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finish copy-editing of chapter 4.

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3
STYLE_GUIDE
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@ -219,7 +219,8 @@ types or presses.
The image tag must contain a 'src="/images/yourimage.png"' element and a
descriptive 'alt="A short textual description of the image content"'
element.
Images are usually placed as block-level elements, i.e. outside of a
paragraph.
5. Other conventions
====================

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_manual/04_ardours-interface/03_introducing-the-editor-window.html
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title: Introducing the Editor Window
---
{% children %}

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_manual/04_ardours-interface/03_introducing-the-editor-window/01_editor-lists.html
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title: Editor Lists
---
<p>At the right of the editor is an optional area which provides one of a range of useful lists of parts of your session. It is not shown by default when you first start using Ardour. The list can be hidden or shown using the Show Editor List option from the View menu. The very right-hand side of the list gives a selection of tabs which are used to choose the list to view. The left-hand border of the list can be dragged to vary the width of the list.</p>
<p>
At the right of the editor is an optional area which provides one of a
range of useful lists of parts of your session. It is not shown by default
when you first start using Ardour. The <dfn>Editor list</dfn> can be hidden
or shown using <kbd class="menu">View &gt; Show Editor List</kbd>. The very
right-hand side of the list gives a selection of tabs which are used to
choose the list to view. The left-hand border of the list can be dragged to
vary the width of the list.
</p>
{% children %}

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_manual/04_ardours-interface/03_introducing-the-editor-window/02_the-editing-toolbar.html
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title: The Editing Toolbar
---
<h3>Mouse Modes</h3>
<h2>Mouse Modes</h2>
<dl class="wide-table">
<dt id="object">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 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>
<dt>Zoom Tool</dt>
<dd>When in zoom mode, the mouse pointer appears as a magnifying glass whenever it is over the track canvas or the rulers. This mode is used to zoom the display to any range that is determined by clicking and dragging the Button1 to specify the range. You can also utilize a single click with Button1 to zoom in by one level focused on the mouse cursor, likewise a single click on Button3 will zoom out by one level focused on the mouse.</dd>
<dt>Region Gain Tool</dt>
<dd>When in gain edit mode, the mouse pointer will change to cross-hairs. You can then click within a region to change the gain automation for that region. This automation is separate from fader automation for individual tracks, but works in conjunction with the track's fader. This automation will remain locked to the region's time, so if the region is moved, the region gain automation is moved along with it.</dd>
<dt>TimeFX Tool</dt>
<dd>When in timefx mode, the mouse pointer appears as a distinctive 'expanding' illustration whenever it is over the track canvas or the rulers. This mode is used to resize regions using a timestretch algorithm. It is utilized by clicking on an edge of a region of audio and dragging it one way or the other to either stretch or shrink the region.</dd>
<dt>Audition Tool</dt>
<dd>Clicking a region using the "audition" tool will audition the region.
<p>You can also "scrub" with this tool by clicking and dragging in the direction you wish to listen. The amount you drag in one direction or the other will determine the playback speed.</p>
</dd>
<dt>Draw Tool</dt>
<dd></dd>
<dt>Internal/Region Edit Mode</dt>
<dd></dd>
<dt id="object">Object Mode</dt>
<dd>The <dfn>object mode</dfn> is used for selecting, moving, deleting and
copying objects. When in object mode, the mouse pointer appears as a hand
whenever it is over the track canvas or the rulers. The mouse can now be
used to select and perform operations on objects such as regions, markers etc.
This is the most common mode to work in, as it allows you to select and move regions,
as well as modify automation points on the automation tracks.
</dd>
<dt>Range Mode</dt>
<dd>When in <dfn>range mode</dfn>, 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 tracks is selected, the Range Tool will operate on all the
session track visualized in the Editor.
</p>
<p>
If you want to edit only particular tracks, select them before you apply
the range tool.
</p>
</dd>
<dt>Zoom Tool</dt>
<dd>When in <dfn>zoom mode</dfn>, the mouse pointer appears as a magnifying glass
whenever it is over the track canvas or the rulers. Select the area to
zoom to with a <kbd class="mouse">Left drag</kbd>. A single <kbd
class="mouse">Left</kbd> click zooms in by one level around the mouse cursor,
likewise a single <kbd class="mouse">Right</kbd> click will zoom out by one
level.</dd>
<dt>Region Gain Tool</dt>
<dd>When in <dfn>gain edit</dfn> mode, the mouse pointer will change to
cross-hairs. You can then click within a region to change the <dfn>gain
envelope</dfn> for that region. This curve is separate from fader automation
for individual tracks. It will remain locked to the region's time, so if the
region is moved, the region gain envelope is moved along with it.</dd>
<dt>Time Effects Tool</dt>
<dd>When in <dfn>time fx</dfn> mode, the mouse pointer appears as a
distinctive expanding square symbol whenever it is over the track canvas or
the rulers. This mode is used to resize regions using a timestretch
algorithm.
