From 7a4c28bd8605e90876ebee619de364ab7001e405 Mon Sep 17 00:00:00 2001 From: Shamus Hammons Date: Fri, 24 Feb 2017 23:30:29 -0600 Subject: [PATCH] Rearrangement and cleanup of Part I. This includes rewriting out all of the "you" language that was peppered throughout, fixing inconsistencies in layout, and removing
s wherever they were misused and unnecessary (which was quite a lot). --- build.py | 14 +- include/about-ardours-documentation.html | 108 ++++++---- include/add-new-notes.html | 32 +-- include/adding-pre-existing-material.html | 18 +- include/adding-tracks-busses-and-vcas.html | 16 +- include/additional-resources.html | 30 +-- include/ardour-concepts.html | 2 - include/ardour-overview.html | 95 ++++++++ include/audio-track-controls.html | 14 +- include/aux-sends.html | 76 +++---- include/backup-and-sharing-of-sessions.html | 1 + include/balance-control.html | 4 +- include/basic-gui-operations.html | 193 ++++++++++++++++- ...r-devices-in-mackielogic-control-mode.html | 20 +- include/bus-controls.html | 10 +- include/change-note-properties.html | 52 ++--- include/cleaning-up-sessions.html | 4 +- include/common-region-edit-operations.html | 2 +- .../comparing-aux-sends-and-subgroups.html | 14 +- include/controlling-playback.html | 2 +- include/controlling-track-appearance.html | 2 +- include/controlling-track-ordering.html | 8 +- include/copy-regions.html | 20 +- include/copying-the-interchange-folder.html | 18 +- include/copying-versus-linking.html | 22 +- include/corresponding-regions-selection.html | 26 +-- include/create-midi-regions.html | 12 +- include/create-midi-tracks.html | 16 +- .../create-region-fades-and-crossfades.html | 8 +- include/creating-music-with-ardour.html | 171 ++++++++------- include/creating-range-markers.html | 16 +- include/cut-and-paste-operations.html | 31 --- include/default-keyboard-bindings.html | 47 ++-- include/deleting-objects.html | 34 --- include/export-dialog.html | 8 +- include/external-sends.html | 44 ++-- include/fades-tab.html | 6 +- include/filenames-tab.html | 12 +- include/fundamental-concepts.html | 24 +-- include/getting-more-plugins.html | 8 +- include/handling-overlapping-notes.html | 22 +- ...dent-and-dependent-midi-region-copies.html | 4 +- include/inserts.html | 8 +- include/interchange-with-other-daws.html | 10 +- include/interface-elements.html | 10 - ...snt-this-a-really-complicated-program.html | 44 ++-- include/latency-and-latency-compensation.html | 182 ++++++++-------- include/latency-considerations.html | 32 +-- include/layering-display.html | 28 +-- include/locations-tab.html | 6 +- include/managing-plugin-presets.html | 50 ++--- include/media-tab.html | 4 +- include/metadata.html | 2 +- include/meterbridge-tab.html | 2 +- include/metering-in-ardour.html | 80 +++---- include/midi-on-linux.html | 4 +- include/midi-on-os-x.html | 6 +- include/midi-scene-automation.html | 4 +- include/midi-track-controls.html | 30 +-- include/mnemonic-bindings-for-linux.html | 31 ++- include/mnemonic-bindings-for-os-x.html | 38 ++-- include/monitor-setup-in-ardour.html | 28 +-- include/monitor-signal-flow.html | 20 +- include/monitoring-tab.html | 4 +- include/monitoring.html | 6 +- include/move-regions-with-the-mouse.html | 30 +-- include/move-regions.html | 2 +- include/moving-markers.html | 12 +- include/muting-and-soloing.html | 93 ++++---- include/newopen-session-dialog.html | 28 +-- include/note-cut-copy-and-paste.html | 10 +- include/note-selection.html | 26 +-- include/on-clock-and-time.html | 48 ++--- ...view-of-all-timecode-related-settings.html | 44 ++-- include/panning.html | 2 +- include/patch-change.html | 2 +- include/patchbay.html | 114 +++++----- include/playlist-operations.html | 50 ++--- include/playlist-usecases.html | 34 +-- .../preferences-and-session-properties.html | 6 +- include/processor-box.html | 1 - include/punch-range.html | 2 +- include/pushpull-trimming.html | 28 +-- include/quantize-midi.html | 2 +- include/region-context-menu.html | 12 +- include/region-naming.html | 38 ++-- include/renaming-a-session.html | 2 +- include/searching-for-files-using-tags.html | 24 +-- include/selecting-tracks.html | 24 +-- include/selection-techniques.html | 54 ----- include/separate-range.html | 10 +- include/separate-under.html | 18 +- include/session-misc-tab.html | 16 +- include/session-templates.html | 16 +- include/setting-up-midi.html | 8 +- include/setting-up-your-system.html | 2 +- include/signal-routing.html | 14 +- include/ssl-nucleus.html | 4 +- include/starting-ardour.html | 54 +++-- include/stem-exports.html | 4 +- include/step-entry.html | 20 +- include/stereo-panner.html | 36 ++-- include/strip-silence-from-audio-regions.html | 14 +- include/subgrouping.html | 26 +-- include/supported-file-formats.html | 2 +- include/sync-tab.html | 2 +- ...ght-computer-system-for-digital-audio.html | 10 +- include/the-session-menu.html | 1 + include/timecode-generators-and-slaves.html | 202 +++++++++--------- include/timecode-tab.html | 8 +- include/tooltips.html | 15 -- include/track-color.html | 20 +- include/track-height.html | 28 +-- include/track-recording-modes.html | 8 +- include/track-types.html | 80 +++---- include/transcoding-formats-amp-codecs.html | 46 ++-- ...orming-midi---mathematical-operations.html | 2 +- ...anding-basic-concepts-and-terminology.html | 182 ++++++++-------- include/understanding-playlists.html | 66 +++--- include/undoredo-for-editing.html | 33 --- include/using-aatranslator.html | 2 +- include/using-more-than-one-audio-device.html | 22 +- include/using-the-ableton-push-2.html | 20 +- include/using-the-mouse.html | 104 +++++---- include/using-the-presonus-faderport.html | 14 +- include/vbap-panner.html | 16 +- include/video-timeline-and-monitoring.html | 10 +- include/video-timeline-setup.html | 18 +- include/waveform-display.html | 12 +- include/welcome-to-ardour_2.html | 86 -------- include/whats-in-a-session.html | 18 +- include/where-are-sessions-stored.html | 2 +- include/which-regions-are-affected.html | 20 +- include/why-is-it-called-ardour.html | 41 ++-- include/why-write-a-daw-for-linux.html | 78 ++++--- include/why-write-another-daw.html | 18 -- include/workflow-amp-operations.html | 52 ++--- ...king-with-ardour-built-plugin-editors.html | 14 +- include/working-with-extenders.html | 2 +- include/working-with-markers.html | 12 +- master-doc.txt | 126 ++++------- source/css/app.css | 3 +- 142 files changed, 2157 insertions(+), 2063 deletions(-) delete mode 100644 include/ardour-concepts.html create mode 100644 include/ardour-overview.html delete mode 100644 include/cut-and-paste-operations.html delete mode 100644 include/deleting-objects.html delete mode 100644 include/interface-elements.html delete mode 100644 include/selection-techniques.html delete mode 100644 include/tooltips.html delete mode 100644 include/undoredo-for-editing.html delete mode 100644 include/welcome-to-ardour_2.html delete mode 100644 include/why-write-another-daw.html 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 = ' >
  • '+ fs[pos]['title'] + '
    • ' # The > is for Bootstrap pre-3.0 + breadcrumbs = ' >
  • '+ fs[pos]['title'] + '
    • ' + while pos >= 0: - pos = GetParent(fs,pos) + pos = GetParent(fs, pos) + if pos >= 0: breadcrumbs=' >
  • '+ fs[pos]['title'] + '
    • '+ breadcrumbs breadcrumbs = '
    1. Home
      2. ' + breadcrumbs + '
    ' return breadcrumbs + # # Make an array of children attached to each node in the file structure # (It's a quasi-tree structure, and can be traversed as such.) @@ -443,9 +448,9 @@ for header in fileStruct: elif level == 2: toc = toc + ' ' + header['title'] + '
    \n' elif level == 3: - toc = toc + ' ' + header['title'] + '
    \n' + toc = toc + ' ' + header['title'] + '
    \n' elif level == 4: - toc = toc + ' ' + header['title'] + '
    \n' + toc = toc + ' ' + header['title'] + '
    \n' # Make the 'this thing contains...' stuff if HaveChildren(fileStruct, pageNumber): @@ -555,3 +560,4 @@ tocFile.close() if not quiet: print('Processed ' + str(fileCount) + ' files.') + diff --git a/include/about-ardours-documentation.html b/include/about-ardours-documentation.html index 5a1becf..1bc7bdc 100644 --- a/include/about-ardours-documentation.html +++ b/include/about-ardours-documentation.html @@ -1,50 +1,56 @@

    Conventions Used In This Manual

    +

    This section covers some of the typographical and language conventions used in this manual.

    Keyboards and Modifiers

    +

    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.

    Mouse Buttons

    +

    - 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.

    Mouse click modifiers

    +

    Many editing functions are performed by clicking the mouse while holding a modifier key, for example Left.

    Mouse wheel

    +

    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 @@

    Context-click

    +

    - 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.

    "The Pointer"

    +

    - 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.

    Other user input

    +

    - 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

    +

    - 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.

    Preference/Dialog Options

    +

    - 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.

    User Input

    +

    - 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

    Program Output

    +

    - Important messages from Ardour or other programs will be displayed - like this. + Important messages from Ardour or other programs will be displayed like + this.

    Notes

    +

    Important notes about things that might not otherwise be obvious are shown in this format.

    Warnings

    +

    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 @@ - +

    Adding new notes

    - 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 @@
    Selecting, moving, copying, trimming, deleting regions
    - leave Note Level Editing disabled, use object, + leave Note Level Editing disabled, use object, range or other mouse modes
    Selecting, moving, copying trimming, deleting notes
    @@ -37,8 +37,8 @@

    - 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.

    diff --git a/include/adding-tracks-busses-and-vcas.html b/include/adding-tracks-busses-and-vcas.html index eed7f23..6589f24 100644 --- a/include/adding-tracks-busses-and-vcas.html +++ b/include/adding-tracks-busses-and-vcas.html @@ -13,7 +13,7 @@
    Add
    Here you can select the number of tracks, busses or VCAs you wish to create, and their types.
    -
    Name
    +
    Name
    Defines the name of the new track(s). If multiple tracks are created, or if a track with the same name already exists, a space and number will be happened at the end (e.g.: Audio 1, Audio 2…)
    Configuration
    This menu lets you choose from a number of route templates, which determine the number of input ports and optionally contain plugins and other mixer strip configuration. The most common choices here are mono and stereo.
    @@ -23,9 +23,9 @@
    This option is only available for MIDI tracks and busses and lets you select a default instrument from the list of available plugins.
    Group
    -
    Tracks and busses can be assigned groups so that a selected range of - operations are applied to all members of a group at the same time (selecting - record enable, or editing, for example). This option lets you assign to an +
    Tracks and busses can be assigned groups so that a selected range of + operations are applied to all members of a group at the same time (selecting + record enable, or editing, for example). This option lets you assign to an existing group, or create a new group.
    Insert
    Defines where in the track list is the track created. The default is Last, i.e. after all the tracks and busses, and can also be First, Before Selection (to place it just above the selected track) or After selection.
    @@ -34,8 +34,8 @@

    - 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. -

    + development and debugging is done, and there are plenty of experienced users + to help if problems are encountered when using Ardour. +

    + +

    + 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 is meant for…

    + +

    Audio Engineers

    + +

    + 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. +

    + +

    Musicians

    + +

    + 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. +

    + +

    Soundtrack Editors

    + +

    + 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. +

    + +

    Composers

    + +

    + 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. +

    + +

    Ardour features…

    + +

    Audio and MIDI Multi-Track Recording and Editing

    + +

    + Any number of tracks and busses. Non-linear editing. Non-destructive (and + destructive!) recording. Any bit depth, any sample rate. Dozens of file + formats. +

    + +

    Plugins with Full Sample Accurate Automation

    + +

    + 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. +

    + +

    Transport Sync and External Control Surfaces

    + +

    + 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. +

    + +

    Powerful Anywhere-to-Anywhere Signal Routing

    + +

    + 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. +

    + +

    Video Timeline

    + +

    + 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:

    audio track controls -

    - 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.

    [•]
    -
    Record—The button with the pink circle arms the track - for recording. When armed, the entire button will turn pink, and change to +
    Record—The button with the pink circle arms the track + for recording. When armed, the entire button will turn pink, and change to bright red as soon as the transport is rolling and the track is recording.
    p
    -
    Playlist—Opens a playlist menu when clicked. The menu +
    Playlist—Opens a playlist menu when clicked. The menu offers various operations related to the track's playlist.
    diff --git a/include/aux-sends.html b/include/aux-sends.html index cebd5f5..6cf0b33 100644 --- a/include/aux-sends.html +++ b/include/aux-sends.html @@ -9,9 +9,9 @@

    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.

