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Rearrangement and cleanup of Part I. 

This includes rewriting out all of the "you" language that was peppered
throughout, fixing inconsistencies in layout, and removing <br>s
wherever they were misused and unnecessary (which was quite a lot).
This commit is contained in:
Shamus Hammons 2017-02-24 23:30:29 -06:00
parent 2a78650ae3
commit 7a4c28bd86
142 changed files with 2157 additions and 2063 deletions
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14
build.py
View File

@ -188,6 +188,7 @@ def GetChildren(fs, pos):
return children
#
# Get the parent at this level
#
@ -200,20 +201,24 @@ def GetParent(fs, pos):
return pos
#
# Creates the BreadCrumbs
#
def GetBreadCrumbs(fs, pos):
breadcrumbs = ' <span class="divider">&gt;</span> <li class="active">'+ fs[pos]['title'] + '</li>'
# The <span class="divider">&gt;</span> is for Bootstrap pre-3.0
breadcrumbs = ' <span class="divider">&gt;</span> <li class="active">'+ fs[pos]['title'] + '</li>'
while pos >= 0:
pos = GetParent(fs,pos)
pos = GetParent(fs, pos)
if pos >= 0:
breadcrumbs=' <span class="divider">&gt;</span> <li><a href="/' + fs[pos]['filename'] + '/">'+ fs[pos]['title'] + '</a></li>'+ breadcrumbs
breadcrumbs = '<ol class="breadcrumb"><li><a href="/toc/index.html">Home</a></li>' + breadcrumbs + '</ol>'
return breadcrumbs
#
# Make an array of children attached to each node in the file structure
# (It's a quasi-tree structure, and can be traversed as such.)
@ -443,9 +448,9 @@ for header in fileStruct:
elif level == 2:
toc = toc + ' <a id=subchapter href="/' + header['filename'] + '/">' + header['title'] + '</a><br>\n'
elif level == 3:
toc = toc + ' <a id=subchapter href="/' + header['filename'] + '/">' + header['title'] + '</a><br>\n'
toc = toc + ' <a id=section href="/' + header['filename'] + '/">' + header['title'] + '</a><br>\n'
elif level == 4:
toc = toc + ' <a id=subchapter href="/' + header['filename'] + '/">' + header['title'] + '</a><br>\n'
toc = toc + ' <a id=subsection href="/' + header['filename'] + '/">' + header['title'] + '</a><br>\n'
# Make the 'this thing contains...' stuff
if HaveChildren(fileStruct, pageNumber):
@ -555,3 +560,4 @@ tocFile.close()
if not quiet:
print('Processed ' + str(fileCount) + ' files.')

108
include/about-ardours-documentation.html
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@ -1,50 +1,56 @@
<h2>Conventions Used In This Manual</h2>
<p>
This section covers some of the typographical and language conventions
used in this manual.
</p>
<h3>Keyboards and Modifiers</h3>
<p>
<dfn>Keyboard bindings</dfn> are shown like this: <kbd>s</kbd> or
<kbd class="mod1">x</kbd>.
</p>
<p>
<kbd class="mod1">x</kbd> means "press the <kbd class="mod1">&nbsp;</kbd> key, keep it pressed
and then also press the <kbd>x</kbd> key".
<kbd class="mod1">x</kbd> means "press the <kbd class="mod1n"></kbd>
key, keep it pressed and then also press the <kbd>x</kbd> key".
</p>
<p>
You may also see key combinations
such as <kbd class="mod12">e</kbd>, which mean that you should hold down
the <kbd class="mod1">&nbsp;</kbd> key <em>and</em> the
<kbd class="mod2">&nbsp;</kbd> key, and then, while keeping them both
down, press the <kbd>e</kbd> key.
Combinations such as <kbd class="mod12">e</kbd> may be seen, which means
"hold down the <kbd class="mod1n"></kbd> key <em>and</em> the <kbd
class="mod2n"></kbd> key, and then, while keeping them both down, press the
<kbd>e</kbd> key".
</p>
<p>
Note that different platforms have different conventions for which
modifier key (Control or Command) to use as the primary or most common
modifier. When viewing this manual from a machine identifying itself as
running OS X, you will see <kbd>Cmd&nbsp;</kbd> where appropriate (for instance
in the first example above). On other machines you will see
<kbd>Ctrl&nbsp;</kbd> instead.
<p class="note">
Different platforms have different conventions for which modifier key
(Control or Command) to use as the primary or most common modifier. When
viewing this manual from a machine identifying itself as running OS X,
<kbd>Cmd</kbd> will be seen where appropriate (for instance in the first
example above). On other machines <kbd>Ctrl</kbd> will be seen instead.
</p>
<h3>Mouse Buttons</h3>
<p>
We refer to <a href="@@mouse">mouse buttons</a> as
<kbd class="mouse">Left</kbd>, <kbd class="mouse">Middle</kbd> and
<kbd class="mouse">Right</kbd>. Ardour can use additional buttons, but they have
no default behaviour in the program.
<a href="@@mouse">mouse buttons</a> are refered to as <kbd
class="mouse">Left</kbd>, <kbd class="mouse">Middle</kbd> and <kbd
class="mouse">Right</kbd>. Ardour can use additional buttons, but they have no
default behaviour in the program.
</p>
<h4>Mouse click modifiers</h4>
<p>
Many editing functions are performed by clicking the mouse while holding a
modifier key, for example <kbd class="mouse mod1">Left</kbd>.
</p>
<h4>Mouse wheel</h4>
<p>
Some GUI elements can optionally be controlled with the mouse wheel when
the pointer is hovering over them. The notation for mouse wheel action is
@ -53,81 +59,91 @@
</p>
<h4>Context-click</h4>
<p>
The term <dfn>context-click</dfn> is used to indicate
that you should (typically) <kbd class="mouse">Right</kbd>-click on a particular element of the graphical
user interface. Although right-click is the common, default way to do this, there
are other ways to accomplish the same thing&mdash;this term refers to any of them,
and the result is always that a menu specific to the item you clicked on will be
displayed.
The term <dfn>context-click</dfn> is used to indicate a <kbd
class="mouse">Right</kbd>-click on a particular element of the graphical user
interface. Although right-click is the common, default way to do this, there
are other ways to accomplish the same thing&mdash;this term refers to any of
them, and the result is always that a menu specific to the item clicked on
will be displayed.
</p>
<h4>"The Pointer"</h4>
<p>
When the manual refers to the "pointer", it means the on-screen representation
of the mouse position or the location of a touch action if you are using a touch
interface.
When the manual refers to the "pointer", it means the on-screen
representation of the mouse position or the location of a touch action if
touch interface is being used.
</p>
<h3>Other user input</h3>
<p>
Ardour supports hardware controllers, such as banks of
<kbd class="fader">faders</kbd>, <kbd class="knob">knobs</kbd>, or
<kbd class="button">buttons</kbd>.
Ardour supports hardware controllers, such as banks of <kbd
class="fader">faders</kbd>, <kbd class="knob">knobs</kbd>, or <kbd
class="button">buttons</kbd>.
</p>
<h3>Menu Items</h3>
<p>
Menu items are indicated like this:<br>
<kbd class="menu">Top &gt; Next &gt; Deeper</kbd>.<br>
Each "&gt;"-separated item indicates one level of a nested (sub-)menu.
Menu items are indicated like this: <kbd class="menu">Top &gt; Next &gt;
Deeper</kbd>. Each "&gt;"-separated item indicates one level of a nested menu
or sub-menu.
</p>
<h3>Preference/Dialog Options</h3>
<p>
Choices in various dialogs, notably the Preferences and Properties dialog, are
indicated like this:
Choices in various dialogs, notably the Preferences and Properties dialog,
are indicated thus:
</p>
<p>
<kbd class="option">Edit &gt; Preferences &gt; Audio &gt; Some Option</kbd>.
</p>
<p>
Each successive item indicates either a (sub-) menu or a tabbed dialog
Each successive item indicates either a menu, sub-menu, or a tabbed dialog
navigation. The final item is the one to choose or select.
</p>
<p>
If you are requested to deselect an option, you will see something like
this:
</p>
<p>
<kbd class="optoff">Edit &gt; Preferences &gt; Audio &gt; Some other Option</kbd>.
If an option is deselected, it will look like this:
</p>
<p>
<kbd class="optoff">Edit &gt; Preferences &gt; Audio &gt; Some other
Option</kbd>.
</p>
<h3>User Input</h3>
<p>
Some dialogs or features may require you to type in some <kbd class="input">data
such as this</kbd>. In rare cases, you will be required to perform certain
operations at the command line of your operating system:
Some dialogs or features may require the user to input data <kbd class="input">such as this</kbd>. In rare cases, certain operations will be required to be performed at the command line of the operating system:
</p>
<kbd class="cmd lin">cat /proc/cpuinfo</kbd>
<kbd class="cmd mac">sleep 3600</kbd>
<kbd class="cmd win">ping www.google.com</kbd>
<h3>Program Output</h3>
<p>
Important messages from Ardour or other programs will be displayed
<samp>like this</samp>.
Important messages from Ardour or other programs will be displayed <samp>like
this</samp>.
</p>
<h3>Notes</h3>
<p class="note">
Important notes about things that might not otherwise be obvious are shown in
this format.
</p>
<h3>Warnings</h3>
<p class="warning">
Hairy issues that might cause things to go wrong, lose data, impair sound
quality, or eat your proverbial goldfish, are displayed in this way.

32
include/add-new-notes.html
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@ -1,19 +1,19 @@
<h2>Adding new notes</h2>
<p>
In general, you will probably do most MIDI editing with the mouse in object
mode. This allows you to select notes, copy, move or delete them and alter
their properties (see below). But at some point, you're going to want to
<em>add</em> notes to a MIDI region using the mouse, and if they are to be
anything other than a fixed length, this means dragging with the mouse.
Since this would normally be a selection operation if the mouse is in object
mode, there needs to be some way for you to tell Ardour that you are trying
to <dfn>draw</dfn> new notes within a MIDI region. Ardour provides two ways
do this. One is to leave the mouse in object mode and
<kbd class="mouse mod1">Left</kbd>-drag. The other, useful if you plan to
In general, you will probably do most MIDI editing with the mouse in object
mode. This allows you to select notes, copy, move or delete them and alter
their properties (see below). But at some point, you're going to want to
<em>add</em> notes to a MIDI region using the mouse, and if they are to be
anything other than a fixed length, this means dragging with the mouse.
Since this would normally be a selection operation if the mouse is in object
mode, there needs to be some way for you to tell Ardour that you are trying
to <dfn>draw</dfn> new notes within a MIDI region. Ardour provides two ways
do this. One is to leave the mouse in object mode and
<kbd class="mouse mod1">Left</kbd>-drag. The other, useful if you plan to
enter a lot of notes for a while, is to switch the mouse into
<kbd class="menu">Draw Notes</kbd> mode, which will now interpret any drags
and clicks as requests to add a new note. For obvious reasons, you cannot
<kbd class="menu">Draw Notes</kbd> mode, which will now interpret any drags
and clicks as requests to add a new note. For obvious reasons, you cannot
use Draw Notes mode while using region-level editing.
</p>
@ -21,7 +21,7 @@
<dl class="wide-table">
<dt>Selecting, moving, copying, trimming, deleting <em>regions</em></dt>
<dd>
leave <kbd class="menu">Note Level Editing</kbd> disabled, use object,
leave <kbd class="menu">Note Level Editing</kbd> disabled, use object,
range or other mouse modes
</dd>
<dt>Selecting, moving, copying trimming, deleting <em>notes</em></dt>
@ -37,8 +37,8 @@
</dd>
</dl>
<p>
Note that is also a
<a href="@@step-entry">a step entry editor</a>
Note that is also a
<a href="@@step-entry">a step entry editor</a>
allowing you to enter notes from a virtual keyboard and lots more besides.
</p>

18
include/adding-pre-existing-material.html
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@ -1,6 +1,6 @@
<p>
There are several ways to importing an audio or MIDI file into a
There are several ways to importing an audio or MIDI file into a
session:
</p>
<ul>
@ -11,16 +11,16 @@
</ul>
<p>
These methods are all equivalent: they open the <a
href="/adding-pre-existing-material/import-dialog/">Add Existing Media</a>
dialog.
href="/adding-pre-existing-material/import-dialog/">Add Existing Media</a>
dialog.
</p>
<p>
Finally, you can also easily import files into your project by dragging
and dropping a file from some other application (e.g. your platform's
file manager). You can drag onto the
<dfn>Region List</dfn>, into the desired <dfn>track</dfn> or into empty
Finally, you can also easily import files into your project by dragging
and dropping a file from some other application (e.g. your platform's
file manager). You can drag onto the
<dfn>Region List</dfn>, into the desired <dfn>track</dfn> or into empty
space in the editor track display.<br>
The file will be imported and copied
The file will be imported and copied
into your session, and placed at the position where the drag ended.
</p>

16
include/adding-tracks-busses-and-vcas.html
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@ -13,7 +13,7 @@
<dt>Add</dt>
<dd>Here you can select the number of tracks, busses or VCAs you wish to create, and
their <a href="@@track-types">types</a>.</dd>
<dt>Name</dt>
<dt>Name</dt>
<dd>Defines the name of the new track(s). If multiple tracks are created, or if a track with the same name already exists, a space and number will be happened at the end (e.g.: Audio 1, Audio 2&hellip;)</dd>
<dt>Configuration</dt>
<dd>This menu lets you choose from a number of route templates, which determine the number of input ports and optionally contain plugins and other mixer strip configuration. The most common choices here are <em>mono</em> and <em>stereo</em>.</dd>
@ -23,9 +23,9 @@
<dd>This option is only available for MIDI tracks and busses and lets you select a
default instrument from the list of available plugins.</dd>
<dt>Group</dt>
<dd>Tracks and busses can be assigned groups so that a selected range of
operations are applied to all members of a group at the same time (selecting
record enable, or editing, for example). This option lets you assign to an
<dd>Tracks and busses can be assigned groups so that a selected range of
operations are applied to all members of a group at the same time (selecting
record enable, or editing, for example). This option lets you assign to an
existing group, or create a new group.</dd>
<dt>Insert</dt>
<dd>Defines where in the track list is the track created. The default is <em>Last</em>, i.e. after all the tracks and busses, and can also be <em>First</em>, <em>Before Selection</em> (to place it just above the selected track) or <em>After selection</em>.</dd>
@ -34,8 +34,8 @@
</dl>
<p>
New tracks appear in both the editor and mixer windows. The editor window
shows the timeline, with any recorded data, and the mixer shows just the
New tracks appear in both the editor and mixer windows. The editor window
shows the timeline, with any recorded data, and the mixer shows just the
processing elements of the track (its plugins, fader and so on).
</p>
@ -43,8 +43,8 @@
<p>
To <dfn>remove</dfn> tracks and busses, select them, <kbd
class="mouse">right</kbd>-click and choose <kbd
class="menu">Remove</kbd>
from the menu. A warning dialog will pop up, as track removal cannot be undone;
class="menu">Remove</kbd>
from the menu. A warning dialog will pop up, as track removal cannot be undone;
use this option with care!
</p>

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include/additional-resources.html
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@ -1,20 +1,26 @@
<p>In addition to this documentation, you may check a variety of other
<dfn>resources</dfn>:</p>
<p>
In addition to this documentation, there are a variety of other
<dfn>resources</dfn>:
</p>
<ul>
<li>the <a href="https://ardour.org/whatsnew.html">Ardour release
notes</a></li>
<li>the <a href="https://community.ardour.org/forums">Ardour
Forums</a></li>
<li>the <a href="https://ardour.org/whatsnew.html">Ardour release notes</a>
</li>
<li>the <a href="https://community.ardour.org/forums">Ardour Forums</a></li>
<li>information about <a href="https://community.ardour.org/community">Ardour
Support</a> via mailing lists and IRC (chat)</li>
</ul>
<p>
The <dfn>IRC channels</dfn> in particular are where most of the day-to-day
development and debugging is done, and there are plenty of experienced
users to help you if you run into problems.<br>
Please be prepared to hang around for a few hours, the chat is usually
busiest from 19:00&nbsp;UTC to 04:00&nbsp;UTC. If you can, keep your chat
window open, so that you don't miss a belated answer.
</p>
development and debugging is done, and there are plenty of experienced users
to help if problems are encountered when using Ardour.
</p>
<p>
Please be prepared to hang around for a few hours, the chat is usually
busiest from 19:00&nbsp;UTC to 04:00&nbsp;UTC. It is best to keep one's IRC
client window open if possible, so that a belated answer can be seen.
</p>

2
include/ardour-concepts.html
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@ -1,2 +0,0 @@

95
include/ardour-overview.html Normal file
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@ -0,0 +1,95 @@
<p>
<dfn>Ardour</dfn> is a professional digital workstation for working with
audio and MIDI.
</p>
<h2>Ardour is meant for&hellip;</h2>
<h3>Audio Engineers</h3>
<p>
Ardour's core user group: people who want to record, edit, mix and master
audio and MIDI projects. When you need complete control over your tools, when
the limitations of other designs get in the way, when you plan to spend hours
or days working on a session, Ardour is there to make things work the way you
want them to.
</p>
<h3>Musicians</h3>
<p>
Being the best tool to record talented performers on actual instruments has
always been a top priority for Ardour. Rather than being focused on
electronic and pop music idioms, Ardour steps out of the way to encourage the
creative process to remain where it always has been: a musician playing a
carefully designed and well built instrument.
</p>
<h3>Soundtrack Editors</h3>
<p>
Sample accurate sync and shared transport control with video playback tools
allows Ardour to provide a fast and natural environment for creating and
editing soundtracks for film and video projects.
</p>
<h3>Composers</h3>
<p>
Arrange audio and MIDI using the same tools and same workflow. Use external
hardware synthesizers or software instruments as sound sources. From sound
design to electro-acoustic composition to dense multitrack MIDI editing,
Ardour can help.
</p>
<h2>Ardour features&hellip;</h2>
<h3>Audio and MIDI Multi-Track Recording and Editing</h3>
<p>
Any number of tracks and busses. Non-linear editing. Non-destructive (and
destructive!) recording. Any bit depth, any sample rate. Dozens of file
formats.
</p>
<h3>Plugins with Full Sample Accurate Automation</h3>
<p>
AudioUnit, LV2, LinuxVST and LADSPA formats. FX plugins. Software
instruments. MIDI processors. Automate any parameters. Physically manipulate
them via control surfaces. Distribute processing across as many (or as few)
cores as you want.
</p>
<h3>Transport Sync and External Control Surfaces</h3>
<p>
Best-in-industry sync to MIDI timecode and LTC. Send and receive MIDI Machine
Control. Sync with JACK transport and MIDI clock. Dedicated Mackie Control
protocol support, pre-defined mappings for many MIDI controllers plus dynamic
MIDI learn. Use OSC to drive almost any operation in Ardour.
</p>
<h3>Powerful Anywhere-to-Anywhere Signal Routing</h3>
<p>
Complex signal flows are simple and elegant. Inputs and outputs connect to
your hardware and/or other applications. Use sends, inserts and returns
freely. Connections can be one-to-many, many-to-one or many-to-many. Tap
signal flows at any point. If you can't connect in the way you want with
Ardour, it probably can't be done.
</p>
<h3>Video Timeline</h3>
<p>
Import a single video and optionally extract the soundtrack from it. Display
a frame-by-frame (thumbnail) timeline of the video. Use a Video-monitor
window, or full-screen display, of the imported video in sync with any of the
available ardour timecode sources. Lock audio-regions to the video: Move
audio-regions with the video at video-frame granularity. Export the video,
cut start/end, add blank frames and/or mux it with the soundtrack of the
current-session.
</p>

14
include/audio-track-controls.html
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@ -1,24 +1,24 @@
<p>
A typical control area or <dfn>track header</dfn> for an audio track is
A typical control area or <dfn>track header</dfn> for an audio track is
shown below:
</p>
<img src="/images/typical-audio-track-controls.png" alt="audio track controls" />
<p>
An audio track has the same
<p>
An audio track has the same
<a href="@@bus-controls">controls as a bus</a>, with the
addition of two extras.
addition of two extras.
</p>
<dl>
<dt id="record" style="color:red;font-weight:bold;">[&bull;]</dt>
<dd><dfn>Record</dfn>&mdash;The button with the pink circle arms the track
for recording. When armed, the entire button will turn pink, and change to
<dd><dfn>Record</dfn>&mdash;The button with the pink circle arms the track
for recording. When armed, the entire button will turn pink, and change to
bright red as soon as the transport is rolling and the track is recording.</dd>
<dt id="playlist">p</dt>
<dd><dfn>Playlist</dfn>&mdash;Opens a playlist menu when clicked. The menu
<dd><dfn>Playlist</dfn>&mdash;Opens a playlist menu when clicked. The menu
offers various operations related to the track's <a
href="/working-with-playlists/">playlist</a>.
</dd>