Click on an edge of a region of audio and drag it one way or the other to
stretch or shrink the region.</dd>
<dt>Audition Tool</dt>
<dd>Clicking a region using the <dfn>audition tool</dfn> will play this
region to the control room outputs.
<p>You can also <dfn>scrub</dfn> with this tool by clicking and dragging in
the direction you wish to listen. The amount you drag in one direction or
the other will determine the playback speed.</p>
</dd>
<dt>Draw Tool</dt>
<dd></dd>
<dt>Internal/Region Edit Mode</dt>
<dd></dd>
</dl>
<h3>Object Tool</h3>
<p>When in object mode, the mouse pointer appears as a hand whenever it is over the track canvas or the rulers. The mouse can now be used to select and perform operations on objects such as regions, markers etc. This is the most commonly utilized mode in Ardour, as it allows you to select and move regions, as well as modify automation points on the automation tracks.</p>
<dl class="wide-table">
<dt>Selecting Regions</dt>
<dd></dd>
@ -43,5 +72,10 @@ title: The Editing Toolbar
<dd></dd>
</dl>
<h3 id="smartmode">Smart Mode</h3>
<p>The "Smart Mode" button to the left of the mouse mode buttons modifies "Object Tool" mode. When enabled, the mouse behaves as if it is in "Range Tool" mode in the upper half of a region, and in "Object Tool" mode in the lower half.</p>
<p>
The <dfn>Smart Mode</dfn> button to the left of the mouse mode buttons
modifies <dfn>Object mode</dfn>. When enabled, the mouse behaves as if it
is in "Range Tool" mode in the upper half of a region, and in "Object Tool"
mode in the lower half.
</p>

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layout: default
title: Using Ardour Clock Displays
---
<p>
Clocks in Ardour are the basic way of displaying time values precisely. In many cases, they are also one way to edit (change) time values, and in a few cases, the only way. All clocks share the same basic appearance and functionality, which is described below, but a few clocks serve particularly important roles.</p>
<h3>Transport Clocks</h3>
<p>
In the transport bar of the editor window there are two (or, if you are on a very small screen, just one) clocks that display both the current position of the playhead, and additional information related to transport control and the timeline. These are called the "transport clocks"; the leftmost one is the primary transport clock and the rightmost one is the secondary transport clock. They look like this:
<dfn>Clocks</dfn> in Ardour are used to display <dfn>time values</dfn> precisely.
In many cases, they are also one way to edit (change) time values, and in a few
cases, the only way. All clocks share the same basic appearance and functionality,
which is described below, but a few clocks serve particularly important roles.
</p>
<h2>Transport Clocks</h2>
<p>
<img src="/files/manual/a3/images/new_main_clocks.png" alt="An image of the transport clocks in Ardour 3" /></p>
<p>
Editing the time in the transport clocks will reposition the playhead in the same way that various other editing operations will.
In the transport bar of the editor window there are two clocks (unless you
are on a very small screen), that display the current position of the playhead
and additional information related to transport control and the timeline. These
are called the <dfn>transport clocks</dfn>; the left one is the primary
transport clock and the right one is the secondary transport clock.
They look like this:
</p>
<h4>The Big Clock</h4>
<img src="/files/manual/a3/images/new_main_clocks.png" alt="An image of the transport clocks in Ardour 3" />
<p>
Under the <code>Windows</code> item in the main menu you will find the "Big Clock" window, which also shows the playhead position in a big, fully resizable window. The big clock is very useful when you need to work away from the screen but still want to see the playhead position clearly (such as when working with a remote control device across, or in another, room). The big clock will also change its visual appearance to indicate when active recording is taking place. Below on the left is a screenshot showing a fairly large big clock window filling a good part of the display, and on the right, the same clock during active recording.
Editing the time in the transport clocks will reposition the playhead in the same
way that various other editing operations will.
</p>
<h3>The Big Clock</h3>
<p>
To show the current playhead position in a big, resizable window, activate
<kbd class="menu">Window &gt; Big Clock</kbd>. The big clock is very useful
when you need to work away from the screen but still want to see the playhead
position clearly (such as when working with a remote control device across
a room). The big clock will change its visual appearance to indicate when active
recording is taking place. Below on the left is a screenshot showing a fairly
large big clock window filling a good part of the display, and on the right,
the same clock during active recording.
