diff --git a/build.py b/build.py index 6109782..6d343b6 100755 --- a/build.py +++ b/build.py @@ -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 = ' >
This section covers some of the typographical and language conventions used in this manual.
Keyboard bindings are shown like this: s or x.
+- x means "press the key, keep it pressed - and then also press the x key". + x means "press the + key, keep it pressed and then also press the x key".
+- You may also see key combinations - such as e, which mean that you should hold down - the key and the - key, and then, while keeping them both - down, press the e key. + Combinations such as e may be seen, which means + "hold down the key and the key, and then, while keeping them both down, press the + e key".
-- 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 Cmd where appropriate (for instance - in the first example above). On other machines you will see - Ctrl instead. + +
+ 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, + Cmd will be seen where appropriate (for instance in the first + example above). On other machines Ctrl will be seen instead.
- We refer to mouse buttons as - Left, Middle and - Right. Ardour can use additional buttons, but they have - no default behaviour in the program. + mouse buttons are refered to as Left, Middle and Right. Ardour can use additional buttons, but they have no + default behaviour in the program.
Many editing functions are performed by clicking the mouse while holding a modifier key, for example Left.
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 @@
- The term context-click is used to indicate - that you should (typically) Right-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—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 context-click is used to indicate a Right-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—this term refers to any of + them, and the result is always that a menu specific to the item clicked on + will be displayed.
- 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.
- Ardour supports hardware controllers, such as banks of - faders, knobs, or - buttons. + Ardour supports hardware controllers, such as banks of faders, knobs, or buttons.
- Menu items are indicated like this:
- Top > Next > Deeper.
- Each ">"-separated item indicates one level of a nested (sub-)menu.
+ Menu items are indicated like this: Top > Next >
+ Deeper. Each ">"-separated item indicates one level of a nested menu
+ or sub-menu.
- 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:
+Edit > Preferences > Audio > Some Option.
+- 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.
+- If you are requested to deselect an option, you will see something like - this: -
-- Edit > Preferences > Audio > Some other Option. + If an option is deselected, it will look like this:
++ Edit > Preferences > Audio > Some other + Option.
- Some dialogs or features may require you to type in some data - such as this. 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 such as this. In rare cases, certain operations will be required to be performed at the command line of the operating system:
+ cat /proc/cpuinfo sleep 3600 ping www.google.com- Important messages from Ardour or other programs will be displayed - like this. + Important messages from Ardour or other programs will be displayed like + this.
Important notes about things that might not otherwise be obvious are shown in this format.
Hairy issues that might cause things to go wrong, lose data, impair sound quality, or eat your proverbial goldfish, are displayed in this way. diff --git a/include/add-new-notes.html b/include/add-new-notes.html index 1c54c5a..2881849 100644 --- a/include/add-new-notes.html +++ b/include/add-new-notes.html @@ -1,19 +1,19 @@ - +
- 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 - add 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 draw new notes within a MIDI region. Ardour provides two ways - do this. One is to leave the mouse in object mode and - Left-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 + add 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 draw new notes within a MIDI region. Ardour provides two ways + do this. One is to leave the mouse in object mode and + Left-drag. The other, useful if you plan to enter a lot of notes for a while, is to switch the mouse into - Draw Notes mode, which will now interpret any drags - and clicks as requests to add a new note. For obvious reasons, you cannot + Draw Notes 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.
@@ -21,7 +21,7 @@- Note that is also a - a step entry editor + Note that is also a + a step entry editor allowing you to enter notes from a virtual keyboard and lots more besides.
diff --git a/include/adding-pre-existing-material.html b/include/adding-pre-existing-material.html index f32c604..bda9ea5 100644 --- a/include/adding-pre-existing-material.html +++ b/include/adding-pre-existing-material.html @@ -1,6 +1,6 @@ - +- 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:
These methods are all equivalent: they open the Add Existing Media - dialog. + href="/adding-pre-existing-material/import-dialog/">Add Existing Media + dialog.
- 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
- Region List, into the desired track 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
+ Region List, into the desired track or into empty
space in the editor track display.
- 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.
- 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).
@@ -43,8 +43,8 @@To remove tracks and busses, select them, right-click and choose Remove - from the menu. A warning dialog will pop up, as track removal cannot be undone; + class="menu">Remove + from the menu. A warning dialog will pop up, as track removal cannot be undone; use this option with care!
diff --git a/include/additional-resources.html b/include/additional-resources.html index 0320a0b..6628cc2 100644 --- a/include/additional-resources.html +++ b/include/additional-resources.html @@ -1,20 +1,26 @@ -In addition to this documentation, you may check a variety of other -resources:
++ In addition to this documentation, there are a variety of other + resources: +
+
The IRC channels 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.
- Please be prepared to hang around for a few hours, the chat is usually
- busiest from 19:00 UTC to 04:00 UTC. If you can, keep your chat
- window open, so that you don't miss a belated answer.
-
+ Please be prepared to hang around for a few hours, the chat is usually + busiest from 19:00 UTC to 04:00 UTC. It is best to keep one's IRC + client window open if possible, so that a belated answer can be seen. +
diff --git a/include/ardour-concepts.html b/include/ardour-concepts.html deleted file mode 100644 index 139597f..0000000 --- a/include/ardour-concepts.html +++ /dev/null @@ -1,2 +0,0 @@ - - diff --git a/include/ardour-overview.html b/include/ardour-overview.html new file mode 100644 index 0000000..9590622 --- /dev/null +++ b/include/ardour-overview.html @@ -0,0 +1,95 @@ + ++ Ardour is a professional digital workstation for working with + audio and MIDI. +
+ ++ 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. +
+ ++ 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. +
+ ++ 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. +
+ ++ 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. +
+ ++ Any number of tracks and busses. Non-linear editing. Non-destructive (and + destructive!) recording. Any bit depth, any sample rate. Dozens of file + formats. +
+ ++ 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. +
+ ++ 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. +
+ ++ 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. +
+ ++ 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. +
+ diff --git a/include/audio-track-controls.html b/include/audio-track-controls.html index cfc1b16..ac42911 100644 --- a/include/audio-track-controls.html +++ b/include/audio-track-controls.html @@ -1,24 +1,24 @@- A typical control area or track header for an audio track is + A typical control area or track header for an audio track is shown below:
-- An audio track has the same +
+ An audio track has the same controls as a bus, with the - addition of two extras. + addition of two extras.
Usually, aux sends from several tracks are collectively sent to a
- dedicated Aux bus in Ardour, to create a monitor mix for a
+ dedicated Aux bus 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).
Aux sends are not JACK ports, with
@@ -19,84 +19,84 @@
send the tapped signal somewhere else directly, which is not usually
possible on hardware mixers.
- It may be useful to - compare and contrast + It may be useful to + compare and contrast the use of aux sends with subgrouping.
- Choose Session > Add New Track or Bus. In the - New Track & Bus dialog, select "Busses" in the Track/Bus + Choose Session > Add New Track or Bus. In the + New Track & Bus dialog, select "Busses" in the Track/Bus selector at the upper right.
- Context-click on the processor box for the track you want to send to the bus, and - choose New Aux Send. 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 New Aux Send. 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.
- 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. - Post-fader 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. + Post-fader 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. Pre-fader sends ensure that the level sent to the bus - is controlled only by the send, not the main fader—this is typical - when constructing headphone and monitor wedge mixes. + the main mix fader. Pre-fader sends ensure that the level sent to the bus + is controlled only by the send, not the main fader—this is typical + when constructing headphone and monitor wedge mixes.
- 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 - Add New Aux Bus (pre-fader) or - Add New Aux Bus (post-fader). 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 + Add New Aux Bus (pre-fader) or + Add New Aux Bus (post-fader). 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.
- 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:
- 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.
- 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.
- Pressing the button marked Aux Sends 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 not the track gain. - This gives a larger, more configurable control to alter the level. Click the - Aux Sends button of the aux bus again to revert the + Pressing the button marked Aux Sends 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 not the track gain. + This gives a larger, more configurable control to alter the level. Click the + Aux Sends button of the aux bus again to revert the channel strips to their normal use.
- 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.
- 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 balance control by right-clicking on the panner widget.