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include/aux-sends.html
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@ -9,9 +9,9 @@
</p>
<p>
Usually, aux sends from several tracks are collectively sent to a
dedicated <dfn>Aux bus</dfn> in Ardour, to create a monitor mix for a
dedicated <dfn>Aux bus</dfn> in Ardour, to create a monitor mix for a
musician, or to feed an effect unit. The output of such a bus might
be routed to separate hardware outputs (in the case of headphone or monitor
be routed to separate hardware outputs (in the case of headphone or monitor
wedge mixes), or returned to the main mix (in the case of an effect).<br
/>
Aux sends are not JACK ports, with <a href="@@external-sends">
@ -19,84 +19,84 @@
send the tapped signal somewhere else directly, which is not usually
possible on hardware mixers.
</p>
<p>
It may be useful to
<a href="@@comparing-aux-sends-and-subgroups">compare and contrast</a>
It may be useful to
<a href="@@comparing-aux-sends-and-subgroups">compare and contrast</a>
the use of aux sends with <a href="@@subgrouping">subgrouping</a>.
</p>
<h2>Adding a new aux bus</h2>
<p>
Choose <kbd class="menu">Session &gt; Add New Track or Bus</kbd>. In the
<kbd class="menu">New Track &amp; Bus</kbd> dialog, select "Busses" in the Track/Bus
Choose <kbd class="menu">Session &gt; Add New Track or Bus</kbd>. In the
<kbd class="menu">New Track &amp; Bus</kbd> dialog, select "Busses" in the Track/Bus
selector at the upper right.
</p>
<h2>Adding a send to an aux bus</h2>
<p>
Context-click on the processor box for the track you want to send to the bus, and
choose <kbd class="menu">New Aux Send</kbd>. From the submenu, choose the bus you
want to send to. A send will be added (and will be visible in the processor box).
Context-click on the processor box for the track you want to send to the bus, and
choose <kbd class="menu">New Aux Send</kbd>. From the submenu, choose the bus you
want to send to. A send will be added (and will be visible in the processor box).
Note that the submenu may be empty if you have not created a bus yet.
</p>
<h3>Pre-fader and Post-fader Aux Sends</h3>
<p>
Depending on whether you context-click above or below the fader in the processor box,
the new aux send can be placed before or after the fader in the channel strip.
<dfn>Post-fader</dfn> aux sends are typically used when using an aux for shared signal
Depending on whether you context-click above or below the fader in the processor box,
the new aux send can be placed before or after the fader in the channel strip.
<dfn>Post-fader</dfn> aux sends are typically used when using an aux for shared signal
processing (FX), so that the amount of effect is always proportional to
the main mix fader. <dfn>Pre-fader</dfn> sends ensure that the level sent to the bus
is controlled <em>only</em> by the send, not the main fader&mdash;this is typical
when constructing headphone and monitor wedge mixes.
the main mix fader. <dfn>Pre-fader</dfn> sends ensure that the level sent to the bus
is controlled <em>only</em> by the send, not the main fader&mdash;this is typical
when constructing headphone and monitor wedge mixes.
</p>
<h2>Adding a new aux bus and sending a Track Group to it</h2>
<p>
You can add aux sends to all members of a group and connect them to a new aux bus
with a single click. After creating the track group (and adding tracks to it),
context-click on the group tab and choose either
<kbd class="menu">Add New Aux Bus (pre-fader)</kbd> or
<kbd class="menu">Add New Aux Bus (post-fader)</kbd>. A new aux bus will be created,
You can add aux sends to all members of a group and connect them to a new aux bus
with a single click. After creating the track group (and adding tracks to it),
context-click on the group tab and choose either
<kbd class="menu">Add New Aux Bus (pre-fader)</kbd> or
<kbd class="menu">Add New Aux Bus (post-fader)</kbd>. A new aux bus will be created,
and a new aux send added to every member of the track group that connects to
this aux bus.
</p>
<h2>Altering Send Levels</h2>
<p>
You can alter the amount of the signal received by a send that it delivers to the bus
You can alter the amount of the signal received by a send that it delivers to the bus
it connects to. There are three approaches to this:
</p>
<h3>Use the Send Fader</h3>
<p>
Every send processor has a small horizontal fader that can be adjusted in the usual way. It is
not very big and so this can be a little unsatisfactory if you want very fine control
over the send level.
Every send processor has a small horizontal fader that can be adjusted in the usual way. It is
not very big and so this can be a little unsatisfactory if you want very fine control
over the send level.
</p>
<h3>Mapping the Main Fader</h3>
<p>
Double-clicking on the send in the processor box will allow you to use the
big fader of the mixer strip to control the send. The visual appearance of
the mixer strip will change to reflect this. Double-click the send again to
Double-clicking on the send in the processor box will allow you to use the
big fader of the mixer strip to control the send. The visual appearance of
the mixer strip will change to reflect this. Double-click the send again to
revert back to normal function for the strip.
</p>
<h3>Map Aux Sends To Main Faders</h3>
<p>
Pressing the button marked <kbd class="menu">Aux Sends</kbd> on a aux bus will
alter the channel strip for every track or bus that feeds the aux bus. Many
aspects of the strip will become insensitive and/or change their visual
appearance. More importantly, the main fader of the affected channel strips
will now control the send level and <strong>not</strong> the track gain.
This gives a larger, more configurable control to alter the level. Click the
<kbd class="menu">Aux Sends</kbd> button of the aux bus again to revert the
Pressing the button marked <kbd class="menu">Aux Sends</kbd> on a aux bus will
alter the channel strip for every track or bus that feeds the aux bus. Many
aspects of the strip will become insensitive and/or change their visual
appearance. More importantly, the main fader of the affected channel strips
will now control the send level and <strong>not</strong> the track gain.
This gives a larger, more configurable control to alter the level. Click the
<kbd class="menu">Aux Sends</kbd> button of the aux bus again to revert the
channel strips to their normal use.
</p>
<h2>Disabling Sends</h2>
<p>
Clicking on the small "LED" in the send display in the processor box of the
channel strip will enable/disable the send. When disabled, only silence will
be delivered to the aux bus by this track. When enabled, the signal arriving
Clicking on the small "LED" in the send display in the processor box of the
channel strip will enable/disable the send. When disabled, only silence will
be delivered to the aux bus by this track. When enabled, the signal arriving
at the send will be delivered to the aux bus.
</p>
<h2>Send Panning</h2>

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@ -94,3 +94,4 @@
any unused take or reference material out of the backup, reducing the archive's
global file size.
</p>

4
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@ -1,6 +1,6 @@
<p>
For stereo tracks, you can now switch between the default stereo panner
For stereo tracks, you can now switch between the default stereo panner
and a traditional <dfn>balance control</dfn> by right-clicking on the
panner widget.
</p>
@ -12,7 +12,7 @@ control"/>
side.
</p>
<p class="note">
While the balance control is considerably less flexible than the stereo
While the balance control is considerably less flexible than the stereo
panner, it works with arbitrary content without danger of introducing
comb filter artefacts.
</p>

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@ -1,7 +1,194 @@
<h2>Interface Elements</h2>
<p class=fixme>Add missing content, if the following is really meant to be documented</p>
<h3>Checkboxes</h3>
<h3>Buttons</h3>
<h3>Pull Down Menus</h3>
<h3>Pop Up Menus</h3>
<h3>Context Menus</h3>
<h3>Browsers</h3>
<h2>Tooltips</h2>
<p>
Ardour offers a number of different ways for you to interact with it.
This chapter provides information on basic techniques for <dfn>entering
text</dfn>, <dfn>making selections</dfn>, and <dfn>using shortcuts</dfn>.
By default, Ardour will show helpful <dfn>tooltips</dfn> about the purpose
and use of each <abbr title="Graphical User Interface">GUI</abbr> element if
the pointer is positioned over it and hovered there for a short while. These
little pop-up messages can be a good way to discover the purpose of many
aspects of the GUI.
</p>
<p>
Pop-ups can also be distracting for experienced users, who may wish to
disable them via <kbd class="optoff">Edit &gt; Preferences &gt; GUI &gt; Show
tooltip if mouse hovers over a control</kbd>.
</p>
<h2>Selection Techniques</h2>
<p>
Ardour follows the conventions used by most other computer software
(including other DAWs) for <dfn>selecting objects</dfn> in the <abbr
title="Graphical User Interface">GUI</abbr>.
</p>
<h3>Selecting individual objects</h3>
<p>
Clicking on an object (sometimes on a particular part of its on-screen
representation) will select the object, and deselect other similar objects.
</p>
<h3>Selecting multiple (similar) objects</h3>
<p>
A <kbd class="mod1 mouse">left</kbd>-click on an object toggles its selected
status, so using <kbd class="mod1 mouse">left</kbd> on a series of objects
will select (or deselect) each one of them. A completely arbitrary set of
selections can be constructed with this technique.
</p>
<h3>Selecting a range of objects</h3>
<p>
In cases where the idea of "select all objects between this one and that one"
makes sense, select one object and then <kbd class="mod3
mouse">left</kbd>-click on another to select both of them as well as all objects in between.
</p>
<h3>Time range selection</h3>
<p>
To select a time <dfn>range</dfn> in the Editor, <kbd
class="mouse">Left</kbd>-click and drag the mouse. A <kbd class="mod1
mouse">Left</kbd> drag then lets you create other ranges and a <kbd
class="mod3 mouse">left</kbd>-click extends a range to cover a wider area.
</p>
<h3>Selection Undo</h3>
<p>
The set of objects (including time range) that are selected at any one time
is known as the selection. Each time an object is selected or deselected, the
new selection is stored in an undo/redo stack. This stack is cleared each
time the content of the timeline changes.
</p>
<p>
If a complex selection has been built up and then accidentally cleared it,
choosing <kbd class="menu">Edit &gt; Undo Selection Change</kbd> will restore
the previous selection. If a selection is undone and a return to the state
before the undo is desired, choosing <kbd class="menu">Edit &gt; Redo
Selection Change</kbd> will take the selection back to where it was before
<kbd class="menu">Edit &gt; Undo Selection Change</kbd> was chosen.
</p>
<h2>Cut and Paste Operations</h2>
<p>
The <dfn>clipboard</dfn> is a holder for various kinds of objects (regions,
control events, plugins) that is used during <dfn>cut-and-paste
operations</dfn>.
</p>
<h3>Cut</h3>
<p>
A <dfn>cut</dfn> operation removes selected objects and places them in the
clipboard. The existing contents of the clipboard are overwriten. The default
key binding is <kbd class="mod1">x</kbd>.
</p>
<h3>Copy</h3>
<p>
A <dfn>copy</dfn> of the selected objects are placed in clipboard. There is
no effect on the selected objects themselves. The existing contents of the
clipboard are overwritten. The default key binding is <kbd
class="mod1">c</kbd>.
</p>
<h3>Paste</h3>
<p>
The current contents of the clipboard are <dfn>paste</dfn>d (inserted) into
the session, using the current <dfn>edit point</dfn> as the destination. The
contents of the clipboard remain unchanged&mdash;the same item can be pasted
multiple times. The default key binding is <kbd class="mod1">v</kbd>.
</p>
<h2>Deleting Objects</h2>
<p>
Within the Editor window (and to some extent within the Mixer window too),
there are several techniques for <dfn>deleting</dfn> objects (regions,
control points, and more).
</p>
<h3>Using the mouse and keyboard</h3>
<p>
Select the object(s) to be deleted and then press the <kbd>Del</kbd> key.
This does <strong>not</strong> put the deleted object(s) in the clipboard, so
they cannot be pasted elsewhere.
</p>
<h3>Using normal cut and paste shortcuts</h3>
<p>
Select the object(s) and then press <kbd class="mod1">x</kbd>. This puts the
deleted object(s) in the clipboard so that they can be pasted elsewhere.
</p>
<h3>Using just the mouse</h3>
<p>
By default, <kbd class="mouse">Shift Right</kbd> will delete the clicked-upon
object. Like the <kbd>Del</kbd> key, this does <strong>not</strong> put the
deleted object(s) in the clipboard.
</p>
<p class="note">
The modifier and mouse button used for this can be controlled via <kbd
class="menu">Edit &gt; Preferences &gt; User Interaction &gt; Delete using
&hellip;</kbd>. Any modifier and mouse button combination can be used.
</p>
<h2>Undo/Redo for Editing</h2>
<p>
While editing, it sometimes happens that an unintended change is made, or a
choice is made that is later decided to be wrong. All changes to the
arrangement of session components (regions, control points) along the
timeline can be <dfn>undone</dfn> (and <dfn>redone</dfn> if necessary).
</p>
<p>
The default keybindings are <kbd class="mod1">Z</kbd> for Undo and <kbd
class="mod1">R</kbd> for Redo. These match the conventions of most other
applications that provide undo/redo.
</p>
<p>
Changes are also saved to the <dfn>session history</dfn> file, so that
undo/redo is possible even if the session is closed and reopened later, even
if Ardour is exited in between.
</p>
<p>
The maximum number of changes that can be undone can be configured under <kbd
class="menu">Edit &gt; Preferences &gt; Misc &gt; Undo</kbd>. The maximum
number of changes stored in the history file is a separate parameter, and can
also be set in the same place.
</p>
<p class="note">
In addition to the normal undo (which works only on actions that change the
timeline), there is a <dfn>visual undo</dfn> which will revert any command
that affects the display of the editor window. Its shortcut is <kbd
class="mod3">Z</kbd>. There is also an undo for selection; see "Selection
Techniques" above.
</p>

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@ -1,11 +1,11 @@
<h2>Behringer BCF-2000 Faders Controller</h2>
<h2>Behringer BCF-2000 Faders Controller</h2>
<p>
<img alt="Digramatic Image of the BCF2000"
src="/images/BCF2000.png">
</p>
<p>
The Behringer BCF-2000 Fader Controller is a control surface with 8 motorized
The Behringer BCF-2000 Fader Controller is a control surface with 8 motorized
faders, 8 rotary encoders and 30 push buttons. The device is a class
compliant USB Midi Interface and also has standard Midi DIN IN/OUT/THRU ports.
The device has included a Mackie/Logic Control Emulation Mode since firmware v1.06.
@ -18,11 +18,11 @@
</p>
<p>
In order to put the controller into Mackie/Logic control mode turn on the
In order to put the controller into Mackie/Logic control mode turn on the
unit while holding third button from the left in the top most row
of buttons (under the rotary encoder row). Hold the button down until <dfn>EG</dfn>
or edit global mode is displayed on the LCD screen of the unit. The global parameters
can then be edited using the 8 rotary encoders in the top row.
can then be edited using the 8 rotary encoders in the top row.
</p>
<ul>
<li><code>
@ -31,16 +31,16 @@
</li></code>
<li><code>
Encoder #3 sets the foot switch mode and should most likely be set to
<dfn>Auto</dfn> to detect how the foot switch is wired.
<dfn>Auto</dfn> to detect how the foot switch is wired.
</li></code>
<li><code>
Encoder #5 sets the device id, if you are using only 1 device the id
should be set to <dfn>ID 1</dfn>. If you are using multiple BCF/BCR2000 each
device is required to be set up sequentially and one at a time.
</li></code>
<li><code>
<li><code>
Encoder #7 controls the MIDI <dfn>Dead Time</dfn> or the amount of milliseconds
after a move has been made that the device ignores further changes, this
after a move has been made that the device ignores further changes, this
should be set to <dfn>100</dfn>.
</li></code>
<li><code>
@ -59,7 +59,7 @@
src="/images/BCF2000-Modes.png">
</p>
<p>
The four buttons arranged in a rectangle and located under the Behringer logo
The four buttons arranged in a rectangle and located under the Behringer logo
are the mode selection buttons in Logic Control Emulation Mode,
currently Ardour has implemented support for two of these modes.
</p>
@ -134,7 +134,7 @@ The surface can be broken into 8 groups of controls.
<dd>
In this mode they function as bank select left and right. If your session has more than 8 tracks
the next set of 8 tracks is selected with the right button and the faders will move to match the
current gain settings of that bank of 8 tracks/busses. If the last bank contains less than 8
current gain settings of that bank of 8 tracks/busses. If the last bank contains less than 8
tracks/busses the unused faders will move to the bottom and the pan lights will all turn
off. An unlimited amount of tracks can be controlled with the device.
</dd>
@ -160,7 +160,7 @@ The surface can be broken into 8 groups of controls.
In send mode, the encoders control sends from left to right instead of mixer pans.
If there are less than 8 sends the behavior of the encoder will be to continue controlling
the mixer pan. Visually it's indicated by the change in the LED from originating at the 12
o'clock position to originating at the 7 o'clock position. If <dfn>FLIP</dfn> is pressed
o'clock position to originating at the 7 o'clock position. If <dfn>FLIP</dfn> is pressed
the encoder will control the mixer gain for the selected track/bus.
</dd>
<dt>First row of buttons</dt>

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@ -4,20 +4,20 @@
<p>
At the top-left of the controls is the name of the bus, which can be
edited by double-clicking on it. The new name must be unique within the
session. Underneath the name is a copy of the bus' main level fader.
edited by double-clicking on it. The new name must be unique within the
session. Underneath the name is a copy of the bus' main level fader.
The control buttons to the right-hand side are:
</p>
<dl>
<dt id="mute">M</dt>
<dd><dfn>Mute</dfn>&mdash;click to mute the bus. Right-click to display
<dd><dfn>Mute</dfn>&mdash;click to mute the bus. Right-click to display
a menu which dictates what particular parts of the bus should be muted.</dd>
<dt id="solo">S</dt>
<dd><dfn>Solo</dfn>&mdash;solo the bus. The behaviour of the solo system
<dd><dfn>Solo</dfn>&mdash;solo the bus. The behaviour of the solo system
is described in detail in the section <a
href="/mixing/muting-and-soloing/">Muting and Soloing</a>.</dd>
<dt id="automation">A</dt>
<dd><dfn>Automation</dfn>&mdash;opens the automation menu for the
<dd><dfn>Automation</dfn>&mdash;opens the automation menu for the
bus. For details see <a href="@@automation">Automation</a>.</dd>
<dt id="group">G</dt>
<dd><dfn>Group</dfn>&mdash;lets you assign the bus to an existing or a

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@ -1,8 +1,8 @@
<p>
You can view all the details about a selected note by context-clicking on
it. The dialog that pops up will also allow you to modify all the properties
of the selected note(s). You can modify individual properties more efficiently
You can view all the details about a selected note by context-clicking on
it. The dialog that pops up will also allow you to modify all the properties
of the selected note(s). You can modify individual properties more efficiently
using the techniques described below.
</p>
@ -15,10 +15,10 @@
<dd>
<kbd>&uarr;</kbd> increases the pitch of the selected notes.<br>
<kbd>&darr;</kbd> reduces the pitch of the selected notes.<br>
If any of the selected notes are already at the maximum or minimum value,
no changes will be made to any of the notes, to preserve relative pitches.
You can override this with <kbd class="mod2"> </kbd>. The default shift
distance is one semitone. Use <kbd class="mod3"> </kbd> to alter this to
If any of the selected notes are already at the maximum or minimum value,
no changes will be made to any of the notes, to preserve relative pitches.
You can override this with <kbd class="mod2"> </kbd>. The default shift
distance is one semitone. Use <kbd class="mod3"> </kbd> to alter this to
one octave.
</dd>
<dt>Changing velocity values</dt>
@ -27,42 +27,42 @@
<br/>
<kbd class="mod1">&darr;</kbd> reduces the velocity of the selected
notes.<br>
If any of the selected notes are already at the maximum or minumum value,
no changes will be made to any of the notes, to preserve relative velocities.
If any of the selected notes are already at the maximum or minumum value,
no changes will be made to any of the notes, to preserve relative velocities.
You can override this with <kbd class="mod2"> </kbd>.
You can also press <kbd>v</kbd> to popup a dialog that will allow you to set
the absolute velocity value of each selected note. Finally, the scroll wheel
<kbd class="mouse">&uArr;</kbd> <kbd class="mouse">&dArr;</kbd> will also
adjust notes in the same way as the arrow keys (note that like the arrow keys
it only affects selected notes, not the note the pointer is over).
You can also press <kbd>v</kbd> to popup a dialog that will allow you to set
the absolute velocity value of each selected note. Finally, the scroll wheel
<kbd class="mouse">&uArr;</kbd> <kbd class="mouse">&dArr;</kbd> will also
adjust notes in the same way as the arrow keys (note that like the arrow keys
it only affects selected notes, not the note the pointer is over).
</dd>
<dt>Changing channel</dt>
<dd>
Press <kbd>c</kbd> to bring up a dialog that allow you to see and alter the
MIDI channel of the selected notes. If the selected notes use different
Press <kbd>c</kbd> to bring up a dialog that allow you to see and alter the
MIDI channel of the selected notes. If the selected notes use different
channels, they will all be forced to the newly selected channel.
</dd>
<dt>Changing start/end/duration</dt>
<dd>
<kbd>,</kbd> (comma) will alter the start time of the note. <br>
<kbd>.</kbd> (period) will alter the end time of the note. Both keys will by
default make the note longer (either by moving the start earlier or the end
<kbd>.</kbd> (period) will alter the end time of the note. Both keys will by
default make the note longer (either by moving the start earlier or the end
later). For the opposite effect, use <kbd class="mod1">,</kbd>/<kbd
class="mod1">.</kbd>. The note will be altered by the current grid setting.
class="mod1">.</kbd>. The note will be altered by the current grid setting.
To change the start/end positions by 1/128th of a beat, use the <kbd
class="mod2"> </kbd> modifier in addition to these shortcuts.
</dd>
<dt>Quantization</dt>
<dd>
<kbd>q</kbd> will quantize the selected notes using the current quantize
settings. If the quantize settings have not been set for this session yet,
the quantize dialog will appear. <kbd class="mod2">q</kbd> will display the
quantize dialog to allow you to reset the quantize settings, and then
quantizes the selected notes. The default quantize settings are: quantize
note starts to the current grid setting, no swing, no threshold, full
<kbd>q</kbd> will quantize the selected notes using the current quantize
settings. If the quantize settings have not been set for this session yet,
the quantize dialog will appear. <kbd class="mod2">q</kbd> will display the
quantize dialog to allow you to reset the quantize settings, and then
quantizes the selected notes. The default quantize settings are: quantize
note starts to the current grid setting, no swing, no threshold, full
strength.
</dd>
<dt>Step Entry, Quantize etc.</dt>
<dd></dd>
</dl>
</dl>

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@ -1,4 +1,4 @@
<p>
Recording and editing any serious session might leave the session with some unused or misplaced files here and there. Ardour can help deal with this clutter thanks to the tools located in the <kbd class="menu">Session &gt; Clean-up</kbd> menu.
</p>
@ -12,7 +12,7 @@
<p>
Using the <kbd class="menu">Bring all media into session folder</kbd> menu ensures that all media files used in the session are located inside the session's folder, hence avoiding any missing files when copied.
</p>
<h2 id="reset_peak_files">Reset Peak Files</h2>
<p>

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@ -14,7 +14,7 @@
</p>
<p>
You may want to review your understanding of
<a href="@@edit-point-control">the edit point/range</a> and
<a href="@@edit-point-control">the edit point/range</a> and
<a href="@@which-regions-are-affected">which regions will be affected by region operations</a>.
</p>
<dl class="wide-table">

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@ -1,18 +1,18 @@
<p>
Auxes and Subgroups share a common concept&mdash;they both provide a way
for one or more tracks (or busses) to send their signal to a single bus so
that common signal processing can be applied to the mix of their signals.
Auxes and Subgroups share a common concept&mdash;they both provide a way
for one or more tracks (or busses) to send their signal to a single bus so
that common signal processing can be applied to the mix of their signals.
</p>
<p>
<dfn>Aux sends</dfn> leave the existing signal routing to the main mix in place,
and are typically used to create a separate mix to send to (for example)
monitors or headphones (for performer monitor mixes):
<dfn>Aux sends</dfn> leave the existing signal routing to the main mix in place,
and are typically used to create a separate mix to send to (for example)
monitors or headphones (for performer monitor mixes):
</p>
<img width="300px" src="/images/aux_routing.png" alt="aux signal routing" />
<p>
<dfn>Subgroups</dfn> usually remove the original signal routing to the main mix and
replace it with a new one that delivers the output of the subgroup bus to
replace it with a new one that delivers the output of the subgroup bus to
the main mix instead.
</p>
<img width="300px" src="/images/subgroup_routes.png" alt="sub group signal routing" />

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@ -21,7 +21,7 @@
<h3>Positioning the playhead with the transport clocks</h3>
<p>
Click on either the primary or secondary transport clock and
<a href="@@editing-clocks">edit their value</a>
<a href="@@editing-clocks">edit their value</a>
to move the playhead to a specific position.
</p>

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@ -1,6 +1,6 @@
<p>
Ardour offers many options for controlling the appearance of tracks,
Ardour offers many options for controlling the appearance of tracks,
including color, height, waveform style and more.
These can all be found in the <kbd class="menu">Edit &gt; Preferences &gt;
Editor</kbd> menu.