</p>
<a href="/files/bigclock.png"><img src="/files/bigclock.png" height="100" alt="an image of the big clock filling a screen" /></a> <a href="/files/bigclock-recording.png"><img src="/files/bigclock-recording.png" height="100" alt="an image of the big clock while recording"
/></a>
</p>
<h4>The Special Role of the Secondary Transport Clock</h4>
<h3>The Special Role of the Secondary Transport Clock</h3>
<p>
There are a number occasions when Ardour needs to display time values to the user but there is no obvious way to specify what units to use. The most obvious is in the big cursor that appears when dragging regions. For this and other similar cases, Ardour will display time using the same units as the secondary clock.
On a few occasions Ardour needs to display time values to the user, but there
is no obvious way to specify what units to use. The most common case is the big
cursor that appears when dragging regions. For this and other similar cases,
Ardour will display time using the same units as the secondary clock.
</p>
<h4>Why are there two transport clocks</h4>
<h4>Why are there two transport clocks?</h4>
<p>
Having two transport clocks lets you see the playhead position in two different time units without having to change any settings. For example, you can see the playhead position in both timecode units and BBT time.</p>
Having two transport clocks lets you see the playhead position in two different
time units without having to change any settings. For example, you can see the
playhead position in both timecode units and BBT time.
</p>
<h3>Selection and Punch Clocks</h3>
<p>
The transport bar also contains a set of 5 clocks that show the current selection range and punch ranges. Clicking on the punch range clocks will locate to either the beginning or end of the punch range. Similarly, clicking on the range clocks will locate to either the beginning or end of the current selection. In this screen shot there is no current selection range, so the selection clocks show an "off" state.
The transport bar also contains a set of 5 clocks that show the current
<dfn>selection range</dfn> and <dfn>punch ranges</dfn>. Clicking on the punch
range clocks will locate to either the beginning or end of the punch range.
Similarly, clicking on the range clocks will locate to either the beginning
or end of the current selection. In this screen shot there is no current
selection range, so the selection clocks show an "off" state.
</p>
<p>
<img src="/files/selectionpunchclocks.png" alt="An image of the the selection and punch clocks in Ardour 3" /></p>
<p></p>
<img src="/files/selectionpunchclocks.png" alt="An image of the the selection and punch clocks in Ardour 3" />
<h2>Clock Modes</h2>
<p>Every clock in Ardour has four different modes it can be set to, each of which displays time using different units. You can change the clock mode by right-clicking on the clock and selecting the desired mode from the menu. Some clocks are entirely independent of any other clock's mode; others are linked so that changing one changes all clocks in that group. The different modes are:</p>
<p>
Every clock in Ardour has four different, selectable <dfn>clock
modes</dfn>. Each mode displays time using different units.
You can change the clock mode by <kdb class="mouse">Right</kbd>-clicking
on the clock and selecting the desired mode from the menu. Some clocks are
entirely independent of any other clock's mode; others are linked so that
changing one changes all clocks in that group. The different modes are:
</p>
<dl>
<dt>Timecode</dt>
<dd>Time is shown as Hours:Minutes:Seconds:Frames, measured from the timecode zero point on the timeline (which may or may not correspond to the session start and/or absolute zero on the timeline). The frames per second (FPS) value is dictated by either the session FPS setting, or, if slaved to an external timecode master, the master. In the transport clocks, the FPS value is shown below the time display, along with an indication of the current timecode source (INT means that Ardour is its own timecode source)</dd>
<dt>BBT</dt>
<dd>Time is shown as Bars:Beats:Ticks, indicating musical time measured from the start of the session. The transport clocks show the current tempo (as bpm) and meter below the time display</dd>
<dt>Minutes:Seconds</dt>
<dd>Time is shown as Hours:Minutes:Seconds.Milliseconds, measured from the absolute start of the timeline (ignoring the session start and any timecode offsets).</dd>
<dt>Samples</dt>
<dd>Time is shown as a sample count from the absolute start of the timeline (ignoring the session start and any timecode offsets). The number of samples per second is given by the current sample rate, and in the transport clocks, this rate is shown below the time display along with any pullup/pulldown adjustment.</dd>
<dt>Timecode</dt>
<dd>Time is shown as <dfn><abbr title="Society of Motion Picture and Television
Engineers">SMPTE</abbr> timecode</dfn> in Hours:Minutes:Seconds:Frames,
measured from the timecode zero point on the timeline (which may not
correspond to the session start and/or absolute zero on the timeline,
depending on configurable timecode offsets).