@@ -12,7 +12,7 @@ control"/> side.- 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.
diff --git a/include/basic-gui-operations.html b/include/basic-gui-operations.html index c8c21f1..c4e08d8 100644 --- a/include/basic-gui-operations.html +++ b/include/basic-gui-operations.html @@ -1,7 +1,194 @@ +Add missing content, if the following is really meant to be documented
+ +- Ardour offers a number of different ways for you to interact with it. - This chapter provides information on basic techniques for entering - text, making selections, and using shortcuts. + By default, Ardour will show helpful tooltips about the purpose + and use of each GUI 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. +
+ ++ Pop-ups can also be distracting for experienced users, who may wish to + disable them via Edit > Preferences > GUI > Show + tooltip if mouse hovers over a control. +
+ ++ Ardour follows the conventions used by most other computer software + (including other DAWs) for selecting objects in the GUI. +
+ ++ Clicking on an object (sometimes on a particular part of its on-screen + representation) will select the object, and deselect other similar objects. +
+ ++ A left-click on an object toggles its selected + status, so using left 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. +
+ ++ In cases where the idea of "select all objects between this one and that one" + makes sense, select one object and then left-click on another to select both of them as well as all objects in between. +
+ ++ To select a time range in the Editor, Left-click and drag the mouse. A Left drag then lets you create other ranges and a left-click extends a range to cover a wider area. +
+ ++ 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. +
+ ++ If a complex selection has been built up and then accidentally cleared it, + choosing Edit > Undo Selection Change will restore + the previous selection. If a selection is undone and a return to the state + before the undo is desired, choosing Edit > Redo + Selection Change will take the selection back to where it was before + Edit > Undo Selection Change was chosen. +
+ ++ The clipboard is a holder for various kinds of objects (regions, + control events, plugins) that is used during cut-and-paste + operations. +
+ ++ A cut operation removes selected objects and places them in the + clipboard. The existing contents of the clipboard are overwriten. The default + key binding is x. +
+ ++ A copy 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 c. +
+ ++ The current contents of the clipboard are pasted (inserted) into + the session, using the current edit point as the destination. The + contents of the clipboard remain unchanged—the same item can be pasted + multiple times. The default key binding is v. +
+ ++ Within the Editor window (and to some extent within the Mixer window too), + there are several techniques for deleting objects (regions, + control points, and more). +
+ ++ Select the object(s) to be deleted and then press the Del key. + This does not put the deleted object(s) in the clipboard, so + they cannot be pasted elsewhere. +
+ ++ Select the object(s) and then press x. This puts the + deleted object(s) in the clipboard so that they can be pasted elsewhere. +
+ ++ By default, Shift Right will delete the clicked-upon + object. Like the Del key, this does not put the + deleted object(s) in the clipboard. +
+ ++ The modifier and mouse button used for this can be controlled via Edit > Preferences > User Interaction > Delete using + …. Any modifier and mouse button combination can be used. +
+ ++ 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 undone (and redone if necessary). +
+ ++ The default keybindings are Z for Undo and R for Redo. These match the conventions of most other + applications that provide undo/redo. +
+ ++ Changes are also saved to the session history file, so that + undo/redo is possible even if the session is closed and reopened later, even + if Ardour is exited in between. +
+ ++ The maximum number of changes that can be undone can be configured under Edit > Preferences > Misc > Undo. The maximum + number of changes stored in the history file is a separate parameter, and can + also be set in the same place. +
+ ++ In addition to the normal undo (which works only on actions that change the + timeline), there is a visual undo which will revert any command + that affects the display of the editor window. Its shortcut is Z. There is also an undo for selection; see "Selection + Techniques" above.
diff --git a/include/behringer-devices-in-mackielogic-control-mode.html b/include/behringer-devices-in-mackielogic-control-mode.html index b7f873e..d1c9785 100644 --- a/include/behringer-devices-in-mackielogic-control-mode.html +++ b/include/behringer-devices-in-mackielogic-control-mode.html @@ -1,11 +1,11 @@ -
- 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 @@
- 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 EG 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.
@@ -31,16 +31,16 @@
Encoder #3 sets the foot switch mode and should most likely be set to
- Auto to detect how the foot switch is wired.
+ Auto to detect how the foot switch is wired.
Encoder #5 sets the device id, if you are using only 1 device the id
should be set to ID 1. If you are using multiple BCF/BCR2000 each
device is required to be set up sequentially and one at a time.
+
Encoder #7 controls the MIDI Dead Time 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 100.
@@ -59,7 +59,7 @@
src="/images/BCF2000-Modes.png">
- 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.
@@ -134,7 +134,7 @@ The surface can be broken into 8 groups of controls.
-
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.
@@ -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 FLIP is pressed
+ o'clock position to originating at the 7 o'clock position. If FLIP is pressed
the encoder will control the mixer gain for the selected track/bus.
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:
- 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.
@@ -15,10 +15,10 @@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 Session > Clean-up menu.
@@ -12,7 +12,7 @@Using the Bring all media into session folder menu ensures that all media files used in the session are located inside the session's folder, hence avoiding any missing files when copied.
- +diff --git a/include/common-region-edit-operations.html b/include/common-region-edit-operations.html index 42226de..34a27fe 100644 --- a/include/common-region-edit-operations.html +++ b/include/common-region-edit-operations.html @@ -14,7 +14,7 @@
You may want to review your understanding of - the edit point/range and + the edit point/range and which regions will be affected by region operations.
- Auxes and Subgroups share a common concept—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—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.
- Aux sends 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): + Aux sends 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):
Subgroups 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.
diff --git a/include/controlling-playback.html b/include/controlling-playback.html index 88f8faa..11a0379 100644 --- a/include/controlling-playback.html +++ b/include/controlling-playback.html @@ -21,7 +21,7 @@Click on either the primary or secondary transport clock and - edit their value + edit their value to move the playhead to a specific position.
diff --git a/include/controlling-track-appearance.html b/include/controlling-track-appearance.html index 576af09..13f1c11 100644 --- a/include/controlling-track-appearance.html +++ b/include/controlling-track-appearance.html @@ -1,6 +1,6 @@- 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 Edit > Preferences > Editor menu. diff --git a/include/controlling-track-ordering.html b/include/controlling-track-ordering.html index 7e8e2bd..4a36b4b 100644 --- a/include/controlling-track-ordering.html +++ b/include/controlling-track-ordering.html @@ -1,6 +1,6 @@
- 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:
@@ -72,11 +72,11 @@- Every track and bus in Ardour is assigned a remote control ID. + Every track and bus in Ardour is assigned a remote control ID. When a control surface 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.
diff --git a/include/copy-regions.html b/include/copy-regions.html index ec57a4e..d169c34 100644 --- a/include/copy-regions.html +++ b/include/copy-regions.html @@ -1,25 +1,25 @@ - +- To copy a region, make sure you are in object mouse mode. Move the mouse - pointer into the region and left-drag. Ardour - creates a new region and follows the mouse pointer as it moves. See - Move Regions for more + To copy a region, make sure you are in object mouse mode. Move the mouse + pointer into the region and left-drag. Ardour + creates a new region and follows the mouse pointer as it moves. See + Move Regions for more details on moving the copied region.
- To copy multiple regions, select them before copying. Then - left-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 + left-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.
- 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 Middle-drag instead.
diff --git a/include/copying-the-interchange-folder.html b/include/copying-the-interchange-folder.html index 40bde8b..ca91cf4 100644 --- a/include/copying-the-interchange-folder.html +++ b/include/copying-the-interchange-folder.html @@ -1,13 +1,13 @@ - +- All media in a session folder is stored in a sub-folder called - interchange. 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—any DAW or other audio/MIDI + All media in a session folder is stored in a sub-folder called + interchange. 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—any DAW or other audio/MIDI application should be able to handle the files without any issues.
diff --git a/include/copying-versus-linking.html b/include/copying-versus-linking.html index 78d8b13..4cf3aa5 100644 --- a/include/copying-versus-linking.html +++ b/include/copying-versus-linking.html @@ -1,28 +1,28 @@- Copying and linking are two different methods of - using existing audio files on your computer (or network file system) + Copying and linking 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:
- 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.
- 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).
- 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.
A link to an existing media file somewhere on the disk is used as a the - source for a region, but the data is not copied or modified + source for a region, but the data is not copied or modified in any way.
@@ -32,8 +32,8 @@ the session. A backup of the session directory will miss linked files.
- You can choose to copy or link files into your session with the - Copy file to session option in the Import + You can choose to copy or link files into your session with the + Copy file to session option in the Import dialog window.
@@ -45,7 +45,7 @@ ← This file won't be copied.