    Adding a new aux bus

    - 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.

    Adding a send to an aux bus

    - 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.

    Pre-fader and Post-fader Aux Sends

    - 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.

    Adding a new aux bus and sending a Track Group to it

    - 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.

    Altering Send Levels

    - 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:

    Use the Send Fader

    - 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.

    Mapping the Main Fader

    - 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.

    Map Aux Sends To Main Faders

    - 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.

    Disabling Sends

    - 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.

    Send Panning

    diff --git a/include/backup-and-sharing-of-sessions.html b/include/backup-and-sharing-of-sessions.html index e27ddba..bdc8e9c 100644 --- a/include/backup-and-sharing-of-sessions.html +++ b/include/backup-and-sharing-of-sessions.html @@ -94,3 +94,4 @@ any unused take or reference material out of the backup, reducing the archive's global file size.

    + diff --git a/include/balance-control.html b/include/balance-control.html index 3365d85..6b61b36 100644 --- a/include/balance-control.html +++ b/include/balance-control.html @@ -1,6 +1,6 @@

    - 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 @@ +

    Interface Elements

    + +

    Add missing content, if the following is really meant to be documented

    + +

    Checkboxes

    +

    Buttons

    +

    Pull Down Menus

    +

    Pop Up Menus

    +

    Context Menus

    +

    Browsers

    + +

    Tooltips

    +

    - 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. +

    + +

    Selection Techniques

    + +

    + Ardour follows the conventions used by most other computer software + (including other DAWs) for selecting objects in the GUI. +

    + +

    Selecting individual objects

    + +

    + Clicking on an object (sometimes on a particular part of its on-screen + representation) will select the object, and deselect other similar objects. +

    + +

    Selecting multiple (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. +

    + +

    Selecting a range of objects

    + +

    + 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. +

    + +

    Time range selection

    + +

    + 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. +

    + +

    Selection Undo

    + +

    + 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. +

    + +

    Cut and Paste Operations

    + +

    + The clipboard is a holder for various kinds of objects (regions, + control events, plugins) that is used during cut-and-paste + operations. +

    + +

    Cut

    + +

    + 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. +

    + +

    Copy

    + +

    + 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. +

    + +

    Paste

    + +

    + 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. +

    + +

    Deleting Objects

    + +

    + 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). +

    + +

    Using the mouse and keyboard

    + +

    + 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. +

    + +

    Using normal cut and paste shortcuts

    + +

    + Select the object(s) and then press x. This puts the + deleted object(s) in the clipboard so that they can be pasted elsewhere. +

    + +

    Using just the mouse

    + +

    + 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. +

    + +

    Undo/Redo for Editing

    + +

    + 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 @@ -

    Behringer BCF-2000 Faders Controller

    +

    Behringer BCF-2000 Faders Controller

    Digramatic Image of the BCF2000

    - 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.

    diff --git a/include/cleaning-up-sessions.html b/include/cleaning-up-sessions.html index c6e23d6..3064ebb 100644 --- a/include/cleaning-up-sessions.html +++ b/include/cleaning-up-sessions.html @@ -1,4 +1,4 @@ - +

    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.

    - +

    Reset Peak Files

    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.

    diff --git a/include/comparing-aux-sends-and-subgroups.html b/include/comparing-aux-sends-and-subgroups.html index db45ecd..8d36478 100644 --- a/include/comparing-aux-sends-and-subgroups.html +++ b/include/comparing-aux-sends-and-subgroups.html @@ -1,18 +1,18 @@

    - 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):

    aux signal routing

    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.

    sub group signal routing 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 @@

    Positioning the playhead with the transport clocks

    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 @@

    Track Ordering and Remote Control IDs

    - +

    - 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 @@ - +

    Copy a Single Region

    - 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.

    Copy Multiple Regions

    - 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.

    Fixed-Time Copying

    - 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:

    Copying

    - 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.

    Linking

    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.

    How Ardour Decides Which Regions are "Corresponding"

    - 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:

      @@ -27,17 +27,17 @@

      Overlap Correspondence

      - 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.

      Region Fades

      @@ -8,7 +8,7 @@ gradual transition can be accomplished.

      all audio regions. In object mode, a grip appears at the top left and top right of an audio region when the cursor hovers over it. Placing the cursor over the top of the grip displays the region fade cursor -tip. Click and drag the grip left or right in the timeline to +tip. Click and drag the grip left or right in the timeline to adjust the length of the fade.

      Crossfades

      diff --git a/include/creating-music-with-ardour.html b/include/creating-music-with-ardour.html index 6d2c0cc..edc8f3d 100644 --- a/include/creating-music-with-ardour.html +++ b/include/creating-music-with-ardour.html @@ -1,111 +1,124 @@

      - 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:

      -

      Stage 1: Creating Your Project

      +

      Stage 1: Creating The Project

      +

      - 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.

      -

      Stage 2: Creating and Importing Audio and MIDI data

      -

      - 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.

      + +

      Stage 2: Creating and Importing Audio and MIDI Data

      + +

      + 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: +

      +
        -
      • Record incoming audio or MIDI data, either via audio or MIDI hardware - connected to your computer, or from other applications.
        • -
      • Create new MIDI data using the mouse and/or various dialogs
        • +
      • Record incoming audio or MIDI data, either via audio or MIDI + hardware connected to the computer, or from other applications
        • +
      • Create new MIDI data using the mouse and/or various dialogs +
      • Import existing media files into the session
      +

      - 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?

      +

      Stage 3: Editing and Arranging

      +

      - 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.

      -

      Stage 4: Mixing and Adding Effects

      - 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?

      + +

      Stage 4: Mixing and Adding Effects

      + +

      + 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.

      Stage 5: Export

      +

      - 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. +

      Creating a Range on 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. -

      - -

      Cut

      -

      - 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. -

      - -

      Copy

      -

      - 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. -

      - -

      Paste

      -

      - 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. -

      - diff --git a/include/default-keyboard-bindings.html b/include/default-keyboard-bindings.html index 9005cfd..2babb4a 100644 --- a/include/default-keyboard-bindings.html +++ b/include/default-keyboard-bindings.html @@ -9,26 +9,41 @@

      - 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). -

      - -

      Using the mouse and keyboard

      -

      - 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. -

      - -

      Using normal cut and paste shortcuts

      -

      - 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. -

      - -

      Using just the mouse

      -

      - 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.

      Make files public
      Choose whether to make uploaded files available to anyone via the Soundcloud web site.
      -
      Open uploaded files in browser
      Open each file on soundcloud in your browser after upload. +
      Open uploaded files in browser
      Open each file on soundcloud in your browser after upload. If you don't enable this, you can still see the URLs in the Log window.
      Make files downloadable
      Choose whether to allow downloading of files uploaded to Soundcloud.
      diff --git a/include/external-sends.html b/include/external-sends.html index ea213ac..06bcaee 100644 --- a/include/external-sends.html +++ b/include/external-sends.html @@ -1,27 +1,27 @@

      - 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.

      Adding an External Send

      - 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.

      Removing an External Send

      @@ -30,28 +30,28 @@
    1. Right-click the send in the processor box.
    2. Position the pointer over the send and press the Del key.
    3. Position the pointer over the send and press x.
      4. -
    4. Context-click the send and choose either Cut or +
    5. Context-click the send and choose either Cut or Delete.

      6. Altering Send Levels

      - 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.

      Disabling Sends

      - 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.

      Editing Send 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 + 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 @@
      • - Destructive crossfade length is used when an operation on a + Destructive crossfade length is used when an operation on a region is destructive, such as when recording in a track is in tape mode.
      • - When Region fades active is checked, the - region fades set up in the mixer are used during playback. When unchecked, + When Region fades active is checked, the + region fades set up in the mixer are used during playback. When unchecked, the fades are ignored.
      • diff --git a/include/filenames-tab.html b/include/filenames-tab.html index c52f894..f76b6f3 100644 --- a/include/filenames-tab.html +++ b/include/filenames-tab.html @@ -2,22 +2,22 @@ session properties filenames tab

        - 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 @@
        1. Editing should be done without having to enter a new window
        2. - Editing should be able to carried out completely with the keyboard, + Editing should be able to carried out completely with the keyboard, or completely with the mouse, or with any combination of the two.

        - 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.

        Fundamentals of MIDI Editing in Ardour 3

        - 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.

        OS X

        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 @@
        When one note is moved to overlap another, merge them both to form one (longer) note

    - 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:

      -
    • OMF (Open Media Framwwork), also known as OMFI. Developed and controlled +
    • OMF (Open Media Framwwork), also known as OMFI. Developed and controlled by Avid, never standardized
      • -
    • AAF (Advanced Authoring Format). Developed by a consortium of media-related +
    • AAF (Advanced Authoring Format). Developed by a consortium of media-related corporations.

    - 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

    - -

    Checkboxes

    -

    Buttons

    -

    Pull Down Menus

    -

    Pop Up Menus

    -

    Context Menus

    -

    Browsers

    - diff --git a/include/isnt-this-a-really-complicated-program.html b/include/isnt-this-a-really-complicated-program.html index f74277e..13fbeaf 100644 --- a/include/isnt-this-a-really-complicated-program.html +++ b/include/isnt-this-a-really-complicated-program.html @@ -1,25 +1,25 @@ - +

    -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 @@

    Sound propagation through the air

    - 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.

    Digital-to-Analog and Analog-to-Digital conversion

    - 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 Signal Processing

    - 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.

    Computer I/O Architecture

    - 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.)

    The Latency chain

    Latency chain

    - 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 usecases

    - 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:

    Playing virtual instruments

    - 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.)

    Software audio monitoring

    - 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.

    -

    Live mixing

    +

    Live mixing

    - 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.

    Latency compensation

    - 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.

    Latency Compensation And Clock Sync

    - 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:

    Jack Latency Compensation

    - 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:

      @@ -186,48 +186,48 @@

    - 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.

    Calibrating JACK Latency

    - 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:

    • - Putting a speaker close to a microphone. This is rarely done, as air + Putting a speaker close to a microphone. This is rarely done, as air propagation latency is well known so there is no need to measure it.
    • - Connecting the output of your audio interface to its input using a - patch cable. This can be an analog or a digital loop, depending on - the nature of the input/output you use. A digital loop will not factor - in the AD/DA + Connecting the output of your audio interface to its input using a + patch cable. This can be an analog or a digital loop, depending on + the nature of the input/output you use. A digital loop will not factor + in the AD/DA converter latency.
    diff --git a/include/latency-considerations.html b/include/latency-considerations.html index 7dd06ee..9d7b74b 100644 --- a/include/latency-considerations.html +++ b/include/latency-considerations.html @@ -1,34 +1,34 @@ -

    +

    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.

    diff --git a/include/layering-display.html b/include/layering-display.html index f7f48e2..9b0198e 100644 --- a/include/layering-display.html +++ b/include/layering-display.html @@ -7,17 +7,17 @@ alt="Track layering menu" /> overlaid in the editor window, to save vertical space.

    - 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:

    overlapping regions in overlaid mode @@ -29,13 +29,13 @@ alt="Track layering menu" />

    overlapping regions in stacked mode

    - 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 @@ session properties locations tab

    - 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 @@

    What Is a Plugin Preset?

    - 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

    - 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.

    Load a New Preset

    - 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.

    Create a 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. + 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.

    Save a 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.

    Delete a 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 @@
    • - Sample format defaults to 32-bit floating point, the same as - the internal representation. 24 and 16-bit integer representation are + Sample format defaults to 32-bit floating point, the same as + the internal representation. 24 and 16-bit integer representation are also available.
    • diff --git a/include/metadata.html b/include/metadata.html index ca2ce9e..5d6fa1f 100644 --- a/include/metadata.html +++ b/include/metadata.html @@ -1,4 +1,4 @@ - +

      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.

      session properties meterbridge tab 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 @@

      Introduction

      - 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:

        -
      • When tracking, meters are used to ensure that the input - signal does not overload and maintains reasonable +
      • When tracking, meters are used to ensure that the input + signal does not overload and maintains reasonable headroom.
        • -
      • Meters offer a quick visual indication of a +
      • Meters offer a quick visual indication of a activity when working with a large number of tracks.
        • -
      • During mixing, meters provide an rough estimate of the +
      • During mixing, meters provide an rough estimate of the loudness of each track.
        • -
      • At the mastering stage, meters are used to check - compliance with upstream level and loudness +
      • At the mastering stage, meters are used to check + compliance with upstream level and loudness standards and to optimize the loudness range for a given medium.

      Meter Types

      - 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 @@
      Digital peak-meter
      -
      A Digital Peak Meter displays the absolute maximum signal - of the raw audio PCM signal (for a given time). It is commonly used when - tracking to make sure the recorded audio never clips. To that end, DPMs +
      A Digital Peak Meter displays the absolute maximum signal + of the raw audio PCM signal (for a given time). It is commonly used when + tracking to make sure the recorded audio never clips. To that end, DPMs are always calibrated to 0 dBFS, or the maximum level that can be represented digitally - in a given system. This value has no musical reason whatsoever and depends - only on the properties of the signal chain or target medium. There are - conventions for fall-off-time and peak-hold, but no + in a given system. This value has no musical reason whatsoever and depends + only on the properties of the signal chain or target medium. There are + conventions for fall-off-time and peak-hold, but no exact specifications.