The frames value is dictated by either the session <abbr title="Frames Per
Second">FPS</abbr> setting, or, if slaved to an external timecode master,
the master's setting. In the transport clocks, the FPS value is shown below
the time display, along with an indication of the current timecode source
(<samp>INT</samp> means that Ardour is its own timecode source).</dd>
<dt>BBT</dt>
<dd>Time is shown as Bars:Beats:Ticks, indicating <dfn>musical time</dfn> measured
from the start of the session. The transport clocks show the current tempo
in <abbr title="Beats Per Minute">bpm</abbr> and meter below the time
display.</dd>
<dt>Minutes:Seconds</dt>
<dd>Time is shown as Hours:Minutes:Seconds.Milliseconds, measured from the
absolute start of the timeline (ignoring the session start and any timecode
offsets).</dd>
<dt>Samples</dt>
<dd>Time is shown as a <dfn>sample count</dfn> from the absolute start of the timeline
(ignoring the session start and any timecode offsets). The number of
samples per second is given by the current sample rate, and in the transport
clocks, this rate is shown below the time display along with any
pullup/pulldown adjustment.</dd>
</dl>
<h3>Special Modes for the Transport Clocks</h3>
<p>
In addition to the time-unit modes mentioned above, each of the two transport clocks (if you work on a small screen, you may only have one) can be independently set to display "Delta to Edit Point" in whatever time units its current mode indicates. This setting means that the clock shows the distance between the playhead and the current edit point, and it may show a positive or negative value depending on the relationship between these two points. The clocks will use a different color when in this mode to avoid confusion about the displayed value.
In addition to the time-unit modes mentioned above, each of the two transport
clocks (if you work on a small screen, you may only have one) can be
independently set to display <dfn>Delta to Edit Point</dfn> in whatever time
units its current mode indicates. This setting means that the clock shows the
distance between the playhead and the current edit point, and it may show a
positive or negative value depending on the temporal order of these two points.
The clocks will use a different color when in this mode to avoid confusion.
</p>
<p>
To switch either (or both!) of the transport clocks into this mode, use <code>Edit-&gt;Preferences-&gt;Transport</code> and select or de-select the relevant check-button.
To switch either (or both!) of the transport clocks into this mode, use
<kbd class="menu"> Edit &gt; Preferences &gt; Transport</kbd> and select
the relevant checkboxes.
</p>
<p>
Note that when set into this "Delta to Edit Point" mode, the transport clocks cannot be edited.
Note that when in <samp>Delta to Edit Point</samp> mode, the transport clocks
cannot be edited.
</p>
<h2>Changing clock values with the keyboard</h2>
<p>
New values for the clock can be typed from the keyboard after clicking on the relevant clock. Clicking on the clock will show a thin vertical cursor bar just to the right of the next character to be overwritten. Enter time in the same order as the current clock mode - if the clock is in Timecode mode, you need to enter hours, minutes, seconds, frames. So, to change to a time of 12:15:20:15 you would type <code> 1 2 1 5 2 0 1 5</code>. Each number you type will appear in a different color, from right to left, overwriting the existing value. Mid-edit, after typing <code>3 2 2 2</code> the clock might look like this:</p>
<p>
<img src="/files/clockedit.png" alt="An image of a clock being edited in Ardour 3" /></p>
<p>
To finish the edit, press the enter/return or tab key. To exit an edit without changing the clock press the escape key. If you mis-type an entry so that the new value would be illegal (for example, resulting in more than 30 frames when Timecode is set to 30 frames per second), the clock will reset at the end of the edit, and move the cursor back to the start so that you may begin again.
New values for the clock can be typed in after clicking on the relevant clock.
Clicking on the clock will show a thin vertical cursor bar just to the right
of the next character to be overwritten. Enter time in the same order as the
current clock mode &mdash; if the clock is in Timecode mode, you need to enter
hours, minutes, seconds, frames. So, to change to a time of 12:15:20:15 you
would type <kbd class="input">1 2 1 5 2 0 1 5</kbd>. Each number you type will
appear in a different color, from right to left, overwriting the existing value.
Mid-edit, after typing <kbd class="input">3 2 2 2</kbd> the clock might look like this:
</p>
<img src="/files/clockedit.png" alt="An image of a clock being edited in Ardour 3" />
<p>
To end an edit without changing the clock press the escape key.
To finish the edit, press <kbd>&crarr;</kbd> or <kbd>Tab</kbd>. To exit an
edit without changing the clock press <kbd>ESC</kbd>. If you mis-type an entry
so that the new value would be illegal (for example, resulting in more than 30
frames when Timecode is set to 30 frames per second), the clock will reset at
the end of the edit, and move the cursor back to the start so that you can
start over.
</p>
<h3>Avoiding the mouse entirely</h3>
<p>
There is a shortcut available for those who wish to be able to edit the transport clocks entirely without the mouse. It can be found in the keybinding editor under "Transport" called "Focus On Clock". If bound to a key (the divide key on a keypad is the default at time of writing), then pressing that key is equivalent to clicking on the primary (left) transport clock, and editing can begin immediately.