- There is a global preference Edit > Preferences > Misc > + There is a global preference Edit > Preferences > Misc > Session Management > Always copy imported files. If it is enabled, you will not be able to link a file.
diff --git a/include/corresponding-regions-selection.html b/include/corresponding-regions-selection.html index ff8799a..ff2025e 100644 --- a/include/corresponding-regions-selection.html +++ b/include/corresponding-regions-selection.html @@ -1,22 +1,22 @@ - +Track Groups have - a property titled Select which, if enabled, cause + a property titled Select which, if enabled, cause Ardour to propagate a region selection in one track of a group to the corresponding regions of the other tracks in that 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. + 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.
- 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 selection if they satisfy all the following criteria:
- 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.
- In this case, change + In this case, change Edit > Preferences > Editor > Regions in active edit groups are edited together: to whenever they overlap in time. With this option enabled, r egions in different tracks will be considered equivalent for the purposes of selection if they - overlap. This is much more flexible and will cover almost all of the + overlap. This is much more flexible and will cover almost all of the cases that the fixed rules above might make cumbersome.
diff --git a/include/create-midi-regions.html b/include/create-midi-regions.html index d2b2a17..305e040 100644 --- a/include/create-midi-regions.html +++ b/include/create-midi-regions.html @@ -1,16 +1,16 @@ - +- 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.
- To create a new MIDI region, simply Left-click in - a MIDI track. A region will be created that is one bar long. You can - trim it to any + To create a new MIDI region, simply Left-click in + a MIDI track. A region will be created that is one bar long. You can + trim it to any length you want.
- Once you have created a region, you will probably want to + Once you have created a region, you will probably want to Add some notes to it.
diff --git a/include/create-midi-tracks.html b/include/create-midi-tracks.html index b1f09f8..c841459 100644 --- a/include/create-midi-tracks.html +++ b/include/create-midi-tracks.html @@ -1,14 +1,14 @@ - +- To create a new MIDI track, choose Session > + To create a new MIDI track, choose Session > Add Track/Bus. In the Add Track/Bus dialog, pick MIDI - Track from the combo selector at the upper right. + Track from the combo selector at the upper right.
- 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.
diff --git a/include/create-region-fades-and-crossfades.html b/include/create-region-fades-and-crossfades.html index fae552c..5b452bf 100644 --- a/include/create-region-fades-and-crossfades.html +++ b/include/create-region-fades-and-crossfades.html @@ -1,6 +1,6 @@ -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 +
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.
- Ardour can be used in many different ways, from extremely simple to - extremely complex. Many projects will be handled using the following - kind of workflow. + Ardour can be used in many different ways, from extremely simple to extremely + complex. Many projects can be handled using the following kind of + workflow:
-- The first step is to create a new session, 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. -
-- More details on sessions can be found in -Working With Sessions. + The first step is to create a new session, 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.
-- 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: +
+ More details on sessions can be found in Sessions + chapter.
+ ++ Once a session has been created, it will be necessary to add some audio + and/or MIDI material to it—which can be done in one of 3 ways: +
+
- MIDI recordings 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.
- Two different synthesizers may produce very different sound in response
- to the same incoming MIDI data.
+ MIDI recordings 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.
Audio recordings 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.
+- Ardour uses the JACK Audio Connection Kit 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 JACK Audio Connection Kit 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.
+Sanity check: is this true anymore? Does Ardour's ALSA backend make this statment not exactly true?
+- 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 - Editor window. -
-- Your audio/MIDI data appears in chunks called regions, which - are arranged into horizontal lanes called tracks. 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—Ardour is a non-destructive editor. (Almost) - nothing that you do while editing will ever modify the files stored on - disk (except the session file itself). -
-- You can also carry out many transformations 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 Editor + window.
-- Once you have the arrangement of your session mostly complete, you will - typically move on to the mixing 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 regions, which are + arranged into horizontal lanes called tracks. 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—Ardour is a non-destructive editor. (Almost) nothing + done while editing will ever modify the files stored on disk (with the + exception of the session file itself).
+- Ardour will allow you to automate changes to any mixing - parameters (such as volume, panning, and effects controls)—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—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 transformations 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. +
+ +Sanity check: deleting MIDI notes doesn't change them on disk? Isn't anything done to MIDI a destructive operation?
+ ++ Once the arrangement of the session mostly complete, the next step is the + mixing 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. +
+ ++ Ardour allows automation of changes to any mixing parameters (such + as volume, panning, and effects controls)—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—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.
- 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 - export 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. -
-- 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 exporting 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. +
+ ++ Of course it is sometimes desirable to export material that isn't finished + yet—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.
diff --git a/include/creating-range-markers.html b/include/creating-range-markers.html index 0e5a977..5aeaeeb 100644 --- a/include/creating-range-markers.html +++ b/include/creating-range-markers.html @@ -1,20 +1,20 @@ - +Range markers are essentially two location markers the are grouped - together to mark the beginning and end of a section in the timeline. -
+ together to mark the beginning and end of a section in the timeline. +- To create a new range, right-click on the + To create a new range, right-click on the Ranges ruler at the top of the timeline, then select - New Range. - Two markers with the same name will appear along the ruler. - Both marks can be moved along the timeline by clicking and dragging + New Range. + 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.
It is also possible to create range markers from a selected range or - region in the Editor window, or to use the Ranges + region in the Editor window, or to use the Ranges & Marks List in the Editor list.
diff --git a/include/cut-and-paste-operations.html b/include/cut-and-paste-operations.html deleted file mode 100644 index 41e8839..0000000 --- a/include/cut-and-paste-operations.html +++ /dev/null @@ -1,31 +0,0 @@ - -- The clipboard is a holder for various kinds of objects (regions, - control events, plugins) that is used during cut-and-paste - operations. -
- -
- A cut operation removes selected objects and places them in the
- clipboard. The existing contents of the clipboard are overwriten.
- The default key binding is x.
-
- A copy 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 c.
-
- The current contents of the clipboard are pasted (inserted)
- into the session, using the current edit point as the
- destination. The contents of the clipboard remain unchanged—you
- can paste the same item multiple times.
- The default key binding is v.
-
- These bindings strive to be mnemonic, 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—there are alternative binding sets for that—but it does make it simpler for newcomers to remember some of the most useful ones, for example
- S for Region > Edit > Split"
- or
- P for Transport > Playhead > Playhead to Mouse.
+ These bindings strive to be mnemonic, 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—there are alternative binding sets for that—but it does
+ make it simpler for newcomers to remember some of the most useful ones, for
+ example:
- 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 + S for Region > Edit > Split +
+ ++ or +
+ ++ P for Transport > Playhead > Playhead to + Mouse. +
+ ++ 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.
- 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—when the + explanation is given in terms of a standard key binding—which will have + a completely different effect on the system with the modified key bindings.
@@ -37,8 +52,8 @@
- The conventions for using modifier keys ( , , etc.) differ among platforms, so we - provide different default bindings for each. + The conventions for using modifier keys (, , , etc.) differ among + platforms, so different default bindings for each are provided.
diff --git a/include/deleting-objects.html b/include/deleting-objects.html deleted file mode 100644 index 079acdd..0000000 --- a/include/deleting-objects.html +++ /dev/null @@ -1,34 +0,0 @@ - -- Within the Editor window (and to some extent within the Mixer window too), - there are several techniques for deleting objects (regions, - control points, and more). -
- -- Select the object(s) and then press the Del key. - This does not put the deleted object(s) into the cut - buffer, so they cannot be pasted elsewhere. -
- -- Select the object(s) and then press x. This puts - the deleted object(s) into the cut buffer so that they could be pasted - elsewhere. -
- -- By default, Shift Right will delete the - clicked-upon object. Like the Del key, this does not - put the deleted object(s) into the cut buffer. -
-- The modifier and mouse button used for this can be controlled via - Edit > Preferences > User Interaction > - Delete using …. Any modifier and mouse button combination can - be used. -
- diff --git a/include/export-dialog.html b/include/export-dialog.html index 1c5a772..cc41632 100644 --- a/include/export-dialog.html +++ b/include/export-dialog.html @@ -1,12 +1,12 @@-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. Session > Export > Export to Audio file(s)… shows the Export Dialog to do this. - +
-You can also export the outputs of multiple tracks & busses all at once via +You can also export the outputs of multiple tracks & busses all at once via Session > Export > Stem Export….
@@ -60,7 +60,7 @@ to the uploaded files will become visible.
- Like a normal aux send, an external send 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 external send 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—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.
- 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.
- Context-click on the - processor box in a - channel strip (at the desired location, pre or post fader) and choose - Add new External Send. A dialog will appear - containing the standard Ardour - patchbay to allow - you to connect the send to the desired destination. + Context-click on the + processor box in a + channel strip (at the desired location, pre or post fader) and choose + Add new External Send. A dialog will appear + containing the standard Ardour + patchbay to allow + you to connect the send to the desired destination.