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@ -1,6 +1,6 @@
<p>
Ardour does not impose any particular ordering of tracks and busses in
Ardour does not impose any particular ordering of tracks and busses in
either the editor or mixer windows. The default arrangements are as follows:
</p>
@ -72,11 +72,11 @@
</p>
<h2>Track Ordering and Remote Control IDs</h2>
<p>
Every track and bus in Ardour is assigned a <dfn>remote control ID</dfn>.
Every track and bus in Ardour is assigned a <dfn>remote control ID</dfn>.
When a <a href="@@control-surfaces">control surface</a> or any other
remote control is used to control Ardour, these IDs are used to identify
remote control is used to control Ardour, these IDs are used to identify
which track(s) or buss(es) are the intended target of incoming commands.
</p>

20
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@ -1,25 +1,25 @@
<h2>Copy a Single Region</h2>
<p>
To copy a region, make sure you are in object mouse mode. Move the mouse
pointer into the region and <kbd class="mouse mod1">left</kbd>-drag. Ardour
creates a new region and follows the mouse pointer as it moves. See
<a href="@@move-regions">Move Regions</a> for more
To copy a region, make sure you are in object mouse mode. Move the mouse
pointer into the region and <kbd class="mouse mod1">left</kbd>-drag. Ardour
creates a new region and follows the mouse pointer as it moves. See
<a href="@@move-regions">Move Regions</a> for more
details on moving the copied region.
</p>
<h2>Copy Multiple Regions</h2>
<p>
To copy multiple regions, select them before copying. Then
<kbd class="mouse mod1">left</kbd>-drag one of the selected regions. All the
regions will be copied and as they move. The copied regions will keep their
To copy multiple regions, select them before copying. Then
<kbd class="mouse mod1">left</kbd>-drag one of the selected regions. All the
regions will be copied and as they move. The copied regions will keep their
positions relative to each other.
</p>
<h2>Fixed-Time Copying</h2>
<p>
If you want to copy region(s) to other track(s) but keep the copies at the
exact position on the timeline as the originals, simply use
If you want to copy region(s) to other track(s) but keep the copies at the
exact position on the timeline as the originals, simply use
<kbd class="mouse mod1">Middle</kbd>-drag instead.
</p>

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@ -1,13 +1,13 @@
<p>
All media in a session folder is stored in a sub-folder called
<samp>interchange</samp>. Below that is another folder with the name
of the session. You can copy either of these to another location and
use the files within them with any other application, importing them
all into a project/session. You will lose all information about regions,
tracks, and timeline positioning, but all the data that Ardour was working
with will be present in the other DAW. Nothing below the interchange
folder is specific to Ardour&mdash;any DAW or other audio/MIDI
All media in a session folder is stored in a sub-folder called
<samp>interchange</samp>. Below that is another folder with the name
of the session. You can copy either of these to another location and
use the files within them with any other application, importing them
all into a project/session. You will lose all information about regions,
tracks, and timeline positioning, but all the data that Ardour was working
with will be present in the other DAW. Nothing below the interchange
folder is specific to Ardour&mdash;any DAW or other audio/MIDI
application should be able to handle the files without any issues.
</p>

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@ -1,28 +1,28 @@
<p>
<dfn>Copying</dfn> and <dfn>linking</dfn> are two different methods of
using existing audio files on your computer (or network file system)
<dfn>Copying</dfn> and <dfn>linking</dfn> are two different methods of
using existing audio files on your computer (or network file system)
within a session. They differ in one key aspect:
</p>
<h2>Copying</h2>
<p>
An existing media file is copied to the session's audio folder, and
An existing media file is copied to the session's audio folder, and
if necessary converted into the session's native format.<br>
For audio files, you can control the choice of this format (eg. WAVE
or Broadcast WAVE). Audio files will also be converted to the session
sample rate if necessary (which can take several minutes for larger
For audio files, you can control the choice of this format (eg. WAVE
or Broadcast WAVE). Audio files will also be converted to the session
sample rate if necessary (which can take several minutes for larger
files).
</p>
<p>
MIDI files will already be in SMF format, and are simply copied into
MIDI files will already be in SMF format, and are simply copied into
the session's MIDI folder.
</p>
<h2>Linking</h2>
<p>
A link to an existing media file somewhere on the disk is used as a the
source for a region, but the data is <strong>not copied or modified</strong>
source for a region, but the data is <strong>not copied or modified</strong>
in any way.
</p>
<p class="warning">
@ -32,8 +32,8 @@
the session. A backup of the session directory will miss linked files.
</p>
<p>
You can choose to copy or link files into your session with the
<kbd class="option">Copy file to session</kbd> option in the Import
You can choose to copy or link files into your session with the
<kbd class="option">Copy file to session</kbd> option in the Import
dialog window.
</p>
<p>
@ -45,7 +45,7 @@
&larr; This file won't be copied.
</p>
<p class="note">
There is a global preference <kbd class="menu">Edit &gt; Preferences &gt; Misc &gt;
There is a global preference <kbd class="menu">Edit &gt; Preferences &gt; Misc &gt;
Session Management &gt; Always copy imported files</kbd>. If it is
enabled, you will not be able to link a file.
</p>

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<p>
<a href="@@the-track-and-bus-group-list">Track Groups</a> have
a property titled <kbd class="option">Select</kbd> which, if enabled, cause
a property titled <kbd class="option">Select</kbd> which, if enabled, cause
Ardour to propagate a region selection in one track of a group to the
<dfn>corresponding regions</dfn> of the other tracks in that group.
</p>
<p>
For example, let's assume you have used multiple microphones to record a
drum kit to multiple tracks. You have created a track group, added all the
drum tracks, enabled the group and enabled the Select property for the group.
For example, let's assume you have used multiple microphones to record a
drum kit to multiple tracks. You have created a track group, added all the
drum tracks, enabled the group and enabled the Select property for the group.
When you select a region in one of the drum tracks, Ardour will select the
corresponding region in every other drum track, which in turn means that a
subsequent edit operation will affect all the drum tracks together.
corresponding region in every other drum track, which in turn means that a
subsequent edit operation will affect all the drum tracks together.
</p>
<h2>How Ardour Decides Which Regions are "Corresponding"</h2>
<p>
Regions in different tracks are considered to be corresponding for the purposes
Regions in different tracks are considered to be corresponding for the purposes
of sharing <dfn>selection</dfn> if they satisfy <em>all</em> the following criteria:
</p>
<ol>
@ -27,17 +27,17 @@
<h2>Overlap Correspondence</h2>
<p>
Sometimes, the rules outlined above are too strict to get Ardour to do what you
want. Regions may have been trimmed to slightly different lengths, or positioned
slightly differently, and this will cause Ardour to not select regions in other
Sometimes, the rules outlined above are too strict to get Ardour to do what you
want. Regions may have been trimmed to slightly different lengths, or positioned
slightly differently, and this will cause Ardour to not select regions in other
grouped tracks.</p>
<p>
In this case, change
In this case, change
<kbd class="menu">Edit &gt; Preferences &gt; Editor &gt; Regions in
active edit groups are edited together:</kbd> to <kbd
class="menu">whenever they overlap in time</kbd>. With this option enabled, r
egions in different tracks will be considered equivalent for the purposes of selection if they
<dfn>overlap</dfn>. This is much more flexible and will cover almost all of the
<dfn>overlap</dfn>. This is much more flexible and will cover almost all of the
cases that the fixed rules above might make cumbersome.
</p>

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@ -1,16 +1,16 @@
<p>
Although recording MIDI is a common way to create new MIDI regions, it is
Although recording MIDI is a common way to create new MIDI regions, it is
often desirable to do so as part of editing/arranging.
</p>
<p>
To create a new MIDI region, simply <kbd class="mouse">Left</kbd>-click in
a MIDI track. A region will be created that is one bar long. You can
<a href="@@trimming-regions">trim</a> it to any
To create a new MIDI region, simply <kbd class="mouse">Left</kbd>-click in
a MIDI track. A region will be created that is one bar long. You can
<a href="@@trimming-regions">trim</a> it to any
length you want.
</p>
<p>
Once you have created a region, you will probably want to
Once you have created a region, you will probably want to
<a href="@@add-new-notes">Add some notes to it</a>.
</p>

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@ -1,14 +1,14 @@
<p>
To create a new <dfn>MIDI track</dfn>, choose <kbd class="menu">Session &gt;
To create a new <dfn>MIDI track</dfn>, choose <kbd class="menu">Session &gt;
Add Track/Bus</kbd>. In the Add Track/Bus dialog, pick <kbd class="menu">MIDI
Track</kbd> from the combo selector at the upper right.
Track</kbd> from the combo selector at the upper right.
</p>
<p>
You may decide to use a track template if you have one.
You may also know the instrument (a plugin that will generate audio in response
to receiving MIDI) that you want to use in the track. The Instrument selector
will show you a list of all plugins that you have which accept MIDI input and
generate audio output.
You may decide to use a track template if you have one.
You may also know the instrument (a plugin that will generate audio in response
to receiving MIDI) that you want to use in the track. The Instrument selector
will show you a list of all plugins that you have which accept MIDI input and
generate audio output.
</p>

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@ -1,6 +1,6 @@
<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
<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
gradual transition can be accomplished.<br></p>
<h2>Region Fades</h2>
@ -8,7 +8,7 @@ gradual transition can be accomplished.<br></p>
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
tip. Click and drag the grip left or right in the timeline to
adjust the length of the fade.<br>
</p>
<h2>Crossfades</h2>

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@ -1,111 +1,124 @@
<p>
Ardour can be used in many different ways, from extremely simple to
extremely complex. Many projects will be handled using the following
kind of <dfn>workflow</dfn>.
Ardour can be used in many different ways, from extremely simple to extremely
complex. Many projects can be handled using the following kind of
<dfn>workflow</dfn>:
</p>
<h2>Stage 1: Creating Your Project</h2>
<h2>Stage 1: Creating The Project</h2>
<p>
The first step is to create a new <dfn>session</dfn>, or open an
existing one. A session consists of a folder containing a session file
that defines all the information about the session. All media files used
by the session can be stored within the session folder.
</p>
<p>
More details on sessions can be found in
<a href="@@sessions">Working With Sessions</a>.
The first step is to create a new <dfn>session</dfn>, or open an existing
one. A session consists of a folder containing a session file that defines
all the information about the session. All media files used by the session
are usually stored within the session folder.
</p>
<h2>Stage 2: Creating and Importing Audio and MIDI data</h2>
<p>
Once you have a session, you will want to add some audio and/or MIDI
material to it, which can be done in one of 3 ways:
<p class="note">
More details on sessions can be found in <a href="@@sessions">Sessions</a>
chapter.
</p>
<h2>Stage 2: Creating and Importing Audio and MIDI Data</h2>
<p>
Once a session has been created, it will be necessary to add some audio
and/or MIDI material to it&mdash;which can be done in one of 3 ways:
</p>
<ul>
<li><dfn>Record</dfn> incoming audio or MIDI data, either via audio or MIDI hardware
connected to your computer, or from other applications.</li>
<li><dfn>Create</dfn> new MIDI data using the mouse and/or various dialogs</li>
<li><dfn>Record</dfn> incoming audio or MIDI data, either via audio or MIDI
hardware connected to the computer, or from other applications</li>
<li><dfn>Create</dfn> new MIDI data using the mouse and/or various dialogs
</li>
<li><dfn>Import</dfn> existing media files into the session</li>
</ul>
<p>
<dfn>MIDI recordings</dfn> consist of performance data ("play note X at
time T") rather than actual sound. As a result, they are more flexible
than actual audio, since the precise sound that they will generate when
played depends on where you send the MIDI to.<br>
Two different synthesizers may produce very different sound in response
to the same incoming MIDI data.
<dfn>MIDI recordings</dfn> consist of performance data ("play note X at time
T") rather than actual sound. As a result, they are more flexible than actual
audio, since the precise sound that they will generate when played depends on
where the MIDI data is sent to. Two different synthesizers may produce very
different sounds in response to the same incoming MIDI data.
</p>
<p>
<dfn>Audio recordings</dfn> can be made from external instruments with
electrical outputs (keyboards, guitars etc.) or via microphones from
acoustic instruments.
electrical outputs (keyboards, guitars, etc.), or via microphones or other sound capturing equipment.
</p>
<p>
Ardour uses the <dfn>JACK Audio Connection Kit</dfn> for all audio and
MIDI I/O, which means that recording audio/MIDI from other applications
is fundamentally identical to recording audio/MIDI from your audio/MIDI
hardware.
Ardour uses the <dfn>JACK Audio Connection Kit</dfn> for all audio and MIDI
I/O, which means that recording audio/MIDI from other applications is
fundamentally identical to recording audio/MIDI from audio/MIDI hardware.
</p>
<p class=fixme>Sanity check: is this true anymore? Does Ardour's ALSA backend make this statment not exactly true?</p>
<h2>Stage 3: Editing and Arranging</h2>
<p>
Once you have some material within the session, you can start to arrange
it in time. This is done in one of the two main windows of Ardour, the
<dfn>Editor</dfn> window.
</p>
<p>
Your audio/MIDI data appears in chunks called <dfn>regions</dfn>, which
are arranged into horizontal lanes called <dfn>tracks</dfn>. Tracks are
stacked vertically in the Editor window. You can copy, shorten, move,
and delete regions without changing the actual data stored in the session
at all&mdash;Ardour is a <dfn>non-destructive</dfn> editor. (Almost)
nothing that you do while editing will ever modify the files stored on
disk (except the session file itself).
</p>
<p>
You can also carry out many <dfn>transformations</dfn> to the contents
of regions, again without altering anything on disk. You can alter,
move, and delete MIDI notes, and remove silence from audio regions, for
example.
Once there is material within the session, it can be arranged in time. This
is done in one of the two main windows of Ardour: the <dfn>Editor</dfn>
window.
</p>
<h2>Stage 4: Mixing and Adding Effects</h2>
<p>
Once you have the arrangement of your session mostly complete, you will
typically move on to the <dfn>mixing</dfn> phase. Mixing is a broad term
to cover the way the audio signals that your session generates during
playback and processed and added together into a final result that you
actually hear. It can involve altering the relative levels of various
parts of the session, adding effects that improve or transform certain
elements, and others that bring the sound of the whole session to a new
level.
Audio/MIDI data appears in chunks called <dfn>regions</dfn>, which are
arranged into horizontal lanes called <dfn>tracks</dfn>. Tracks are stacked
vertically in the Editor window. Regions can be copied, shortened, moved, and
deleted without changing the actual data stored in the session at
all&mdash;Ardour is a <dfn>non-destructive</dfn> editor. (Almost) nothing
done while editing will ever modify the files stored on disk (with the
exception of the session file itself).
</p>
<p>
Ardour will allow you to <dfn>automate</dfn> changes to any mixing
parameters (such as volume, panning, and effects controls)&mdash;it will
record the changes you make over time, using a mouse or keyboard or some
external control device, and can play back those changes later. This is
very useful because often the settings you need will vary in one part of
a session compared to another&mdash;rather than using a single setting
for the volume, you may need increases followed by decreases (for example,
to track the changing volume of a singer). Using automation can make all
of this relatively simple.
Many <dfn>transformations</dfn> can be done to the contents of regions, again
without altering anything on disk. It is possible to alter, move, and delete
MIDI notes, and remove silence from audio regions, for example.
</p>
<p class=fixme>Sanity check: deleting MIDI notes doesn't change them on disk? Isn't anything done to MIDI a destructive operation?</p>
<h2>Stage 4: Mixing and Adding Effects</h2>
<p>
Once the arrangement of the session mostly complete, the next step is the
<dfn>mixing</dfn> phase. Mixing is a broad term to cover the way the audio
signals that the session generates during playback are processed and added
together into a final result that is actually heard. It can involve altering
the relative levels of various parts of the session, adding effects that
improve or transform certain elements, and others that bring the sound of the
whole session to a new level.
</p>
<p>
Ardour allows <dfn>automation</dfn> of changes to any mixing parameters (such
as volume, panning, and effects controls)&mdash;it will record the changes
made over time, using a mouse or keyboard or some external control device,
and can play back those changes later. This is very useful because often the
settings needed will vary in one part of a session compared to
another&mdash;rather than using a single setting for the volume of a track,
it may need increases followed by decreases (for example, to track the
changing volume of a singer). Using automation can make all of this
relatively easy.
</p>
<h2>Stage 5: Export</h2>
<p>
Once you are really satisfied with the arrangement and mix of your
session, you will typically want to produce a single audio file that
contains a ready-to-listen to version of the work. Ardour will allow you to
<dfn>export</dfn> audio files in a variety of formats (simultaneously in
some cases). This exported file would typically be used in creating a CD,
or be the basis for digital distribution of the work.
</p>
<p>
Of course sometimes you will want to do export material that isn't finished
yet, for example to give a copy to someone else to try to mix on their own
system. Ardour will allow you to export as much of a session as you want, at
any time, in any supported format.
Once the arrangement and mix of the session is finalized, a single audio file
that contains a ready-to-listen to version of the work is usually desired.
Ardour allows the <dfn>exporting</dfn> of audio files in a variety of formats
(simultaneously in some cases). This exported file would typically be used in
creating a CD, or be the basis for digital distribution of the work.
</p>
<p>
Of course it is sometimes desirable to export material that isn't finished
yet&mdash;for example, to give a copy to another party to mix on their own
system. Ardour allows exporting as much of a session as desired, at any
time, in any supported format.
</p>

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@ -1,20 +1,20 @@
<p>
<dfn>Range markers</dfn> are essentially two location markers the are grouped
together to mark the beginning and end of a section in the timeline.
</p>
together to mark the beginning and end of a section in the timeline.
</p>
<h2>Creating a Range on the timeline</h2>
<p>
To create a new <dfn>range</dfn>, right-click on the
To create a new <dfn>range</dfn>, right-click on the
Ranges ruler at the top of the timeline, then select
<kbd class="menu">New Range</kbd>.
Two markers with the same name will appear along the ruler.
Both marks can be moved along the timeline by clicking and dragging
<kbd class="menu">New Range</kbd>.
Two markers with the same name will appear along the ruler.
Both marks can be moved along the timeline by clicking and dragging
them to the desired location.
</p>
<p>
It is also possible to create range markers from a selected range or
region in the Editor window, or to use the <kbd class="menu">Ranges
region in the Editor window, or to use the <kbd class="menu">Ranges
&amp; Marks List</kbd> in the Editor list.
</p>

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<p>
The <dfn>clipboard</dfn> is a holder for various kinds of objects (regions,
control events, plugins) that is used during <dfn>cut-and-paste
operations</dfn>.
</p>
<h2>Cut</h2>
<p>
A <dfn>cut</dfn> operation removes selected objects and places them in the
clipboard. The existing contents of the clipboard are overwriten.<br>
The default key binding is <kbd class="mod1">x</kbd>.
</p>
<h2>Copy</h2>
<p>
A <dfn>copy</dfn> of the selected objects are placed in clipboard. There is
no effect on the selected objects themselves. The existing contents of the
clipboard are overwritten. <br>
The default key binding is <kbd class="mod1">c</kbd>.
</p>
<h2>Paste</h2>
<p>
The current contents of the clipboard are <dfn>paste</dfn>d (inserted)
into the session, using the current <dfn>edit point</dfn> as the
destination. The contents of the clipboard remain unchanged&mdash;you
can paste the same item multiple times. <br>
The default key binding is <kbd class="mod1">v</kbd>.
</p>

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@ -9,26 +9,41 @@
</p>
<p>
These bindings strive to be <dfn>mnemonic</dfn>, that is, easy and intuitive to remember, and follow widely accepted conventions. As a general rule, the first letter of an operation will be used for as a shortcut, if available. This does not necessarily lead to the best ergonomics for rapid editing&mdash;there are alternative binding sets for that&mdash;but it does make it simpler for newcomers to remember some of the most useful ones, for example<br>
<kbd>S</kbd> for <kbd class="menu">Region &gt; Edit &gt; Split"</kbd>
or<br>
<kbd>P</kbd> for <kbd class="menu">Transport &gt; Playhead &gt; Playhead to Mouse</kbd>.
These bindings strive to be <dfn>mnemonic</dfn>, that is, easy and intuitive
to remember, and follow widely accepted conventions. As a general rule, the
first letter of an operation will be used for as a shortcut, if available.
This does not necessarily lead to the best ergonomics for rapid
editing&mdash;there are alternative binding sets for that&mdash;but it does
make it simpler for newcomers to remember some of the most useful ones, for
example:
</p>
<p>
Existing key bindings in menus are listed on the right side of the
menu items. To create a custom key binding for a menu item quickly, navigate to
the relevant (sub-) menu, hover over the item with the mouse and press
<kbd>S</kbd> for <kbd class="menu">Region &gt; Edit &gt; Split</kbd>
</p>
<p>
or
</p>
<p>
<kbd>P</kbd> for <kbd class="menu">Transport &gt; Playhead &gt; Playhead to
Mouse</kbd>.
</p>
<p>
Existing key bindings in menus are listed on the right side of the menu
items. To create a custom key binding for a menu item quickly, navigate to
the relevant menu or submenu, hover over the item with the mouse and press
the desired combination of modifiers and key.
</p>
<p class="warning">
Ardour will silently re-assign the binding if you use a key
combination that is already in use, possibly removing a standard
keyboard shortcut without warning you. That might lead to confusion
when you ask other users for help, and they explain something in terms
of a standard key binding, which will then have a completely
different effect on your system.
Ardour will silently reassign the binding of a key combination that is
already in use, possibly removing a standard keyboard shortcut without any
warning. This might lead to confusion when asking for help&mdash;when the
explanation is given in terms of a standard key binding&mdash;which will have
a completely different effect on the system with the modified key bindings.
</p>
<p>
@ -37,8 +52,8 @@
</p>
<p>
The conventions for using modifier keys (<kbd class="mod1">&nbsp;</kbd>, <kbd
class="mod2">&nbsp;</kbd>, <kbd class="mod3">&nbsp;</kbd> etc.) differ among platforms, so we
provide different default bindings for each.
The conventions for using modifier keys (<kbd class="mod1n"></kbd>, <kbd
class="mod2n"></kbd>, <kbd class="mod3n"></kbd>, etc.) differ among
platforms, so different default bindings for each are provided.
</p>

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<p>
Within the Editor window (and to some extent within the Mixer window too),
there are several techniques for <dfn>deleting</dfn> objects (regions,
control points, and more).
</p>
<h2>Using the mouse and keyboard</h2>
<p>
Select the object(s) and then press the <kbd>Del</kbd> key.
This does <strong>not</strong> put the deleted object(s) into the cut
buffer, so they cannot be pasted elsewhere.
</p>
<h2>Using normal cut and paste shortcuts</h2>
<p>
Select the object(s) and then press <kbd class="mod1">x</kbd>. This puts
the deleted object(s) into the cut buffer so that they could be pasted
elsewhere.
</p>
<h2>Using just the mouse</h2>
<p>
By default, <kbd class="mouse">Shift Right</kbd> will delete the
clicked-upon object. Like the Del key, this does <strong>not</strong>
put the deleted object(s) into the cut buffer.
</p>
<p>
The modifier and mouse button used for this can be controlled via
<kbd class="menu">Edit &gt; Preferences &gt; User Interaction &gt;
Delete using &hellip;</kbd>. Any modifier and mouse button combination can
be used.
</p>

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@ -1,12 +1,12 @@
<p>
When you have finished mixing your session, you probably want to export it to a sound
When you have finished mixing your session, you probably want to export it to a sound
file to burn to a CD, upload to the web, or whatever. <kbd class="menu">Session &gt; Export &gt; Export to Audio file(s)&hellip;</kbd>
shows the Export Dialog to do this.
</p>
<p>
You can also export the outputs of multiple tracks &amp; busses all at once via
You can also export the outputs of multiple tracks &amp; busses all at once via
<kbd class="menu">Session &gt; Export &gt; Stem Export&hellip;</kbd>.
</p>
@ -60,7 +60,7 @@ to the uploaded files will become visible.
<p>
<dl>
<dt>Make files public</dt><dd>Choose whether to make uploaded files available to anyone via the Soundcloud web site.</dd>
<dt>Open uploaded files in browser</dt><dd>Open each file on soundcloud in your browser after upload.
<dt>Open uploaded files in browser</dt><dd>Open each file on soundcloud in your browser after upload.
If you don't enable this, you can still see the URLs in the <a href="">Log window</a>.</dd>
<dt>Make files downloadable</dt><dd>Choose whether to allow downloading of files uploaded to Soundcloud.</dd>
</dl>