      - 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.

      RMS meters
      An RMS-type meter - is an averaging meter that looks at the energy in the signal. It - provides a general indication of loudness as perceived by humans. Ardour + is an averaging meter that looks at the energy in the signal. It + provides a general indication of loudness as perceived by humans. Ardour features three RMS meters, all of which offer additonal peak indication.
      • K20: A meter according to the K-system introduced by Bob @@ -80,36 +80,36 @@
      IEC PPMs
      -
      IEC-type - PPMs are a mix between DPMs and - RMS meters, created mainly for the purpose of +
      IEC-type + PPMs are a mix between DPMs and + RMS meters, created mainly for the purpose of interoperability. Many national and institutional varieties exist (EBU, BBC, DIN). + Corporation">BBC, DIN).

      - 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.

      - +
      VU meters
      -
      VU meters are the dinosaurs (1939) +
      VU meters are the dinosaurs (1939) amongst the meters. They react very slowly, averaging out peaks. - Their specification is very strict (300ms rise-time, 1–1.5% overshoot, - flat frequency response). Ardour's VU meter adheres to that spec, but for + Their specification is very strict (300ms rise-time, 1–1.5% overshoot, + flat frequency response). Ardour's VU meter adheres to that spec, but for visual consistency it is displayed as a bar-graph rather than needle-style (more below).
      @@ -130,8 +130,8 @@

    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 @@

    Overview of meter types

    - 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:

    Systems using JACK 1, versions 0.124 or later
    -
    On these systems, just start JACK with +
    On these systems, just start JACK with the -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.
    @@ -14,7 +14,7 @@ JACK you use. The world divides into: of these options is not acceptable.
    - +

    a2jmidid

    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 @@

    Inside Ardour

    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:

    midi track controls - +

    - 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.

    Transport & Recording Control

    +
    destroy last recording
    Del
    @@ -54,6 +56,7 @@

    Session & File Handling

    +
    add track(s) or bus(ses)
    n
    @@ -78,6 +81,7 @@

    Changing What's Visible

    +
    fit tracks vertically
    f
    @@ -108,6 +112,7 @@

    Window Visibility

    +
    toggle locations dialog
    l(ell)
    @@ -138,10 +143,11 @@

    Editing with Edit Point

    +

    - 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.

    @@ -186,9 +192,10 @@

    Aligning with the Edit Point

    +

    - 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 @@

    Edit Point Playback

    +
    play edit range
    Space
    @@ -222,7 +230,9 @@
    play selected region(s)
    h
    +

    Region Operations

    +
    duplicate region (multi)
    d
    @@ -265,6 +275,7 @@

    Generic Editing

    +
    copy
    c
    @@ -281,9 +292,10 @@

    Selecting

    +

    - 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 @@

    Defining Loop, Punch Range and Tempo Changes

    +
    set loop range from edit range
    ]
    diff --git a/include/mnemonic-bindings-for-os-x.html b/include/mnemonic-bindings-for-os-x.html index 590a5cb..89b5b00 100644 --- a/include/mnemonic-bindings-for-os-x.html +++ b/include/mnemonic-bindings-for-os-x.html @@ -1,10 +1,11 @@ - +

    - A printable cheat sheet + A printable cheat sheet for these bindings is available for download.

    Transport & Recording Control

    +
    destroy last recording
    Del
    @@ -45,7 +46,9 @@
    transition to roll
    ↑
    +

    Session & File Handling

    +
    add track(s) or bus(ses)
    n
    @@ -68,7 +71,9 @@
    toggle sel. track MIDI input
    i
    +

    Changing What's Visible

    +
    fit tracks vertically
    f
    @@ -97,7 +102,9 @@
    zoom out
    -
    +

    Window Visibility

    +
    toggle locations dialog
    l
    @@ -128,11 +135,11 @@

    Editing with Edit Point

    +

    - 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.

    @@ -177,11 +184,11 @@

    Aligning with the Edit Point

    +

    - 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.

    @@ -215,7 +222,9 @@
    play selected region(s)
    h
    +

    Region Operations

    +
    duplicate region (multi)
    d
    @@ -275,10 +284,11 @@

    Selecting

    +

    - 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.

    @@ -309,7 +319,9 @@
    select previous track/bus
    ↑
    +

    Defining Loop, Punch Range and Tempo Changes

    +
    set loop range from edit range
    ]
    diff --git a/include/monitor-setup-in-ardour.html b/include/monitor-setup-in-ardour.html index ad6aab9..fc20e8a 100644 --- a/include/monitor-setup-in-ardour.html +++ b/include/monitor-setup-in-ardour.html @@ -1,36 +1,36 @@

    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.

    -

    Software or Hardware Monitoring Modes

    +

    Software or Hardware Monitoring Modes

    -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.

    Monitoring in Non-Tape-Machine Mode

    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.

    Monitoring in Tape-Machine Mode

    - 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:

    -

    External Monitoring

    +

    External 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.

    -

    JACK-Based Hardware Monitoring

    +

    JACK-Based Hardware Monitoring

    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. -

    +

    -

    Software Monitoring

    +

    Software Monitoring

    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.

    monitoring section

    - 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.

    Move Multiple Regions

    - 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.

    Fixed-Time Motion

    - 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 @@ - +

    Single marker

    - 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.

    Multiple markers

    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.

    Both ends of a range marker

    - 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.

    Without a monitor bus

    - 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:

    • @@ -16,54 +16,54 @@ so that it will not be heard.
    • - Solo on a track or bus will solo that track or bus and mute all - others. Soloing a bus will also solo any tracks or + Solo on a track or bus will solo that track or bus and mute all + others. Soloing a bus will also solo any tracks or busses which feed that bus.

    With a monitor bus

    - 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 Solo controls are Listen controls - ticked, the master and monitor busses behave differently. In this - mode, solo controls are more properly called listen - controls, and Ardour's solo buttons will change their legend from - S to either A or P to + With Solo controls are Listen controls + ticked, the master and monitor busses behave differently. In this + mode, solo controls are more properly called listen + controls, and Ardour's solo buttons will change their legend from + S to either A or P to reflect this.

    - 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:

    • - Mute will mute the track or bus, so that it will not be heard + Mute will mute the track or bus, so that it will not be heard anywhere (neither on the master nor monitor busses), much as before.
    • - Listen will disconnect the monitor bus from the master bus, so - that the monitor bus now only receives things that are "listened to". - Listen will not perform any muting, and hence the master bus will + Listen will disconnect the monitor bus from the master bus, so + that the monitor bus now only receives things that are "listened to". + Listen will not perform any muting, and hence the master bus will not be affected by a listened track or bus.

    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 @@

    mute/solo signal flow

    - 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 @@

    Solo-in-place mute cut

    - 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.

    Exclusive solo

    - 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.

    Show solo muting

    - 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.

    Soloing overrides muting

    - 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.

    Mute affects…

    - 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: -

    +

    Open Session Page

    - 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 @@

    New Session page

    - 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 @@

    Selecting/Navigating note-by-note

    - 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.

    Selecting notes with the mouse

    - 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:

    • - Vertical drags within the MIDI region will select all notes within the + Vertical drags within the MIDI region will select all notes within the spanned note range.
    • - Clicks on the piano header of the track (if visible—the track must + Clicks on the piano header of the track (if visible—the track must be tall enough to display it) will select all occurences of that note.
    • - Drags on the piano header of the track will select all notes within the + Drags on the piano header of the track will select all notes within the spanned note range.

    Listening to Selected Notes

    - 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 Î¼s. 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 Î¼s. 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.

    @@ -34,35 +34,35 @@

    - 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 @@
    Timecode frames-per-second
    - Configure timecode frames-per-second (23.976, 24, 24.975, 25, 29.97, - 29.97 drop, 30, 30 drop, 59.94, 60). Note that all fractional + Configure timecode frames-per-second (23.976, 24, 24.975, 25, 29.97, + 29.97 drop, 30, 30 drop, 59.94, 60). Note that all fractional framerates are actually fps*(1000.0/1001.0).
    Pull up/down
    - Video pull-up modes change the effective samplerate of Ardour to - allow for changing a film soundtrack from one frame rate to another. + Video pull-up modes change the effective samplerate of Ardour to + allow for changing a film soundtrack from one frame rate to another. See Telecine
    Slave Timecode offset
    @@ -48,29 +48,29 @@
    Match session video frame rate to external timecode
    - This option controls the value of the video frame rate while - chasing an external timecode source. When enabled, the - session video frame rate will be changed to match that of the selected - external timecode source. When disabled, the session video frame rate - will not be changed to match that of the selected external timecode - source. Instead the frame rate indication in the main clock will flash - red and Ardour will convert between the external timecode standard and + This option controls the value of the video frame rate while + chasing an external timecode source. When enabled, the + session video frame rate will be changed to match that of the selected + external timecode source. When disabled, the session video frame rate + will not be changed to match that of the selected external timecode + source. Instead the frame rate indication in the main clock will flash + red and Ardour will convert between the external timecode standard and the session standard.
    External timecode is sync locked
    - Indicates that the selected external timecode source shares sync (Black + Indicates that the selected external timecode source shares sync (Black & Burst, Wordclock, etc) with the audio interface.
    Lock to 29.9700 fps instead of 30000/1001
    - The external timecode source is assumed to use 29.97 fps instead of - 30000/1001. SMPTE 12M-1999 specifies 29.97df as 30000/1001. The spec - further mentions that drop-frame timecode has an accumulated error of -86ms - over a 24-hour period. Drop-frame timecode would compensate exactly for a - NTSC color frame rate of 30 * 0.9990 (ie 29.970000). That is not the actual - rate. However, some vendors use that rate—despite it being against - the specs—because the variant of using exactly 29.97 fps has zero + The external timecode source is assumed to use 29.97 fps instead of + 30000/1001. SMPTE 12M-1999 specifies 29.97df as 30000/1001. The spec + further mentions that drop-frame timecode has an accumulated error of -86ms + over a 24-hour period. Drop-frame timecode would compensate exactly for a + NTSC color frame rate of 30 * 0.9990 (ie 29.970000). That is not the actual + rate. However, some vendors use that rate—despite it being against + the specs—because the variant of using exactly 29.97 fps has zero timecode drift.
    LTC incoming port
    @@ -81,13 +81,13 @@
    Does just what it says.
    Send LTC while stopped
    - Enable to continue to send LTC information even when the transport - (playhead) is not moving. This mode is intended to drive analog tape + Enable to continue to send LTC information even when the transport + (playhead) is not moving. This mode is intended to drive analog tape machines which unspool the tape if no LTC timecode is received.
    LTC generator level
    - Specify the Peak Volume of the generated LTC signal in dbFS. A good value + Specify the Peak Volume of the generated LTC signal in dbFS. A good value is 0 dBu (which is -18 dbFS in an EBU calibrated system).
    diff --git a/include/panning.html b/include/panning.html index 79b142e..a43b797 100644 --- a/include/panning.html +++ b/include/panning.html @@ -30,7 +30,7 @@
  • 2 signals distributed to 2 outputs (the stereo panner)
  • N signals distributed to M outputs (the VBAP panner)
    • -

    +

    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 @@

    Inserting Patch Changes

    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.

    an example patchbay

    - 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:

    Hardware
    - These are ports which are connected to a physical piece of hardware + These are ports which are connected to a physical piece of hardware (a sound card or MIDI interface).
    Ardour Busses
    All ports belonging to busses.
    @@ -33,101 +33,101 @@
    All ports belonging to tracks.
    Ardour Misc
    - These are other ports that do not fit into the previous two - categories; for example, the ports on which the metronome click - is output, and MIDI ports for things like control surfaces and + These are other ports that do not fit into the previous two + categories; for example, the ports on which the metronome click + is output, and MIDI ports for things like control surfaces and timecode.
    Other
    - If you have other JACK clients running, their ports will be found - here. If there are no such ports, the tab will not exist (on one or + If you have other JACK clients running, their ports will be found + here. If there are no such ports, the tab will not exist (on one or both axes of the grid).

    - 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.

    Variants on the Patchbay

    - 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.