- 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.
- 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.
- 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.
diff --git a/include/fades-tab.html b/include/fades-tab.html index a62ced3..789aabe 100644 --- a/include/fades-tab.html +++ b/include/fades-tab.html @@ -7,12 +7,12 @@- This tab is used to change how Ardour names recorded regions. - If Prefix track number is selected a unique number will appear on each track - in the Editor 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 Prefix track number is selected a unique number will appear on each track + in the Editor 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.
If Prefix take name is selected and the Take name 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.
When Prefix take name 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.
diff --git a/include/fundamental-concepts.html b/include/fundamental-concepts.html index 1177a4b..0728d30 100644 --- a/include/fundamental-concepts.html +++ b/include/fundamental-concepts.html @@ -3,31 +3,31 @@- 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.
- MIDI, just like audio, exists in regions. MIDI regions + MIDI, just like audio, exists in regions. 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 - e key (by default) toggles between region level + e key (by default) toggles between region level and note level editing, as will double-clicking on a MIDI region.
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. -
+ diff --git a/include/getting-more-plugins.html b/include/getting-more-plugins.html index a322f56..eaadb8c 100644 --- a/include/getting-more-plugins.html +++ b/include/getting-more-plugins.html @@ -1,6 +1,6 @@- The following list shows plugin packages. In some cases, + The following list shows plugin packages. In some cases, a package contains just 1 or 2 plugins; in other cases, dozens.
@@ -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.Finding them will typically require searching 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.
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.
Most of the plugins you are likely to use on OS X will be in Apple's diff --git a/include/handling-overlapping-notes.html b/include/handling-overlapping-notes.html index d55109a..a658e32 100644 --- a/include/handling-overlapping-notes.html +++ b/include/handling-overlapping-notes.html @@ -1,16 +1,16 @@ - +
- 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—simply overlapping two instances of the same note will do it.
- 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 Session > Properties > Misc > MIDI Options.
@@ -30,11 +30,11 @@- Changing the option in use will not retroactively make changes—it will + Changing the option in use will not retroactively make changes—it will only affect new note overlaps created while the option remains chosen.
- 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.
diff --git a/include/independent-and-dependent-midi-region-copies.html b/include/independent-and-dependent-midi-region-copies.html index b94e076..f3c47be 100644 --- a/include/independent-and-dependent-midi-region-copies.html +++ b/include/independent-and-dependent-midi-region-copies.html @@ -12,12 +12,12 @@Sesson > Properties > Misc > MIDI region copies are independent can be used to control the default behaviour when - making a copy of a MIDI region. + making a copy of a MIDI region.
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.
When disabled, every new copy of a MIDI region will refer to the same
diff --git a/include/inserts.html b/include/inserts.html
index 10278f4..9a14c5a 100644
--- a/include/inserts.html
+++ b/include/inserts.html
@@ -6,11 +6,11 @@
send(s), and connecting the remainder of the channel strip to the
Insert return(s), both of which are JACK ports which are
visible to other JACK applications.
- Inserts are the JACK equivalents of normalized switching jacks on an
+ Inserts are the JACK equivalents of normalized switching jacks on an
analog console.
- 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 @@
Inserts will incur an additional JACK period of latency, which can be - measured and compensated for during mixing, but not during tracking! -
+ measured and compensated for during mixing, but not during tracking! + diff --git a/include/interchange-with-other-daws.html b/include/interchange-with-other-daws.html index 2094779..591acfe 100644 --- a/include/interchange-with-other-daws.html +++ b/include/interchange-with-other-daws.html @@ -1,16 +1,16 @@ - +It has never been particularly easy to move sessions or projects from one - DAW to another. There are two + DAW to another. There are two interchange standards that have reasonably widespread support:
- 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.
diff --git a/include/interface-elements.html b/include/interface-elements.html deleted file mode 100644 index b951f9b..0000000 --- a/include/interface-elements.html +++ /dev/null @@ -1,10 +0,0 @@ - -Add content
- --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. -
--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"—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. -
--Some people complain that Ardour is not "intuitive" to use—its -lead developer has -some thoughts on that. + 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. +
+ ++ 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"—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. +
+ ++ Some people complain that Ardour is not "intuitive" to use—its + lead developer has + some thoughts on that.
diff --git a/include/latency-and-latency-compensation.html b/include/latency-and-latency-compensation.html index 8c6d00e..fda8ec9 100644 --- a/include/latency-and-latency-compensation.html +++ b/include/latency-and-latency-compensation.html @@ -1,10 +1,10 @@Latency - 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">Latency + 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.
@@ -12,95 +12,95 @@- Since sound is a mechanical perturbation in a fluid, it travels at - comparatively slow speed - of about 340 m/s. As a consequence, your acoustic guitar or piano has a - latency of about 1–2 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 speed + of about 340 m/s. As a consequence, your acoustic guitar or piano has a + latency of about 1–2 ms, due to the propagation time of the sound + between your instrument and your ear.
- 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 ms.
- 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.
- 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.)
- Figure: Latency chain. - 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 + Figure: Latency chain. + 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.
- Processing latency is usually divided into capture latency (the time - it takes for the digitized audio to be available for digital processing, usually + Processing latency is usually divided into capture latency (the time + it takes for the digitized audio to be available for digital processing, usually one audio period), and playback latency (the time it takes for - In practice, the combination of both matters. It is called roundtrip - latency: the time necessary for a certain audio event to be captured, + In practice, the combination of both matters. It is called roundtrip + latency: the time necessary for a certain audio event to be captured, processed and played back.
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 - xrun (short for buffer over- or under-run) will make its + xrun (short for buffer over- or under-run) will make its appearance more often, leaving its merry trail of clicks, pops and crackles.
- The digital I/O latency is usually negligible for integrated or - PCI 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 + PCI audio devices, but + for USB or FireWire interfaces the bus clocking and buffering can add some milliseconds.
- Low latency is not always a feature you want to have. It - comes with a couple of drawbacks: the most prominent is increased power + Low latency is not 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 undergocontext switches - 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 undergocontext switches + between applications more often, which incur a significant overhead. + This results in a much higher system load and an increased chance of xruns.
For a few applications, low latency is critical:
- 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.)
- 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.
@@ -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. -- 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.
- 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.
- To explain that statement: During mixing or mastering you don't care
+ To explain that statement: During mixing or mastering you don'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.
- 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.
- 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, read-ahead and - write-behind. The DAW starts playing a bit early (relative to - the playhead), so that when the sound arrives at the speakers a short time + write-behind. 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.
- 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).
- As a side note, this is also one of the reasons why many projects start at - timecode 01:00:00:00. 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 01:00:00:00. - Ardour3 does handle the case of 00:00:00:00 properly but not all + As a side note, this is also one of the reasons why many projects start at + timecode 01:00:00:00. 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 01:00:00:00. + Ardour3 does handle the case of 00:00:00:00 properly but not all systems/software/hardware that you may inter-operate with may behave the same.
- 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.
- 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:
- Figure: Jack Latency Compensation. + Figure: Jack Latency Compensation.
- 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:
- JACK features an API - 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 -I - and -O 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 API + 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 -I + and -O 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.
- Linux DSP guru Fons Adriaensen wrote a tool called jack_delay - 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 jack_delay + 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 jack_iodelay.
- 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.
- 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.
You can close the loop in a number of ways:
+
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 latency - (delay) between the time you make a noise and the time that you hear it + href="/synchronization/latency-and-latency-compensation/">latency + (delay) between the time you make a noise and the time that you hear it come back from the recorder.
- The latency of any conversion from analog to digital and back to - analog is about 1.5–2 ms. Some musicians claim that even the - basic A/D/A conversion - time is objectionable. However even acoustic instruments such as the piano + The latency of any conversion from analog to digital and back to + analog is about 1.5–2 ms. Some musicians claim that even the + basic A/D/A conversion + time is objectionable. However even acoustic instruments such as the piano can have approximately 3 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 ms should be suitable for a professional recording setup. Because - 2 ms are already used in the A/D/A process, you must use extremely low - buffer sizes in your workstation I/O - setup to keep the overall latency below 5ms. Not all - computer audio systems + 2 ms are already used in the A/D/A process, you must use extremely low + buffer sizes in your workstation I/O + setup to keep the overall latency below 5ms. Not all + computer audio systems are able to work reliably at such low buffer sizes.