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@ -1,27 +1,27 @@
<p>
Like a normal aux send, an <dfn>external send</dfn> taps the signal at a
specific within a channel strip, but delivers it to an external application
or piece of hardware rather than an Ardour bus. By itself, an external
Like a normal aux send, an <dfn>external send</dfn> taps the signal at a
specific within a channel strip, but delivers it to an external application
or piece of hardware rather than an Ardour bus. By itself, an external
send has no effect whatsoever on the audio signals within Ardour&mdash;it
is a one-way signal routing that leaves all existing signal processing
is a one-way signal routing that leaves all existing signal processing
just as it was.
</p>
<p>
Most people will not have much use for this, but it can be useful if you
want to experiment with external applications or hardware signal processing
Most people will not have much use for this, but it can be useful if you
want to experiment with external applications or hardware signal processing
applications.
</p>
<h2>Adding an External Send</h2>
<p>
Context-click on the
<a href="@@processor-box">processor box</a> in a
channel strip (at the desired location, pre or post fader) and choose
<kbd class="menu">Add new External Send</kbd>. A dialog will appear
containing the standard Ardour
<a href="@@patchbay"><dfn>patchbay</dfn></a> to allow
you to connect the send to the desired destination.
Context-click on the
<a href="@@processor-box">processor box</a> in a
channel strip (at the desired location, pre or post fader) and choose
<kbd class="menu">Add new External Send</kbd>. A dialog will appear
containing the standard Ardour
<a href="@@patchbay"><dfn>patchbay</dfn></a> to allow
you to connect the send to the desired destination.
</p>
<h2>Removing an External Send</h2>
@ -30,28 +30,28 @@
<li><kbd class="mouse mod3">Right</kbd>-click the send in the processor box.</li>
<li>Position the pointer over the send and press the <kbd>Del</kbd> key.</li>
<li>Position the pointer over the send and press <kbd class="mod1">x</kbd>.</li>
<li>Context-click the send and choose either <kbd class="menu">Cut</kbd> or
<li>Context-click the send and choose either <kbd class="menu">Cut</kbd> or
<kbd class="menu">Delete</kbd>.</li>
</ul>
<h2>Altering Send Levels</h2>
<p>
Just below the send in the processor box is a small fader that can be used
like all other faders in Ardour to control the gain applied to the signal
delivered by the send. Drag it to alter the level, Shift-click to restore
to unity (0dB) gain.
Just below the send in the processor box is a small fader that can be used
like all other faders in Ardour to control the gain applied to the signal
delivered by the send. Drag it to alter the level, Shift-click to restore
to unity (0dB) gain.
</p>
<h2>Disabling Sends</h2>
<p>
Click the small "LED" in the send display within the processor box to turn
it on and off. When turned off, silence will be delivered to the send. When
Click the small "LED" in the send display within the processor box to turn
it on and off. When turned off, silence will be delivered to the send. When
turned on, the signal within the channel strip will be delivered.
</p>
<h2>Editing Send Routing</h2>
<p>
Double-clicking or Edit-clicking on the send in the processor box will
redisplay the patchbay dialog that allows you full control over the routing
Double-clicking or Edit-clicking on the send in the processor box will
redisplay the patchbay dialog that allows you full control over the routing
of the send.
</p>

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@ -7,12 +7,12 @@
<ul>
<li>
<dfn>Destructive crossfade length</dfn> is used when an operation on a
<dfn>Destructive crossfade length</dfn> is used when an operation on a
region is destructive, such as when recording in a track is in tape mode.
</li>
<li>
When <dfn>Region fades</dfn> <strong>active</strong> is checked, the
region fades set up in the mixer are used during playback. When unchecked,
When <dfn>Region fades</dfn> <strong>active</strong> is checked, the
region fades set up in the mixer are used during playback. When unchecked,
the fades are ignored.
</li>
<li>

12
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@ -2,22 +2,22 @@
<img src="/images/a4_session_properties_filenames.png" alt="session properties filenames tab"/>
<p>
This tab is used to change how Ardour names recorded regions.
If <dfn>Prefix track number</dfn> is selected a unique number will appear on each track
in the <dfn>Editor</dfn> window and will prefix the region name. If the track number
is 2 and the region would have been Gtr-1.1 with track number prefix turned on the region
This tab is used to change how Ardour names recorded regions.
If <dfn>Prefix track number</dfn> is selected a unique number will appear on each track
in the <dfn>Editor</dfn> window and will prefix the region name. If the track number
is 2 and the region would have been Gtr-1.1 with track number prefix turned on the region
will be named 2_Gtr-1.1 instead. See XX for base of the region name.
</p>
<p>
If <dfn>Prefix take name</dfn> is selected and the <dfn>Take name</dfn> has Take1 the region
will have the name Take1_Gtr-1.1 instead. If both boxes are checked the name will be
Take1_2_Gtr-1.1 instead.
Take1_2_Gtr-1.1 instead.
</p>
<p>
When <dfn>Prefix take name</dfn> is enabled, the first time a track is recorded it will
have the specified take name. When recording is stopped, any trailing number on the
have the specified take name. When recording is stopped, any trailing number on the
end of the take name will incremented by 1. If the track name specified doen't have
a number on the end, the number 1 will be suffixed.
</p>

24
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@ -3,31 +3,31 @@
<ol>
<li>Editing should be done without having to enter a new window</li>
<li>
Editing should be able to carried out completely with the keyboard,
Editing should be able to carried out completely with the keyboard,
or completely with the mouse, or with any combination of the two.
</li>
</ol>
<p>
Currently, MIDI editing is primarily restricted to note data. Other
kinds of data (controller events, sysex data) are present and can be
added and deleted, but not actually edited.
Currently, MIDI editing is primarily restricted to note data. Other
kinds of data (controller events, sysex data) are present and can be
added and deleted, but not actually edited.
</p>
<h2>Fundamentals of MIDI Editing in Ardour 3</h2>
<p>
MIDI, just like audio, exists in <dfn>regions</dfn>. MIDI regions
MIDI, just like audio, exists in <dfn>regions</dfn>. MIDI regions
behave like audio regions: they can be moved, trimmed, copied (cloned),
or deleted. Ardour allows either editing MIDI (or audio) regions, or MIDI
or deleted. Ardour allows either editing MIDI (or audio) regions, or MIDI
region content (the notes), but never both at the same time. The
<kbd>e</kbd> key (by default) toggles between <dfn>region level</dfn>
<kbd>e</kbd> key (by default) toggles between <dfn>region level</dfn>
and <dfn>note level</dfn> editing, as will double-clicking on a MIDI region.
</p>
<p class="note">
One very important thing to note: editing note information in Ardour
occurs in only a single region. There is no way currently to edit in note
data for multiple regions at the same time, so for example you cannot select
notes in several regions and then delete them all, nor can you copy-and-paste
notes from one region to another. You can, of course, copy and paste the
occurs in only a single region. There is no way currently to edit in note
data for multiple regions at the same time, so for example you cannot select
notes in several regions and then delete them all, nor can you copy-and-paste
notes from one region to another. You can, of course, copy and paste the
region(s), just as with audio.
</p>
</p>

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@ -1,6 +1,6 @@
<p>
The following list shows <dfn>plugin packages</dfn>. In some cases,
The following list shows <dfn>plugin packages</dfn>. In some cases,
a package contains just 1 or 2 plugins; in other cases, dozens.
</p>
@ -89,7 +89,7 @@
the normal software package management tool for your system. Most
Linux distributions that are good for audio work will have most of
the LADSPA and LV2 plugins mentioned above available in ready-to-use
forms.
forms.
</p>
<p>
Finding them will typically require <em>searching</em> your
@ -118,14 +118,14 @@
Linux VST (LXVST) plugins are distributed as shared library
files. They are typically installed in /usr/lib/lxvst,
/usr/local/lib/lxvst or a directory mentioned in your LXVST_PATH
environment variable.
environment variable.
</p>
<h3>OS X</h3>
<p>
Unless you're a particularly technical computer user, building and
installing plugins in the LV2 (or LADSPA) format is probably not
something worth planning on.
something worth planning on.
</p>
<p>
Most of the plugins you are likely to use on OS X will be in Apple's

22
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@ -1,16 +1,16 @@
<p>
Every MIDI note consists of two messages, a NoteOn and a NoteOff. Each one
has a note number and a channel (also a velocity, but that isn't relevant
here). The MIDI standard stresses that it is invalid to send a second NoteOn
for the same note number on the same channel before a NoteOff for the first
NoteOn. It is more or less impossible to do this with a physical MIDI
controller such as a keyboard, but remarkably easy to trigger when editing
Every MIDI note consists of two messages, a NoteOn and a NoteOff. Each one
has a note number and a channel (also a velocity, but that isn't relevant
here). The MIDI standard stresses that it is invalid to send a second NoteOn
for the same note number on the same channel before a NoteOff for the first
NoteOn. It is more or less impossible to do this with a physical MIDI
controller such as a keyboard, but remarkably easy to trigger when editing
in a DAW&mdash;simply overlapping two instances of the same note will do it.
</p>
<p>
Ardour offers many options for how to deal with instances where you overlap
two instances of the same note. Which one to use is a per-session property
Ardour offers many options for how to deal with instances where you overlap
two instances of the same note. Which one to use is a per-session property
and can be modified from <kbd class="menu">Session &gt; Properties &gt; Misc &gt; MIDI
Options</kbd>.
</p>
@ -30,11 +30,11 @@
<dd>When one note is moved to overlap another, merge them both to form one (longer) note</dd>
</dl>
<p>
Changing the option in use will not retroactively make changes&mdash;it will
Changing the option in use will not retroactively make changes&mdash;it will
only affect new note overlaps created while the option remains chosen.
</p>
<p class="warning">
Ardour does not check for note overlaps across tracks or even across regions.
Ardour does not check for note overlaps across tracks or even across regions.
If you create these, it is your responsibility to deal with the consequences.
</p>

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@ -12,12 +12,12 @@
<p>
<kbd class="menu">Sesson &gt; Properties &gt; Misc &gt; MIDI region copies are
independent</kbd> can be used to control the default behaviour when
making a copy of a MIDI region.
making a copy of a MIDI region.
</p>
<p>
When enabled, every new copy of a MIDI
region results in a copy being made of the MIDI data used by the
region, and the new copy of the region will refer to that data.
region, and the new copy of the region will refer to that data.
</p>
<p>
When disabled, every new copy of a MIDI region will refer to the same

8
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@ -6,11 +6,11 @@
send(s)</dfn>, and connecting the remainder of the channel strip to the
<dfn>Insert return(s)</dfn>, both of which are JACK ports which are
visible to other JACK applications.<br>
Inserts are the JACK equivalents of normalized switching jacks on an
Inserts are the JACK equivalents of normalized switching jacks on an
analog console.
</p>
<p>
An insert allows you to either use a special external DSP JACK
An insert allows you to either use a special external DSP JACK
application that is not available as a plugin, or to splice an external
analog piece of gear into your channel strip, such as a vintage
compressor, tube equalizer, etc. In the latter case, you would first
@ -26,6 +26,6 @@
</p>
<p class="note">
Inserts will incur an additional JACK period of latency, which can be
measured and compensated for during mixing, but not during tracking!
</p>
measured and compensated for during mixing, but not during tracking!
</p>

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@ -1,16 +1,16 @@
<p>
It has never been particularly easy to move sessions or projects from one
<abbr title="Digital Audio Workstation">DAW</abbr> to another. There are two
<abbr title="Digital Audio Workstation">DAW</abbr> to another. There are two
<dfn>interchange standards</dfn> that have reasonably widespread support:</p>
<ul>
<li>OMF (Open Media Framwwork), also known as OMFI. Developed and controlled
<li>OMF (Open Media Framwwork), also known as OMFI. Developed and controlled
by Avid, never standardized</li>
<li>AAF (Advanced Authoring Format). Developed by a consortium of media-related
<li>AAF (Advanced Authoring Format). Developed by a consortium of media-related
corporations.</li>
</ul>
<p>
In practice both of these standards have such complex and/or incomplete
In practice both of these standards have such complex and/or incomplete
specifications that different DAWs support them only partially,
differently, or not at all.
</p>

10
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@ -1,10 +0,0 @@
<p class=fixme>Add content</p>
<h2>Checkboxes</h2>
<h2>Buttons</h2>
<h2>Pull Down Menus</h2>
<h2>Pop Up Menus</h2>
<h2>Context Menus</h2>
<h2>Browsers</h2>

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@ -1,25 +1,25 @@
<p>
There is no point in pretending that Ardour is a simple, easy to use
program. The development group has worked hard to try to make simple
things reasonably easy, common tasks quick, and hard and/or uncommon
things possible. There is no doubt that we have more to do in this
area, as well as polishing the user interface to improve its
intuitiveness and work flow characteristics.
</p>
<p>
At the same time, multi-track, multi-channel, non-linear,
non-destructive audio editing is a far from simple process. Doing it
right requires not only a good ear, but a solid appreciation of
basic audio concepts and a robust mental model/metaphor of what you
are doing. Ardour is not a simple "audio recorder"&mdash;you can
certainly use it to record stereo (or even mono) material in a
single track, but the program has been designed around much richer
capabilities than this.
</p>
<p>
Some people complain that Ardour is not "intuitive" to use&mdash;its
lead developer has
<a href="https://community.ardour.org/node/3322">some thoughts on that</a>.
There is no point in pretending that Ardour is a simple, easy to use program.
The development group has worked hard to try to make simple things reasonably
easy, common tasks quick, and hard and/or uncommon things possible. There is
no doubt that there is more to do in this area, as well as polishing the user
interface to improve its intuitiveness and work flow characteristics.
</p>
<p>
At the same time, multi-track, multi-channel, non-linear, non-destructive
audio editing is a far from simple process. Doing it right requires not only
a good ear, but a solid appreciation of basic audio concepts and a robust
mental model/metaphor of what one is doing. Ardour is not a simple "audio
recorder"&mdash;it can certainly be used to record stereo (or even mono)
material in a single track, but the program has been designed around much
richer capabilities than this.
</p>
<p>
Some people complain that Ardour is not "intuitive" to use&mdash;its
lead developer has
<a href="https://community.ardour.org/node/3322">some thoughts on that</a>.
</p>

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@ -1,10 +1,10 @@
<p>
<a
href="http://en.wikipedia.org/wiki/Latency_%28audio%29"><dfn>Latency</dfn></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
href="http://en.wikipedia.org/wiki/Latency_%28audio%29"><dfn>Latency</dfn></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>
@ -12,95 +12,95 @@
<h3>Sound propagation through the air</h3>
<p>
Since sound is a mechanical perturbation in a fluid, it travels at
comparatively slow <a href="http://en.wikipedia.org/wiki/Speed_of_sound">speed</a>
of about 340 m/s. As a consequence, your acoustic guitar or piano has a
latency of about 1&ndash;2&nbsp;ms, due to the propagation time of the sound
between your instrument and your ear.
Since sound is a mechanical perturbation in a fluid, it travels at
comparatively slow <a href="http://en.wikipedia.org/wiki/Speed_of_sound">speed</a>
of about 340 m/s. As a consequence, your acoustic guitar or piano has a
latency of about 1&ndash;2&nbsp;ms, due to the propagation time of the sound
between your instrument and your ear.
</p>
<h3>Digital-to-Analog and Analog-to-Digital conversion</h3>
<p>
Electric signals travel quite fast (on the order of the speed of light),
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,
Electric signals travel quite fast (on the order of the speed of light),
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 on
otherwise very low-latency systems. Conversion delay is usually below 1&nbsp;ms.
</p>
<h3>Digital Signal Processing</h3>
<p>
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
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.
</p>
<h3>Computer I/O Architecture</h3>
<p>
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.)
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.)
</p>
<h2>The Latency chain</h2>
<img src="/images/latency-chain.png" title="Latency chain" alt="Latency chain" />
<p>
<em>Figure: Latency chain.</em>
The numbers are an example for a typical PC. With professional gear and an
optimized system the total roundtrip latency is usually lower. The important
<em>Figure: Latency chain.</em>
The numbers are an example for a typical PC. With professional gear and an
optimized system the total roundtrip latency is usually lower. The important
point is that latency is always additive and a sum of many independent factors.
</p>
<p>
Processing latency is usually divided into <dfn>capture latency</dfn> (the time
it takes for the digitized audio to be available for digital processing, usually
Processing latency is usually divided into <dfn>capture latency</dfn> (the time
it takes for the digitized audio to be available for digital processing, usually
one audio period), and <dfn>playback latency</dfn> (the time it takes for
In practice, the combination of both matters. It is called <dfn>roundtrip
latency</dfn>: the time necessary for a certain audio event to be captured,
In practice, the combination of both matters. It is called <dfn>roundtrip
latency</dfn>: the time necessary for a certain audio event to be captured,
processed and played back.
</p>
<p class="note">
It is important to note that processing latency in a jackd is a matter of
choice. It can be lowered within the limits imposed by the hardware (audio
device, CPU and bus speed) and audio driver. Lower latencies increase the
load on the system because it needs to process the audio in smaller chunks
which arrive much more frequently. The lower the latency, the more likely
choice. It can be lowered within the limits imposed by the hardware (audio
device, CPU and bus speed) and audio driver. Lower latencies increase the
load on the system because it needs to process the audio in smaller chunks
which arrive much more frequently. The lower the latency, the more likely
the system will fail to meet its processing deadline and the dreaded
<dfn>xrun</dfn> (short for buffer over- or under-run) will make its
<dfn>xrun</dfn> (short for buffer over- or under-run) will make its
appearance more often, leaving its merry trail of clicks, pops and crackles.
</p>
<p>
The digital I/O latency is usually negligible for integrated or
<abbr title="Periphal Component Interface">PCI</abbr> audio devices, but
for USB or FireWire interfaces the bus clocking and buffering can add some
The digital I/O latency is usually negligible for integrated or
<abbr title="Periphal Component Interface">PCI</abbr> audio devices, but
for USB or FireWire interfaces the bus clocking and buffering can add some
milliseconds.
</p>
<h2>Low Latency usecases</h2>
<p>
Low latency is <strong>not</strong> always a feature you want to have. It
comes with a couple of drawbacks: the most prominent is increased power
Low latency is <strong>not</strong> always a feature you want to have. It
comes with a couple of drawbacks: the most prominent is increased power
consumption because the CPU needs to process many small chunks of audio data,
it is constantly active and can not enter power-saving mode (think fan-noise).
Since each application that is part of the signal chain must run in every
audio cycle, low-latency systems will undergo<dfn>context switches</dfn>
between applications more often, which incur a significant overhead.
This results in a much higher system load and an increased chance of xruns.
it is constantly active and can not enter power-saving mode (think fan-noise).
Since each application that is part of the signal chain must run in every
audio cycle, low-latency systems will undergo<dfn>context switches</dfn>
between applications more often, which incur a significant overhead.
This results in a much higher system load and an increased chance of xruns.
</p>
<p>
For a few applications, low latency is critical:
</p>
<h3>Playing virtual instruments</h3>
<p>
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
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 to be awesome latency-compensation organic systems.)
</p>
<h3>Software audio monitoring</h3>
<p>
If a singer is hearing her own voice through two different paths, her head
If a singer is hearing her own voice through two different paths, her head
bones and headphones, even small latencies can be very disturbing and
manifest as a tinny, irritating sound.
</p>
@ -109,69 +109,69 @@
Low latency is important when using the computer as an effect rack for
inline effects such as compression or EQ. For reverbs, slightly higher
latency might be tolerable, if the direct sound is not routed through the
computer.
computer.
</p>
<h3>Live mixing</h3>
<h3>Live mixing</h3>
<p>
Some sound engineers use a computer for mixing live performances.
Basically that is a combination of the above: monitoring on stage,
effects processing and EQ.
Some sound engineers use a computer for mixing live performances.
Basically that is a combination of the above: monitoring on stage,
effects processing and EQ.
</p>
<p>
In many other cases, such as playback, recording, overdubbing, mixing,
mastering, etc. latency is not important, since it can easily be
In many other cases, such as playback, recording, overdubbing, mixing,
mastering, etc. latency is not important, since it can easily be
compensated for.<br>
To explain that statement: During mixing or mastering you don&#039;t care
To explain that statement: During mixing or mastering you don&#039;t care
if it takes 10ms or 100ms between the instant you press the play button
and sound coming from the speaker. The same is true when recording with a count in.
</p>
<h2>Latency compensation</h2>
<p>
During tracking it is important that the sound that is currently being
During tracking it is important that the sound that is currently being
played back is internally aligned with the sound that is being recorded.
</p>
<p>
This is where latency-compensation comes into play. There are two ways to
This is where latency-compensation comes into play. There are two ways to
compensate for latency in a DAW, <dfn>read-ahead</dfn> and
<dfn>write-behind</dfn>. The DAW starts playing a bit early (relative to
the playhead), so that when the sound arrives at the speakers a short time
<dfn>write-behind</dfn>. The DAW starts playing a bit early (relative to
the playhead), so that when the sound arrives at the speakers a short time
later, it is exactly aligned with the material that is being recorded.
Since we know that play-back has latency, the incoming audio can be delayed
Since we know that play-back has latency, the incoming audio can be delayed
by the same amount to line things up again.
</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
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>
As a side note, this is also one of the reasons why many projects start at
timecode <samp>01:00:00:00</samp>. When compensating for output latency the
DAW will need to read data from before the start of the session, so that the
audio arrives in time at the output when the timecode hits <samp>01:00:00:00</samp>.
Ardour3 does handle the case of <samp>00:00:00:00</samp> properly but not all
As a side note, this is also one of the reasons why many projects start at
timecode <samp>01:00:00:00</samp>. When compensating for output latency the
DAW will need to read data from before the start of the session, so that the
audio arrives in time at the output when the timecode hits <samp>01:00:00:00</samp>.
Ardour3 does handle the case of <samp>00:00:00:00</samp> properly but not all
systems/software/hardware that you may inter-operate with may behave the same.
</p>
<h2>Latency Compensation And Clock Sync</h2>
<p>
To achieve sample accurate timecode synchronization, the latency introduced
To achieve sample accurate timecode synchronization, the latency introduced
by the audio setup needs to be known and compensated for.
</p>
<p>
In order to compensate for latency, JACK or JACK applications need to know
In order to compensate for latency, JACK or JACK applications need to know
exactly how long a certain signal needs to be read-ahead or delayed:
</p>
<img src="/images/jack-latency-excerpt.png" title="Jack Latency Compensation" alt="Jack Latency Compensation" />
<p>
<em>Figure: Jack Latency Compensation.</em>
<em>Figure: Jack Latency Compensation.</em>
</p>
<p>
In the figure above, clients A and B need to be able to answer the following
In the figure above, clients A and B need to be able to answer the following
two questions:
</p>
<ul>
@ -186,48 +186,48 @@
</ul>
<p>
JACK features an <abbr title="Application Programming Interface">API</abbr>
that allows applications to determine the answers to above questions.
However JACK can not know about the additional latency that is introduced
by the computer architecture, operating system and soundcard. These values
can be specified by the JACK command line parameters <kbd class="input">-I</kbd>
and <kbd class="input">-O</kbd> and vary from system
to system but are constant on each. On a general purpose computer system
the only way to accurately learn about the total (additional) latency is to
JACK features an <abbr title="Application Programming Interface">API</abbr>
that allows applications to determine the answers to above questions.
However JACK can not know about the additional latency that is introduced
by the computer architecture, operating system and soundcard. These values
can be specified by the JACK command line parameters <kbd class="input">-I</kbd>
and <kbd class="input">-O</kbd> and vary from system
to system but are constant on each. On a general purpose computer system
the only way to accurately learn about the total (additional) latency is to
measure it.
</p>
<h2>Calibrating JACK Latency</h2>
<p>
Linux DSP guru Fons Adriaensen wrote a tool called <dfn>jack_delay</dfn>
to accurately measure the roundtrip latency of a closed loop audio chain,
with sub-sample accuracy. JACK itself includes a variant of this tool
Linux DSP guru Fons Adriaensen wrote a tool called <dfn>jack_delay</dfn>
to accurately measure the roundtrip latency of a closed loop audio chain,
with sub-sample accuracy. JACK itself includes a variant of this tool
called <dfn>jack_iodelay</dfn>.
</p>
<p>
Jack_iodelay allows you to measure the total latency of the system,
subtracts the known latency of JACK itself and suggests values for
Jack_iodelay allows you to measure the total latency of the system,
subtracts the known latency of JACK itself and suggests values for
jackd's audio-backend parameters.
</p>
<p>
jack_[io]delay works by emitting some rather annoying tones, capturing
them again after a round trip through the whole chain, and measuring the
difference in phase so it can estimate with great accuracy the time taken.
jack_[io]delay works by emitting some rather annoying tones, capturing
them again after a round trip through the whole chain, and measuring the
difference in phase so it can estimate with great accuracy the time taken.
</p>
<p>
You can close the loop in a number of ways:
</p>
<ul>
<li>
Putting a speaker close to a microphone. This is rarely done, as air
Putting a speaker close to a microphone. This is rarely done, as air
propagation latency is well known so there is no need to measure it.
</li>
<li>
Connecting the output of your audio interface to its input using a
patch cable. This can be an analog or a digital loop, depending on
the nature of the input/output you use. A digital loop will not factor
in the <abbr title="Analog to Digital, Digital to Analog">AD/DA</abbr>
Connecting the output of your audio interface to its input using a
patch cable. This can be an analog or a digital loop, depending on
the nature of the input/output you use. A digital loop will not factor
in the <abbr title="Analog to Digital, Digital to Analog">AD/DA</abbr>
converter latency.
</li>
</ul>

