mouse button (technically identified as Button2, but your operating system may allow this to be reassigned). This action is used to pop up "context menus" (hence the term "context click", which you will also see). It is also used by default in combination with the shift key for deleting objects within the editor window. Mac OS mice sometimes have only one button. On Mac OS if you press and hold the Control key this is equivalent to right-clicking.</p>
+<h2>Middle Clicking</h2>
+<p>Throughout this manual, the term "middle-click" refers to the act of pressing and releasing the middle mouse button (technically identified as Button3, but your operating system may allow this to be reassigned). Not all all mice have a middle click button (see <a href="/setting-up-your-system/the-mouse/">the mouse</a> for details). Sometimes the scroll wheel acts as a clickable middle button. This action is used for time-constrained region copying and mapping MIDI bindings</p>
 <h2>Double Clicking</h2>
 <p>A "double click" refers to two rapid press/release actions on the leftmost mouse button. The time interval between the two press/release actions that determines whether this is seen as two clicks or one double click is controlled by your system preferences, not by Ardour.</p>
 <h2>Drags</h2>
 <p>Throughut this manual, the term "drag" primarily refers to the act of pressing the leftmost mouse button, then moving the mouse with the button held down, and then releasing the button. On touch surfaces, this term also corresponds to a normal single finger touch-motion-release action.</p>
 <p>Ardour also uses the middle mouse button for certain kinds of drags, which will be referred to as "middle-drag" - these are identical to a normal drag except that they involve using the middle button rather than the left button.</p>
 <h2>Modifiers</h2>
-<p>There are many actions in Ardour that can be carried out using a mouse button in combination with a "modifier key". When the manual refers to Ctrl-click, it means that you should first press the Control key, then carry out a normal click while the Control key is held down, and then finally release the Control key. Available modifiers depend on the platform you are using Ardour on:</p>
+<p>There are many actions in Ardour that can be carried out using a mouse button in combination with a "modifier key". When the manual refers to Ctrl-click, it means that you should first press the Control key, then carry out a normal click while the Control key is held down, and then finally release the Control key. On Mac OS use Cmd-click instead.  Available modifiers depend on the platform you are using Ardour on:</p>
 <h3>Linux Modifiers</h3>
 <ul>
 <li>Control (Ctrl)
@@ -40,7 +42,7 @@ title: Using the Mouse
 <li>Shift
 </li>
 </ul>
-<h2>Mouse Wheel/Scroll</h2>
+<h2>Scroll Wheel</h2>
 <p>Ardour can make good use of a scroll wheel on your mouse, which can be utilized for a variety of purposes. Scroll wheels can generate both vertical scroll events (ScrollUp and ScrollDown) and/or horizontal events (ScrollLeft and ScrollRight). When appropriate, Ardour will differentiate between these two different scroll axes. Otherwise it will interpret ScrollDown and ScrollLeft as equivalent and similarly interpret ScrollUp and ScrollRight as equivalent. </p>
 <p>Typically, scrolling is used to adjust continuous controls (e.g. faders/knobs), or to scroll vertically or horizontally.</p>
   

_manual/04_ardours-interface/03_introducing-the-editor-window/01_editor-lists/01_ranges--marks-list.html

@@ -6,5 +6,5 @@ title: Ranges & Marks List
 
   
   
-<p>See <a href="/working-with-markers/getting-to-know-the-locationsmarks-list">this section</a> for information on this list/section of the Editor Lists.</p>
+<p>For information on this list see <a href="/working-with-markers/getting-to-know-the-rangesmarks-list">Getting To Know the Ranges & Marks List</a> in the "Working with Markers" section of the manual.</p>
   

_manual/04_ardours-interface/03_introducing-the-editor-window/02_the-editing-toolbar.html