There is a shortcut available for those who wish to be able to edit the transport
clocks entirely without the mouse. It can be found in
<kbd class="menu">Window &gt; Key Bindings &gt; Transport &gt; Focus On
Clock</kbd>. If bound to a key (<kbd>&divide;</kbd> on the numerical
keypad is the
default), then pressing that key is equivalent to clicking on the primary (left)
transport clock, and editing can begin immediately.
</p>
<h3>Entering Partial Times</h3>
<p>
One detail of the editing design that is not immediately obvious is that it is possible to enter part of a full time value. Suppose that the clock is in BBT mode, and displaying <code>024|03|0029</code> and you want to alter the value to be the first beat of the bar. Click on the clock and type <code>0 1 0 0 0 0</code>. Similarly, if it is in Minutes:Seconds mode, and displaying <code>02:03:04.456</code> and you want to get to exactly 2 hours, click on the clock and type <code>0 0 0 0 0 0 0</code> to reset the minutes, seconds and milliseconds fields.
One detail of the editing design that is not immediately obvious is that it is
possible to enter part of a full time value. Suppose that the clock is in BBT
mode, displaying <samp>024|03|0029</samp>, and you want to alter the value to
the first beat of the current bar. Click on the clock and type
<kbd class="input">0 1 0 0 0 0</kbd>. Similarly, if it is in Minutes:Seconds
mode, displaying <samp>02:03:04.456</samp>, and you want to get to exactly 2
hours, click on the clock and type <kbd class="input">0 0 0 0 0 0 0</kbd> to
reset the minutes, seconds and milliseconds fields.
</p>
<h3>Entering Delta Times</h3>
<p>
You can also type values into the clock that are intended as a relative change, rather than a new absolute value. Simply end the edit by pressing the + or - keys (the ones on any keypad will also work). Using the plus key will add the entered value to the current value of the clock; using minus will subtract it. For example, if the clock is in Samples mode and displays <code>2917839</code>, you move it back 2000 samples by typing <code>2 0 0 0</code> and then the - key rather than enter/return/tab. </p>
You can also type values into the clock that are intended as a relative change,
rather than a new absolute value. Simply end the edit by pressing
<kbd>+</kbd> or <kbd>-</kbd> (the ones on any keypad will also work). The plus
key will add the entered value to the current value of the clock, minus will
subtract it. For example, if the clock is in Samples mode and displays
<samp>2917839</samp>, you move it back 2000 samples by typing
<kbd class="input">2 0 0 0</kbd> and <kbd>-</kbd>, rather than ending with
Enter or Tab. </p>
<h2>Changing clock values with the mouse</h2>
<h3>Using a scroll wheel</h3>
<p>
Position the mouse pointer over the clock, and move the scroll wheel. Moving the scroll wheel away from you will increase the value shown on the clock, moving it towards you will decrease the value shown on the clock. The step size is determined by which field of the clock you position the mouse over. If the clock is in Timecode mode and the mouse pointer is over the Seconds field, the clock value will increase or decrease by one second at a time. If you move the mouse point to the Hours field, the value will increase or decrease by one hour at a time. It works similarly in all other clock modes.
Position the mouse pointer over the clock, and move the scroll wheel. Moving
the scroll wheel up (<kbd class="mouse">&uArr;</kbd>) increases the value
shown on the clock, moving it down (<kbd class="mouse">&uArr;</kbd>)
decreases it. The step size is equal to the unit of the field
you are hovering over (seconds, hours, etc.).
</p>
<h3>Dragging the mouse</h3>
<p>
Position the mouse pointer over the clock, press the left mouse button and drag. Dragging upwards will increase the value shown on the clock, dragging downwards will decrease the value shown on the clock. The step size is determined by which field of the clock you position the mouse over. If the clock is in Timecode mode and you begin dragging with the mouse pointer over the Seconds field, the clock value will increase or decrease by one second at a time. If you begin dragging with the mouse over the Hours field, the value will increase or decrease by one hour at a time. It works similarly in all other clock modes.
Position the mouse pointer over the clock, press the left mouse button and drag.
Dragging upwards increases the value shown on the clock, dragging downwards
decreases it, again with a step size equal to the unit of the field you
began the drag on.
</p>

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@ -5,145 +5,174 @@ title: Metering in Ardour
<h2>Introduction</h2>
<p>
An engineer reading and using audio level meters compares to a musician reading or writing sheet-music.
Just like there are virtuous musicians who can't read a single note, there are great sound-engineers who just go by their ears and produce great mixes and masters without looking at a single meter.