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@ -1,34 +1,34 @@
<p>
<p>
In the days of analog tape recording, the routing of monitor signals was
performed with relays and other analog audio switching devices. Digital
recorders have the same feature, but may impart some
performed with relays and other analog audio switching devices. Digital
recorders have the same feature, but may impart some
<a
href="/synchronization/latency-and-latency-compensation/"><dfn>latency</dfn></a>
(delay) between the time you make a noise and the time that you hear it
href="/synchronization/latency-and-latency-compensation/"><dfn>latency</dfn></a>
(delay) between the time you make a noise and the time that you hear it
come back from the recorder.
</p>
<p>
The latency of <em>any</em> conversion from analog to digital and back to
analog is about 1.5&ndash;2&nbsp;ms. Some musicians claim that even the
basic <abbr title="Analog to Digital to Analog">A/D/A</abbr> conversion
time is objectionable. However even acoustic instruments such as the piano
The latency of <em>any</em> conversion from analog to digital and back to
analog is about 1.5&ndash;2&nbsp;ms. Some musicians claim that even the
basic <abbr title="Analog to Digital to Analog">A/D/A</abbr> conversion
time is objectionable. However even acoustic instruments such as the piano
can have approximately 3&nbsp;ms of latency, due to the time the sound
takes to travel from the instrument to the musician's ears. Latency below
takes to travel from the instrument to the musician's ears. Latency below
5&nbsp;ms should be suitable for a professional recording setup. Because
2&nbsp;ms are already used in the A/D/A process, you must use extremely low
<dfn>buffer sizes</dfn> in your workstation <abbr title="Input/Output">I/O</abbr>
setup to keep the overall latency below 5ms. Not all
<a href="@@the-right-computer-system-for-digital-audio">computer audio systems</a>
2&nbsp;ms are already used in the A/D/A process, you must use extremely low
<dfn>buffer sizes</dfn> in your workstation <abbr title="Input/Output">I/O</abbr>
setup to keep the overall latency below 5ms. Not all
<a href="@@the-right-computer-system-for-digital-audio">computer audio systems</a>
are able to work reliably at such low buffer sizes.
</p>
<p>
For this reason it is sometimes best to route the monitor signal
through an external mixing console while recording, an approach taken by
most if not all professional recording studios. Many computer I/O devices
most if not all professional recording studios. Many computer I/O devices
have a hardware mixer built in which can route the monitor signal "around"
the computer, avoiding the systemlatency.<br>
In either case, the monitoring hardware may be digital or analog. And in
In either case, the monitoring hardware may be digital or analog. And in
the digital case you will still have the A-D-A conversion latency of
1&ndash;2&nbsp;ms.
</p>

28
include/layering-display.html
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@ -7,17 +7,17 @@ alt="Track layering menu" />
<dfn>overlaid</dfn> in the editor window, to save vertical space.
</p>
<p>
However, this display mode can be confusing for tracks with many overdubs,
because its not obvious in which order the overdubs are layered. Although
However, this display mode can be confusing for tracks with many overdubs,
because its not obvious in which order the overdubs are layered. Although
there are other methods of moving particular regions to the top of an
overlapping set, and although Ardour also has playlists to let you manage
<a href="@@playlist-usecases">takes</a> a bit more
efficiently than just continually layering,
there are times when being able to clearly see all regions in a track without
any overlaps is reassuring and useful.
<a href="@@playlist-usecases">takes</a> a bit more
efficiently than just continually layering,
there are times when being able to clearly see all regions in a track without
any overlaps is reassuring and useful.
</p>
<p>
Here is an image of a track with a rather drastic overdub situation,
Here is an image of a track with a rather drastic overdub situation,
viewed in normal <dfn>overlaid mode</dfn>:
</p>
<img src="/images/a3_overlaps_layered.png" alt="overlapping regions in overlaid mode" />
@ -29,13 +29,13 @@ alt="Track layering menu" />
</p>
<img src="/images/a3_layers_stacked.png" alt="overlapping regions in stacked mode" />
<p>
You can still move regions around as usual, and in fact you can
even drag them so that they overlay each again, but when you
release the mouse button, things will flip back to them all being
stacked cleanly. The number of <dfn>lanes</dfn> for the track is determined by
the maximum number of regions existing in any one spot throughout
the track, so if you have really stacked up 10 overdubs in one spot,
you'll end up with 10 lanes. Obviously, using a large track height
You can still move regions around as usual, and in fact you can
even drag them so that they overlay each again, but when you
release the mouse button, things will flip back to them all being
stacked cleanly. The number of <dfn>lanes</dfn> for the track is determined by
the maximum number of regions existing in any one spot throughout
the track, so if you have really stacked up 10 overdubs in one spot,
you'll end up with 10 lanes. Obviously, using a large track height
works much better for this than a small one.
</p>

6
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@ -2,13 +2,13 @@
<img src="/images/a4_session_properties_locations.png" alt="session properties locations tab"/>
<p>
These options add file locations that will be searched to find the audio and
midi files used by the session. This is useful when the files have been
These options add file locations that will be searched to find the audio and
midi files used by the session. This is useful when the files have been
imported into the session but not copied into the session.
</p>
<p>
To add a location, navigate to the directory where the files are stored.
To add a location, navigate to the directory where the files are stored.
Drill down into the directory and then click open. The directory will
show up in the dialog. The remove button next to the added directory can be used
to remove it from the search path.

50
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@ -1,7 +1,7 @@
<p>
All plugin control widgets, whether they are created by Ardour or
by the plugin, have a common set of controls at the top of the window.
All plugin control widgets, whether they are created by Ardour or
by the plugin, have a common set of controls at the top of the window.
These include 4 controls for managing <dfn>plugin presets</dfn>.
</p>
@ -10,55 +10,55 @@
<h2>What Is a Plugin Preset?</h2>
<p>
A <dfn>preset</dfn> for a plugin is simply a saved set of values for
all of a plugin's parameters. If you load a preset, you are restoring
all the parameters of that plugin to the values stored in the preset.
This is an easy, fast way to manage your preferred settings for
A <dfn>preset</dfn> for a plugin is simply a saved set of values for
all of a plugin's parameters. If you load a preset, you are restoring
all the parameters of that plugin to the values stored in the preset.
This is an easy, fast way to manage your preferred settings for
particular plugins.
</p>
<h2>The Preset Selector</h2>
<p>
The <dfn>preset selector</dfn> is a regular selector that can be
clicked to display a list of all known presets for this plugin. This
will include presets that you have created yourself, and for some
plugin formats, presets that come with the plugin itself.
The <dfn>preset selector</dfn> is a regular selector that can be
clicked to display a list of all known presets for this plugin. This
will include presets that you have created yourself, and for some
plugin formats, presets that come with the plugin itself.
</p>
<h2>Load a New Preset</h2>
<p>
Click on the preset selector to pop up a menu showing the names of
all available presets. Click on the name of the preset you wish to load.
The preset will be loaded&mdash;you may see various controls in the
Click on the preset selector to pop up a menu showing the names of
all available presets. Click on the name of the preset you wish to load.
The preset will be loaded&mdash;you may see various controls in the
plugin editor change to reflect the new value of some or all parameters.
</p>
<h2>Create a Preset</h2>
<p>
To save the current plugin settings as a new preset, click on the
<kbd class="menu">Add</kbd> button at the top of the window. A dialog
will appear to ask for the name of the preset.
To save the current plugin settings as a new preset, click on the
<kbd class="menu">Add</kbd> button at the top of the window. A dialog
will appear to ask for the name of the preset.
</p>
<h2>Save a Preset</h2>
<p>
If you wish to modify the settings in an existing preset, first use
the preset selector to load the preset, then adjust the settings as
you wish. When done, click the <kbd class="menu">Save</kbd> button
and the new values will be stored, overwriting the previous version
If you wish to modify the settings in an existing preset, first use
the preset selector to load the preset, then adjust the settings as
you wish. When done, click the <kbd class="menu">Save</kbd> button
and the new values will be stored, overwriting the previous version
of this preset.
</p>
<h2>Delete a preset</h2>
<p>
To delete an existing preset, use the preset selector to load the preset.
Click the <kbd class="menu">Delete</kbd> button, and the preset will be
removed. The preset selector turn blank, showing that no preset is
currently loaded (although the settings will stay as they were).
To delete an existing preset, use the preset selector to load the preset.
Click the <kbd class="menu">Delete</kbd> button, and the preset will be
removed. The preset selector turn blank, showing that no preset is
currently loaded (although the settings will stay as they were).
</p>

4
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@ -8,8 +8,8 @@
<ul>
<li>
<dfn>Sample format</dfn> defaults to 32-bit floating point, the same as
the internal representation. 24 and 16-bit integer representation are
<dfn>Sample format</dfn> defaults to 32-bit floating point, the same as
the internal representation. 24 and 16-bit integer representation are
also available.
</li>
<li>

2
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@ -1,4 +1,4 @@
<p>
Sessions can have various items of metadata attached to them, via <kbd class ="menu">Session &gt; Metadata &gt; Edit Metadata&hellip;</kbd> and <kbd class ="menu">Session &gt; Metadata &gt; Import Metadata&hellip;</kbd>.
</p>

2
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@ -1,7 +1,7 @@
<p>
The meters from audio tracks always display in the <dfn>Meterbridge</dfn>.
This tab changes what additional controls are also displayed.
This tab changes what additional controls are also displayed.
</p>
<img src="/images/a4_session_properties_meterbridge.png" alt="session properties meterbridge tab"/>

80
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@ -1,37 +1,37 @@
<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 virtuoso musicians
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
go by their ears and produce great mixes and masters without ever looking
at a single meter.
</p>
<p>
Yet, if you want to work in or with the broadcast industry, it is
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 very powerful tools that are useful in every
Audio level meters are very powerful tools that are useful in every
part of the entire production chain:
</p>
<ul>
<li>When tracking, meters are used to ensure that the input
signal does not <dfn>overload</dfn> and maintains reasonable
<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
<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
<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
<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>
<p>
A general treatise on metering is beyond the scope of this
A general treatise on metering is beyond the scope of this
manual. It is a complex subject with a history&hellip;
For background information and further reading we recommend:
</p>
@ -48,25 +48,25 @@
<dl>
<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
<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
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
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>
<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
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
@ -80,36 +80,36 @@
</dd>
<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
<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>).
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
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
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
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)
<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&ndash;1.5% overshoot,
flat frequency response). Ardour's VU meter adheres to that spec, but for
Their specification is very strict (300ms rise-time, 1&ndash;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>
@ -130,8 +130,8 @@
</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 found 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>
@ -143,7 +143,7 @@
</p>
<img class="right" src="/images/meter-preferences.png" alt="" />
<p>
Regardless of meter type and standard the meter display will highlight red if
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>
<p>
@ -156,7 +156,7 @@
<h2>Overview of meter types</h2>
<p>
The figure on the left shows all available meter-types in Ardour 3.4 when fed with a
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>
@ -166,7 +166,7 @@ alt="Needle-style meters as external LV2 plugins" />
alt="Bar-graph meters in Ardour" />
<p>
Due to layout concerns and consistent look&amp;feel all meters available in
Due to layout concerns and consistent look&amp;feel all meters available in
Ardour itself are bar-graph type meters. Corresponding needle-style
meters&mdash;which take up more visual screen space&mdash;are available as
LV2 plugins (see image on the right):

4
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@ -4,7 +4,7 @@ JACK you use. The world divides into:
<dl>
<dt>Systems using JACK 1, versions 0.124 or later</dt>
<dd>On these systems, just start JACK with
<dd>On these systems, just start JACK with
the <code>-X alsa_midi</code> server argument. To support legacy control
applications, you can also use the -X seq argument to the ALSA
backend of JACK and get the exact same results.</dd>
@ -14,7 +14,7 @@ JACK you use. The world divides into:
of these options is not acceptable.
</dd>
</dl>
<h2>a2jmidid</h2>
<p>
<dfn>a2jmidid</dfn> is an application that bridges between the system

6
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@ -1,4 +1,4 @@
<p>
In order for CoreMIDI to work with Jack MIDI, a CoreMIDI-to-JACK-MIDI
<dfn>bridge</dfn>
@ -10,8 +10,8 @@
<h3>Inside Ardour</h3>
<p>
MIDI ports show up in Ardour's MIDI connection matrix in multiple
locations. Bridged CoreMIDI ports as well as JACK MIDI ports that have
been created by other software clients will show up under the "Other" tab.
locations. Bridged CoreMIDI ports as well as JACK MIDI ports that have
been created by other software clients will show up under the "Other" tab.
Bridged CoreMIDI hardware ports show up under the "Hardware" tab.
</p>

4
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@ -9,7 +9,7 @@ lighting conditions based on a specific position on the timeline.
</p>
<p>
Each change from one scene to another is represented by a marker in
the "Marker" bar.
the "Marker" bar.
</p>
<p>
Technically, scene changes are delivered as a combination of bank and
@ -27,7 +27,7 @@ wish to record.
<p>
Whenever the global record enable button is engaged and Ardour's
transport is rolling, a new marker will be created for each scene
change message received via the "Scene In" port.
change message received via the "Scene In" port.
</p>
<p>
If 2 different scene changes are received within a certain time

30
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@ -1,34 +1,34 @@
<p>A typical <dfn>MIDI track header</dfn> looks like this:</p>
<img src="/images/typical-midi-track-controls.png" alt="midi track controls"
/>
<p>
To see the full set of MIDI track controls, you need to increase the
<a href="@@track-height">track height</a>
beyond the default. MIDI tracks show only a few of the control elements
To see the full set of MIDI track controls, you need to increase the
<a href="@@track-height">track height</a>
beyond the default. MIDI tracks show only a few of the control elements
when there is insufficient vertical space.
</p>
<p>
A MIDI track has the same basic
<a href="@@audio-track-controls">controls as an audio track</a>,
with the addition of two extra elements. The set of buttons below the main track
controls the <dfn>MIDI channel</dfn>(s) that will be visible in the editor. A MIDI track's
data may span any number of the 16 available MIDI channels, and sometimes it is
useful to view only a subset of those channels; different instruments may,
for example, be put on different channels. Clicking on a channel number toggles
<a href="@@audio-track-controls">controls as an audio track</a>,
with the addition of two extra elements. The set of buttons below the main track
controls the <dfn>MIDI channel</dfn>(s) that will be visible in the editor. A MIDI track's
data may span any number of the 16 available MIDI channels, and sometimes it is
useful to view only a subset of those channels; different instruments may,
for example, be put on different channels. Clicking on a channel number toggles
its visibility.
</p>
<p>
To the right of the MIDI track controls is a representation of a piano keyboard
called the <dfn>scroomer</dfn>. This performs a couple of functions.
To the right of the MIDI track controls is a representation of a piano keyboard
called the <dfn>scroomer</dfn>. This performs a couple of functions.
The scrollbar controls the range of pitches that are visible on the
track, as visualized by the piano keyboard.<br>
Drag the body of the scrollbar up and down to display higher or lower
pitches.<br>
Drag the scrollbar handles to zooms in and out and increase and decrease the
Drag the scrollbar handles to zooms in and out and increase and decrease the
range of visible pitches.<br>
clicking on the piano plays the corresponding MIDI note for reference.
clicking on the piano plays the corresponding MIDI note for reference.
</p>
<p>
To edit the contents of a MIDI track see <a href="@@edit-midi">Edit

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@ -5,13 +5,15 @@
<a href="/files/a3_mnemonic_cheatsheet.pdf">US Letter</a> and
<a href="/files/a3_mnemonic_cheatsheet-a4.pdf">A4</a> paper format.
</p>
<p>
This set of bindings assumes an en_US keyboard. However, most if not all
bindings will also work on other keyboards when you use the
<kbd>AltGr</kbd> to compose those glyphs that are not directly accessible.
bindings will also work on other keyboards when the <kbd>AltGr</kbd> key is
used to compose those glyphs that are not directly accessible.
</p>
<h2>Transport &amp; Recording Control</h2>
<dl class="bindings">
<dt>destroy last recording</dt>
<dd><kbd class="mod1">Del</kbd></dd>
@ -54,6 +56,7 @@
</dl>
<h2>Session &amp; File Handling</h2>
<dl class="bindings">
<dt>add track(s) or bus(ses)</dt>
<dd><kbd class="mod13">n</kbd></dd>
@ -78,6 +81,7 @@
</dl>
<h2>Changing What's Visible</h2>
<dl class="bindings">
<dt>fit tracks vertically</dt>
<dd><kbd class="">f</kbd></dd>
@ -108,6 +112,7 @@
</dl>
<h2>Window Visibility</h2>
<dl class="bindings">
<dt>toggle locations dialog</dt>
<dd><kbd class="mod2">l</kbd>(ell)</dd>
@ -138,10 +143,11 @@
</dl>
<h2>Editing with Edit Point</h2>
<p>
Most edit functions operate on a single <dfn>Edit Point</dfn> (EP). The edit
point can be any of: playhead (default), the mouse or an active marker.
The choice of edit point (by default) also sets the <dfn>Zoom Focus</dfn>.
Most edit functions operate on a single <dfn>Edit Point</dfn> (EP). The edit
point can be any of: playhead (default), the mouse or an active marker. The
choice of edit point (by default) also sets the <dfn>Zoom Focus</dfn>.
</p>
<dl class="bindings">
@ -186,9 +192,10 @@
</dl>
<h2>Aligning with the Edit Point</h2>
<p>
<dfn>Align operations</dfn> move regions so that their start/end/sync
point is at the edit point. <dfn>Relative</dfn> operations just align the first
<dfn>Align operations</dfn> move regions so that their start/end/sync point
is at the edit point. <dfn>Relative</dfn> operations just align the first
region and moves other selected regions to maintain relative positioning.
</p>
@ -214,6 +221,7 @@
</dl>
<h2>Edit Point Playback</h2>
<dl class="bindings">
<dt>play edit range</dt>
<dd><kbd class="mod2">Space</kbd></dd>
@ -222,7 +230,9 @@
<dt>play selected region(s)</dt>
<dd><kbd class="">h</kbd></dd>
</dl>
<h2>Region Operations</h2>
<dl class="bindings">
<dt>duplicate region (multi)</dt>
<dd><kbd class="mod3">d</kbd></dd>
@ -265,6 +275,7 @@
</dl>
<h2>Generic Editing</h2>
<dl class="bindings">
<dt>copy</dt>
<dd><kbd class="mod1">c</kbd></dd>
@ -281,9 +292,10 @@
</dl>
<h2>Selecting</h2>
<p class="note">
There are a few functions that refer to an <dfn>Edit Range</dfn>. The
current edit range is defined using combinations of the possible edit
There are a few functions that refer to an <dfn>Edit Range</dfn>. The
current edit range is defined using combinations of the possible edit
points: <dfn>playhead</dfn>, <dfn>active marker</dfn>, or <dfn>mouse</dfn>.
</p>
@ -317,6 +329,7 @@
</dl>
<h2>Defining Loop, Punch Range and Tempo Changes</h2>
<dl class="bindings">
<dt>set loop range from edit range</dt>
<dd><kbd class="">]</kbd></dd>

38
include/mnemonic-bindings-for-os-x.html
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@ -1,10 +1,11 @@
<p>
A <a href="/files/a3_mnemonic_cheat_sheet_osx.pdf">printable cheat sheet</a>
A <a href="/files/a3_mnemonic_cheat_sheet_osx.pdf">printable cheat sheet</a>
for these bindings is available for download.
</p>
<h2>Transport &amp; Recording Control</h2>
<dl class="bindings">
<dt>destroy last recording</dt>
<dd><kbd class="mod1">Del</kbd></dd>
@ -45,7 +46,9 @@
<dt>transition to roll</dt>
<dd><kbd class="mod3">&uarr;</kbd></dd>
</dl>
<h2>Session &amp; File Handling</h2>
<dl class="bindings">
<dt>add track(s) or bus(ses)</dt>
<dd><kbd class="mod13">n</kbd></dd>
@ -68,7 +71,9 @@
<dt>toggle sel. track MIDI input</dt>
<dd><kbd class="mod2">i</kbd></dd>
</dl>
<h2>Changing What's Visible</h2>
<dl class="bindings">
<dt>fit tracks vertically</dt>
<dd><kbd class="">f</kbd></dd>
@ -97,7 +102,9 @@
<dt>zoom out</dt>
<dd><kbd class="">-</kbd></dd>
</dl>
<h2>Window Visibility</h2>
<dl class="bindings">
<dt>toggle locations dialog</dt>
<dd><kbd class="mod2">l</kbd></dd>
@ -128,11 +135,11 @@
</dl>
<h2>Editing with Edit Point</h2>
<p>
Most edit functions operate on a single <dfn>Edit Point</dfn> (EP). The
edit
point can be any of: playhead (default), the mouse or an active marker.
The choice of edit point (by default) also sets the <dfn>Zoom Focus</dfn>.
Most edit functions operate on a single <dfn>Edit Point</dfn> (EP). The edit
point can be any of: playhead (default), the mouse or an active marker. The
choice of edit point (by default) also sets the <dfn>Zoom Focus</dfn>.
</p>
<dl class="bindings">
@ -177,11 +184,11 @@
</dl>
<h2>Aligning with the Edit Point</h2>
<p>
<dfn>Align operations</dfn> move regions so that their start/end/sync
point is at the edit point. <dfn>Relative</dfn> operations just align
the first region and moves other selected regions to maintain relative
positioning.
<dfn>Align operations</dfn> move regions so that their start/end/sync point
is at the edit point. <dfn>Relative</dfn> operations just align the first
region and moves other selected regions to maintain relative positioning.
</p>
<dl class="bindings">
@ -215,7 +222,9 @@
<dt>play selected region(s)</dt>
<dd><kbd class="">h</kbd></dd>
</dl>
<h2>Region Operations</h2>
<dl class="bindings">
<dt>duplicate region (multi)</dt>
<dd><kbd class="mod3">d</kbd></dd>
@ -275,10 +284,11 @@
</dl>
<h2>Selecting</h2>
<p class="note">
There are a few functions that refer to an <dfn>Edit Range</dfn>. The
current edit range is defined using combinations of the possible edit
points: <dfn>playhead</dfn>, <dfn>active marker</dfn>, or<dfn>mouse</dfn>.
There are a few functions that refer to an <dfn>Edit Range</dfn>. The
current edit range is defined using combinations of the possible edit
points: <dfn>playhead</dfn>, <dfn>active marker</dfn>, or <dfn>mouse</dfn>.
</p>
<dl class="bindings">
@ -309,7 +319,9 @@
<dt>select previous track/bus</dt>
<dd><kbd class="mod2">↑</kbd></dd>
</dl>
<h2>Defining Loop, Punch Range and Tempo Changes</h2>
<dl class="bindings">
<dt>set loop range from edit range</dt>
<dd><kbd class="">]</kbd></dd>