    Other patchbay features

    - 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:

    Add audio port and Add MIDI port
    - These options add audio or MIDI ports to the thing that you opened - the menu over, if this is possible. In this way, for example, tracks + These options add audio or MIDI ports to the thing that you opened + the menu over, if this is possible. In this way, for example, tracks and busses can be extended to have more inputs or outputs.
    Remove
    - Removes the given port, if possible. Right-clicking + Removes the given port, if possible. Right-clicking a port will do the same.
    Disconnect all from…
    Disconnects everything from the given port.
    Rescan
    - Ardour will try to keep abreast of any changes to the JACK ports on - your system, and reflect them in any connection managers which are open. - If for some reason this fails, use this to re-scan the list of ports and + Ardour will try to keep abreast of any changes to the JACK ports on + your system, and reflect them in any connection managers which are open. + If for some reason this fails, use this to re-scan the list of ports and update the manager.
    Show individual ports
    - If you have a session which has lots of multi-channel tracks or busses, - it may be an unnecessary detail that you have to connect left to left and - right to right every time you make a connection. This obviously gets worse - with higher channel counts (such as for 5.1 or Ambisonics). To make life - easier with such sessions, you can untick Show individual ports. After that, - the channels of tracks and busses will be hidden, and any green dots you add - in the connection manager will automatically connect each channel of the source - to the corresponding channel of the destination (left to left, right to right - and so on). In this mode, a half-circle in the connection grid indicates that + If you have a session which has lots of multi-channel tracks or busses, + it may be an unnecessary detail that you have to connect left to left and + right to right every time you make a connection. This obviously gets worse + with higher channel counts (such as for 5.1 or Ambisonics). To make life + easier with such sessions, you can untick Show individual ports. After that, + the channels of tracks and busses will be hidden, and any green dots you add + in the connection manager will automatically connect each channel of the source + to the corresponding channel of the destination (left to left, right to right + and so on). In this mode, a half-circle in the connection grid indicates that some (but not all) of the source's ports are connected to the destination.
    Flip
    - This will flip the visible ports on the vertical axis with those on the - horizontal. If, for example, the top of the connection manager is showing - Ardour Busses and the right is showing + This will flip the visible ports on the vertical axis with those on the + horizontal. If, for example, the top of the connection manager is showing + Ardour Busses and the right is showing Hardware, flip will swap the view to the - opposite. You can also flip by pressing f. Note that if there are + opposite. You can also flip by pressing f. Note that if there are no matching tabs on both axes, flipping will be impossible.
    diff --git a/include/playlist-operations.html b/include/playlist-operations.html index ee64f36..f6ca79e 100644 --- a/include/playlist-operations.html +++ b/include/playlist-operations.html @@ -1,12 +1,12 @@

    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:

    (Local Playlists)
    -
    Shows all of the playlists associated with this track, and indicates +
    Shows all of the playlists associated with this track, and indicates the currently selected playlist
    Rename
    Displays a dialog to rename the current playlist
    @@ -22,21 +22,21 @@

    Renaming Playlists

    - 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 @@

    Sharing Playlists

    - 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 @@

    Using Playlists for Parallel Processing

    - 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"

    - 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.

    - +

    Using Playlists for Multi-Language Productions

    -

    - 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.

    diff --git a/include/preferences-and-session-properties.html b/include/preferences-and-session-properties.html index 637aaf6..95ba5a3 100644 --- a/include/preferences-and-session-properties.html +++ b/include/preferences-and-session-properties.html @@ -4,10 +4,10 @@

    • - Global preferences control general workflow and system + Global preferences control general workflow and system configuration, and should apply to all sessions. They are located in - Edit > Preferences and stored in - Ardour's user configuration file in your home directory. + Edit > Preferences and stored in + Ardour's user configuration file in your home directory.
    • Session properties control aspects of the workflow or configuration that pertain to the current session only. You can find them diff --git a/include/processor-box.html b/include/processor-box.html index 92a2429..04b675f 100644 --- a/include/processor-box.html +++ b/include/processor-box.html @@ -76,5 +76,4 @@

      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:

      region arrangement before trim

      - 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:

      region arrangement after a trim

      - 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 @@

      region arrangement after a push trim

      - 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 @@ - +

      quantize dialog

      Accessed via q, the dialog includes:

        diff --git a/include/region-context-menu.html b/include/region-context-menu.html index abf601f..f33afd0 100644 --- a/include/region-context-menu.html +++ b/include/region-context-menu.html @@ -2,20 +2,20 @@

        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:

        diff --git a/include/region-naming.html b/include/region-naming.html index 0f39a29..253f713 100644 --- a/include/region-naming.html +++ b/include/region-naming.html @@ -1,4 +1,4 @@ - +

        Region names are initially derived from either

        • the name of the playlist for which they were recorded,
          • @@ -14,51 +14,51 @@

          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.

          Normal Region Names

          - 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.

          Copied Region Names

          - 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.

          Renaming Regions

          - 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. -

          - -

          Selecting individual objects

          -

          - Clicking on an object (sometimes on a particular part of its - on-screen representation) will select the object, and deselect other - similar objects. -

          - -

          Selecting multiple (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. -

          - -

          Selecting a range of objects

          -

          - 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. -

          - -

          Time range selection

          -

          - 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. -

          - -

          Selection Undo

          -

          - 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:

          region arrangement before separate under

          - 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:

          region arrangement after separate under

          - 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 @@
          • MIDI Options -
              +
              • - If MIDI region copies are independent is selected, when a - MIDI region is copied or duplicated, the new region is not linked to - the region it was copied from. If it is not selected, the copied regions - are linked and any editing of one of the linked regions changes all - of the linked regions. + If MIDI region copies are independent is selected, when a + MIDI region is copied or duplicated, the new region is not linked to + the region it was copied from. If it is not selected, the copied regions + are linked and any editing of one of the linked regions changes all + of the linked regions.
              • - The Editor can be configured to handle overlapping MIDI notes + The Editor can be configured to handle overlapping MIDI notes several ways.
                • never allow them
                  • @@ -38,7 +38,7 @@
              • - Settings from the session properties dialogs can be saved to the + Settings from the session properties dialogs can be saved to the default session template.
              diff --git a/include/session-templates.html b/include/session-templates.html index 284f04b..6fef6b2 100644 --- a/include/session-templates.html +++ b/include/session-templates.html @@ -1,6 +1,6 @@ - +

              - 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:

              • The number of tracks and busses, along with their names
                • @@ -10,22 +10,22 @@

                Creating a Session Template

                - Choose Session > Save Template. A dialog will ask + Choose Session > Save Template. A dialog will ask you for the name of the new template.

                Using a Session 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 Handling Frameworks

                MIDI input and output for Ardour are handled by the same "engine" - that handles audio input and output. + that handles audio input and output.

                OS X
                -
                CoreMIDI is the standard MIDI framework on OSX systems. +
                CoreMIDI is the standard MIDI framework on OSX systems.
                Linux
                @@ -39,7 +39,7 @@ ports). By contrast, JACK MIDI ports show up under the MIDI tab in QJackCtl.

                - +

                JACK MIDI Configuration

                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

              • Track inputs are optionally auto-connected to hardware inputs, in round robin - order, depending on the setting you chose in the + order, depending on the setting you chose in the Session > New Session dialog.
                • @@ -30,14 +30,14 @@

              - 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:

            +
              -
            • double-click the Ardour icon in your platform's file manager (e.g. +
            • by double-clicking the Ardour icon in the platform's file manager (e.g. Nautilus on Linux, Finder on OS X)
              • -
            • double click on an Ardour session file in your platform's file manager
              • -
            • on Linux, you can also start Ardour on the command line (see below)
              • +
            • by double-clicking on an Ardour session file in the platform's file + manager +
              • +
            • on Linux, Ardour can also be started via the command line (see below) +
            +

            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.

            Starting Ardour From the Command Line (Linux)

            @@ -33,18 +45,24 @@ Like (almost) any other program on Linux, Ardour can be started on the command line. Type the following command in a terminal window:

            + Ardour5 +

            - 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 @@
          • Dynamics controls from pianississimo to fortississimo
          • Channel selector
          • - Explicit numerical velocity selector, for more precise control + Explicit numerical velocity selector, for more precise control than the dynamics selectors offer
          • Octave selector
            • @@ -42,8 +42,8 @@
          • a full 10 octave virtual keyboard

          - 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.

          Position vs. L/R

          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.

          @@ -69,7 +69,7 @@

          One way to remember this sort of convention is that the middle of the - USA is not Kansas, but "Los Angeles: 50% New York: 50%". + USA is not Kansas, but "Los Angeles: 50% New York: 50%".

          Examples In Use

          @@ -91,11 +91,11 @@

          Mouse operations in the upper half of the panner adjust the position - parameter, constrained by the current width setting. + parameter, constrained by the current width setting.

          Mouse operations in the lower half of the panner adjust the width - parameter, constrained by the current position setting. + parameter, constrained by the current position setting.

          To change the position smoothly, press the right button and drag @@ -189,17 +189,17 @@

          The stereo panner will introduce unwanted side effects on material that includes a time difference between the channels, such -as A/B, ORTF or NOS microphone recordings, or delay-panned mixes.
          +as A/B, ORTF or NOS microphone recordings, or delay-panned mixes.
          When you reduce the with, you are effectively summing two highly correlated signals with a delay, which will cause comb filtering.

          -

          +

          Let's take a closer look at what happens when you record a source at 45° to the right side with an ORTF stereo microphone array and then manipulate the width.

          For testing, we apply a pink noise signal to both inputs of an Ardour stereo -bus with the stereo panner, and feed the bus output to a two-channel analyser. +bus with the stereo panner, and feed the bus output to a two-channel analyser. Since pink noise contains equal energy per octave, the expected readout is a straight line, which would indicate that our signal chain does not color the sound: @@ -211,12 +211,12 @@ sound: To simulate an ORTF, we use Robin Gareus' stereo balance control LV2 to set the level difference and time delay. Ignore the Trim/Gain—its purpose is just to align the test signal with the 0dB line of the analyser.

          -

          +

          Recall that an ORTF microphone pair consists of two cardioids spaced 17 cm apart, with an opening angle of 110°. -For a far source at 45° to the right, the time difference between the capsules -is 350 μs or approximately 15 samples at 44.1 kHz. The level difference -due to the directivity of the microphones is about 7.5 dB (indicated by the +For a far source at 45° to the right, the time difference between the capsules +is 350 μs or approximately 15 samples at 44.1 kHz. The level difference +due to the directivity of the microphones is about 7.5 dB (indicated by the distance between the blue and red lines in the analyser).

          @@ -226,7 +226,7 @@ happens to the frequency response of the left and right outputs:

          -You may argue that all spaced microphone recordings will undergo comb +You may argue that all spaced microphone recordings will undergo comb filtering later, when the two channels recombine in the air between the speakers. Perceptually however, there is a huge of difference: our hearing system is very good at eliminating comb filters in the real world, where their component diff --git a/include/strip-silence-from-audio-regions.html b/include/strip-silence-from-audio-regions.html index 641c546..a1e07e0 100644 --- a/include/strip-silence-from-audio-regions.html +++ b/include/strip-silence-from-audio-regions.html @@ -1,18 +1,18 @@

          From the region context menu, choose Edit > Strip - Silence to detect silence (based on a user-chosen threshold in - dBFS), split a - region based on the boundaries of the silent segments, and remove the + Silence to detect silence (based on a user-chosen threshold in + dBFS), split a + region based on the boundaries of the silent segments, and remove the silence. You can also specify a minimum length for silence—useful - when editing very percussive material and just needing to + when editing very percussive material and just needing to automatically trim the ends of a region. The dialog looks like this:

          strip silence dialog

          - The edit applies to all selected regions, allowing batch processing. - You can also see in the screenshot how the main editor window is used - to show silent segments and report the number and durations of the + The edit applies to all selected regions, allowing batch processing. + You can also see in the screenshot how the main editor window is used + to show silent segments and report the number and durations of the shortest segments.

          diff --git a/include/subgrouping.html b/include/subgrouping.html index 956f4bd..d9f8d55 100644 --- a/include/subgrouping.html +++ b/include/subgrouping.html @@ -1,6 +1,6 @@

          - Subgrouping (sometimes known as "Grouping" or "Audio Grouping") + Subgrouping (sometimes known as "Grouping" or "Audio Grouping") is a way to collect related signals together to apply some common treatment, before sending them on to the main mix. One standard application is to group several tracks belonging to the same instrument or @@ -10,26 +10,26 @@

          - To create a subgroup from an existing Track/Bus group, context-click on - the relevant group tab, - and choose Add new subgroup bus. A new bus will be - created and every member of the track group will have its outputs disconnected - from other destinations and then connected to the new bus inputs. The bus - outputs will feed the master bus unless you have selected manual connections + To create a subgroup from an existing Track/Bus group, context-click on + the relevant group tab, + and choose Add new subgroup bus. A new bus will be + created and every member of the track group will have its outputs disconnected + from other destinations and then connected to the new bus inputs. The bus + outputs will feed the master bus unless you have selected manual connections for the session. The bus will be named after the track group name.

          Alternatively, you can create a group manually, by first adding a new bus, then, for each track you want to feed the subgroup bus, disconnect its outputs from the master and connect it to the inputs of the subgroup bus instead. - You can do this in the global audio patchbay or a track by track basis via the + You can do this in the global audio patchbay or a track by track basis via the output button of each track's channel strip.

          - To remove a subgroup (bus), context-click on the track group tab, and select - Remove subgroup bus. You can also simply delete the - bus itself. Note that this operation will not restore signal - routing to the way it was before the addition of the subgroup bus—tracks + To remove a subgroup (bus), context-click on the track group tab, and select + Remove subgroup bus. You can also simply delete the + bus itself. Note that this operation will not restore signal + routing to the way it was before the addition of the subgroup bus—tracks that had been subgrouped will be left with their main outputs disconncted. -

          +

          diff --git a/include/supported-file-formats.html b/include/supported-file-formats.html index 15f1eea..8938fa7 100644 --- a/include/supported-file-formats.html +++ b/include/supported-file-formats.html @@ -13,6 +13,6 @@ libsndfile website.