@@ -11,7 +11,7 @@ title: The Editing Toolbar
 <dt>Object Tool</dt>
 <dd>Used for selecting, moving, deleting and copying objects. See below for a full description.</dd>
 <dt>Range Mode</dt>
-<dd>When in range mode, the mouse pointer appears as a vertical line whenever it is over the track canvas or the rulers. The mouse will now be able to select a point or range of time. Time ranges can be selected over one or several tracks, depending ond the selection of your tracks.
+<dd>When in range mode, the mouse pointer appears as a vertical line whenever it is over the track canvas or the rulers. The mouse will now be able to select a point or range of time. Time ranges can be selected over one or several tracks, depending on the selection of your tracks.
 <p>If none of your track is selected, the Range Tool will operate on all the session track visualized in the Editor.</p>
 <p>If you want to operate just some track, select the track you want to edit with the Range Tool.</p>
 </dd>

_manual/11_working-with-plugins.html

@@ -16,7 +16,7 @@ title: Working With Plugins
 <p>Ardour does not come with any built-in signal processors of its own
 (other than volume faders) and it also generally doesn't ship with any
 plugins. They are written by 3rd parties, though we do provide <a href="/working-with-plugins/getting-plugins/">some
-  information on how to get them.</a>.
+  information on how to get them</a>.
 </p>
 
 <p>

_manual/19_synchronization/02_latency-and-latency-compensation.html

@@ -7,9 +7,9 @@ menu_title: About Latency
 <h2>Latency</h2>
 
 <p>
-When speaking about synchronization, there is no way around also mentioning Latency:
-<a href="http://en.wikipedia.org/wiki/Latency_%28audio%29" title="http://en.wikipedia.org/wiki/Latency_%28audio%29">Latency</a> is how you call the reaction time of a system to a certain stimulus. There are many factors that contribute to the total latency of a given system.
-In order to achieve exact time synchronization all sources of latency need to be take into account and compensated for.
+When speaking about synchronization, it is also necessary to speak of latency.
+<a href="http://en.wikipedia.org/wiki/Latency_%28audio%29" title="http://en.wikipedia.org/wiki/Latency_%28audio%29">Latency</a> is a system's reaction time to a given stimulus. There are many factors that contribute to the total latency of a system.
+In order to achieve exact time synchronization all sources of latency need to be taken into account and compensated for.
 </p>
 <ul>
 <li><strong>Sound propagation through the air</strong>: since it is a mechanical perturbation in a fluid, sound travels at comparatively slow <a href="http://en.wikipedia.org/wiki/Speed_of_sound" title="http://en.wikipedia.org/wiki/Speed_of_sound">speed</a> of about 340 m/s. Some interesting consequences:
@@ -20,7 +20,7 @@ In order to achieve exact time synchronization all sources of latency need to be
 </li>
 <li><strong>Digital-to-Analog and Analog-to-Digital conversion</strong>: electric signals travel quite fast, so their propagation time is negligible in this context, but the conversions between the analog and digital domain take a comparatively long time to perform, so their contribution to the total latency may be considerable. Fast converters are, for instance, one of the factors that distinguishes a quality audio interface from a cheap one, along with other features like low noise, low distortion, etc.</li>
 <li><strong>Digital Signal Processing</strong>: digital processors tend to process audio in chunks, and the size of that chunk depends on the needs of the algorithm and performance/cost considerations. This is usually the main cause of latency when you use a computer and one you can try to predict and optimize.</li>
-<li><strong>Computer I/O Architecture</strong>: a computer is a general purpose processor, not a digital audio processor. This means our audio data has to jump a lot of fences in its path from the outside to the CPU and back, contending in the process with some other parts of the system vying for the same resources (CPU time, bus bandwidth, etc.) Thanks to the combined efforts of kernel, audio driver and jackd developers, you are in position to tune your system a bit more towards the digital audio processing task, but don&#039;t expect miracles. Remember you can use your computer also to write documents, surf the net, save some lemmings… Polyvalence comes at a cost.</li>
+<li><strong>Computer I/O Architecture</strong>: a computer is a general purpose processor, not a digital audio processor. This means our audio data has to jump a lot of fences in its path from the outside to the CPU and back, contending in the process with some other parts of the system vying for the same resources (CPU time, bus bandwidth, etc.) Thanks to the combined efforts of kernel, audio driver and jackd developers, you are in position to tune your system a bit more towards the digital audio processing task, but don&#039;t expect miracles. Remember you also use your computer to write documents, surf the net, save lemmings… Polyvalence comes at a cost.</li>
 </ul>
 