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@ -1,36 +1,36 @@
<p>Ardour has three main settings which affect how
monitoring is performed. The first is
<kbd class="menu">Edit &gt; Preferences &gt; Audio &gt;
monitoring is performed. The first is
<kbd class="menu">Edit &gt; Preferences &gt; Audio &gt;
Record monitoring handled by</kbd>. There are two or three
options here, depending on the capabilities of your hardware.
</p>
<p> The other two settings are more complex. One is
<p> The other two settings are more complex. One is
<kbd class="menu">Tape machine mode</kbd>, found in the
same dialog, and the other is the
<kbd class="option">Session &gt; Properties &gt; Monitoring
automatically follows transport state</kbd> setting.
</p>
</p>
<p>
Monitoring also depends on the state of the track's record-enable button,
the session record-enable button, and on whether or not the transport is
rolling.
</p>
<h3>Software or Hardware Monitoring Modes</h3>
<h3>Software or Hardware Monitoring Modes</h3>
<p>
If Ardour is set to <dfn>external monitoring</dfn>, the explanation of
Ardour's monitoring behaviour is simple: it does not do any.
If Ardour is set to <dfn>external monitoring</dfn>, the explanation of
Ardour's monitoring behaviour is simple: it does not do any.
</p>
<h2>Monitoring in Non-Tape-Machine Mode</h2>
<p>
When <dfn>Tape-Machine mode is off</dfn>, and a track is armed,
Ardour <em>always</em> monitors the live input, except in one case:
Ardour <em>always</em> monitors the live input, except in one case:
the transport is rolling, the session is not recording, and
<dfn>auto-input</dfn>
<dfn>auto-input</dfn>
is active. In this case only, you will hear playback from an armed track.
</p>
</p>
<p>
Unarmed tracks will play back their contents from disc, unless the
transport is stopped <em>and</em> <dfn>auto-input</dfn> is enabled.
@ -40,11 +40,11 @@ Ardour's monitoring behaviour is simple: it does not do any.
<h2>Monitoring in Tape-Machine Mode</h2>
<p>
In <dfn>Tape-Machine mode</dfn>, things are slightly simpler: when a
In <dfn>Tape-Machine mode</dfn>, things are slightly simpler: when a
track is armed, its behaviour is the same as in non-tape-machine mode.
</p>
</p>
<p>
Unarmed tracks however will always just play back their contents from
disk; the live input will never be monitored.
Unarmed tracks however will always just play back their contents from
disk; the live input will never be monitored.
</p>

20
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@ -1,34 +1,34 @@
<p>There are three basic ways to approach monitoring: </p>
<h3>External Monitoring</h3>
<h3>External Monitoring</h3>
<img class="right"
src="/images/external-monitoring.png" />
<p>When using <dfn>external monitoring</dfn>, Ardour plays no role in
monitoring at all. Perhaps the recording set-up has an external mixer which
can be used to set up monitor mixes, or perhaps the sound-card being used
has a "listen to the input" feature. This approach yields zero or near-zero
latency. On the other hand it requires external hardware, and the monitoring
settings are less flexible and not saved with the session.</p>
has a "listen to the input" feature. This approach yields zero or near-zero
latency. On the other hand it requires external hardware, and the monitoring
settings are less flexible and not saved with the session.</p>
<h3>JACK-Based Hardware Monitoring</h3>
<h3>JACK-Based Hardware Monitoring</h3>
<img class="right" src="/images/jack-monitoring.png" />
<p>Some sound cards have the ability
to mix signals from their inputs to their outputs with very low or even zero
to mix signals from their inputs to their outputs with very low or even zero
latency, a feature called <dfn>hardware monitoring</dfn>.
Furthermore, on some cards this function can be controlled by JACK. This is a nice arrangement,
if the sound card supports it, as it combines the convenience of having the
monitoring controlled by Ardour with the low latency operation of doing it
externally.
</p>
</p>
<h3>Software Monitoring</h3>
<h3>Software Monitoring</h3>
<img class="right" src="/images/ardour-monitoring.png" />
<p>With the <dfn>software monitoring</dfn> approach, all monitoring is
performed by Ardour&mdash;it makes track inputs available at track
outputs, governed by various controls. This approach will almost always have
more routing flexibility than JACK-based monitoring. The disadvantage is
that there will be some latency between the input and the output, which
depends for the most part on the JACK buffer size that is being used.
</p>
depends for the most part on the JACK buffer size that is being used.
</p>

4
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@ -7,14 +7,14 @@
<p>
The <strong>Track Input Monitoring automatically follows transport state</strong>
affects how input monitoring is handling. See
affects how input monitoring is handling. See
<a href="@@monitor-setup-in-ardour">Monitor Setup in Ardour</a>.
</p>
<img class="left" src="/images/a4_monitoring_section.png" alt="monitoring section"/>
<p>
The 'Use monitor section' displays an extra section in the <strong>Mixer</strong>
The 'Use monitor section' displays an extra section in the <strong>Mixer</strong>
window that is modelled on the similiarly named section on large analog consoles.
</p>

6
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@ -1,9 +1,9 @@
<p>
When recording, it is important that performers hear themselves, and to
When recording, it is important that performers hear themselves, and to
hear any pre-recorded tracks they are performing with.
Audio recorders typically let you <dfn>monitor</dfn> (i.e. listen to)
the input signal of all tracks that are armed for recording, and playing
Audio recorders typically let you <dfn>monitor</dfn> (i.e. listen to)
the input signal of all tracks that are armed for recording, and playing
back the unarmed tracks.
</p>

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@ -1,35 +1,35 @@
<p>
To move or copy a region, make sure you are in object mode. If you are
using smart mode, the pointer must be in the lower half of the region
To move or copy a region, make sure you are in object mode. If you are
using smart mode, the pointer must be in the lower half of the region
to begin a move or copy operation.
</p>
<p>
Move the pointer into the region, use a <kbd class="mouse">Left</kbd>-drag.
The region will follow the pointer as you move it around. By default,
the region can move freely along the timeline.
Move the pointer into the region, use a <kbd class="mouse">Left</kbd>-drag.
The region will follow the pointer as you move it around. By default,
the region can move freely along the timeline.
</p>
<p>
To move a region from one track to another, simply start a move as
described above, but move the pointer into the desired track. The
region will follow the pointer. Note that if you have other kinds of
tracks visible, the region will remain where it is as the pointer
moves across them, and will then jump to the new track. This serves as
a visual reminder that you cannot drag an audio region into an automation
To move a region from one track to another, simply start a move as
described above, but move the pointer into the desired track. The
region will follow the pointer. Note that if you have other kinds of
tracks visible, the region will remain where it is as the pointer
moves across them, and will then jump to the new track. This serves as
a visual reminder that you cannot drag an audio region into an automation
track or a bus, for example.
</p>
<h2>Move Multiple Regions</h2>
<p>
To move multiple regions, select them before moving. Then
<kbd class="mouse">Left</kbd>-drag one of the selected regions. All the
To move multiple regions, select them before moving. Then
<kbd class="mouse">Left</kbd>-drag one of the selected regions. All the
regions will move, keeping their positions relative to each other.
</p>
<h2>Fixed-Time Motion</h2>
<p>
Sometimes, you want to move a region to another track, but keeping its
position along the timeline exactly the same. To do this, use
Sometimes, you want to move a region to another track, but keeping its
position along the timeline exactly the same. To do this, use
<kbd class="mouse">Middle</kbd>-drag instead.
</p>

2
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@ -24,7 +24,7 @@
If <kbd class="menu">Snap To Grid</kbd> is enabled, then regions can
only move so that they align with locations determined by the current
snap settings (beats, or seconds, or other region boundaries, etc).
See <a href="@@grid-controls">Snap To the Grid</a>
See <a href="@@grid-controls">Snap To the Grid</a>
for details.
</p>

12
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@ -1,23 +1,23 @@
<h2>Single marker</h2>
<p>
<kbd class="mouse">Left</kbd>-click and drag to move a single marker to a
<kbd class="mouse">Left</kbd>-click and drag to move a single marker to a
new location on the timeline.
</p>
<h2>Multiple markers</h2>
<p>
It is possible to move multiple markers by the same distance. <kbd
class="mouse mod1">Left</kbd>-click each marker you want to move, then drag
class="mouse mod1">Left</kbd>-click each marker you want to move, then drag
one of the selected markers to a new location. All selected markers will
then move together. Note that the markers are bounded by the zero point on
the timeline. In other words, the first marker in your selection cannot move
then move together. Note that the markers are bounded by the zero point on
the timeline. In other words, the first marker in your selection cannot move
to the left of zero on the timeline.
</p>
<h2>Both ends of a range marker</h2>
<p>
<kbd class="mod1 mouse">Left</kbd>-drag either end of the range marker. The
<kbd class="mod1 mouse">Left</kbd>-drag either end of the range marker. The
other end will move by the same distance.
</p>

93
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@ -1,14 +1,14 @@
<p>
Each track and bus has two buttons which have important implications
for signal flow: <dfn>mute</dfn> and <dfn>solo</dfn>. The behaviour
of these buttons is configurable in Ardour, to suit different studio
Each track and bus has two buttons which have important implications
for signal flow: <dfn>mute</dfn> and <dfn>solo</dfn>. The behaviour
of these buttons is configurable in Ardour, to suit different studio
set-ups.
</p>
<h2>Without a monitor bus</h2>
<p>
If you are using Ardour without a monitor bus, there is only one way
If you are using Ardour without a monitor bus, there is only one way
in which mute and solo will work:</p>
<ul>
<li>
@ -16,54 +16,54 @@
so that it will not be heard.
</li>
<li>
Solo on a track or bus will solo that track or bus and mute all
others. Soloing a bus will also solo any tracks or
Solo on a track or bus will solo that track or bus and mute all
others. Soloing a bus will also solo any tracks or
busses which feed that bus.
</li>
</ul>
<h2>With a monitor bus</h2>
<p>
For setups with a monitor bus, you have more options, mostly
governed by the setting of the
<kbd class="option">Solo controls are Listen controls</kbd> option
For setups with a monitor bus, you have more options, mostly
governed by the setting of the
<kbd class="option">Solo controls are Listen controls</kbd> option
in <kbd class="menu">Edit &gt; Preferences &gt; Solo / mute.
</p>
<p>
With <kbd class="optoff">Solo controls are Listen controls</kbd>
unticked, behaviour is almost exactly the same as the situation
without a monitor bus. Mute and solo behave the same, and the monitor
With <kbd class="optoff">Solo controls are Listen controls</kbd>
unticked, behaviour is almost exactly the same as the situation
without a monitor bus. Mute and solo behave the same, and the monitor
bus is fed from the master bus, so it sees the same thing.
</p>
<p>
With <kbc class="option">Solo controls are Listen controls</kbd>
ticked, the master and monitor busses behave differently. In this
mode, solo controls are more properly called <dfn>listen</dfn>
controls, and Ardour's solo buttons will change their legend from
<samp>S</samp> to either <samp>A</samp> or <samp>P</samp> to
With <kbc class="option">Solo controls are Listen controls</kbd>
ticked, the master and monitor busses behave differently. In this
mode, solo controls are more properly called <dfn>listen</dfn>
controls, and Ardour's solo buttons will change their legend from
<samp>S</samp> to either <samp>A</samp> or <samp>P</samp> to
reflect this.
</p>
<p>
Now, without any mute or listen, the monitor bus remains fed by
Now, without any mute or listen, the monitor bus remains fed by
the master bus. Also:
</p>
<ul>
<li>
Mute will mute the track or bus, so that it will not be heard
Mute will mute the track or bus, so that it will not be heard
anywhere (neither on the master nor monitor busses), much as before.
</li>
<li>
Listen will disconnect the monitor bus from the master bus, so
that the monitor bus now only receives things that are "listened to".
Listen will not perform any muting, and hence the master bus will
Listen will disconnect the monitor bus from the master bus, so
that the monitor bus now only receives things that are "listened to".
Listen will not perform any muting, and hence the master bus will
not be affected by a listened track or bus.
</li>
</ul>
<p>
When solo controls are listen controls, the listening point can be set
to either After-Fade Listen (AFL) or Pre-Fade Listen (PFL). The precise
point to get the signal from can further be configured using the
<kbd class="menu">PFL signals come from</kbd> and
to either After-Fade Listen (AFL) or Pre-Fade Listen (PFL). The precise
point to get the signal from can further be configured using the
<kbd class="menu">PFL signals come from</kbd> and
<kbd class="menu">AFL signals come from</kbd> options.
</p>
<p>
@ -71,15 +71,15 @@
</p>
<img src="/images/solo-mute.png" alt="mute/solo signal flow" />
<p>
Here we have a number of tracks or busses (in orange). Each one has an
output which feeds the master bus. In addition, each has PFL and AFL
outputs; we have a choice of which to use. PFL/AFL from each track or
bus are mixed. Then, whenever anything is set to AFL/PFL, the monitor out
becomes just those AFL/PFL feeds; the rest of the time, the monitor out is
Here we have a number of tracks or busses (in orange). Each one has an
output which feeds the master bus. In addition, each has PFL and AFL
outputs; we have a choice of which to use. PFL/AFL from each track or
bus are mixed. Then, whenever anything is set to AFL/PFL, the monitor out
becomes just those AFL/PFL feeds; the rest of the time, the monitor out is
fed from the master bus.
</p>
<p>
In this scheme Solo has no effect other than to mute other non-soloed tracks;
In this scheme Solo has no effect other than to mute other non-soloed tracks;
with solo (rather then listen), the monitor out is fed from the master bus.
</p>
@ -91,41 +91,40 @@
<h3>Solo-in-place mute cut</h3>
<p>
When using solo-in-place (SiP), in other words when soloed tracks are being
listened to on the master bus, this fader specifies the gain that will be
When using solo-in-place (SiP), in other words when soloed tracks are being
listened to on the master bus, this fader specifies the gain that will be
applied to other tracks in order to mute them. Setting this level to
-∞&nbdp;dB will mean that other tracks will not be heard at all; setting to
-∞&nbdp;dB will mean that other tracks will not be heard at all; setting to
some higher value less than 0dB means that other non-soloed tracks will be h
eard, just reduced in volume compared to the soloed tracks. Using a value
larger than -∞dB is sometimes called "Solo-In-Front" by other DAWs, because
the listener has the sense that soloed material is "in front" of other
material. In Ardour, this is not a distinct mode, but instead the mute cut
eard, just reduced in volume compared to the soloed tracks. Using a value
larger than -∞dB is sometimes called "Solo-In-Front" by other DAWs, because
the listener has the sense that soloed material is "in front" of other
material. In Ardour, this is not a distinct mode, but instead the mute cut
control offers any level of "in-front-ness" that you might want to use.
</p>
<h3>Exclusive solo</h3>
<p>
If this is enabled, only one track or bus will ever be soloed at once; soloing
track B while track A is currently soloed will un-solo track A before soloing
If this is enabled, only one track or bus will ever be soloed at once; soloing
track B while track A is currently soloed will un-solo track A before soloing
track B.
</p>
<h3>Show solo muting</h3>
<p>
If this is enabled, the mute button of tracks and busses will be drawn
outlined to indicate that the track or bus is muted because something else
is soloed. This is enabled by default, and we recommend that you leave it
If this is enabled, the mute button of tracks and busses will be drawn
outlined to indicate that the track or bus is muted because something else
is soloed. This is enabled by default, and we recommend that you leave it
that way unless you are extremely comfortable with Ardour's mute/solo
behaviour.
</p>
<h3>Soloing overrides muting</h3>
<p>
If this is enabled, a track or bus that is both soloed and muted will behave
If this is enabled, a track or bus that is both soloed and muted will behave
as if it is soloed.
</p>
<h3>Mute affects…</h3>
<p>
These options dictate whether muting the track will affect various routes out
of the track; through the sends, through the control outputs (to the monitor
These options dictate whether muting the track will affect various routes out
of the track; through the sends, through the control outputs (to the monitor
bus) and to the main outputs.
</p>

28
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@ -1,16 +1,16 @@
<p>
The initial <dfn>Session</dfn> dialog consists of several consecutive pages:
</p>
</p>
<h2>Open Session Page</h2>
<p>
On this page, you can open an <dfn>existing session</dfn>. You can also
open any <a href="@@snapshots">snapshot</a> of a
particular session by clicking on the arrow next to the session name to
display all snapshots, and then selecting one. If your session is
On this page, you can open an <dfn>existing session</dfn>. You can also
open any <a href="@@snapshots">snapshot</a> of a
particular session by clicking on the arrow next to the session name to
display all snapshots, and then selecting one. If your session is
not displayed in the Recent Sessions list, the <kbd class="menu">Other
Sessions</kbd> button will bring up a file selection dialog to navigate
Sessions</kbd> button will bring up a file selection dialog to navigate
your hard drive.<br>
Alternatively, you can opt to create a <kbd class="menu">New
Session</kbd>.
@ -18,24 +18,24 @@
<h2>New Session page</h2>
<p>
Here you can type in the name of a session, select a folder to save in, and
Here you can type in the name of a session, select a folder to save in, and
optionally use an existing <a href="@@session-templates">template</a>.
</p>
<p>
Under <dfn>Advanced Options</dfn>, you can select whether you wish to create
Under <dfn>Advanced Options</dfn>, you can select whether you wish to create
a Master Bus, or a Control Bus, and how many channels you wish either to have.
You can also decide whether you want Ardour to automatically connect all inputs
to the physical ports of your hardware. Ardour will do so
You can also decide whether you want Ardour to automatically connect all inputs
to the physical ports of your hardware. Ardour will do so
sequentially and in round-robin fashion, connecting the first track's
input to the first input of your hardware and so on. When Ardour has used
all available hardware inputs, it will begin again with the first physical
input.
input.
You can limit the number of channels on your physical hardware that Ardour
uses.
uses.
</p>
<p>
By default Ardour will connect all tracks and busses to the Master Bus if
there is one. However you can also tell it to automatically connect each
By default Ardour will connect all tracks and busses to the Master Bus if
there is one. However you can also tell it to automatically connect each
output to the physical outputs of your interface or sound card, and limit
the number of physical outputs used, as above.
</p>

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@ -1,9 +1,9 @@
<p>
While in note edit mode, selected notes can be cut using
<kbd class="mod1">x</kbd>, copied with <kbd class="mod1">c</kbd> and
deleted with <kbd>Delete</kbd>, just as regions can. Once cut or
copied, they can be pasted at the edit point using
While in note edit mode, selected notes can be cut using
<kbd class="mod1">x</kbd>, copied with <kbd class="mod1">c</kbd> and
deleted with <kbd>Delete</kbd>, just as regions can. Once cut or
copied, they can be pasted at the edit point using
<kbd class="mod1">v</kbd>.
</p>

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@ -1,43 +1,43 @@
<h2>Selecting/Navigating note-by-note</h2>
<p>
Tab selects the next note. <kbd class="mod1">Tab</kbd> selects the previous
note. <kbd class="mod3">Tab</kbd> or <kbd class="mod13">Tab</kbd> adds
Tab selects the next note. <kbd class="mod1">Tab</kbd> selects the previous
note. <kbd class="mod3">Tab</kbd> or <kbd class="mod13">Tab</kbd> adds
the next/previous note to the selection.
</p>
<h2>Selecting notes with the mouse</h2>
<p>
While in mouse object mode, you can click on a note to select it. Once you
have selected one note, <kbd class="mouse mod3">Left</kbd>-click on another
to select all notes between them. To add or remove a note to/from the
selection, click <kbd class="mouse mod1">Left</kbd>. You can also click and
While in mouse object mode, you can click on a note to select it. Once you
have selected one note, <kbd class="mouse mod3">Left</kbd>-click on another
to select all notes between them. To add or remove a note to/from the
selection, click <kbd class="mouse mod1">Left</kbd>. You can also click and
drag outside of a note to <dfn>rubberband select</dfn> a series of notes.
</p>
<p>
Three different selection operations are possible if you switch to mouse
Three different selection operations are possible if you switch to mouse
range mode:
</p>
<ul>
<li>
Vertical drags within the MIDI region will select all notes within the
Vertical drags within the MIDI region will select all notes within the
spanned note range.
</li>
<li>
Clicks on the piano header of the track (if visible&mdash;the track must
Clicks on the piano header of the track (if visible&mdash;the track must
be tall enough to display it) will select all occurences of that note.
</li>
<li>
Drags on the piano header of the track will select all notes within the
Drags on the piano header of the track will select all notes within the
spanned note range.
</li>
</ul>
<h2>Listening to Selected Notes</h2>
<p>
If <kbd class="menu">Edit &gt; Preferences &gt; MIDI &gt; Sound MIDI notes
as they are selected</kbd> is enabled, Ardour will send a pair of
NoteOn/NoteOff messages through the track, which will typically allow you to
If <kbd class="menu">Edit &gt; Preferences &gt; MIDI &gt; Sound MIDI notes
as they are selected</kbd> is enabled, Ardour will send a pair of
NoteOn/NoteOff messages through the track, which will typically allow you to
hear each note as it is selected.
</p>