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.
- 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
1–2 ms.
- 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 - takes 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. + takes 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.
- 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 overlaid mode:
@@ -29,13 +29,13 @@ alt="Track layering menu" />- 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 lanes 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 lanes 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.
diff --git a/include/locations-tab.html b/include/locations-tab.html index 6d3bc66..35f0413 100644 --- a/include/locations-tab.html +++ b/include/locations-tab.html @@ -2,13 +2,13 @@- 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.
- 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. diff --git a/include/managing-plugin-presets.html b/include/managing-plugin-presets.html index 1eb50c2..9fb6a89 100644 --- a/include/managing-plugin-presets.html +++ b/include/managing-plugin-presets.html @@ -1,7 +1,7 @@ - +
- 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 plugin presets.
@@ -10,55 +10,55 @@- A preset 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 preset 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.
- The preset selector 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 preset selector 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.
- 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—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—you may see various controls in the plugin editor change to reflect the new value of some or all parameters.
- To save the current plugin settings as a new preset, click on the - Add 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 + Add button at the top of the window. A dialog + will appear to ask for the name of the preset.
- 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 Save 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 Save button + and the new values will be stored, overwriting the previous version of this preset.
- To delete an existing preset, use the preset selector to load the preset. - Click the Delete 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 Delete 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).
diff --git a/include/media-tab.html b/include/media-tab.html index 9411cc5..d26943d 100644 --- a/include/media-tab.html +++ b/include/media-tab.html @@ -8,8 +8,8 @@Sessions can have various items of metadata attached to them, via Session > Metadata > Edit Metadata… and Session > Metadata > Import Metadata….
diff --git a/include/meterbridge-tab.html b/include/meterbridge-tab.html index e61f59d..ef7f339 100644 --- a/include/meterbridge-tab.html +++ b/include/meterbridge-tab.html @@ -1,7 +1,7 @@The meters from audio tracks always display in the Meterbridge. - This tab changes what additional controls are also displayed. + This tab changes what additional controls are also displayed.
diff --git a/include/metering-in-ardour.html b/include/metering-in-ardour.html index d47b921..8dbe8c2 100644 --- a/include/metering-in-ardour.html +++ b/include/metering-in-ardour.html @@ -1,37 +1,37 @@- 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.
- 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.
- 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:
- 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… For background information and further reading we recommend:
@@ -48,25 +48,25 @@- 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 Edit > Preferences > GUI.
- 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.
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.
- Their specification is very exact, and consquently, there are no + Their specification is very exact, and consquently, there are no customizable parameters.
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 Edit > Preferences > GUI > Metering.
@@ -143,7 +143,7 @@
- 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.
@@ -156,7 +156,7 @@
- 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 dBFS 1 kHz sine wave.
@@ -166,7 +166,7 @@ alt="Needle-style meters as external LV2 plugins" /> alt="Bar-graph meters in Ardour" />- Due to layout concerns and consistent look&feel all meters available in + Due to layout concerns and consistent look&feel all meters available in Ardour itself are bar-graph type meters. Corresponding needle-style meters—which take up more visual screen space—are available as LV2 plugins (see image on the right): diff --git a/include/midi-on-linux.html b/include/midi-on-linux.html index b798b7a..307ae54 100644 --- a/include/midi-on-linux.html +++ b/include/midi-on-linux.html @@ -4,7 +4,7 @@ JACK you use. The world divides into:
-X alsa_midi
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.a2jmidid is an application that bridges between the system diff --git a/include/midi-on-os-x.html b/include/midi-on-os-x.html index 1eecc35..985e523 100644 --- a/include/midi-on-os-x.html +++ b/include/midi-on-os-x.html @@ -1,4 +1,4 @@ - +
In order for CoreMIDI to work with Jack MIDI, a CoreMIDI-to-JACK-MIDI bridge @@ -10,8 +10,8 @@
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.
diff --git a/include/midi-scene-automation.html b/include/midi-scene-automation.html index 4f6ef44..478e99d 100644 --- a/include/midi-scene-automation.html +++ b/include/midi-scene-automation.html @@ -9,7 +9,7 @@ lighting conditions based on a specific position on the timeline.Each change from one scene to another is represented by a marker in -the "Marker" bar. +the "Marker" bar.
Technically, scene changes are delivered as a combination of bank and @@ -27,7 +27,7 @@ wish to record.
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.
If 2 different scene changes are received within a certain time diff --git a/include/midi-track-controls.html b/include/midi-track-controls.html index a767c76..b5f51f2 100644 --- a/include/midi-track-controls.html +++ b/include/midi-track-controls.html @@ -1,34 +1,34 @@ - +
A typical MIDI track header looks like this:
- +- To see the full set of MIDI track controls, you need to increase the - track height - 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 + track height + beyond the default. MIDI tracks show only a few of the control elements when there is insufficient vertical space.
A MIDI track has the same basic - controls as an audio track, - with the addition of two extra elements. The set of buttons below the main track - controls the MIDI channel(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 + controls as an audio track, + with the addition of two extra elements. The set of buttons below the main track + controls the MIDI channel(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.
- To the right of the MIDI track controls is a representation of a piano keyboard
- called the scroomer. This performs a couple of functions.
+ To the right of the MIDI track controls is a representation of a piano keyboard
+ called the scroomer. 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.
Drag the body of the scrollbar up and down to display higher or lower
pitches.
- 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.
- clicking on the piano plays the corresponding MIDI note for reference.
+ clicking on the piano plays the corresponding MIDI note for reference.
To edit the contents of a MIDI track see Edit diff --git a/include/mnemonic-bindings-for-linux.html b/include/mnemonic-bindings-for-linux.html index 8f1060a..c51f92d 100644 --- a/include/mnemonic-bindings-for-linux.html +++ b/include/mnemonic-bindings-for-linux.html @@ -5,13 +5,15 @@ US Letter and A4 paper format.
+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 - AltGr to compose those glyphs that are not directly accessible. + bindings will also work on other keyboards when the AltGr key is + used to compose those glyphs that are not directly accessible.
- Most edit functions operate on a single Edit Point (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 Zoom Focus. + Most edit functions operate on a single Edit Point (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 Zoom Focus.
- Align operations move regions so that their start/end/sync - point is at the edit point. Relative operations just align the first + Align operations move regions so that their start/end/sync point + is at the edit point. Relative operations just align the first region and moves other selected regions to maintain relative positioning.
@@ -214,6 +221,7 @@- There are a few functions that refer to an Edit Range. The - current edit range is defined using combinations of the possible edit + There are a few functions that refer to an Edit Range. The + current edit range is defined using combinations of the possible edit points: playhead, active marker, or mouse.
@@ -317,6 +329,7 @@- A printable cheat sheet + A printable cheat sheet for these bindings is available for download.
- Most edit functions operate on a single Edit Point (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 Zoom Focus. + Most edit functions operate on a single Edit Point (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 Zoom Focus.
- Align operations move regions so that their start/end/sync - point is at the edit point. Relative operations just align - the first region and moves other selected regions to maintain relative - positioning. + Align operations move regions so that their start/end/sync point + is at the edit point. Relative operations just align the first + region and moves other selected regions to maintain relative positioning.
- There are a few functions that refer to an Edit Range. The - current edit range is defined using combinations of the possible edit - points: playhead, active marker, ormouse. + There are a few functions that refer to an Edit Range. The + current edit range is defined using combinations of the possible edit + points: playhead, active marker, or mouse.
Ardour has three main settings which affect how - monitoring is performed. The first is - Edit > Preferences > Audio > + monitoring is performed. The first is + Edit > Preferences > Audio > Record monitoring handled by. There are two or three options here, depending on the capabilities of your hardware.
-The other two settings are more complex. One is +
The other two settings are more complex. One is Tape machine mode, found in the same dialog, and the other is the Session > Properties > Monitoring automatically follows transport state setting. -
+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.
--If Ardour is set to external monitoring, the explanation of -Ardour's monitoring behaviour is simple: it does not do any. +If Ardour is set to external monitoring, the explanation of +Ardour's monitoring behaviour is simple: it does not do any.
When Tape-Machine mode is off, and a track is armed, - Ardour always monitors the live input, except in one case: + Ardour always monitors the live input, except in one case: the transport is rolling, the session is not recording, and - auto-input + auto-input is active. In this case only, you will hear playback from an armed track. -
+Unarmed tracks will play back their contents from disc, unless the transport is stopped and auto-input is enabled. @@ -40,11 +40,11 @@ Ardour's monitoring behaviour is simple: it does not do any.