          - For MIDI import, Ardour will read any Standard MIDI Format (SMF) file. + For MIDI import, Ardour will read any Standard MIDI Format (SMF) file.

          diff --git a/include/sync-tab.html b/include/sync-tab.html index bb5b059..a361060 100644 --- a/include/sync-tab.html +++ b/include/sync-tab.html @@ -2,7 +2,7 @@ session properties sync tab

          - This tab is used to modify the timecode settings when working with video to + This tab is used to modify the timecode settings when working with video to use the imported video's timecode settings instead of the session defaults.

          diff --git a/include/the-right-computer-system-for-digital-audio.html b/include/the-right-computer-system-for-digital-audio.html index acbc983..8e22d42 100644 --- a/include/the-right-computer-system-for-digital-audio.html +++ b/include/the-right-computer-system-for-digital-audio.html @@ -7,7 +7,7 @@

          Any computer that you can buy today (since somewhere around the end of - 2012) is capable of recording and processing a lot of audio data. It + 2012) is capable of recording and processing a lot of audio data. It will come with a builtin audio interface that can accept inputs from microphones or electrical instruments. It will have a disk with a huge amount of space for storing audio files. @@ -18,7 +18,7 @@ a sound is generated and when you can hear it. When the audio signal flows through a computer, that means that the computer has to be able to receive the signal, process it and send it back out again as fast as - possible.
          + possible.
          And that is where it becomes very important what computer system you have, because it is absolutely not the case that any computer can do this job well. @@ -31,9 +31,9 @@

          The latency that you want for working with digital audio is typically in - the 1–5 ms range. For comparison, if you are sitting 1 m + the 1–5 ms range. For comparison, if you are sitting 1 m (3 ft) from your speakers, the time the sound takes to reach your - ears is about 3 ms. Any modern computer can limit the delay to + ears is about 3 ms. Any modern computer can limit the delay to 100 ms. Most can keep it under 50 ms. Many will be able to get down to 10 ms without too much effort. If you try to reduce the delay on a computer that cannot meet your goal, you will get clicks and @@ -53,7 +53,7 @@

          USB ports
          If you are using an audio interface connected via USB, and sometimes even if you are not, the precise configuration of your system's USB ports - can make a big difference. There are many cases where plugging the + can make a big difference. There are many cases where plugging the interface into one port will work, but using different USB port results in much worse performance. This has been seen even on Apple systems.
          diff --git a/include/the-session-menu.html b/include/the-session-menu.html index bcb1a63..cd39b4e 100644 --- a/include/the-session-menu.html +++ b/include/the-session-menu.html @@ -45,3 +45,4 @@
          Quit
          Exits Ardour. Prompts for saving the session if it has been modified.
          + diff --git a/include/timecode-generators-and-slaves.html b/include/timecode-generators-and-slaves.html index 5a22154..d221c1d 100644 --- a/include/timecode-generators-and-slaves.html +++ b/include/timecode-generators-and-slaves.html @@ -4,15 +4,15 @@ Ardour supports three common timecode formats: LTC, MTC, and - MIDI Clock, as well as + MIDI Clock, as well as JACK-transport, a JACK-specific timecode implementation.

          - Ardour can generate timecode and thus act as timecode master, - providing timecode information to other applications. Ardour can also be - slaved to some external source in which case the playhead + Ardour can generate timecode and thus act as timecode master, + providing timecode information to other applications. Ardour can also be + slaved to some external source in which case the playhead follows the incoming timecode.
          - Combining the timecode slave and generator modes, Ardour can also + Combining the timecode slave and generator modes, Ardour can also translate timecode. e.g create LTC timecode from incoming MTC.

          @@ -20,37 +20,37 @@

          Ardour Timecode Configuration

          - Each Ardour session has a specific timecode frames-per-second setting which + Each Ardour session has a specific timecode frames-per-second setting which is configured in session > properties > - timecode. The selected timecode affects the timecoderuler in the main + timecode. The selected timecode affects the timecoderuler in the main window as well as the clock itself.

          - Note that some timecode formats do not support all of Ardour's available + Note that some timecode formats do not support all of Ardour's available fps settings. MTC is limited to 24, 25, 29.97 and 30 fps.

          The video pull-up modes change the effective samplerate of Ardour to allow - for changing a film soundtrack from one frame rate to another. The concept is - beyond the scope of this manual, but Wikipedia's entry on - Telecine + for changing a film soundtrack from one frame rate to another. The concept is + beyond the scope of this manual, but Wikipedia's entry on + Telecine may get you started.

          Ardour Timecode Generator Configuration

          - This is pretty straightforward: simply turn it on. The MTC and MIDI-Clock + This is pretty straightforward: simply turn it on. The MTC and MIDI-Clock generator do not have any options. The LTC generator has a configurable - output level. JACK-transport cannot be generated. Jack itself is + output level. JACK-transport cannot be generated. Jack itself is always synced to its own cycle and cannot do varispeed—it will always be synced to a hardware clock or another JACK master.

          - The relevant settings for timecode generator can be found in + The relevant settings for timecode generator can be found in Edit > Preferences > MIDI Preferences (for MTC, MC) and Edit > Preferences > Transport Preferences @@ -58,71 +58,71 @@

          - The timecode is sent to jack-ports ardour:MTC out, - ardour:MIDI clock out and ardour:LTC-out. Multiple + The timecode is sent to jack-ports ardour:MTC out, + ardour:MIDI clock out and ardour:LTC-out. Multiple generators can be active simultaneously.

          - Note that, as of Jan 2014, only the LTC generator supports latency - compensation. This is due to the fact the Ardour MIDI ports are not + Note that, as of Jan 2014, only the LTC generator supports latency + compensation. This is due to the fact the Ardour MIDI ports are not yet latency compensated.

          - In Session > Properties, it is possible to - define an offset between Ardour's internal time and the timecode sent. + In Session > Properties, it is possible to + define an offset between Ardour's internal time and the timecode sent. Currently only the LTC generator honors this offset.

          - Both LTC and MTC are limited to 30 fps. Using frame rates larger - than that will disable the generator. In both cases also only 24, 25, - 29.97df (drop-frame) and 30 fps are well defined by specifications (such as + Both LTC and MTC are limited to 30 fps. Using frame rates larger + than that will disable the generator. In both cases also only 24, 25, + 29.97df (drop-frame) and 30 fps are well defined by specifications (such as SMPTE-12M, EU and the MIDI standard).

          MTC Generator

          - The MTC generator has no options. Ardour sends full MTC - frames whenever the transport is relocated or changes state (start/stop). - MTC quarter frames are sent when the transport is rolling and + The MTC generator has no options. Ardour sends full MTC + frames whenever the transport is relocated or changes state (start/stop). + MTC quarter frames are sent when the transport is rolling and the transport speed is within 93% and 107%.

          LTC Generator

          - The level of the LTC generator output signal can be configured - in in the Preferences > Transport dialog. By - default it is set to -18 dBFS, which corresponds to 0dBu in an EBU + The level of the LTC generator output signal can be configured + in in the Preferences > Transport dialog. By + default it is set to -18 dBFS, which corresponds to 0dBu in an EBU calibrated system.

          - The LTC generator has an additional option to keep sending timecode even - when the transport is stopped. This mode is intended to drive analog tape + The LTC generator has an additional option to keep sending timecode even + when the transport is stopped. This mode is intended to drive analog tape machines which unspool the tape if no LTC timecode is received.

          - LTC is send regardless of Ardour's transport speed. It is accurately - generated even for very slow speeds (<5%) and only limited by the - soundcard's sampling-rate and filter (see + LTC is send regardless of Ardour's transport speed. It is accurately + generated even for very slow speeds (<5%) and only limited by the + soundcard's sampling-rate and filter (see Gibbs phenomenon) + href="http://en.wikipedia.org/wiki/Gibbs_phenomenon#Signal_processing_explanation">Gibbs phenomenon) for high speeds.

          Ardour Slave Configuration

          -

          - The timecode source can be switched with the button just right of +

          + The timecode source can be switched with the button just right of Ardour's main clock. By default it is set to Internal in which case Ardour will ignore any external - timecode. The button allows to toggle between Internal and the configured - timecode source which is chosen in Edit > Preferences + class="menu">Internal in which case Ardour will ignore any external + timecode. The button allows to toggle between Internal and the configured + timecode source which is chosen in Edit > Preferences > Transport.

          - When Ardour is chasing (synchronizing to) an external timecode + When Ardour is chasing (synchronizing to) an external timecode source, the following cases need to be distinguished:

            @@ -140,33 +140,33 @@

            Frames-per-second

            - If the frames-per-second do not match, Ardour can either re-calculate + If the frames-per-second do not match, Ardour can either re-calculate and map the frames, or the configured FPS (Session > - Properties) can be changed automatically while the slave is active. - The behavior is configured with the checkbox Edit - > Preferences > Transport > Match session video frame rate to + Properties) can be changed automatically while the slave is active. + The behavior is configured with the checkbox Edit + > Preferences > Transport > Match session video frame rate to external timecode.

            - When enabled, the session video frame rate will be changed to match that - of the selected external timecode source. When disabled, the session video - frame rate will not be changed to match that of the selected external - timecode source. Instead the frame rate indication in the main clock will - flash red, and Ardour will convert between the external timecode standard + When enabled, the session video frame rate will be changed to match that + of the selected external timecode source. When disabled, the session video + frame rate will not be changed to match that of the selected external + timecode source. Instead the frame rate indication in the main clock will + flash red, and Ardour will convert between the external timecode standard and the session standard.

            - 29.97 drop-frame timecode is another corner case. While the SMPTE 12M-1999 - specifies 29.97df as 30000/1001 frames per second, not all hardware devices - follow that standard. The checkbox - Lock to 29.9700 fps instead of 30000/1001 allows + 29.97 drop-frame timecode is another corner case. While the SMPTE 12M-1999 + specifies 29.97df as 30000/1001 frames per second, not all hardware devices + follow that standard. The checkbox + Lock to 29.9700 fps instead of 30000/1001 allows to use a compatibility mode for those devices.
            - When enabled, the external timecode source is assumed to use 29.970000 fps - instead of 30000/1001. SMPTE 12M-1999 specifies 29.97df as 30000/1001. The - spec further mentions that drop-frame - timecode has an accumulated error of -86 ms over a 24-hour period. - Drop-frame timecode would compensate exactly for a NTSC color frame rate - of 30 * 0.9990 (ie 29.970000). That is not the actual rate. However, + When enabled, the external timecode source is assumed to use 29.970000 fps + instead of 30000/1001. SMPTE 12M-1999 specifies 29.97df as 30000/1001. The + spec further mentions that drop-frame + timecode has an accumulated error of -86 ms over a 24-hour period. + Drop-frame timecode would compensate exactly for a NTSC color frame rate + of 30 * 0.9990 (ie 29.970000). That is not the actual rate. However, some vendors use that rate—despite it being against the specs—because the variant of using exactly 29.97 fps yields zero timecode drift. @@ -174,58 +174,58 @@

            Clock Sync Lock

            - As described in the + As described in the On Clock and Time - chapter, timecode and clock are independent. If the external timecode - source is not in sample-sync with the audio hardware (and JACK), Ardour + chapter, timecode and clock are independent. If the external timecode + source is not in sample-sync with the audio hardware (and JACK), Ardour needs to run at varispeed to adjust for the discrepancy.

            - The checkbox External timecode is sync locked - allows to select the behavior according to your setup. When enabled, it - indicates that the selected external timecode source shares sync (Black + The checkbox External timecode is sync locked + allows to select the behavior according to your setup. When enabled, it + indicates that the selected external timecode source shares sync (Black & Burst, Wordclock, etc) with the audio interface.

            - In other words: if enabled, Ardour will only perform initial - synchronization and keep playing at speed 1.0 instead of vari-speed + In other words: if enabled, Ardour will only perform initial + synchronization and keep playing at speed 1.0 instead of vari-speed adjusting to compensate for drift.

            - Note that vari-speed is unavailable when recording in Ardour, and all - tracking happens at speed 1.0. So if you want to record in sync with + Note that vari-speed is unavailable when recording in Ardour, and all + tracking happens at speed 1.0. So if you want to record in sync with external timecode it must be sample-locked or it will drift over time.

            MIDI Clock

            - MIDI Clock is not a timecode format but tempo-based time. The - absolute reference point is expressed as beats-per-minute and Bar, Beat - and Tick. There is no concept of sample-locking for MIDI clock signals. + MIDI Clock is not a timecode format but tempo-based time. The + absolute reference point is expressed as beats-per-minute and Bar, Beat + and Tick. There is no concept of sample-locking for MIDI clock signals. Ardour will vari-speed if necessary to chase the incoming signal.

            - Note that the MIDI Clock source must be connected to the + Note that the MIDI Clock source must be connected to the ardour:MIDI clock in port.