48
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@ -1,31 +1,31 @@
<p>
<dfn>Synchronization</dfn> in multimedia involves two concepts which are
often confused: <dfn>clock</dfn> (or speed) and <dfn>time</dfn> (location
<dfn>Synchronization</dfn> in multimedia involves two concepts which are
often confused: <dfn>clock</dfn> (or speed) and <dfn>time</dfn> (location
in time).
</p>
<p>
A <dfn>clock</dfn> determines the speet at which one or more systems
operate. In the audio world this is generally referred to as
A <dfn>clock</dfn> determines the speet at which one or more systems
operate. In the audio world this is generally referred to as
<a href="https://en.wikipedia.org/wiki/Word_clock" title="https://en.wikipedia.org/wiki/Word_clock">Word Clock</a>.
It does not carry any absolute reference to a point in time: A clock is
It does not carry any absolute reference to a point in time: A clock is
used to keep a system's sample rate regular and accurate.
Word clock is usually at the frequency of the sample rate&mdash;at 48&nbsp;kHz, its period is about 20&nbsp;μs. Word Clock is the most
common sample rate based clock but other clocks do exist such as Black and
Word clock is usually at the frequency of the sample rate&mdash;at 48&nbsp;kHz, its period is about 20&nbsp;μs. Word Clock is the most
common sample rate based clock but other clocks do exist such as Black and
Burst, Tri-Level and DARS. Sample rates can be derived from these clocks as well.
</p>
<p>
Time or <dfn>timecode</dfn> specifies an absolute position on a timeline,
such as <code>01:02:03:04</code> (expressed as Hours:Mins:Secs:Frames). It is
Time or <dfn>timecode</dfn> specifies an absolute position on a timeline,
such as <code>01:02:03:04</code> (expressed as Hours:Mins:Secs:Frames). It is
actual <em>data</em> and not a clock <em>signal</em> per se.
The granularity of timecode is <dfn>Video Frames</dfn> and is an order of
magnitude lower than, say, Word Clock which is counted in
The granularity of timecode is <dfn>Video Frames</dfn> and is an order of
magnitude lower than, say, Word Clock which is counted in
<dfn>samples</dfn>. A typical frame rate is 25&nbsp;<abbr title="frames
per second">fps</abbr> with a period of
40&nbsp;ms.
In the case of 48&nbsp;kHz and 25&nbsp;fps, there are 1920 audio samples
In the case of 48&nbsp;kHz and 25&nbsp;fps, there are 1920 audio samples
per video frame.
</p>
@ -34,35 +34,35 @@
</p>
<p>
JACK provides clock synchronization and is not concerned with time code
JACK provides clock synchronization and is not concerned with time code
(this is not entirely true, more on jack-transport later).
On the software side, jackd provides sample-accurate synchronization
On the software side, jackd provides sample-accurate synchronization
between all JACK applications.
On the hardware side, JACK uses the clock of the audio-interface.
Synchronization of multiple interfaces requires hardware support to sync
On the hardware side, JACK uses the clock of the audio-interface.
Synchronization of multiple interfaces requires hardware support to sync
the clocks.
If two interfaces run at different clocks the only way to align the
If two interfaces run at different clocks the only way to align the
signals is via re-sampling (SRC&mdash;Sample Rate Conversion), which is
expensive in terms of CPU usage and may decreases fidelity if done
incorrectly.
</p>
<p>
Timecode is used to align systems already synchronized by a clock to
a common point in time, this is application specific and various
Timecode is used to align systems already synchronized by a clock to
a common point in time, this is application specific and various
standards and methods exist to do this.
</p>
<p class="note">
To make things confusing, there are possibilities to synchronize clocks
using timecode. e.g. using mechanism called <dfn>jam-sync</dfn> and a
To make things confusing, there are possibilities to synchronize clocks
using timecode. e.g. using mechanism called <dfn>jam-sync</dfn> and a
<dfn>phase-locked loop</dfn>.
</p>
<p>
An interesting point to note is that LTC (Linear Time Code) is a
Manchester encoded, frequency modulated signal that carries both
clock and time. It is possible to extract absolute position data
An interesting point to note is that LTC (Linear Time Code) is a
Manchester encoded, frequency modulated signal that carries both
clock and time. It is possible to extract absolute position data
and speed from it.
</p>

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@ -13,14 +13,14 @@
<dl>
<dt><kbd class="menu">Timecode frames-per-second</kbd></dt>
<dd>
Configure timecode frames-per-second (23.976, 24, 24.975, 25, 29.97,
29.97 drop, 30, 30 drop, 59.94, 60). Note that all fractional
Configure timecode frames-per-second (23.976, 24, 24.975, 25, 29.97,
29.97 drop, 30, 30 drop, 59.94, 60). Note that all fractional
framerates are actually fps*(1000.0/1001.0).
</dd>
<dt><kbd class="menu">Pull up/down</kbd></dt>
<dd>
Video pull-up modes change the effective samplerate of Ardour to
allow for changing a film soundtrack from one frame rate to another.
Video pull-up modes change the effective samplerate of Ardour to
allow for changing a film soundtrack from one frame rate to another.
See <a href="http://en.wikipedia.org/wiki/Telecine">Telecine</a>
</dd>
<dt><kbd class="menu">Slave Timecode offset</kbd></dt>
@ -48,29 +48,29 @@
</dd>
<dt><kbd class="option">Match session video frame rate to external timecode</kbd></dt>
<dd>
This option controls the value of the video frame rate <em>while
chasing</em> an external timecode source. When enabled, the
session video frame rate will be changed to match that of the selected
external timecode source. When disabled, the session video frame rate
will not be changed to match that of the selected external timecode
source. Instead the frame rate indication in the main clock will flash
red and Ardour will convert between the external timecode standard and
This option controls the value of the video frame rate <em>while
chasing</em> an external timecode source. When enabled, the
session video frame rate will be changed to match that of the selected
external timecode source. When disabled, the session video frame rate
will not be changed to match that of the selected external timecode
source. Instead the frame rate indication in the main clock will flash
red and Ardour will convert between the external timecode standard and
the session standard.
</dd>
<dt><kbd class="option">External timecode is sync locked</kbd></dt>
<dd>
Indicates that the selected external timecode source shares sync (Black
Indicates that the selected external timecode source shares sync (Black
&amp; Burst, Wordclock, etc) with the audio interface.
</dd>
<dt><kbd class="option">Lock to 29.9700 fps instead of 30000/1001</kbd></dt>
<dd>
The external timecode source is assumed to use 29.97 fps instead of
30000/1001. SMPTE 12M-1999 specifies 29.97df as 30000/1001. The spec
further mentions that drop-frame timecode has an accumulated error of -86ms
over a 24-hour period. Drop-frame timecode would compensate exactly for a
NTSC color frame rate of 30 * 0.9990 (ie 29.970000). That is not the actual
rate. However, some vendors use that rate&mdash;despite it being against
the specs&mdash;because the variant of using exactly 29.97 fps has zero
The external timecode source is assumed to use 29.97 fps instead of
30000/1001. SMPTE 12M-1999 specifies 29.97df as 30000/1001. The spec
further mentions that drop-frame timecode has an accumulated error of -86ms
over a 24-hour period. Drop-frame timecode would compensate exactly for a
NTSC color frame rate of 30 * 0.9990 (ie 29.970000). That is not the actual
rate. However, some vendors use that rate&mdash;despite it being against
the specs&mdash;because the variant of using exactly 29.97 fps has zero
timecode drift.
</dd>
<dt><kbd class="menu">LTC incoming port</kbd></dt>
@ -81,13 +81,13 @@
<dd>Does just what it says.</dd>
<dt><kbd class="option">Send LTC while stopped</kbd></dt>
<dd>
Enable to continue to send LTC information even when the transport
(playhead) is not moving. This mode is intended to drive analog tape
Enable to continue to send LTC information even when the transport
(playhead) is not moving. This mode is intended to drive analog tape
machines which unspool the tape if no LTC timecode is received.
</dd>
<dt><kbd class="menu">LTC generator level</kbd></dt>
<dd>
Specify the Peak Volume of the generated LTC signal in dbFS. A good value
Specify the Peak Volume of the generated LTC signal in dbFS. A good value
is 0&nbsp;dBu (which is -18&nbsp;dbFS in an EBU calibrated system).
</dd>
</dl>

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@ -30,7 +30,7 @@
<li>2 signals distributed to 2 outputs (the stereo panner)</li>
<li>N signals distributed to M outputs (the VBAP panner)</li>
</ul>
<p>
<p>
Even for each of these cases, there are many different ways to
implement panning. Ardour currently offers just one solution to each
of these situations, but in the future will offer more.

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@ -13,7 +13,7 @@
<h2>Inserting Patch Changes</h2>
<p>
Ensure that the
<a href="@@edit-point-control">edit point</a> is
<a href="@@edit-point-control">edit point</a> is
located where you want the patch change to be (within an existing
MIDI region). Context click, and from the MIDI region's context menu,
select <kbd class="menu">MIDI &gt; Insert Patch Change</kbd>. A

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@ -1,31 +1,31 @@
<p>
The <dfn>patchbay</dfn> is the main way to make connections to, from and
within Ardour's mixer.
The <dfn>patchbay</dfn> is the main way to make connections to, from and
within Ardour's mixer.
</p>
<p class="note">
Notable exceptions are internal aux sends and connections to the monitor bus (if
you are using one): these cannot be controlled from a patchbay, and are
Notable exceptions are internal aux sends and connections to the monitor bus (if
you are using one): these cannot be controlled from a patchbay, and are
basically not under manual control at all.
</p>
<img class="right" src="/images/connection-manager.png" alt="an example patchbay" />
<p>
The patchbay presents two groups of ports; one set of <dfn>sources</dfn>
(which produce data), and one of <dfn>destinations</dfn> (which consume
data). Depending
The patchbay presents two groups of ports; one set of <dfn>sources</dfn>
(which produce data), and one of <dfn>destinations</dfn> (which consume
data). Depending
on the relative number of each, the sources will be placed on the left
or the top of the dialogue, and the destinations on the right or the
bottom. Thus, in general, signal flow is from top or left to right or
or the top of the dialogue, and the destinations on the right or the
bottom. Thus, in general, signal flow is from top or left to right or
bottom.
</p>
<p>
Both sources and destinations are divided up into groups, with each
Both sources and destinations are divided up into groups, with each
group being given a tab:
</p>
<dl class="narrower-table">
<dt>Hardware</dt>
<dd>
These are ports which are connected to a physical piece of hardware
These are ports which are connected to a physical piece of hardware
(a sound card or MIDI interface).</dd>
<dt>Ardour Busses</dt>
<dd>All ports belonging to busses.</dd>
@ -33,101 +33,101 @@
<dd>All ports belonging to tracks.</dd>
<dt>Ardour Misc</dt>
<dd>
These are other ports that do not fit into the previous two
categories; for example, the ports on which the metronome click
is output, and MIDI ports for things like control surfaces and
These are other ports that do not fit into the previous two
categories; for example, the ports on which the metronome click
is output, and MIDI ports for things like control surfaces and
timecode.
</dd>
<dt>Other</dt>
<dd>
If you have other JACK clients running, their ports will be found
here. If there are no such ports, the tab will not exist (on one or
If you have other JACK clients running, their ports will be found
here. If there are no such ports, the tab will not exist (on one or
both axes of the grid).</dd>
</dl>
<p>
The main part of the patchbay is a <dfn>matrix grid</dfn>. Within this
The main part of the patchbay is a <dfn>matrix grid</dfn>. Within this
grid, green dots represent connections, and you can click in any of the
squares to make or break connections. You can also click and drag to
draw a line of connections, which is sometimes useful for making many
squares to make or break connections. You can also click and drag to
draw a line of connections, which is sometimes useful for making many
connections at once.
</p>
<p>
In the example patchbay shown above we can note various things. We are
using the <kbd class="menu">Ardour Tracks</kbd> sources tab, so we see
the output ports of the three tracks in our session: Fred, Jim and Foo.
Our destinations are from the <kbd class="menu">Ardour Busses</kbd> tab,
so we have the inputs of a session bus, Sheila, and the inputs of the
master bus. Fred and Jim have stereo outputs, so have L and R connections.
Foo is a MIDI track, so it only has one connection, and its squares in
the grid are coloured light grey to indicate that no connection can be
In the example patchbay shown above we can note various things. We are
using the <kbd class="menu">Ardour Tracks</kbd> sources tab, so we see
the output ports of the three tracks in our session: Fred, Jim and Foo.
Our destinations are from the <kbd class="menu">Ardour Busses</kbd> tab,
so we have the inputs of a session bus, Sheila, and the inputs of the
master bus. Fred and Jim have stereo outputs, so have L and R connections.
Foo is a MIDI track, so it only has one connection, and its squares in
the grid are coloured light grey to indicate that no connection can be
made between Foo (a MIDI output) and our busses (which are all audio-input).
</p>
<p>
The green dots in the example show that both Foo and Bar are connected
The green dots in the example show that both Foo and Bar are connected
to the master bus, left to left and right to right.
</p>
<h2>Variants on the Patchbay</h2>
<p>
Slightly different versions of the patchbay are available from different
places in Ardour. For a global view of all JACK audio connections, use
<kbd class="menu">Window &gt Audio Patchbay</kbd>, or press
<kbd class="mod2">P</kbd>. A corresponding MIDI Connection Manager can
Slightly different versions of the patchbay are available from different
places in Ardour. For a global view of all JACK audio connections, use
<kbd class="menu">Window &gt Audio Patchbay</kbd>, or press
<kbd class="mod2">P</kbd>. A corresponding MIDI Connection Manager can
be opened using <kbd class="mod23">P</kbd>.</p>
<p>
There is also a patchbay available when connecting individual tracks;
clicking on the input or output buttons of a mixer strip will open a
connection manager which has the corresponding track input or output as
the only destination or source, with all other ports available for
There is also a patchbay available when connecting individual tracks;
clicking on the input or output buttons of a mixer strip will open a
connection manager which has the corresponding track input or output as
the only destination or source, with all other ports available for
connection to it.
</p>
<h2>Other patchbay features</h2>
<p>
Context-clicking on a port name in the connection manager opens a menu
Context-clicking on a port name in the connection manager opens a menu
which provides a few handy options:
</p>
<dl class="wide-table">
<dt><kbd class="menu">Add audio port</kbd> and <kbd class="menu">Add MIDI port</kbd></dt>
<dd>
These options add audio or MIDI ports to the thing that you opened
the menu over, if this is possible. In this way, for example, tracks
These options add audio or MIDI ports to the thing that you opened
the menu over, if this is possible. In this way, for example, tracks
and busses can be extended to have more inputs or outputs.
</dd>
<dt><kbd class="menu">Remove</dt>
<dd>
Removes the given port, if possible. <kbd class="mouse mod3">Right</kbd>-clicking
Removes the given port, if possible. <kbd class="mouse mod3">Right</kbd>-clicking
a port will do the same.
</dd>
<dt><kbd class="menu">Disconnect all from…</kbd></dt>
<dd>Disconnects everything from the given port.</dd>
<dt><kbd class="menu">Rescan</kbd></dt>
<dd>
Ardour will try to keep abreast of any changes to the JACK ports on
your system, and reflect them in any connection managers which are open.
If for some reason this fails, use this to re-scan the list of ports and
Ardour will try to keep abreast of any changes to the JACK ports on
your system, and reflect them in any connection managers which are open.
If for some reason this fails, use this to re-scan the list of ports and
update the manager.
</dd>
<dt><kbd class="menu">Show individual ports</kbd></dt>
<dd>
If you have a session which has lots of multi-channel tracks or busses,
it may be an unnecessary detail that you have to connect left to left and
right to right every time you make a connection. This obviously gets worse
with higher channel counts (such as for 5.1 or Ambisonics). To make life
easier with such sessions, you can untick Show individual ports. After that,
the channels of tracks and busses will be hidden, and any green dots you add
in the connection manager will automatically connect each channel of the source
to the corresponding channel of the destination (left to left, right to right
and so on). In this mode, a half-circle in the connection grid indicates that
If you have a session which has lots of multi-channel tracks or busses,
it may be an unnecessary detail that you have to connect left to left and
right to right every time you make a connection. This obviously gets worse
with higher channel counts (such as for 5.1 or Ambisonics). To make life
easier with such sessions, you can untick Show individual ports. After that,
the channels of tracks and busses will be hidden, and any green dots you add
in the connection manager will automatically connect each channel of the source
to the corresponding channel of the destination (left to left, right to right
and so on). In this mode, a half-circle in the connection grid indicates that
some (but not all) of the source's ports are connected to the destination.
</dd>
<dt><kbd class="menu">Flip</kbd></dt>
<dd>
This will flip the visible ports on the vertical axis with those on the
horizontal. If, for example, the top of the connection manager is showing
<kbd class="menu">Ardour Busses</kbd> and the right is showing
This will flip the visible ports on the vertical axis with those on the
horizontal. If, for example, the top of the connection manager is showing
<kbd class="menu">Ardour Busses</kbd> and the right is showing
<kbd class="menu">Hardware</kbd>, flip will swap the view to the
opposite. You can also flip by pressing <kbd>f</kbd>. Note that if there are
opposite. You can also flip by pressing <kbd>f</kbd>. Note that if there are
no matching tabs on both axes, flipping will be impossible.
</dd>
</dl>

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@ -1,12 +1,12 @@
<p>
In the track header (editor window, left pane) is a button labelled <kbd
class="menu">p</kbd> (for "Playlist"). If you click on this button, Ardour
class="menu">p</kbd> (for "Playlist"). If you click on this button, Ardour
displays the following menu:
</p>
<dl class="wide-table">
<dt>(Local Playlists)</dt>
<dd>Shows all of the playlists associated with this track, and indicates
<dd>Shows all of the playlists associated with this track, and indicates
the currently selected playlist</dd>
<dt>Rename</dt>
<dd>Displays a dialog to rename the current playlist</dd>
@ -22,21 +22,21 @@
<h2>Renaming Playlists</h2>
<p>
Playlists are created with the name of the track of which they are
associated, plus a version number. So, the first playlist for a track
called "Cowbell" will be called <samp>Cowbell.1</samp>. This name will
be used to define the names of any regions added to the playlist by
recording. You can change the name at any time, to anything you want.
Ardour does not require that your playlist names are all unique, but it
will make your life easier if they are. Suggested examples of user-assigned
Playlists are created with the name of the track of which they are
associated, plus a version number. So, the first playlist for a track
called "Cowbell" will be called <samp>Cowbell.1</samp>. This name will
be used to define the names of any regions added to the playlist by
recording. You can change the name at any time, to anything you want.
Ardour does not require that your playlist names are all unique, but it
will make your life easier if they are. Suggested examples of user-assigned
names for a playlist might include <kbd class="input">Lead Guitar, 2nd
take</kbd>, <kbd class="input">vocals (quiet)</kbd>,
and <kbd class="input">downbeat cuica</kbd>. Notice how these might be
different from the associated track names, which for these examples might
be <kbd class="input">Lead Guitar</kbd>,
<kbd class="input">Vocals</kbd> and <kbd class="input">Cuica</kbd>. The
playlist name provides more information because it is about a specific
version of the material that may (or may not) end up in the final version
take</kbd>, <kbd class="input">vocals (quiet)</kbd>,
and <kbd class="input">downbeat cuica</kbd>. Notice how these might be
different from the associated track names, which for these examples might
be <kbd class="input">Lead Guitar</kbd>,
<kbd class="input">Vocals</kbd> and <kbd class="input">Cuica</kbd>. The
playlist name provides more information because it is about a specific
version of the material that may (or may not) end up in the final version
of the track.
</p>
<p>
@ -50,18 +50,18 @@
<h2>Sharing Playlists</h2>
<p>
It is entirely possible to <dfn>share playlists</dfn> between tracks. The only
slightly unusual thing you may notice when sharing is that edits to the
playlist made in one track will magically appear in the other. If you
think about this for a moment, its an obvious consequence of sharing.
One application of this attribute is parallel processing, described
It is entirely possible to <dfn>share playlists</dfn> between tracks. The only
slightly unusual thing you may notice when sharing is that edits to the
playlist made in one track will magically appear in the other. If you
think about this for a moment, its an obvious consequence of sharing.
One application of this attribute is parallel processing, described
below.
</p>
<p>
You might not want this kind of behaviour, even though you still want
two tracks to use the same (or substantially the same) playlist. To
accomplish this, select the chosen playlist in the second track, and
then use New Copy to generate an <dfn>independent copy</dfn> of it for
You might not want this kind of behaviour, even though you still want
two tracks to use the same (or substantially the same) playlist. To
accomplish this, select the chosen playlist in the second track, and
then use New Copy to generate an <dfn>independent copy</dfn> of it for
that track. You can then edit this playlist without affecting the original.
</p>

34
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@ -1,15 +1,15 @@
<h3>Using Playlists for Parallel Processing</h3>
<p>
One of the uses of playlists is to apply multiple effects to the same
audio stream. For example, let's say you would like to apply two
different non-linear effects such as distortion or compression to the
One of the uses of playlists is to apply multiple effects to the same
audio stream. For example, let's say you would like to apply two
different non-linear effects such as distortion or compression to the
same audio source (for linear effects, you could just apply them one after
the other in the same track).<br>
Create a new track, apply the original track's playlist, and
then apply effects to both tracks independently.
Create a new track, apply the original track's playlist, and
then apply effects to both tracks independently.
</p>
<p class="note">
<p class="note">
The same result could be achieved by feeding your track to multiple busses which
then contain the processing, but this increases the overall latency,
complicates routing and uses more space in the Mixer window.
@ -17,29 +17,29 @@
<h2>Using Playlists for "Takes"</h2>
<p>
Using Playlists for <dfn>takes</dfn> is a good solution if you are going
to need the ability to edit individual takes, and select between them.
Using Playlists for <dfn>takes</dfn> is a good solution if you are going
to need the ability to edit individual takes, and select between them.
</p>
<p>
Each time you start a new take, create a new playlist with
<kbd class="menu">p &gt; New</kbd>
Later, you can Select your way back to previous or later takes as
Each time you start a new take, create a new playlist with
<kbd class="menu">p &gt; New</kbd>
Later, you can Select your way back to previous or later takes as
desired.
</p>
<p>
If you want to create a composite edit from multiple takes, create a new
track to assemble the final version, and "cherry pick" from the playlists
in the original track by copying regions over as required.<br>
Alternatively, record each successive take on top of the
others in "layers" and then edit them using the layer tools, explained
Alternatively, record each successive take on top of the
others in "layers" and then edit them using the layer tools, explained
later.
</p>
<h2>Using Playlists for Multi-Language Productions</h2>
<p>
The same approach as for takes is useful when you are recording or
<p>
The same approach as for takes is useful when you are recording or
editing content in multiple versions, such as dubbed movie dialog in
several languages, and you want all versions on the same track, to
several languages, and you want all versions on the same track, to
get the same processing. <br>
Select the appropriate language before exporting the session.
</p>

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@ -4,10 +4,10 @@
</p>
<ul>
<li>
Global <dfn>preferences</dfn> control general workflow and system
Global <dfn>preferences</dfn> control general workflow and system
configuration, and should apply to all sessions. They are located in
<kbd class="menu">Edit &gt; Preferences</kbd> and stored in
Ardour's <dfn>user configuration file</dfn> in your home directory.
<kbd class="menu">Edit &gt; Preferences</kbd> and stored in
Ardour's <dfn>user configuration file</dfn> in your home directory.
</li>
<li><dfn>Session properties</dfn> control aspects of the workflow or
configuration that pertain to the current session only. You can find them

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@ -76,5 +76,4 @@
<p>
Context-click on the processor to be removed, and select <kbd class="menu">Delete</kbd>; or <kbd class=mod3n></kbd><kbd class=mouse>Right</kbd>-click on it; or <kbd class=mouse>Left</kbd>-click on it and press the <kbd>Delete</kbd> key. If multiple processors are selected, they will all be deleted at the same time.
</p>

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@ -5,7 +5,7 @@
</p>
<p>
It can be defined on the timeline or in the
<a href="@@the-ranges-and-marks-lists">Ranges &amp; Marks</a>
<a href="@@the-ranges-and-marks-lists">Ranges &amp; Marks</a>
list.
</p>