- In Tape-Machine mode, things are slightly simpler: when a + In Tape-Machine mode, things are slightly simpler: when a track is armed, its behaviour is the same as in non-tape-machine mode. -
+- 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.
diff --git a/include/monitor-signal-flow.html b/include/monitor-signal-flow.html index f65c0dc..4354c24 100644 --- a/include/monitor-signal-flow.html +++ b/include/monitor-signal-flow.html @@ -1,34 +1,34 @@There are three basic ways to approach monitoring:
-When using external monitoring, 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.
+ 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. -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 hardware monitoring. 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. -
+ -With the software monitoring approach, all monitoring is performed by Ardour—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. -
+ depends for the most part on the JACK buffer size that is being used. + diff --git a/include/monitoring-tab.html b/include/monitoring-tab.html index b20852d..84ee9b6 100644 --- a/include/monitoring-tab.html +++ b/include/monitoring-tab.html @@ -7,14 +7,14 @@The Track Input Monitoring automatically follows transport state - affects how input monitoring is handling. See + affects how input monitoring is handling. See Monitor Setup in Ardour.
- The 'Use monitor section' displays an extra section in the Mixer + The 'Use monitor section' displays an extra section in the Mixer window that is modelled on the similiarly named section on large analog consoles.
diff --git a/include/monitoring.html b/include/monitoring.html index 29b20c7..c311c4f 100644 --- a/include/monitoring.html +++ b/include/monitoring.html @@ -1,9 +1,9 @@- 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 monitor (i.e. listen to) - the input signal of all tracks that are armed for recording, and playing + Audio recorders typically let you monitor (i.e. listen to) + the input signal of all tracks that are armed for recording, and playing back the unarmed tracks.
diff --git a/include/move-regions-with-the-mouse.html b/include/move-regions-with-the-mouse.html index ffdc9fc..6b294c6 100644 --- a/include/move-regions-with-the-mouse.html +++ b/include/move-regions-with-the-mouse.html @@ -1,35 +1,35 @@- 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.
- Move the pointer into the region, use a Left-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 Left-drag. + The region will follow the pointer as you move it around. By default, + the region can move freely along the timeline.
- 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.
- To move multiple regions, select them before moving. Then - Left-drag one of the selected regions. All the + To move multiple regions, select them before moving. Then + Left-drag one of the selected regions. All the regions will move, keeping their positions relative to each other.
- 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 Middle-drag instead.
diff --git a/include/move-regions.html b/include/move-regions.html index 746bbce..e87a4d9 100644 --- a/include/move-regions.html +++ b/include/move-regions.html @@ -24,7 +24,7 @@ If Snap To Grid 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 Snap To the Grid + See Snap To the Grid for details. diff --git a/include/moving-markers.html b/include/moving-markers.html index f9f873c..a11bd16 100644 --- a/include/moving-markers.html +++ b/include/moving-markers.html @@ -1,23 +1,23 @@ - +- Left-click and drag to move a single marker to a + Left-click and drag to move a single marker to a new location on the timeline.
It is possible to move multiple markers by the same distance. Left-click each marker you want to move, then drag + class="mouse mod1">Left-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.
- Left-drag either end of the range marker. The + Left-drag either end of the range marker. The other end will move by the same distance.
diff --git a/include/muting-and-soloing.html b/include/muting-and-soloing.html index 952ce3e..b73fb0f 100644 --- a/include/muting-and-soloing.html +++ b/include/muting-and-soloing.html @@ -1,14 +1,14 @@- Each track and bus has two buttons which have important implications - for signal flow: mute and solo. 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: mute and solo. The behaviour + of these buttons is configurable in Ardour, to suit different studio set-ups.
- 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:
- For setups with a monitor bus, you have more options, mostly - governed by the setting of the - Solo controls are Listen controls option + For setups with a monitor bus, you have more options, mostly + governed by the setting of the + Solo controls are Listen controls option in Edit > Preferences > Solo / mute.
- With Solo controls are Listen controls - unticked, behaviour is almost exactly the same as the situation - without a monitor bus. Mute and solo behave the same, and the monitor + With Solo controls are Listen controls + 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.
- With
- 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:
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 - PFL signals come from 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 + PFL signals come from and AFL signals come from options.
@@ -71,15 +71,15 @@
- 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.
- 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.
@@ -91,41 +91,40 @@- 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.
- 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.
- 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.
- 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.
- 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.
- diff --git a/include/newopen-session-dialog.html b/include/newopen-session-dialog.html index 3a47320..10244a5 100644 --- a/include/newopen-session-dialog.html +++ b/include/newopen-session-dialog.html @@ -1,16 +1,16 @@The initial Session dialog consists of several consecutive pages: -
+
- On this page, you can open an existing session. You can also
- open any snapshot 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 existing session. You can also
+ open any snapshot 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 Other
- Sessions button will bring up a file selection dialog to navigate
+ Sessions button will bring up a file selection dialog to navigate
your hard drive.
Alternatively, you can opt to create a New
Session.
@@ -18,24 +18,24 @@
- 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 template.
- Under Advanced Options, you can select whether you wish to create + Under Advanced Options, 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.
- 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.
diff --git a/include/note-cut-copy-and-paste.html b/include/note-cut-copy-and-paste.html index d35099d..0327413 100644 --- a/include/note-cut-copy-and-paste.html +++ b/include/note-cut-copy-and-paste.html @@ -1,9 +1,9 @@ - +- While in note edit mode, selected notes can be cut using - x, copied with c and - deleted with Delete, 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 + x, copied with c and + deleted with Delete, just as regions can. Once cut or + copied, they can be pasted at the edit point using v.
diff --git a/include/note-selection.html b/include/note-selection.html index 4a6c57e..753b9a2 100644 --- a/include/note-selection.html +++ b/include/note-selection.html @@ -1,43 +1,43 @@- Tab selects the next note. Tab selects the previous - note. Tab or Tab adds + Tab selects the next note. Tab selects the previous + note. Tab or Tab adds the next/previous note to the selection.
- While in mouse object mode, you can click on a note to select it. Once you - have selected one note, Left-click on another - to select all notes between them. To add or remove a note to/from the - selection, click Left. 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, Left-click on another + to select all notes between them. To add or remove a note to/from the + selection, click Left. You can also click and drag outside of a note to rubberband select a series of notes.
- Three different selection operations are possible if you switch to mouse + Three different selection operations are possible if you switch to mouse range mode:
- If Edit > Preferences > MIDI > Sound MIDI notes - as they are selected is enabled, Ardour will send a pair of - NoteOn/NoteOff messages through the track, which will typically allow you to + If Edit > Preferences > MIDI > Sound MIDI notes + as they are selected 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.
diff --git a/include/on-clock-and-time.html b/include/on-clock-and-time.html index 5c7ac1c..2ebbf6f 100644 --- a/include/on-clock-and-time.html +++ b/include/on-clock-and-time.html @@ -1,31 +1,31 @@- Synchronization in multimedia involves two concepts which are - often confused: clock (or speed) and time (location + Synchronization in multimedia involves two concepts which are + often confused: clock (or speed) and time (location in time).
- A clock determines the speet at which one or more systems - operate. In the audio world this is generally referred to as + A clock determines the speet at which one or more systems + operate. In the audio world this is generally referred to as Word Clock. - 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—at 48 kHz, its period is about 20 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—at 48 kHz, its period is about 20 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.
- Time or timecode specifies an absolute position on a timeline,
- such as 01:02:03:04
(expressed as Hours:Mins:Secs:Frames). It is
+ Time or timecode specifies an absolute position on a timeline,
+ such as 01:02:03:04
(expressed as Hours:Mins:Secs:Frames). It is
actual data and not a clock signal per se.
- The granularity of timecode is Video Frames and is an order of
- magnitude lower than, say, Word Clock which is counted in
+ The granularity of timecode is Video Frames and is an order of
+ magnitude lower than, say, Word Clock which is counted in
samples. A typical frame rate is 25 fps with a period of
40 ms.
- In the case of 48 kHz and 25 fps, there are 1920 audio samples
+ In the case of 48 kHz and 25 fps, there are 1920 audio samples
per video frame.
- 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—Sample Rate Conversion), which is expensive in terms of CPU usage and may decreases fidelity if done incorrectly.
- 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.
- To make things confusing, there are possibilities to synchronize clocks - using timecode. e.g. using mechanism called jam-sync and a + To make things confusing, there are possibilities to synchronize clocks + using timecode. e.g. using mechanism called jam-sync and a phase-locked loop.