 <p><img src="/ardour/manual/html/diagrams/latency-chain.png"  title="Latency chain" alt="Latency chain" /></p>
@@ -57,10 +57,10 @@ Low-latency is <strong>not</strong> always a feature you want to have. It comes
 </p>
 
 <p>
-Yet there are only few situations where a low-latency is really important, because they require very quick response from the computer. Some examples that come quickly to mind are:
+Yet there are a few situations where a low-latency is really important, because they require very quick response from the computer.
 </p>
 <ul>
-<li><strong>Playing virtual instruments</strong>: a large delay between the pressing of the keys and the sound the instrument produces will throw-off the timing of most instrumentalists (save if they are church organists, whom we believe are awesome latency-compensation organic systems.)</li>
+<li><strong>Playing virtual instruments</strong>: a large delay between the pressing of the keys and the sound the instrument produces will throw-off the timing of most instrumentalists (save church organists, whom we believe are awesome latency-compensation organic systems.)</li>
 <li><strong>Software audio monitoring</strong>: if a singer is hearing her own voice through two different paths, her head bones and headphones, large latencies can be disturbing.</li>
 <li><strong>Live-effects</strong>: This case is similar to playing virtual instruments: instead of virtual-instruments/sythensizers it is about real-instruments and and effects processing. Low latency is important when using the computer as effect-rack (e.g. guitar effects) - also precise synchronization may be important if you manually trigger sound effects like delays.</li>
 <li><strong>Live-mixing</strong>: Some sound engineers use a computer for mixing live performances. Basically that is a combination of the above: monitoring on stage, effect-processing and EQ. It is actually more tricky since one not only wants low latency (audio should not lag too much behind the performance) but exact low-latency (minimal jitter) for delay-lines between speaker in front and back.</li>
@@ -84,7 +84,7 @@ And <em>write-behind</em>; since we know that play-back has latency, the incomin
 </p>
 
 <p>
-As you may see, the second approach is prone to various implementation issues regarding timecode and transport synchronization. Ardour uses read-ahead to compensate for latency. The time displayed in the Ardour clock corresponds to the audio-signal that you hear on the speakers (and is not where ardour reads files from disk).
+As you may see, the second approach is prone to various implementation issues regarding timecode and transport synchronization. Ardour uses read-ahead to compensate for latency. The time displayed in the Ardour clock corresponds to the audio-signal that you hear on the speakers (and is not where Ardour reads files from disk).
 </p>
 
 <p>
@@ -106,11 +106,11 @@ In order to compensate for Latency, JACK or JACK applications need to know exact
 <p><em>Figure: Jack Latency Compensation.</em>  This figure outlines the jack latency API. -- excerpt from http://jackaudio.org/files/jack-latency.png</p>
 
 <p>
-In above figure, clients A and B need to be able to answer the following two questions:
+In the figure above, clients A and B need to be able to answer the following two questions:
 </p>
 <ul>
-<li>how long has it been since te data read from port Ai or Bi arrived at the edge of the JACK graph (capture)?</li>
-<li>how long will it be until teh data writen to port Ao or Bo arrives at the edge of the JACK graph (playback)?</li>
+<li>how long has it been since the data read from port Ai or Bi arrived at the edge of the JACK graph (capture)?</li>
+<li>how long will it be until the data writen to port Ao or Bo arrives at the edge of the JACK graph (playback)?</li>
 </ul>
 
 <p>