            LTC—Linear Timecode

            - The LTC slave decodes an incoming LTC signal on a JACK audio + The LTC slave decodes an incoming LTC signal on a JACK audio port. It will auto-detect the frame rate and start locking to the signal once two consecutive LTC frames have been received.

            - The incoming timecode signal needs to arrive at the - ardour:LTC-in port. Port-connections are restored for each - session and the preference dialog offers an option to select it for all + The incoming timecode signal needs to arrive at the + ardour:LTC-in port. Port-connections are restored for each + session and the preference dialog offers an option to select it for all sessions.

            - Ardour's transport is aligned to LTC-frame start/end positions according - to the SMPTE 12M-1999 specification, which means that the first bit of an - LTC-Frame is aligned to different Lines of a Video-Frame, depending on the - TV standard used. Only for Film (24fps) does the LTC-Frame directly match + Ardour's transport is aligned to LTC-frame start/end positions according + to the SMPTE 12M-1999 specification, which means that the first bit of an + LTC-Frame is aligned to different Lines of a Video-Frame, depending on the + TV standard used. Only for Film (24fps) does the LTC-Frame directly match the video Frame boundaries.

            @@ -233,17 +233,17 @@

            Figure: LTC frame alignment for the 525/60 TV standard

            - Ardour supports vari-speed and backwards playback but will only follow - speed changes if the sync locked option is + Ardour supports vari-speed and backwards playback but will only follow + speed changes if the sync locked option is disabled.

            - While Ardour is chasing LTC, the main transport clock will display the - received Timecode as well as the delta between the incoming signal and + While Ardour is chasing LTC, the main transport clock will display the + received Timecode as well as the delta between the incoming signal and Ardour's transport position.

            - A global offset between incoming timecode and Ardour's transport can be + A global offset between incoming timecode and Ardour's transport can be configured in Session > Properties.

            @@ -252,37 +252,37 @@

            MTC—MIDI Timecode

            - Ardour's MTC slave parses full timecode messages as well as - MTC quarter-frame messages arriving on the - ardour:MTC in port. The transport will only start rolling + Ardour's MTC slave parses full timecode messages as well as + MTC quarter-frame messages arriving on the + ardour:MTC in port. The transport will only start rolling once a complete sequence of 8 quarter frames has been received.

            - Ardour supports vari-speed and backwards playback but will only follow - MTC speed changes if the sync locked option + Ardour supports vari-speed and backwards playback but will only follow + MTC speed changes if the sync locked option is disabled.

            - When Ardour is chasing MTC, the main transport clock will display the - received Timecode as well as the delta between the incoming signal and + When Ardour is chasing MTC, the main transport clock will display the + received Timecode as well as the delta between the incoming signal and Ardour's transport position.

            JACK Transport

            - When slaved to jack, Ardour's transport will be identical to - JACK-transport. As opposed to other slaves, Ardour can be used to control - the JACK transport states (stopped/rolling). No port connections need to + When slaved to jack, Ardour's transport will be identical to + JACK-transport. As opposed to other slaves, Ardour can be used to control + the JACK transport states (stopped/rolling). No port connections need to be made for jack-transport to work.

            - JACK-transport does not support vari-speed, nor offsets. Ardour does not + JACK-transport does not support vari-speed, nor offsets. Ardour does not chase the timecode but is always in perfect sample-sync with it.

            - JACK-transport also includes temp-based-time information in Bar:Beats:Ticks - and beats-per-minute. However, only one JACK application can provide this - information at a given time. The checkbox + JACK-transport also includes temp-based-time information in Bar:Beats:Ticks + and beats-per-minute. However, only one JACK application can provide this + information at a given time. The checkbox Session > Properties > JACK Time Master configures Ardour to act as translator from timecode to BBT information.

            diff --git a/include/timecode-tab.html b/include/timecode-tab.html index 8202673..05d0456 100644 --- a/include/timecode-tab.html +++ b/include/timecode-tab.html @@ -7,13 +7,13 @@
            • - Timecode Settings lets you set the number of frames per second - and pull up/down to match the timecode used other synchronized systems. + Timecode Settings lets you set the number of frames per second + and pull up/down to match the timecode used other synchronized systems.
            • External Timecode Offsets allows Ardour to a fixed offset from other - synchronized systems. Slave Timecode offset adds the - specified offset to the recieved timecode (MTC or LTC). + synchronized systems. Slave Timecode offset adds the + specified offset to the recieved timecode (MTC or LTC). Timecode Generator offset adds the specified offset to the timecode generated by Ardour (so far only LTC).
              • diff --git a/include/tooltips.html b/include/tooltips.html deleted file mode 100644 index 7f88bfe..0000000 --- a/include/tooltips.html +++ /dev/null @@ -1,15 +0,0 @@ - -

              - By default, Ardour will show helpful tooltips about - the purpose and use of each GUI element if you position the pointer - over it and hover 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 be distracting for experienced users, who may opt to - disable them via Edit > Preferences > GUI > - Show tooltip if mouse hovers over a control. -

              - diff --git a/include/track-color.html b/include/track-color.html index 4054256..35aab6d 100644 --- a/include/track-color.html +++ b/include/track-color.html @@ -1,40 +1,40 @@

              New tracks in Ardour are assigned a random color from a pastel color - palette, so they should never end up being particularly bright or - particularly dark. + palette, so they should never end up being particularly bright or + particularly dark.

              Changing the color of specific tracks

              Select the tracks whose color you wish to change. Context-click - on the track header of one of them. From the context menu, select + on the track header of one of them. From the context menu, select Color and pick a hue to your taste in the - color dialog. Every selected track will be + color dialog. Every selected track will be re-colored.

              - Note that if you are only changing one track, context-clicking on - that track's header will be enough to select it, saving the extra + Note that if you are only changing one track, context-clicking on + that track's header will be enough to select it, saving the extra mouse click.

              Changing the color of all tracks in a group

              - Tracks that belong to a - track/bus group + Tracks that belong to a + track/bus group can share a common color by enabling the Color option for the group. With this enabled, any color change will be propagated to all group members.

              - You can also explicitly change the group color by context-clicking + You can also explicitly change the group color by context-clicking on the group tab in the Mixer, selecting Edit Group… and then clicking on the Color selector in that dialog - that is displayed. + that is displayed.

              diff --git a/include/track-height.html b/include/track-height.html index 4330069..4aff025 100644 --- a/include/track-height.html +++ b/include/track-height.html @@ -1,34 +1,34 @@ -

              +

              Depending on the stage of your production, you may require a quick overview over as many tracks as possible, a detailed view into just a - few, or a combination of the two. To facilitate this, the - height may be configured individually for each track in + few, or a combination of the two. To facilitate this, the + height may be configured individually for each track in the editor window.

              - A context click on a track header will display the + A context click on a track header will display the Height menu, and allow you to choose from a - list of standard sizes. All selected tracks will be redrawn using that + list of standard sizes. All selected tracks will be redrawn using that height.

              - Alternatively, select the tracks you wish to resize. Move the pointer - to the bottom edge of one track header. The cursor will change to a - two-way vertical arrow shape. Left-drag to + Alternatively, select the tracks you wish to resize. Move the pointer + to the bottom edge of one track header. The cursor will change to a + two-way vertical arrow shape. Left-drag to dynamically resize all selected tracks.

              Fit to the Editor Window

              - Select the tracks you wish to display in the Editor window. - Choose Track > Height > Fit Selected Tracks - or use the keyboard shortcut, f. Ardour adjusts the track - heights and view so that the selected tracks completely fill the vertical - space available, unless the tracks cannot be fitted even at the smallest + Select the tracks you wish to display in the Editor window. + Choose Track > Height > Fit Selected Tracks + or use the keyboard shortcut, f. Ardour adjusts the track + heights and view so that the selected tracks completely fill the vertical + space available, unless the tracks cannot be fitted even at the smallest possible size.

              - You can use Visual Undo (default shortcut: Z + You can use Visual Undo (default shortcut: Z to revert this operation.

              diff --git a/include/track-recording-modes.html b/include/track-recording-modes.html index 9af547b..e70e385 100644 --- a/include/track-recording-modes.html +++ b/include/track-recording-modes.html @@ -1,8 +1,8 @@ - +

              - The Recording mode is a per-track property (applies to audio - tracks only) that affects the way that recording new material on top of - existing material ("overdubbing") operates in that track. + The Recording mode is a per-track property (applies to audio + tracks only) that affects the way that recording new material on top of + existing material ("overdubbing") operates in that track.

              See Track modes diff --git a/include/track-types.html b/include/track-types.html index e463f6a..4a09d24 100644 --- a/include/track-types.html +++ b/include/track-types.html @@ -1,6 +1,6 @@

              - Ardour offers three track types depending on the type of + Ardour offers three track types depending on the type of data they contain, and differentiates between three track modes, depending on their recording behaviour.

              @@ -8,53 +8,53 @@

              Track types

              An Ardour track can be of type audio or MIDI, - depending on the data that the track will primarily record - and play back. However, either type of track can pass either + depending on the data that the track will primarily record + and play back. However, either type of track can pass either type of data. Hence, for example, one might have a MIDI track that - contains an instrument plugin; such a track would record and play back - MIDI data from disk but would produce audio, since the instrument plugin + contains an instrument plugin; such a track would record and play back + MIDI data from disk but would produce audio, since the instrument plugin would turn MIDI data into audio data.

              - Nevertheless, when adding tracks to a session, you typically have an idea - of what you need to use the new tracks for, and Ardour offers you three + Nevertheless, when adding tracks to a session, you typically have an idea + of what you need to use the new tracks for, and Ardour offers you three choices:

              Audio
              -
              An Audio Track is created with a user-specified number of - inputs. The number of outputs is defined by the master bus channel count - (for details see Channel Configuration - below). This is the type of track to use when planning to work with +
              An Audio Track is created with a user-specified number of + inputs. The number of outputs is defined by the master bus channel count + (for details see Channel Configuration + below). This is the type of track to use when planning to work with existing or newly recorded audio.
              MIDI
              -
              A MIDI track is created with a single MIDI input, and a - single MIDI output. This is the type of track to use when planning to - record and play back MIDI. There are several methods to enable playback - of a MIDI track: add an instrument plugin to the track, connect the - track to a software synthesizer, or connect it to external MIDI hardware. +
              A MIDI track is created with a single MIDI input, and a + single MIDI output. This is the type of track to use when planning to + record and play back MIDI. There are several methods to enable playback + of a MIDI track: add an instrument plugin to the track, connect the + track to a software synthesizer, or connect it to external MIDI hardware.

              If you add an instrument plugin, the MIDI track outputs audio instead of MIDI data.

              Audio/MIDI
              -
              There are a few notable plugins that can usefully accept both Audio - and MIDI data (Reaktor is one, and various "auto-tune" like plugins - are another). It can be tricky to configure this type of track manually, - so Ardour allows you to select this type specifically for use with such - plugins. It is not generally the right choice when working normal +
              There are a few notable plugins that can usefully accept both Audio + and MIDI data (Reaktor is one, and various "auto-tune" like plugins + are another). It can be tricky to configure this type of track manually, + so Ardour allows you to select this type specifically for use with such + plugins. It is not generally the right choice when working normal MIDI tracks, and a dialog will warn you of this.

              Track Modes

              - Audio tracks in Ardour have a mode which affects how they behave + Audio tracks in Ardour have a mode which affects how they behave when recording:

              Normal
              Tracks in normal mode will record non-destructively—new - data is written to new files, and when overdubbing, new regions will be + data is written to new files, and when overdubbing, new regions will be layered on top of existing ones. This is the recommended mode for most workflows.
              @@ -68,35 +68,35 @@ push/pull trimming.
              Tape
              -
              Tape-mode tracks do destructive recording: +
              Tape-mode tracks do destructive recording: all data is recorded to a single file and if you overdub a section of existing data, the existing data is destroyed irrevocably—there is no undo. Fixed crossfades are added at every punch in and out point. This mode can be useful for certain kinds of re-recording workflows, but it not - suggested for normal + suggested for normal use.
              normal and non-layered overdubbing comparision

              - The screenshot on the right shows the subtle difference between an overdub - in normal mode (upper track) and one in non-layered mode + The screenshot on the right shows the subtle difference between an overdub + in normal mode (upper track) and one in non-layered mode (lower track). Both tracks were created using identical audio data.
              The upper track shows a new region which has been layered on - top of the the existing (longer) region. You can see this if you look + top of the the existing (longer) region. You can see this if you look carefully at the region name strips.
              The lower track has split the existing region in two, trimmed each new - region to create space for the new overdub, and inserted the overdub region - in between. + region to create space for the new overdub, and inserted the overdub region + in between.

              Channel Configuration

              - Ardour tracks can have any number of inputs and any number of outputs, and the - number of either can be changed at any time (subject to restrictions caused by - any plugins in a track). However it is useful to not have to configure this sort - of thing for the most common cases, and so the - Add Tracks dialog allows you to + Ardour tracks can have any number of inputs and any number of outputs, and the + number of either can be changed at any time (subject to restrictions caused by + any plugins in a track). However it is useful to not have to configure this sort + of thing for the most common cases, and so the + Add Tracks dialog allows you to select "Mono", "Stereo" and few other typical multichannel presets
              The name of the preset describes the number of input channels of the track or bus. @@ -107,17 +107,17 @@ inputs of the master bus, to which the track outputs will be connected.
              - For example, if you have a two-channel master bus, then a Mono track has one + For example, if you have a two-channel master bus, then a Mono track has one input and two outputs; a Stereo track has two inputs and two outputs.