- 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.
diff --git a/include/overview-of-all-timecode-related-settings.html b/include/overview-of-all-timecode-related-settings.html index b0994c0..c4f4c9d 100644 --- a/include/overview-of-all-timecode-related-settings.html +++ b/include/overview-of-all-timecode-related-settings.html @@ -13,14 +13,14 @@+
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. diff --git a/include/patch-change.html b/include/patch-change.html index 99f43fd..b567272 100644 --- a/include/patch-change.html +++ b/include/patch-change.html @@ -13,7 +13,7 @@
Ensure that the - edit point is + edit point 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 MIDI > Insert Patch Change. A diff --git a/include/patchbay.html b/include/patchbay.html index 50f9694..4f76400 100644 --- a/include/patchbay.html +++ b/include/patchbay.html @@ -1,31 +1,31 @@ - +
- The patchbay is the main way to make connections to, from and - within Ardour's mixer. + The patchbay is the main way to make connections to, from and + within Ardour's mixer.
- 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.
- The patchbay presents two groups of ports; one set of sources - (which produce data), and one of destinations (which consume - data). Depending + The patchbay presents two groups of ports; one set of sources + (which produce data), and one of destinations (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.
- 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:
- The main part of the patchbay is a matrix grid. Within this + The main part of the patchbay is a matrix grid. 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.
- In the example patchbay shown above we can note various things. We are - using the Ardour Tracks sources tab, so we see - the output ports of the three tracks in our session: Fred, Jim and Foo. - Our destinations are from the Ardour Busses 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 Ardour Tracks sources tab, so we see + the output ports of the three tracks in our session: Fred, Jim and Foo. + Our destinations are from the Ardour Busses 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).
- 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.
- Slightly different versions of the patchbay are available from different - places in Ardour. For a global view of all JACK audio connections, use - Window > Audio Patchbay, or press - P. 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 + Window > Audio Patchbay, or press + P. A corresponding MIDI Connection Manager can be opened using 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.
- 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:
In the track header (editor window, left pane) is a button labelled p (for "Playlist"). If you click on this button, Ardour + class="menu">p (for "Playlist"). If you click on this button, Ardour displays the following menu:
- 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 Cowbell.1. 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 Cowbell.1. 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 Lead Guitar, 2nd - take, vocals (quiet), - and downbeat cuica. Notice how these might be - different from the associated track names, which for these examples might - be Lead Guitar, - Vocals and Cuica. 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, vocals (quiet), + and downbeat cuica. Notice how these might be + different from the associated track names, which for these examples might + be Lead Guitar, + Vocals and Cuica. 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.
@@ -50,18 +50,18 @@
- It is entirely possible to share playlists 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 share playlists 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.
- 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 independent copy 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 independent copy of it for that track. You can then edit this playlist without affecting the original.
diff --git a/include/playlist-usecases.html b/include/playlist-usecases.html index 758c07e..1204312 100644 --- a/include/playlist-usecases.html +++ b/include/playlist-usecases.html @@ -1,15 +1,15 @@
- 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).
- 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.
+
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 @@
- Using Playlists for takes is a good solution if you are going - to need the ability to edit individual takes, and select between them. + Using Playlists for takes is a good solution if you are going + to need the ability to edit individual takes, and select between them.
- Each time you start a new take, create a new playlist with - p > New - 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 + p > New + Later, you can Select your way back to previous or later takes as desired.
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.
- 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.
- The same approach as for takes is useful when you are recording or +
+ 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.
Select the appropriate language before exporting the session.
Context-click on the processor to be removed, and select Delete; or Right-click on it; or Left-click on it and press the Delete key. If multiple processors are selected, they will all be deleted at the same time.
- diff --git a/include/punch-range.html b/include/punch-range.html index 6338f18..0eded06 100644 --- a/include/punch-range.html +++ b/include/punch-range.html @@ -5,7 +5,7 @@It can be defined on the timeline or in the - Ranges & Marks + Ranges & Marks list.
diff --git a/include/pushpull-trimming.html b/include/pushpull-trimming.html index cef50e6..e3c9e62 100644 --- a/include/pushpull-trimming.html +++ b/include/pushpull-trimming.html @@ -1,26 +1,26 @@- 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—you are not trying to make one of the regions extend - over the other—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. - Push/Pull trim, 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—you are not trying to make one of the regions extend + over the other—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. + Push/Pull trim, 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:
- 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:
- 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.
@@ -29,8 +29,8 @@
- 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.
diff --git a/include/quantize-midi.html b/include/quantize-midi.html index 73267f0..9880cc8 100644 --- a/include/quantize-midi.html +++ b/include/quantize-midi.html @@ -1,4 +1,4 @@ - +Accessed via q, the dialog includes:
In the editor window, right clicking (context clicking) on a region displays a menu with track and region operations. The menu begins with the - name of the region, or Selected Regions if multiple + name of the region, or Selected Regions if multiple regions are selected.
- 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 Choose Top. This - dialog lets you select which region you want on the top layer. See + dialog lets you select which region you want on the top layer. See Adjusting Region Layering for more details.
- Below these items is the rest of the - Track Context Menu, which + Below these items is the rest of the + Track Context Menu, which provides access to track-level operations. 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:
Region names are initially derived from either
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 entire audio - file. This region will have the name of the track/playlist/original file, + to the session, a new region is created that represents the entire audio + file. 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.
- For recorded regions, the number will increase each time a new recording + For recorded regions, the number will increase each time a new recording is made. So, for example, if there is a playlist called - Didgeridoo, the + Didgeridoo, the first recorded whole file region for that playlist will be called Digderidoo-1. The next one will be Digeridoo-2 and so on.
- For imported regions, the region name will be based on the original file + For imported regions, the region name will be based on the original file name, but with any final suffix (e.g. ".wav" or ".aiff") removed.
- 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.
- When a region is inserted into a track and playlist, its initial name will - end in a version number, such as .1. For a recorded region, - if the whole file region was Hang drum-1, then the region in - the track will appear with the name Hang drum-1.1. For an - imported region, if the whole file region was Bach:Invention3, + When a region is inserted into a track and playlist, its initial name will + end in a version number, such as .1. For a recorded region, + if the whole file region was Hang drum-1, then the region in + the track will appear with the name Hang drum-1.1. For an + imported region, if the whole file region was Bach:Invention3, then the region in the track will appear with the name Bach:Invention3.1.
- If you copy a region, it initially shares the same name as the original. - When you perform an operation modifies one of the copies, Ardour will + If you copy a region, 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.
- You can rename a region at any time. Use the region context menu to - pop up the Rename 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 rename a region at any time. Use the region context menu to + pop up the Rename 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).
diff --git a/include/renaming-a-session.html b/include/renaming-a-session.html index 02c0aab..7ef0e87 100644 --- a/include/renaming-a-session.html +++ b/include/renaming-a-session.html @@ -1,4 +1,4 @@ - +Use Session > Rename to give the session a new name. A dialog will appear asking for the new name. diff --git a/include/searching-for-files-using-tags.html b/include/searching-for-files-using-tags.html index cfd86d3..0878b06 100644 --- a/include/searching-for-files-using-tags.html +++ b/include/searching-for-files-using-tags.html @@ -1,20 +1,20 @@
- A tag 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 database so that you can quickly search for sounds based - on the tags that you have assigned to them. + A tag 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 database so that you can quickly search for sounds based + on the tags that you have assigned to them.
- For example you can assign the term 120bpm to a + For example you can assign the term 120bpm 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 sfdb in your Ardour user folder.
- To add tags to a given file, open the Session > Import
+ To add tags to a given file, open the Session > Import
dialog, select the file in the browser, and type new tags into tag area in
the soundfile information box on the right.
Tags are stored when the input box loses focus, there is no need to
@@ -22,9 +22,9 @@
You can search for specific tags in the Search Tags tab of the same dialog. Files which have - been tagged with the relevant terms will appear in the results window. + class="menu">Search Tags 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.
diff --git a/include/selecting-tracks.html b/include/selecting-tracks.html index dfeeb16..f319bfe 100644 --- a/include/selecting-tracks.html +++ b/include/selecting-tracks.html @@ -6,21 +6,21 @@ class="mod3 mouse">Left.- By default, selecting regions has no impact on - track selection. - 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, selecting regions has no impact on + track selection. + 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).