An engineer reading and using audio level meters compares to a musician
reading or writing sheet-music. Just like there are virtuoso musicians
who can't read a single note, there are great sound-engineers who just
go by their ears and produce great mixes and masters without ever looking
at a single meter.
</p>
<p>
Yet, if you want to play along or work in broadcast-industry, it is mandatory to adhere to certain loudness-standards and it is usually unavoidable to use meters.
Yet, if you want to work in or with the broadcast industry, it is
usually unavoidable to use meters.
</p>
<p>
Audio level meters are a very powerful tools that are useful in every part of the entire production chain:
Audio level meters are a very powerful tools that are useful in every
part of the entire production chain:
</p>
<ul>
<li>When <strong>tracking</strong>, meters are used to ensure that the input signal does not peak and stays within reasonable limits.</li>
<li>Meters offer quick a visual indication of a signal being present on a given track or channel.</li>
<li>During <strong>mixing</strong>, meters provide an indication of the loudness of each track/channel and the loudness-range.</li>
<li>When <strong>mastering</strong>, meters can be used to check compliance to certain loudness-standards and to optimize the loudness-range for a given mixdown or medium.</li>
<li>When tracking, meters are used to ensure that the input
signal does not <dfn>overload</dfn> and maintains reasonable
<dfn>headroom</dfn>.</li>
<li>Meters offer a <dfn>quick visual indication</dfn> of a
activity when working with a large number of tracks.</li>
<li>During mixing, meters provide an rough estimate of the
<dfn>loudness</dfn> of each track.</li>
<li>At the mastering stage, meters are used to check
compliance with upstream <dfn>level</dfn> and <dfn>loudness
standards</dfn> and to optimize the <dfn>loudness range</dfn>
for a given medium.</li>
</ul>
<h2>Meter-Types</h2>
<h2>Meter Types</h2>
<p>
A general introduction on metering is beyond the scope of this manual. It is a complex subject with a history..
For background information and further reading we recommend:
A general treatise on metering is beyond the scope of this
manual. It is a complex subject with a history...
For background information and further reading we recommend:
</p>
<ul>
<li><a href="http://www.digido.com/how-to-make-better-recordings-part-2.html">How To Make Better Recordings in the 21st Century - An Integrated Approach to Metering, Monitoring, and Leveling Practices</a> by Bob Katz. Has a good historic overview of meters and motivates the K-meter</li>
<li><a href="https://en.wikipedia.org/wiki/Peak_programme_meter#Table_of_characteristics">Wikipedia: Peak programme meter</a> - overview of meter types.</li>
<li>"Audio Metering: Measurements, Standards and Practice: Measurements, Standards and Practics", by Eddy Brixen. ISBN: 0240814673</li>
<li>"Art of Digital Audio", by John Watkinson. ISBN: 0240515870</li>
<li><a href="http://www.digido.com/how-to-make-better-recordings-part-2.html">How To Make Better Recordings in the 21st Century - An Integrated Approach to Metering, Monitoring, and Leveling Practices</a> by Bob Katz. Has a good historic overview of meters and motivates the K-meter</li>
<li><a href="https://en.wikipedia.org/wiki/Peak_programme_meter#Table_of_characteristics">Wikipedia: Peak programme meter</a> - overview of meter types.</li>
<li>"Audio Metering: Measurements, Standards and Practice: Measurements, Standards and Practics", by Eddy Brixen. ISBN: 0240814673</li>
<li>"Art of Digital Audio", by John Watkinson. ISBN: 0240515870</li>
</ul>
<p>
There are different metering standards, most of which are available in Ardour. In short:
There are different metering standards, most of which are available in Ardour. In short:
</p>
<h3>Digital peak-meter</h3>
<p>
A DPM meter displays the absolute maximum signal of the raw audio PCM signal (for a given time).
It is commonly used when tracking to make sure the recorded audio does not clip or peak.
</p>
<p>
These meters concentrate on the <em>medium</em> ie. digital numbers, and Analog/Digital converters.
</p>
<p>
DPMs are always calibrated to 0dBFS (max. digital peak) which has no 'musical property' and is only medium related. There are also only conventions for fall-off-time and peak-hold but no exact specifications.
</p>
<p>
Various conventions for DPM fall-off times and dBFS line-up level can be chosen in Edit &gt; Preferences &gt; GUI.
</p>
<dl>
<h3>RMS meters</h3>
<p>
A RMS-type meter provide a general indication of loudness as perceived by humans.
It emphasizes on the <em>message</em> as opposed to technical, medium related parameters.