              If you you set Edit > Preferences > Audio > Connection of Tracks and Busses to manual, then tracks will be left disconnected by default - and there will be as many outputs as there are inputs. It is up to you to connect - them as you wish. This is not a particularly useful way to work unless you are doing - something fairly unusual with signal routing and processing. It is almost always - preferable to leave Ardour to make connections automatically, even if you later + and there will be as many outputs as there are inputs. It is up to you to connect + them as you wish. This is not a particularly useful way to work unless you are doing + something fairly unusual with signal routing and processing. It is almost always + preferable to leave Ardour to make connections automatically, even if you later change some of them manually.

              diff --git a/include/transcoding-formats-amp-codecs.html b/include/transcoding-formats-amp-codecs.html index 9ffb83c..8078296 100644 --- a/include/transcoding-formats-amp-codecs.html +++ b/include/transcoding-formats-amp-codecs.html @@ -1,59 +1,59 @@

              - This chapter provides a short primer on video files, formats and + This chapter provides a short primer on video files, formats and codecs – because it is often cause for confusion:

              - A video file is a container. It usually contains one - video track and one or more audio tracks. - How these tracks are stored in the file is defined by the - file format. Common formats are + A video file is a container. It usually contains one + video track and one or more audio tracks. + How these tracks are stored in the file is defined by the + file format. Common formats are avi, mov, ogg, mkv, mpeg, mpeg-ts, mp4, flv, or vob.

              Each of the tracks by itself is encoded using a Codec. Common video codecs + title="Coder-Decoder">Codec. Common video codecs are h264, mpeg2, mpeg4, theora, mjpeg, wmv3. Common audio codecs are mp2, mp3, dts, aac, wav/pcm.

              - Not all codecs can be packed into a given format. For example the - mpeg format is limited to mpeg2, mpeg4 and mp3 codecs (not entirely true). - DVDs do have stringent limitations as well. The opposite would be .avi; - pretty much every audio/video codec combination can be contained in an avi + Not all codecs can be packed into a given format. For example the + mpeg format is limited to mpeg2, mpeg4 and mp3 codecs (not entirely true). + DVDs do have stringent limitations as well. The opposite would be .avi; + pretty much every audio/video codec combination can be contained in an avi file-format.

              - To make things worse, naming conventions for video codecs and formats are + To make things worse, naming conventions for video codecs and formats are often identical (especially MPEG ones) which leads to confusion. - All in all it is a very wide and deep field. Suffice there are different + All in all it is a very wide and deep field. Suffice there are different uses for different codecs and formats.

              Ardour specific issues

              - Ardour supports a wide variety of video file formats codecs. More - specifically, Ardour itself actually does not support any video at all + Ardour supports a wide variety of video file formats codecs. More + specifically, Ardour itself actually does not support any video at all but delegates handling of video files to ffmpeg, which supports over 350 different + href="http://ffmpeg.org/">ffmpeg, which supports over 350 different video codecs and more than 250 file formats.

              - When importing a video into Ardour, it will be transcoded - (changed from one format and codec to another) to avi/mjpeg for internal - use (this allows reliable seeking to frames at low CPU cost—the + When importing a video into Ardour, it will be transcoded + (changed from one format and codec to another) to avi/mjpeg for internal + use (this allows reliable seeking to frames at low CPU cost—the file size will increase, but hard disks are large and fast).

              - The export dialog includes presets for common format and codec - combinations (such as DVD, web-video,..). If in doubt use one of the + The export dialog includes presets for common format and codec + combinations (such as DVD, web-video,..). If in doubt use one of the presets.

              - As last note: every time a video is transcoded, the quality can only get - worse. Hence for the final mastering/muxing process, one should + As last note: every time a video is transcoded, the quality can only get + worse. Hence for the final mastering/muxing process, one should always to back and use the original source of the video.

              diff --git a/include/transforming-midi---mathematical-operations.html b/include/transforming-midi---mathematical-operations.html index 8d1a899..22ea3c4 100644 --- a/include/transforming-midi---mathematical-operations.html +++ b/include/transforming-midi---mathematical-operations.html @@ -1,6 +1,6 @@

              Considering the numerical nature of MIDI events, it can be tempting to apply mathematical transformations to our MIDI regions by using mathematical operations. Ardour makes it very easy and powerfull with the Transform tool.

              - + MIDI transformation

              To access the Transform tool, right click the MIDI region > name_of_the_region > MIDI > Transform…

              diff --git a/include/understanding-basic-concepts-and-terminology.html b/include/understanding-basic-concepts-and-terminology.html index 402368b..543b92b 100644 --- a/include/understanding-basic-concepts-and-terminology.html +++ b/include/understanding-basic-concepts-and-terminology.html @@ -1,151 +1,163 @@

              - This section will help you get acquainted with the basic terminology and - concepts associated with Ardour. More detailed information on each aspect - of the program is provided in later chapters. + In order to fully grasp the terms used in Ardour (and this manual), it is + necessary to understand what things like sessions, tracks, busses, regions + and so on—as used in Ardour—are.

              Sessions

              +

              - An Ardour session is a container for an entire project. A - session may contain an arbitrary number of tracks and - busses consisting of audio and MIDI data, along with - information on processing those tracks, a mix of levels, and everything - else related to the project. A session might typically contain a song, or - perhaps an entire album or a complete live recording. + An Ardour session is a container for an entire project. A session + may contain an arbitrary number of tracks and busses + consisting of audio and MIDI data, along with information on processing those + tracks, a mix of levels, and everything else related to the project. A + session might typically contain a song, an entire album, or a complete live + recording.

              +

              - Ardour sessions are held in directories; these directories contain one or - more session files, some or all of the audio and MIDI data and - a number of other state files that Ardour requires. The session file - describes the structure of the session, and holds automation data and - other details. + Ardour sessions are kept in directories; these directories contain one or + more session files, some or all of the audio and MIDI data, and a + number of other state files that Ardour requires. The session file describes + the structure of the session, and holds automation data and other details.

              +

              - Ardour's session file is kept in - XML format, which is - advantageous as it is somewhat human-readable, and human-editable in a - crisis. Sound files are stored in one of a number of optional formats, and - MIDI files as SMF. + Ardour's session file is written in XML format, which is advantageous as it is somewhat + human-readable and human-editable in a crisis. Sound files are stored in one + of a number of optional formats, and MIDI files as SMF.

              +

              It is also possible for Ardour sessions to reference sound and MIDI files - outside the session directory, to conserve disk space and avoid - unnecessary copying if the data is available elsewhere on the disk. + outside the session directory, to conserve disk space and avoid unnecessary + copying if the data is available elsewhere on the disk.

              +

              Ardour has a single current session at all times; if Ardour is started without specifying one, it will offer to load or create one.

              -

              - More details can be found at - Working With Sessions. + +

              + More details can be found in the Sessions chapter.

              Tracks

              -

              - A track is a concept common to most - DAWs, and also used in - Ardour. Tracks can record audio or MIDI data to disk, and then replay - it with processing. They also allow the audio or MIDI data to be edited - in a variety of different ways. -

              +

              - In a typical pop production, one might use a track each for the kick - drum, another for the snare, more perhaps for the drum overheads and - others for bass, guitars and vocals. + A track is a concept common to most DAWs, and also used in Ardour. Tracks can record audio or + MIDI data to disk, and then replay it with processing. They also allow the + audio or MIDI data to be edited in a variety of different ways.

              +

              - Ardour can record to any number of tracks at one time, and then play - those tracks back. On playback, a track's recordings may be processed by - any number of plugins, panned, and its level altered to achieve a - suitable mix. + In a typical pop production, one track might be used for the kick drum, another for the snare, more perhaps for the drum overheads and others for bass, guitars and vocals.

              +

              - A track's type is really only related to the type of data that it stores - on disk. It is possible, for example, to have a MIDI track with a - synthesizer plugin which converts MIDI to audio. Even though the track - remains MIDI (in the sense that its on-disk recordings are MIDI), its - output may be audio-only. + Ardour can record to any number of tracks at one time, and then play those + tracks back. On playback, a track's recordings may be processed by any number + of plugins, panned, and/or its level altered to achieve a suitable mix.

              +

              - More details can be found at - Working With Tracks. + A track's type is really only related to the type of data that it stores on + disk. It is possible, for example, to have a MIDI track with a synthesizer + plugin which converts MIDI to audio. Even though the track remains MIDI (in + the sense that its on-disk recordings are MIDI), its output may be + audio-only. +

              + +

              + More details can be found in the Tracks chapter.

              Busses

              +

              Busses are another common concept in both DAWs and hardware - mixers. They are similar in many ways to tracks; they process audio or - MIDI, and can run processing plugins. The only difference is that their - input is obtained from other tracks or busses, rather than from disk. + mixers. They are similar in many ways to tracks; they process audio or MIDI, + and can run processing plugins. The only difference is that their input is + obtained from other tracks or busses, rather than from disk.

              +

              - One might typically use a bus to collect together the outputs of related - tracks. Consider, for example, a 3-track recording of a drum-kit; given - kick, snare and overhead tracks, it may be helpful to connect the output - of each to a bus called "drums", so that the drum-kit's level can be set - as a unit, and processing (such as equalisation or compression) can be - applied to the mix of all tracks. Such buses are also called - groups. + A bus might typically be used to collect together the outputs of related + tracks. Consider, for example, a three track recording of a drum kit; given + kick, snare and overhead tracks, it may be helpful to connect the output of + each to a bus called "drums", so that the drum kit's level can be set as a + unit, and processing (such as equalization or compression) can be applied to + the mix of all the tracks. Such buses are also called groups.

              Regions

              +

              - A track may contain many segments of audio or MIDI. Ardour contains - these segments in things called regions, which are - self-contained snippets of audio or MIDI data. Any recording pass, for - example, generates a region on each track that is enabled for recording. - Regions can be subjected to many editing operations; they may be moved - around, split, trimmed, copied, and so on. + A track may contain many segments of audio or MIDI. Ardour contains these + segments in things called regions, which are self-contained + snippets of audio or MIDI data. Any recording pass, for example, generates a + region on each track that is enabled for recording. Regions can be subjected + to many editing operations; they may be moved around, split, trimmed, copied, + and so on.

              -

              - More details can be found at - Working With Regions. + +

              + More details can be found at Working With + Regions.

              Playlists

              +

              The details of what exactly each track should play back is described by a playlist. A playlist is simply a list of regions; each track always has an active playlist, and can have other playlists which can be switched in and out as required.

              -

              - More details can be found at - Working With Playlists. + +

              + More details can be found in the Playlists chapter.

              Plugins

              +

              - Ardour allows you to process audio and MIDI using any number of - plugins. These are external pieces of code, commonly seen as - VST plugins on Windows or AU plugins on Mac OS X. Ardour supports - the following plugin standards: + Ardour allows processing audio and MIDI using any number of + plugins. These are external pieces of code, commonly seen as VST + plugins on Windows or AU plugins on Mac OS X. Ardour supports the following + plugin standards:

              -
              + +
              LADSPA
              the first major plugin standard for Linux. Many LADSPA plugins are available, mostly free and open-source.
              LV2
              -
              the successor to LADSPA. Lots of plugins have been ported from - LADSPA to LV2, and also many new plugins written.
              +
              the successor to LADSPA. Lots of plugins have been ported from LADSPA to + LV2, and also many new plugins written.
              VST
              Ardour supports VST plugins that have been compiled for Linux.
              AU
              Mac OS X versions of Ardour support AudioUnit plugins.
              +

              - Ardour has some support for running Windows VST plugins on Linux, but - this is rather complicated, extremely difficult for the Ardour - developers to debug, and generally unreliable, as it requires to run a - large amount of Windows code in an emulated environment.
              - If it is at all possible, you are strongly advised to use native - LADSPA, LV2 or Linux VST plugins on Linux, or AU on Mac OS X. -

              -

              - More details can be found at - Working With Plugins. + Ardour has some support for running Windows VST plugins on Linux, but this is + rather complicated, extremely difficult for the Ardour developers to debug, + and generally unreliable, as it requires running a large amount of Windows + code in an emulated environment. If it is at all possible, it is strongly + advisable to use native LADSPA, LV2 or Linux VST plugins on Linux, or AU on + Mac OS X. +

              + +

              + More details can be found at Working With + Plugins.

              diff --git a/include/understanding-playlists.html b/include/understanding-playlists.html index 0eba372..f33185d 100644 --- a/include/understanding-playlists.html +++ b/include/understanding-playlists.html @@ -1,19 +1,19 @@ - +

              - A playlist is a list of regions ordered in time. It defines - which parts of which source files should be played and when. Playlists - are a fairly advanced topic, and can be safely ignored for many types - of audio production. However, the use of playlists allows the audio - engineer more flexibility for tasks like multiple takes of a single - instrument, alternate edits of a given recording, parallel effects such + A playlist is a list of regions ordered in time. It defines + which parts of which source files should be played and when. Playlists + are a fairly advanced topic, and can be safely ignored for many types + of audio production. However, the use of playlists allows the audio + engineer more flexibility for tasks like multiple takes of a single + instrument, alternate edits of a given recording, parallel effects such as reverb or compression, and other tasks.