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@ -1,26 +1,26 @@
<p>
Normally, when you trim regions by dragging with the mouse, it affects
only the selected regions. Their lengths are directly affected by the
trim operation, but nothing else is. Sometimes though, you might like
Normally, when you trim regions by dragging with the mouse, it affects
only the selected regions. Their lengths are directly affected by the
trim operation, but nothing else is. Sometimes though, you might like
to trim a region that directly adjoins another, and keep this relationship
the same&mdash;you are not trying to make one of the regions extend
over the other&mdash;you would like the junction to move in one
direction or the other as part of the trim. This requires trimming both
regions on either side of the junction, in opposite directions.
<dfn>Push/Pull trim</dfn>, activated by pressing shift key before
starting the drag, will do just that. Here's a few pictures to show the
difference in the results of a normal trim and push/pull trim. First,
the same&mdash;you are not trying to make one of the regions extend
over the other&mdash;you would like the junction to move in one
direction or the other as part of the trim. This requires trimming both
regions on either side of the junction, in opposite directions.
<dfn>Push/Pull trim</dfn>, activated by pressing shift key before
starting the drag, will do just that. Here's a few pictures to show the
difference in the results of a normal trim and push/pull trim. First,
the initial situation:
</p>
<img src="/images/a3_before_trim.png" alt="region arrangement before trim" />
<p>
Here is what happens after we trim the right hand (selected) region by
Here is what happens after we trim the right hand (selected) region by
dragging its starting position earlier:
</p>
<img src="/images/a3_after_trim.png" alt="region arrangement after a trim" />
<p>
You can see that it now overlaps the earlier region and a crossfade has
You can see that it now overlaps the earlier region and a crossfade has
been created between them.
</p>
<p>
@ -29,8 +29,8 @@
</p>
<img src="/images/a3_after_push_trim.png" alt="region arrangement after a push trim" />
<p>
There is no overlap, and the end of the earlier region has been moved
along with the start of the later region, so that they still directly
There is no overlap, and the end of the earlier region has been moved
along with the start of the later region, so that they still directly
adjoin each other.
</p>

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@ -1,4 +1,4 @@
<p><img src="/images/a3_quantize.png" alt="quantize dialog" /></p>
<p>Accessed via <kbd>q</kbd>, the dialog includes:</p>
<ul>

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@ -2,20 +2,20 @@
<p>
In the editor window, right clicking (context clicking) on a region
displays a menu with <dfn>track and region operations</dfn>. The menu begins with the
name of the region, or <kbd class="menu">Selected Regions</kbd> if multiple
name of the region, or <kbd class="menu">Selected Regions</kbd> if multiple
regions are selected.
</p>
<p>
If there is more than one region layered at the point where you clicked, the
If there is more than one region layered at the point where you clicked, the
menu will also contain an item <kbd class="menu">Choose Top</kbd>. This
dialog lets you select which region you want on the top <dfn>layer</dfn>. See
dialog lets you select which region you want on the top <dfn>layer</dfn>. See
<a href="@@layering-display">Adjusting Region Layering</a> for more details.
</p>
<p>
Below these items is the rest of the
<a href="@@track-context-menu">Track Context Menu</a>, which
Below these items is the rest of the
<a href="@@track-context-menu">Track Context Menu</a>, which
provides access to <dfn>track-level operations</dfn>. To see the contents
of the region context menu, select the region name or "Selected Regions", and
of the region context menu, select the region name or "Selected Regions", and
the following submenu structure appears:
</p>
<dl class="narrower-table">

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@ -1,4 +1,4 @@
<p><dfn>Region names</dfn> are initially derived from either</p>
<ul>
<li>the name of the playlist for which they were recorded,</li>
@ -14,51 +14,51 @@
<p>
These are not audio files, but regions that represent the full extent of an
audio file. Every time a new recording is done, or a new file is imported
to the session, a new region is created that represents the <dfn>entire audio
file</dfn>. This region will have the name of the track/playlist/original file,
to the session, a new region is created that represents the <dfn>entire audio
file</dfn>. This region will have the name of the track/playlist/original file,
followed by a "-", then a number plus a dot and then a number.
</p>
<p>
For <dfn>recorded regions</dfn>, the number will increase each time a new recording
For <dfn>recorded regions</dfn>, the number will increase each time a new recording
is made. So, for example, if there is a playlist called
<samp>Didgeridoo</samp>, the
<samp>Didgeridoo</samp>, the
first recorded whole file region for that playlist will be called
<samp>Digderidoo-1</samp>. The next one will be <samp>Digeridoo-2</samp> and so on.
</p>
<p>
For <dfn>imported regions</dfn>, the region name will be based on the original file
For <dfn>imported regions</dfn>, the region name will be based on the original file
name, but with any final suffix (e.g. ".wav" or ".aiff") removed.
</p>
<p>
Normally, whole file regions are not inserted into tracks or playlists,
but regions derived from them are. The whole-file versions live in the
editor region list where they act as an organizing mechanism for regions
Normally, whole file regions are not inserted into tracks or playlists,
but regions derived from them are. The whole-file versions live in the
editor region list where they act as an organizing mechanism for regions
that are derived from them.
</p>
<h2>Normal Region Names</h2>
<p>
When a region is inserted into a track and playlist, its initial name will
end in a <dfn>version number</dfn>, such as <samp>.1</samp>. For a recorded region,
if the whole file region was <samp>Hang drum-1</samp>, then the region in
the track will appear with the name <samp>Hang drum-1.1</samp>. For an
imported region, if the whole file region was <samp>Bach:Invention3</samp>,
When a region is inserted into a track and playlist, its initial name will
end in a <dfn>version number</dfn>, such as <samp>.1</samp>. For a recorded region,
if the whole file region was <samp>Hang drum-1</samp>, then the region in
the track will appear with the name <samp>Hang drum-1.1</samp>. For an
imported region, if the whole file region was <samp>Bach:Invention3</samp>,
then the region in the track will appear with the name
<samp>Bach:Invention3.1</samp>.
</p>
<h2>Copied Region Names</h2>
<p>
If you <dfn>copy a region</dfn>, it initially shares the same name as the original.
When you perform an operation modifies one of the copies, Ardour will
If you <dfn>copy a region</dfn>, it initially shares the same name as the original.
When you perform an operation modifies one of the copies, Ardour will
increment the version number on the particular copy that changed.
</p>
<h2>Renaming Regions</h2>
<p>
You can <dfn>rename a region</dfn> at any time. Use the region context menu to
pop up the <kbd class="menu">Rename</kbd> dialog. The new name does not need to
have a version number in it (in fact, it probably should not). Ardour will add a
You can <dfn>rename a region</dfn> at any time. Use the region context menu to
pop up the <kbd class="menu">Rename</kbd> dialog. The new name does not need to
have a version number in it (in fact, it probably should not). Ardour will add a
version number in the future if needed (e.g. if you copy or split the region).
</p>

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@ -1,4 +1,4 @@
<p>
Use <kbd class="menu">Session &gt; Rename</kbd> to give the session a new
name. A dialog will appear asking for the new name.

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@ -1,20 +1,20 @@
<p>
A <dfn>tag</dfn> is bit of information, or metadata, that is associated
with a data file. Specifically, tags are keywords or terms that you feel
have some relevance to a particular soundfile. Ardour can store these tags
in a searchable <dfn>database</dfn> so that you can quickly search for sounds based
on the tags that you have assigned to them.
A <dfn>tag</dfn> is bit of information, or metadata, that is associated
with a data file. Specifically, tags are keywords or terms that you feel
have some relevance to a particular soundfile. Ardour can store these tags
in a searchable <dfn>database</dfn> so that you can quickly search for sounds based
on the tags that you have assigned to them.
</p>
<p>
For example you can assign the term <kbd class="input">120bpm</kbd> to a
For example you can assign the term <kbd class="input">120bpm</kbd> to a
sound, and then when you search for this tag, the file will appear in the
search list. Tags are independent of the filename or anything else about
the file. Tags, and the file paths that they are associated with, are
search list. Tags are independent of the filename or anything else about
the file. Tags, and the file paths that they are associated with, are
stored in a file called <samp>sfdb</samp> in your Ardour user folder.
</p>
<p>
To <dfn>add tags</dfn> to a given file, open the <kbd class="menu">Session &gt; Import</kbd>
To <dfn>add tags</dfn> to a given file, open the <kbd class="menu">Session &gt; Import</kbd>
dialog, select the file in the browser, and type new tags into tag area in
the soundfile information box on the right.<br/>
Tags are stored when the input box loses focus, there is no need to
@ -22,9 +22,9 @@
</p>
<p>
You can <dfn>search</dfn> for specific tags in the <kbd
class="menu">Search Tags</kbd> tab of the same dialog. Files which have
been tagged with the relevant terms will appear in the results window.
class="menu">Search Tags</kbd> tab of the same dialog. Files which have
been tagged with the relevant terms will appear in the results window.
Selected files can be auditioned and marked with additional tags if
required.
required.
</p>

24
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@ -6,21 +6,21 @@
class="mod3 mouse">Left</kbd>.
</p>
<p>
By default, <dfn>selecting regions</dfn> has no impact on
<dfn>track selection</dfn>.
You can select a track, then select a region in another track
(or vice versa) and both selections will co-exist happily.
Operations that are applied to tracks will use the track selection,
and those that apply to regions will use the region selection.
Similarly, deselecting a region will not deselect the track it
By default, <dfn>selecting regions</dfn> has no impact on
<dfn>track selection</dfn>.
You can select a track, then select a region in another track
(or vice versa) and both selections will co-exist happily.
Operations that are applied to tracks will use the track selection,
and those that apply to regions will use the region selection.
Similarly, deselecting a region will not deselect the track it
is in (if that track was selected).
</p>
<p>
In some workflows, and particularly if you have experience with
other <abbr title="Digital Audio Workstation">DAW</abbr>s, this
is not the most comfortable way to work. You may prefer to work
in a style where selecting a region will also select the track
that the region is in. Similarly, when the last selected region
In some workflows, and particularly if you have experience with
other <abbr title="Digital Audio Workstation">DAW</abbr>s, this
is not the most comfortable way to work. You may prefer to work
in a style where selecting a region will also select the track
that the region is in. Similarly, when the last selected region
in a track is deselected, the track will also become unselected.
</p>
<p>

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@ -1,54 +0,0 @@
<p>
Ardour follows the conventions used by most other computer software
(including other DAWs) for <dfn>selecting objects</dfn> in the
<abbr title="Graphical User Interface">GUI</abbr>.
</p>
<h2>Selecting individual objects</h2>
<p>
Clicking on an object (sometimes on a particular part of its
on-screen representation) will select the object, and deselect other
similar objects.
</p>
<h2>Selecting multiple (similar) objects</h2>
<p>
A <kbd class="mod1 mouse">left</kbd> click on an object toggles its
<samp>selected</samp> status, so using <kbd class="mod1 mouse">left</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 select one object and then click
<kbd class="mod3 mouse">left</kbd> on another to select both of them as
well as all objects in between.
</p>
<h2>Time range selection</h2>
<p>
To select a time <dfn>range</dfn> in the Editor,
click <kbd class="mouse">Left</kbd> and drag the mouse.
A <kbd class="mod1 mouse">Left</kbd> drag then lets you create other
ranges and a <kbd class="mod3 mouse">left</kbd> click extends a range
to cover a wider area.
</p>
<h2>Selection Undo</h2>
<p>
The set of objects (including time range) that are selected at any one
time is known as the selection.
Each time you select or deselect an object, the new selection is stored in an
undo/redo stack.
This stack is cleared each time the content of the timeline changes.
If you have built up a complex selection and then accidentally cleared it,
choosing <kbd class="menu">Edit &gt; Undo Selection Change</kbd> will restore your
previous selection.
If you then decide that you had in fact made the correct change, choosing
<kbd class="menu">Edit &gt; Redo Selection Change</kbd> will take you back
to where you were before you chose <kbd class="menu">Edit &gt; Undo Selection Change</kbd>.
</p>

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@ -1,10 +1,10 @@
<p>
A final new editing feature is an operation in the context menu of a
range labelled <kbd class="menu">Separate Regions Under Range</kbd>.
This splits any selected regions that are covered by the range at both
ends of the range (or just one, if the range only covers part of the
region). This makes it easy to generate regions that correspond
A final new editing feature is an operation in the context menu of a
range labelled <kbd class="menu">Separate Regions Under Range</kbd>.
This splits any selected regions that are covered by the range at both
ends of the range (or just one, if the range only covers part of the
region). This makes it easy to generate regions that correspond
precisely to a range.
</p>

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@ -1,24 +1,24 @@
<p>
You may have a situation where you have positioned one region over another,
and you just want to cut the lower region so that it directly adjoins both
ends of the overlapping one, with no overlaps. To do this, select the upper
You may have a situation where you have positioned one region over another,
and you just want to cut the lower region so that it directly adjoins both
ends of the overlapping one, with no overlaps. To do this, select the upper
region, then choose <kbd class="menu">Edit &gt; Separate &gt; Separate
Under</kbd>. This will split the lower region so that it no longer overlaps
Under</kbd>. This will split the lower region so that it no longer overlaps
the upper region at all. <br>
Here is an example where we start with a short region placed so that it
Here is an example where we start with a short region placed so that it
overlaps a longer region:
</p>
<img src="/images/a3_before_separate_under.png" alt="region arrangement before separate under" />
<p>
When we perform the <dfn>Separate Under</dfn> edit, the lower region splits
When we perform the <dfn>Separate Under</dfn> edit, the lower region splits
in two, with boundaries exactly positioned at the edges of the upper region:
</p>
<img src="/images/a3_after_separate_under.png" alt="region arrangement after separate under" />
<p>
If the upper region covers only one end of the lower region, then this
operation is equivalent to
<a href="@@trimming-regions#trimtonextprevious">Trim to Next or Trim to Previous</a>,
If the upper region covers only one end of the lower region, then this
operation is equivalent to
<a href="@@trimming-regions#trimtonextprevious">Trim to Next or Trim to Previous</a>,
depending on which end is covered.
</p>

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@ -8,16 +8,16 @@
<ul>
<li>
<dfn>MIDI Options</dfn>
<ul>
<ul>
<li>
If <dfn>MIDI region copies are independent</dfn> is selected, when a
MIDI region is copied or duplicated, the new region is not linked to
the region it was copied from. If it is not selected, the copied regions
are linked and any editing of one of the linked regions changes all
of the linked regions.
If <dfn>MIDI region copies are independent</dfn> is selected, when a
MIDI region is copied or duplicated, the new region is not linked to
the region it was copied from. If it is not selected, the copied regions
are linked and any editing of one of the linked regions changes all
of the linked regions.
</li>
<li>
The <dfn>Editor</dfn> can be configured to handle overlapping MIDI notes
The <dfn>Editor</dfn> can be configured to handle overlapping MIDI notes
several ways.
<ul>
<li>never allow them</li>
@ -38,7 +38,7 @@
</ul>
</li>
<li>
Settings from the session properties dialogs can be saved to the
Settings from the session properties dialogs can be saved to the
default session template.
</li>
</ul>

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@ -1,6 +1,6 @@
<p>
<dfn>Session templates</dfn> are a way to store the setup of a session
<dfn>Session templates</dfn> are a way to store the setup of a session
for future use. They do not store any <em>audio</em> data but can store:</p>
<ul>
<li>The number of tracks and busses, along with their names</li>
@ -10,22 +10,22 @@
<h2>Creating a Session Template</h2>
<p>
Choose <kbd class="menu">Session &gt; Save Template</kbd>. A dialog will ask
Choose <kbd class="menu">Session &gt; Save Template</kbd>. A dialog will ask
you for the name of the new template.
</p>
<h2>Using a Session Template</h2>
<p>
In the New Session dialog, choose the desired template from the combo
In the New Session dialog, choose the desired template from the combo
selector.
</p>
<p>
Note that you can also use an existing session as a template, without
saving it as one. This is available as an option in the New Session dialog.
Doing this will not alter the existing session at all, but will use its track,
Note that you can also use an existing session as a template, without
saving it as one. This is available as an option in the New Session dialog.
Doing this will not alter the existing session at all, but will use its track,
bus and plugin configuration just like a template.
</p>
<p>
See also <a href="@@adding-tracks-busses-and-vcas">Adding Tracks and Busses</a> for information
See also <a href="@@adding-tracks-busses-and-vcas">Adding Tracks and Busses</a> for information
on templates for individual tracks or busses.
</p>

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@ -4,7 +4,7 @@
<dfn><abbr title="Musical Instrument Digital
Interface">MIDI</abbr></dfn> is a way to describe musical
performances and to control music hardware and software.
</p>
</p>
<p>Ardour can import and record MIDI data, and perform a variety of
editing operations on it. Furthermore, MIDI can be used to control
various functions of Ardour.
@ -13,12 +13,12 @@
<h2>MIDI Handling Frameworks</h2>
<p>
MIDI input and output for Ardour are handled by the same "engine"
that handles audio input and output.
that handles audio input and output.
</p>
<dl>
<dt>OS X</dt>
<dd> <dfn>CoreMIDI</dfn> is the standard MIDI framework on OSX systems.
<dd> <dfn>CoreMIDI</dfn> is the standard MIDI framework on OSX systems.
</dd>
<dt>Linux</dt>
<dd>
@ -39,7 +39,7 @@
ports). By contrast, JACK MIDI ports show up under
the <kbd class="menu">MIDI</kbd> tab in QJackCtl.
</p>
<h2>JACK MIDI Configuration</h2>
<p>
By default, JACK will <strong>not</strong> automatically detect and use existing MIDI

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@ -1,4 +1,4 @@
<p>
Using a general purpose computer for recording digital audio is not
trivial. This chapter will guide you through the basic steps and help

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@ -1,6 +1,6 @@
<p>
Ardour does most of its internal <dfn>signal routing</dfn> via JACK:
Ardour does most of its internal <dfn>signal routing</dfn> via JACK:
all track and bus inputs and outputs are JACK ports, as are sends and
inserts, which means they can be tapped into by other JACK clients.
Only the signal flow inside a track or bus (i.e. from <a
@ -11,7 +11,7 @@
<ul>
<li>
<dfn>Track inputs</dfn> are optionally auto-connected to hardware inputs, in round robin
order, depending on the setting you chose in the
order, depending on the setting you chose in the
<a href="@@newopen-session-dialog"><kbd
class="menu">Session &gt; New Session</kbd> dialog</a>.
</li>
@ -30,14 +30,14 @@
</li>
</ul>
<p>
This configuration is sufficient to do basic tracking and playback of many
sessions without any adjustment by the user. If you are using Ardour and
start to change these connections, be certain that you have a good reason
This configuration is sufficient to do basic tracking and playback of many
sessions without any adjustment by the user. If you are using Ardour and
start to change these connections, be certain that you have a good reason
to do so&mdash;it is generally not necessary and often leads to problems.
</p>
<p>
However, for many workflows during mixing, more complicated signal routing
is required. Ardour offers many possibilties for connecting things in the
However, for many workflows during mixing, more complicated signal routing
is required. Ardour offers many possibilties for connecting things in the
way you may need or want them.
</p>

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@ -15,7 +15,7 @@
<p>
Your Nucleus comes complete with a number of "profiles" for a few
well-known DAWs. At the time of writing it does not include one for
Ardour (or related products such as Harrison Mixbus).
Ardour (or related products such as Harrison Mixbus).
</p>
<p>
We have prepared a profile in which as many buttons as possible send
@ -124,7 +124,7 @@
</ul>
<p>
You should choose "ipMIDI port 1", "ipMIDI port 1", "ipMIDI port 2"
and "ipMIDI port 2" for each of the 4 combo/dropdown selectors.
and "ipMIDI port 2" for each of the 4 combo/dropdown selectors.
</p>
<p>
Communication should be automatically established with the Nucleus.

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@ -1,30 +1,42 @@
<p>
There are several ways of <dfn>starting Ardour</dfn>, which may vary
depending on which platform you are using it.
depending on which platform it is being used on:
</p>
<ul>
<li>double-click the Ardour icon in your platform's file manager (e.g.
<li>by double-clicking the Ardour icon in the platform's file manager (e.g.
Nautilus on Linux, Finder on OS X)</li>
<li>double click on an Ardour session file in your platform's file manager</li>
<li>on Linux, you can also start Ardour on the command line (see below)</li>
<li>by double-clicking on an Ardour session file in the platform's file
manager
</li>
<li>on Linux, Ardour can also be started via the command line (see below)
</li>
</ul>
<p>
When Ardour is run for the very first time, a special dialog is displayed
that will ask you several questions about your setup. You will not be asked
these questions again, but you can always modify your choices via the
that will ask several questions about the system's setup. The questions will
not be asked again, but the choices thus made can always be modified via the
<kbd class="menu">Edit &gt; Preferences</kbd> dialog.
</p>
<p>
If you want to use JACK, in general, it is sensible to start it <em>before</em> you run Ardour. This is not
necessary, but will provide you with more control and options over JACK's operation.
You can start JACK through its <abbr title="Command Line Interface">CLI</abbr>, or using a <abbr title="Graphical User Interface">GUI</abbr>
program, like <a href="https://qjackctl.sourceforge.io/">QjackCtl</a> or <a href="http://kxstudio.linuxaudio.org/Applications:Cadence">Cadence</a>.
If JACK is needed, in general, it is sensible to start it <em>before</em>
Ardour is run. Though this is not strictly necessary, it will provide more
control and options over JACK's operation. JACK can be started through the
<abbr title="Command Line Interface">CLI</abbr> of a terminal, or by using a
<abbr title="Graphical User Interface">GUI</abbr> program, like <a
href="https://qjackctl.sourceforge.io/">QjackCtl</a> or <a
href="http://kxstudio.linuxaudio.org/Applications:Cadence">Cadence</a>.
</p>
<p>
If you open Ardour without specifying an existing session it will display
the <kbd class="menu">Session &gt; New&hellip;</kbd> dialog and the <kbd class="menu">Audio/MIDI Setup</kbd> dialog.
See <a href="@@newopen-session-dialog">New/Open Session Dialog</a> for a description of those dialogs.
<p class="note">
If Ardour is opened without specifying an existing session, it will display
the <kbd class="menu">Session &gt; New&hellip;</kbd> dialog and the <kbd
class="menu">Audio/MIDI Setup</kbd> dialog. See <a
href="@@newopen-session-dialog">New/Open Session Dialog</a> for a description
of those dialogs.
</p>
<h2>Starting Ardour From the Command Line (Linux)</h2>
@ -33,18 +45,24 @@
Like (almost) any other program on Linux, Ardour can be started on the
command line. Type the following command in a terminal window:
</p>
<kbd class="cmd lin">Ardour5</kbd>
<p>
To start Ardour with an existing session:
To start Ardour with an existing session, use:
</p>
<kbd class="cmd lin">Ardour5 <em>/path/to/session</em></kbd>
<p>
replacing /path/to/session with the actual path to your session. You can
specify either the session folder or any session file inside the folder,
Replace /path/to/session with the actual path of the session. Either the
session folder or any session file inside the folder can be specified,
including snapshots.
</p>
<p>
To start Ardour with a new, named session:
To start Ardour with a new, named session, use:
</p>
<kbd class="cmd lin">Ardour5 -N <em>/path/to/session</em></kbd>

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@ -1,6 +1,6 @@
<p>
<dfn>Stem exports</dfn> are covered fully in the
<dfn>Stem exports</dfn> are covered fully in the
<a href="@@mixdown">Export</a> chapter. A stem export creates one file
per track, starting at the beginning of the session. You can then import
each track into another DAW and begin working on it. You lose all data

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