- In some workflows, and particularly if you have experience with - other DAWs, 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 DAWs, 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.
diff --git a/include/selection-techniques.html b/include/selection-techniques.html deleted file mode 100644 index ef78d48..0000000 --- a/include/selection-techniques.html +++ /dev/null @@ -1,54 +0,0 @@ - -
- Ardour follows the conventions used by most other computer software - (including other DAWs) for selecting objects in the - GUI. -
- -- Clicking on an object (sometimes on a particular part of its - on-screen representation) will select the object, and deselect other - similar objects. -
- -- A left click on an object toggles its - selected status, so using left - on a series of objects will select (or deselect) each one of them. You can - construct completely arbitrary selections with this technique. -
- -- 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 - left on another to select both of them as - well as all objects in between. -
- -- To select a time range in the Editor, - click Left and drag the mouse. - A Left drag then lets you create other - ranges and a left click extends a range - to cover a wider area. -
- -- 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 Edit > Undo Selection Change will restore your - previous selection. - If you then decide that you had in fact made the correct change, choosing - Edit > Redo Selection Change will take you back - to where you were before you chose Edit > Undo Selection Change. -
- diff --git a/include/separate-range.html b/include/separate-range.html index f355fcb..e8e7a88 100644 --- a/include/separate-range.html +++ b/include/separate-range.html @@ -1,10 +1,10 @@- A final new editing feature is an operation in the context menu of a - range labelled Separate Regions Under Range. - 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 Separate Regions Under Range. + 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.
diff --git a/include/separate-under.html b/include/separate-under.html index bde9289..773e6c6 100644 --- a/include/separate-under.html +++ b/include/separate-under.html @@ -1,24 +1,24 @@
- 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 Edit > Separate > Separate
- Under. This will split the lower region so that it no longer overlaps
+ Under. This will split the lower region so that it no longer overlaps
the upper region at all.
- 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:
- When we perform the Separate Under edit, the lower region splits + When we perform the Separate Under edit, the lower region splits in two, with boundaries exactly positioned at the edges of the upper region:
- If the upper region covers only one end of the lower region, then this - operation is equivalent to - Trim to Next or Trim to Previous, + If the upper region covers only one end of the lower region, then this + operation is equivalent to + Trim to Next or Trim to Previous, depending on which end is covered.
diff --git a/include/session-misc-tab.html b/include/session-misc-tab.html index 1b80017..22b3e17 100644 --- a/include/session-misc-tab.html +++ b/include/session-misc-tab.html @@ -8,16 +8,16 @@- Session templates are a way to store the setup of a session + Session templates are a way to store the setup of a session for future use. They do not store any audio data but can store:
- Choose Session > Save Template. A dialog will ask + Choose Session > Save Template. A dialog will ask you for the name of the new template.
- 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.
- 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.
- See also Adding Tracks and Busses for information + See also Adding Tracks and Busses for information on templates for individual tracks or busses.
diff --git a/include/setting-up-midi.html b/include/setting-up-midi.html index 027edaa..17d9281 100644 --- a/include/setting-up-midi.html +++ b/include/setting-up-midi.html @@ -4,7 +4,7 @@ MIDI is a way to describe musical performances and to control music hardware and software. - +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 @@
MIDI input and output for Ardour are handled by the same "engine" - that handles audio input and output. + that handles audio input and output.
By default, JACK will not automatically detect and use existing MIDI diff --git a/include/setting-up-your-system.html b/include/setting-up-your-system.html index 7f8c3a6..fe690ab 100644 --- a/include/setting-up-your-system.html +++ b/include/setting-up-your-system.html @@ -1,4 +1,4 @@ - +
Using a general purpose computer for recording digital audio is not trivial. This chapter will guide you through the basic steps and help diff --git a/include/signal-routing.html b/include/signal-routing.html index 0f4b716..4176d02 100644 --- a/include/signal-routing.html +++ b/include/signal-routing.html @@ -1,6 +1,6 @@
- Ardour does most of its internal signal routing via JACK:
+ Ardour does most of its internal signal routing 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
- 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—it is generally not necessary and often leads to problems.
- 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.
diff --git a/include/ssl-nucleus.html b/include/ssl-nucleus.html index c31fcd9..31bd12f 100644 --- a/include/ssl-nucleus.html +++ b/include/ssl-nucleus.html @@ -15,7 +15,7 @@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).
We have prepared a profile in which as many buttons as possible send @@ -124,7 +124,7 @@
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.
Communication should be automatically established with the Nucleus. diff --git a/include/starting-ardour.html b/include/starting-ardour.html index 4c75f01..03dfbaa 100644 --- a/include/starting-ardour.html +++ b/include/starting-ardour.html @@ -1,30 +1,42 @@
There are several ways of starting Ardour, which may vary - depending on which platform you are using it. + depending on which platform it is being used on:
+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 Edit > Preferences dialog.
+- If you want to use JACK, in general, it is sensible to start it before 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 CLI, or using a GUI - program, like QjackCtl or Cadence. + If JACK is needed, in general, it is sensible to start it before + 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 + CLI of a terminal, or by using a + GUI program, like QjackCtl or Cadence.
-- If you open Ardour without specifying an existing session it will display - the Session > New… dialog and the Audio/MIDI Setup dialog. - See New/Open Session Dialog for a description of those dialogs. + +
+ If Ardour is opened without specifying an existing session, it will display + the Session > New… dialog and the Audio/MIDI Setup dialog. See New/Open Session Dialog for a description + of those dialogs.
- To start Ardour with an existing session: + To start Ardour with an existing session, use:
+ Ardour5 /path/to/session +- 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.
+- To start Ardour with a new, named session: + To start Ardour with a new, named session, use:
+ Ardour5 -N /path/to/session diff --git a/include/stem-exports.html b/include/stem-exports.html index cde2c11..8b24e70 100644 --- a/include/stem-exports.html +++ b/include/stem-exports.html @@ -1,6 +1,6 @@ - +- Stem exports are covered fully in the + Stem exports are covered fully in the Export 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 diff --git a/include/step-entry.html b/include/step-entry.html index bea5151..22d4706 100644 --- a/include/step-entry.html +++ b/include/step-entry.html @@ -1,15 +1,15 @@
- Sometimes you will want to edit MIDI data directly from a connected + Sometimes you will want to edit MIDI data directly from a connected MIDI device like a music keyboard or pad controller. Sometimes you will - want to use the mouse. Sometimes you'll want the fine-grain control, - precision and speed of entry that comes from using a custom note entry - dialog. + want to use the mouse. Sometimes you'll want the fine-grain control, + precision and speed of entry that comes from using a custom note entry + dialog.
- The step entry dialog is accessed via a right click context menu on the - rec-enable button, because step entry is related to recording - MIDI data. You cannot simultaneously step edit and record MIDI via the + The step entry dialog is accessed via a right click context menu on the + rec-enable button, because step entry is related to recording + MIDI data. You cannot simultaneously step edit and record MIDI via the track's MIDI port.
@@ -34,7 +34,7 @@- More or less all actions in the step entry dialog can be driven - directly from the keyboard, so you do not need to keep moving back + More or less all actions in the step entry dialog can be driven + directly from the keyboard, so you do not need to keep moving back and forth from keyboard to mouse to do complex data insertion.
diff --git a/include/stereo-panner.html b/include/stereo-panner.html index b02feb6..35fd4ab 100644 --- a/include/stereo-panner.html +++ b/include/stereo-panner.html @@ -6,9 +6,9 @@The stereo panner assumes that the signals - you wish to distribute are either uncorrelated (i.e. totally - independent), or that they contain a stereo image which is - mono-compatible, such as a co-incident microphone recording, or a + you wish to distribute are either uncorrelated (i.e. totally + independent), or that they contain a stereo image which is + mono-compatible, such as a co-incident microphone recording, or a sound stage that has been created with pan pots.*
@@ -31,7 +31,7 @@ center of the stereo image is relative to the left and right edges. When this is the middle of the panner, the stereo image is centered between the left and right outputs. When it all the way to - the left, the stereo image collapses to just the left speaker. + the left, the stereo image collapses to just the left speaker.
In the bottom half are two signal indicators, one marked "L" and the @@ -44,15 +44,15 @@ It is possible to invert the outputs (see below) so that whatever would have gone to the right channel goes to the left and vice versa. When this happens, the entire movable part of the panner - changes color to indicate clearly that this is the case. + changes color to indicate clearly that this is the case.
Although the implementation of the panner uses the "position" - parameter, when the user interface displays it numerically, it shows - a pair of numbers that will be familiar to most audio engineers. + parameter, when the user interface displays it numerically, it shows + a pair of numbers that will be familiar to most audio engineers.