</p>
<p>
Ardour features three RMS meters all of which are dual peak + RMS meters
</p>
<dt>Digital peak-meter</dt>
<dd>A <dfn>Digital Peak Meter</dfn> displays the absolute maximum signal
of the raw audio PCM signal (for a given time). It is commonly used when
tracking to make sure the recorded audio never clips. To that end, DPMs
are always calibrated to 0&nbsp;<abbr title="DeciBel Full
Scale">dBFS</abbr>, or the maximum level that can be represented digitally
in a given system. This value has no musical reason whatsoever and depends
only on the properties of the signal chain or target medium. There are
conventions for <dfn>fall-off-time</dfn> and <dfn>peak-hold</dfn>, but no
exact specifications.
<p>
Various conventions for DPM fall-off times and dBFS line-up level can be
chosen in <kbd class="menu">Edit &gt; Preferences &gt; GUI</kbd>.
</p>
</dd>
<ul>
<li><strong>K20</strong>: A meter according to the K-system, fixed dB alignment, rise/fall times and color-schema according to spec.</li>
<li><strong>K14</strong>: Same as K20 with a different dB alignment.</li>
<li><strong>peak + rms</strong>: standard RMS, obeys custom settings in ardour. Edit &gt; Preferences &gt; GUI &gt; Metering</li>
</ul>
<dt>RMS meters</dt>
<dd>An <dfn><abbr title="Root Mean Square">RMS</abbr>-type meter</dfn>
is an averaging meter that looks at the energy in the signal. It
provides a general indication of loudness as perceived by humans. Ardour
features three RMS meters, all of which offer additonal peak indication.
<ul>
<li><dfn>K20</dfn>: A meter according to the K-system introduced by Bob
Katz, scale aligned to -20&nbsp;dBFS, rise/fall times and color schema
according to spec.</li>
<li><dfn>K14</dfn>: Same as K20 with scale aligned to -14&nbsp;dBFS.</li>
<li><dfn>Peak + RMS</dfn>: standard RMS, customizable via
<kbd class="menu">Edit &gt; Preferences &gt; GUI &gt; Metering</kbd></li>
</ul>
<h3>IEC meter standards (EBU, BBC, DIN,..)</h3>
<p>
IEC type meters are a mix between DPM and RMS, created mainly for the purpose of interoperability.
These loudness and metering standards provide a common point of reference which is used by broadcasters in particular so that the interchange of material is uniform across their sphere of influence regardless of the equipment use to play it back.
For the some home recording there is no real need for this level of interoperability and one does generally only need these meters when working in the broadcast industry.
IEC-type also meters have certain characteristics (rise-time, ballistics) that are useful outside the context of broadcast.
</p>
<p>
Their specification is very exact and as opposed to Ardour's DPM and RMS meters there are no customizable parameters.
</p>
<h3>VU meters</h3>
<p>
VU meters are the dinosaurs (1939) amongst the meters, they react very slowly, averaging out peaks.
Their specification is very strict (300ms rise-time, 1 - 1.5% overshoot, flat frequency response).
Ardour's VU meter adhere to that spec, but for visual consistency displays VU meters as bar-graph rather than needle-style (more below).
</p>
<dt>IEC PPMs</dt>
<dd><dfn><abbr title="International Electrontechnical Commission">IEC</abbr>-type
<abbr title="Peak Programme Meters">PPM</abbr>s</dfn> are a mix between DPMs and
RMS meters, created mainly for the purpose of
interoperability. Many national and institutional varieties exist (<abbr
title="European Broadcasting Union">EBU</abbr>, <abbr title="British Broadcasting
Corporation">BBC</abbr>, <abbr title="Deutsche Industrie-Norm">DIN</abbr>).
<p>
These loudness and metering standards provide a common point of
reference which is used by broadcasters in particular so that the
interchange of material is uniform across their sphere of influence,
regardless of the equipment used to play it back.
</p>
<p>
For home recording, there is no real need for this level of
interoperability, and these meters are only strictly required when
working in or with the broadcast industry. However, IEC-type meters have
certain characteristics (rise-time, ballistics) that make them useful
outside the context of broadcast.
</p>
<p>
Their specification is very exact, and consquently, there are no
customizable parameters.
</p>
</dd>
<dt>VU meters</dt>
<dd><dfn><abbr title="Volume Unit">VU</abbr> meters</dfn> are the dinosaurs (1939)
amongst the meters. They react very slowly, averaging out peaks.
Their specification is very strict (300ms rise-time, 1 - 1.5% overshoot,
flat frequency response). Ardour's VU meter adheres to that spec, but for
visual consistency it is displayed as a bar-graph rather than needle-style
(more below).
</dd>
</dl>
<h2>Ardour Specifics</h2>
<img class="right" src="/ardour/manual/html/screenshots/mixer-meter-context-menu.png" alt="mixer strip meter context menu" />
<p>
Meters are available in various places in ardour:
Meters are available in various places in ardour:
</p>
<ul>
<li>The mixer window features fixed height meters with metric-area for each channel-strip.</li>
<li>There are small (narrow) meters on each track-header in the editor window.</li>
<li>There are variable height meters in the meterbridge window, also complete with tick-marks and metrics.</li>
<li>optionally, a fixed-size master meter can be displayed in the main toolbar.</li>
<li>Various other locations (file-import, effect send/return) have level-meters.</li>
<li>The mixer window features fixed height meters for each <dfn>channel strip</dfn>.</li>
<li>There are small (narrow) meters on each <dfn>track-header</dfn> in the editor window.</li>
<li>There are variable height meters in the <dfn>meterbridge window</dfn>.</li>
<li>Optionally, a fixed-size <dfn>master meter</dfn> can be displayed in the main toolbar.</li>
<li>Various other locations (<dfn>file import</dfn>, <dfn>sends</dfn>) have level-meters.</li>
</ul>
<p>
They all share the same configuration and color-theme which is available in preferences and the theme-manager.
Settings for the peak and rms+peak meters as well as VU meter standards are in Edit &gt; Preferences &gt; GUI &gt; Metering.
</p>
<p>
<img src="/ardour/manual/html/screenshots/meter-preferences.png" alt="" /></p>
</p>
<p>
The meter-type and the point where the meter taps-off the signal are configurable in the context-menu for each meter.
Depending the Edit &gt; Preferences &gt; GUI &gt; Mixer Strip settings, the metering point is also available as button in the mixer-window.
</p>
<p>
<img src="/ardour/manual/html/screenshots/mixer-meter-context-menu.png" alt="mixer strip meter context menu" />
</p>
<p>
Regardless of meter-type/standard the meter-display will highlight red if the signal on the given channel exceeds the configured peak threshold.
They all share the same configuration and color-theme which is available in
preferences and the theme-manager. Settings for the Peak and RMS+Peak meters
as well as VU meter standards are found in
<kbd class="menu">Edit &gt; Preferences &gt; GUI &gt; Metering</kbd>.
</p>
<p>
To <strong>reset the meter peak-hold indicator</strong>, click on the peak-indicator button (ctrl + click to reset all in a group, ctrl + shift + click to reset all).
The type of meter and the <dfn>metering point</dfn> (the place in the signal chain
where the meter taps the signal) are configurable in the context menu of each meter.
Depending on the <kbd class="menu">Edit &gt; Preferences &gt; GUI &gt; Mixer
Strip</kbd> settings, the metering point is also available as button in the
Mixer window.
</p>
<img class="right" src="/ardour/manual/html/screenshots/meter-preferences.png" alt="" />
<p>
Regardless of meter type and standard the meter display will highlight red if
the signal on the given channel exceeds the configured peak threshold.
</p>
<br clear="all"/>
<p>
<kbd class="mouse">Left</kbd> on the peak-indicator button resets the
<dfn>peak-hold indicator</dfn> of a single channel.<br />
<kbd class="mod1 mouse">Left</kbd> resets a whole <dfn>group</dfn>, and<br
/>
<kbd class="mod13 mouse">Left</kbd> resets all meters.
</p>
<h2>Overview of meter types</h2>
<p>
The following figure shows all available meter-types in Ardour 3.4 when fed with a -18dBFS 1kHz sine wave.
The figure on the left shows all available meter-types in Ardour 3.4 when fed with a
-18&nbsp;dBFS 1&nbsp;kHz sine wave.
</p>
<p>
<img src="/ardour/manual/html/screenshots/meter-types-18.png" alt="" />
</p>
<img class="right" style="max-width:45%;height:400px;" src="/ardour/manual/html/screenshots/needle-meters-18.png"
alt="Needle-style meters as external LV2 plugins" />
<img style="max-width:45%; height:400px" src="/ardour/manual/html/screenshots/meter-types-18.png"
alt="Bar-graph meters in Ardour" />
<p>
Due to layout concerns and consistent look&amp;feel all meters available in Ardour3 itself are bar-graph type meters.
Corresponding needle-style meters - which take up more visual screen space - are available as LV2 plugins. Compare to meters above.
Due to layout concerns and consistent look&amp;feel all meters available in
Ardour3 itself are bar-graph type meters. Corresponding needle-style meters
&mdash; which take up more visual screen space &mdash; are available as
LV2 plugins (on the right).
</p>
<p>
<img src="/ardour/manual/html/screenshots/needle-meters-18.png" alt="" />
</p>

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