              Each audio track in Ardour is really just a mechanism for - taking a playlist and generating the audio stream that it represents. - As a result, editing a track really means modifying its playlist in - some way. Since a playlist is a list of regions, most of the - modifications involve manipulating regions: their position, length + taking a playlist and generating the audio stream that it represents. + As a result, editing a track really means modifying its playlist in + some way. Since a playlist is a list of regions, most of the + modifications involve manipulating regions: their position, length and so forth. This is covered in the chapter Working With Regions.
              Here, we cover some of the things you can do with playlists as objects @@ -22,35 +22,35 @@

              Tracks are not Playlists

              - It is important to understand that a track is not a playlist. - A track has a playlist. A track is a mechanism for generating - the audio stream represented by the playlist and passing it through a - signal processing pathway. At any point in time, a track has a single - playlist associated with it. When the track is used to record, that - playlist will have one or more new regions added to it. When the track - is used for playback, the contents of the playlist will be heard. - You can change the playlist associated with a track at (almost) any + It is important to understand that a track is not a playlist. + A track has a playlist. A track is a mechanism for generating + the audio stream represented by the playlist and passing it through a + signal processing pathway. At any point in time, a track has a single + playlist associated with it. When the track is used to record, that + playlist will have one or more new regions added to it. When the track + is used for playback, the contents of the playlist will be heard. + You can change the playlist associated with a track at (almost) any time, and even share playlists between tracks.

              - If you have some experience of other - DAWs, then you might - have come across the term "virtual track", normally defined as a track - that isn't actually playing or doing anything, but can be - mapped/assigned to a real track. This concept is functionally - identical to Ardour's playlists. We just like to be little more - clear about what is actually happening rather than mixing old and + If you have some experience of other + DAWs, then you might + have come across the term "virtual track", normally defined as a track + that isn't actually playing or doing anything, but can be + mapped/assigned to a real track. This concept is functionally + identical to Ardour's playlists. We just like to be little more + clear about what is actually happening rather than mixing old and new terminology ("virtual" and "track"), which might be confusing.

              Playlists are Cheap

              - One thing you should be clear about is that playlists are cheap. They - don't cost anything in terms of CPU consumption, and they have very - minimal efforts on memory use. Don't be afraid of generating new - playlists whenever you want to. They are not equivalent to tracks, - which require extra CPU time and significant memory space, or audio - files, which use disk space, or plugins that require extra CPU time. - If a playlist is not in use, it occupies a small amount of memory, and + One thing you should be clear about is that playlists are cheap. They + don't cost anything in terms of CPU consumption, and they have very + minimal efforts on memory use. Don't be afraid of generating new + playlists whenever you want to. They are not equivalent to tracks, + which require extra CPU time and significant memory space, or audio + files, which use disk space, or plugins that require extra CPU time. + If a playlist is not in use, it occupies a small amount of memory, and nothing more.

              diff --git a/include/undoredo-for-editing.html b/include/undoredo-for-editing.html deleted file mode 100644 index 69eb9cd..0000000 --- a/include/undoredo-for-editing.html +++ /dev/null @@ -1,33 +0,0 @@ - -

              - While editing, it happens that you apply an unintended change, or make - a choice one that you later decide was 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 you close the session and reopen it later, - even if you quit Ardour 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 for more information. -

              - diff --git a/include/using-aatranslator.html b/include/using-aatranslator.html index e125bcb..215e501 100644 --- a/include/using-aatranslator.html +++ b/include/using-aatranslator.html @@ -1,4 +1,4 @@ - +

              AATranslator is a Windows application that can convert sessions/projects from many diffferent DAWs into other formats. At the present time (December 2016), it can read and write Ardour 2.X sessions, and can read Ardour 3 sessions.

              diff --git a/include/using-more-than-one-audio-device.html b/include/using-more-than-one-audio-device.html index 4872a49..66779b3 100644 --- a/include/using-more-than-one-audio-device.html +++ b/include/using-more-than-one-audio-device.html @@ -1,7 +1,7 @@ - +

              - Ardour will only ever deal with a single audio device. If you - want to use more than one, you have two choices: + Ardour will only ever deal with a single audio device. If you + want to use more than one, you have two choices:

              • @@ -18,12 +18,12 @@ Ardour is fundamentally designed to be a component in a pro-audio/music creation environment. Standard operating practice for such setups involves using only a single digital sample - clock (something counting off the time between audio samples). + clock (something counting off the time between audio samples). This means that trying to use multiple independent soundcards is - problematic, because each soundcard has its own sample clock, running + problematic, because each soundcard has its own sample clock, running independently from the others. Over time, these different clocks - drift - out of sync with each other, which causes glitches in the audio. You + drift + out of sync with each other, which causes glitches in the audio. You cannot stop this drift, although in some cases the effects may be insignificant enough that some people might not care about them.

                @@ -39,8 +39,8 @@

                OS X

                - In CoreAudio, aggregate devices provide a method to use - multiple soundcards as a single device. For example, you can + In CoreAudio, aggregate devices provide a method to use + multiple soundcards as a single device. For example, you can aggregate two 8-channel devices so that you can record 16 channels into Ardour.

                @@ -50,7 +50,7 @@ audio interface (such as those from Apogee, RME, Presonus, and many others), or you are using JackPilot or a similar application to start JACK, you do not need to worry about this.
                - You will need to set up an aggregate device only if either + You will need to set up an aggregate device only if either of the following conditions are true:

                  @@ -60,7 +60,7 @@ want to start JACK using Ardour.
                • You want to use more than two entirely separate devices
                - +

                In the case of your builtin audio device, you will need to create an aggregate device that combines "Builtin Input" and "Builtin diff --git a/include/using-the-ableton-push-2.html b/include/using-the-ableton-push-2.html index b1841a5..831ec7b 100644 --- a/include/using-the-ableton-push-2.html +++ b/include/using-the-ableton-push-2.html @@ -17,7 +17,7 @@

                Plug the USB cable from the Push 2 into a USB2 or USB3 port on your computer. For brighter backlighting, also plug in the power supply - (this is not necessary for use). + (this is not necessary for use).

                The Push 2 will be automatically recognized by your operating @@ -28,7 +28,7 @@ To connect the Push 2 to Ardour, open the Preferences dialog, and then click on "Control Surfaces". Click on the "Enable" button in the line that says "Ableton Push 2" in order to activate Ardour's - Push 2 support. + Push 2 support.

                Once you select the input and output port, Ardour will initialize @@ -89,7 +89,7 @@ controls on the Push 2 will not not be delivered to the "Push 2 Pads" port. This makes no difference in practice, because the other controls do not send messages that are useful for musical - performance. + performance.

                Global Mix

                @@ -130,7 +130,7 @@

                For tracks with 2 outputs, the display will show a knob indicating the pan width setting for the corresponding track/bus. The physical knob can be turned to adjust the - width. + width.

                Unlike many DAWs, Ardour's stereo panners have "width" @@ -204,14 +204,14 @@ selected track/bus will be displayed on the Push 2. Above the display, the first 4 knobs control track volume (gain), pan directiom/azimuth, pan width, and where appropriate, track input - trim. + trim.

                Below the display, 7 buttons provide immediate control of mute, solo, rec-enable, monitoring (input or disk or automatic), solo isolate and solo safe state. When a a track is muted due to other track(s) soloing, the mute button will flash (to differentiate from - its state when it is explicitly muted). + its state when it is explicitly muted).

                The video display also shows meters for the track, which as in @@ -289,7 +289,7 @@

                Undo/Redo
                - Undo or redo the previous editing operation. + Undo or redo the previous editing operation.
                Delete
                @@ -339,17 +339,17 @@
                Enables/disables loop playback. This will follow Ardour's "loop is mode" preference, just like the loop button in the Ardour - GUI. + GUI.
                Octave buttons
                These shift the root note of the current pad scale up or down by - 1 octave. + 1 octave.
                Page buttons
                These scroll Ardour's editor display left and right along the - timeline. + timeline.
                Master (top right) knob
                diff --git a/include/using-the-mouse.html b/include/using-the-mouse.html index 939e8a2..a9b21c3 100644 --- a/include/using-the-mouse.html +++ b/include/using-the-mouse.html @@ -1,46 +1,50 @@

                Clicking

                +

                - Throughout this manual, the term click refers to the act of pressing - and releasing the Left mouse button. This action is used to select objects, activate - buttons, turn choices on and off, pop up menus and so forth.
                - On touch surfaces, it also corresponds to a single, one-finger tap on - the GUI. + Throughout this manual, the term click refers to the act of + pressing and releasing the Left mouse button. This + action is used to select objects, activate buttons, turn choices on and off, + pop up menus and so forth. On touch surfaces, it also corresponds to a + single, one-finger tap on the GUI.

                Right Clicking

                +

                - The term right-click refers to the act of pressing and releasing - the Right mouse button. - This action is used to pop up context menus (hence the term - "context click", which you will also see). It is also used by default in - combination with the shift key to delete objects within the editor - window. + The term right-click refers to the act of pressing and releasing + the Right mouse button. This action is used to pop + up context menus (hence the term "context click", which will also + be seen). It is also used by default in combination with the shift key to + delete objects within the editor window.

                -

                + +

                Some mice designed for use with Mac OS X may have only one button. By convention, pressing and holding the Control key while clicking is - interpreted as a right-click by many application.. + interpreted as a right-click by many applications.

                Middle Clicking

                +

                A middle-click refers to the act of pressing and releasing the - Middle mouse button. Not all all mice have a middle click button - (see the Mouse chapter for - details). Sometimes the scroll wheel acts as a clickable middle button. - This action is used for time-constrained region copying and mapping MIDI - bindings. + Middle mouse button. Not all all mice have a middle + click button (see the Mouse chapter for details). + Sometimes the scroll wheel acts as a clickable middle button. This action is + used for time-constrained region copying and mapping MIDI bindings.

                +

                - Internally, your operating system may identify the mouse buttons as - Button1, Button2, and - Button3, respectively. It may be possible to - invert the order of buttons to accommodate left-handed users, or to re-assign - them arbitrarily. This manual assumes the canonical order. + Internally, your operating system may identify the mouse buttons as Button1, Button2, and Button3, respectively. It may be possible to invert the + order of buttons to accommodate left-handed users, or to re-assign them + arbitrarily. This manual assumes the canonical order.

                Double Clicking

                +

                A double click refers to two rapid press/release cycles on the leftmost mouse button. The time interval between the two actions that @@ -49,29 +53,35 @@

                Dragging

                +

                - A drag primarily refers to the act of pressing the leftmost - mouse button, moving the mouse with the button held down, and then - releasing the button. On touch surfaces, this term also corresponds to - a single one-finger touch-move-release action. + A drag primarily refers to the act of pressing the leftmost mouse + button, moving the mouse with the button held down, and then releasing the + button. On touch surfaces, this term also corresponds to a single one-finger + touch-move-release action.

                +

                - Ardour also uses the middle mouse button for certain kinds of drags, - which will be referred to as middle-drag. + Ardour also uses the middle mouse button for certain kinds of drags, which + will be referred to as a middle-drag.

                Modifiers

                +

                - There are many actions in Ardour that can be carried out using a mouse - button in combination with a modifier key. When the manual - refers to Left, it means that you should first - press the key, carry out a left click - while is held down, and then finally release the key. + There are many actions in Ardour that can be carried out using a mouse button + in combination with a modifier key. When the manual refers to Left, it means that you should first press the key, carry out a left click while is held down, and then finally release the key.

                +

                Available modifiers depend on your platform:

                +

                Linux Modifiers

                +
                • Ctrl (Control)
                • Shift
                  • @@ -81,10 +91,12 @@
                • Mod4
                • Mod5
                -

                + +

                The following section is almost certainly wrong. Will need to be checked and rewritten asap.

                +

                Mod2 typically corresponds to the NumLock key on many systems. On most Linux systems, there are no keys that will function as modifiers @@ -93,6 +105,7 @@

                OS X Modifiers

                +
                • Cmd (Command, "windmill")
                • Ctrl (Control)
                  • @@ -101,22 +114,25 @@

                Scroll Wheel

                +

                - Ardour can make good use of a scroll wheel on your mouse, which can be - utilized for a variety of purposes. Scroll wheels generate vertical - scroll events, ⇑ (ScrollUp) and - ⇓ (ScrollDown). Some also emit horizontal - events, ⇐ (ScrollLeft) and - ⇒ (ScrollRight). + Ardour can make good use of a scroll wheel on the mouse (assuming + it has one), which can be utilized for a variety of purposes. Scroll wheels + generate vertical scroll events, ⇑ (ScrollUp) + and ⇓ (ScrollDown). Some also emit horizontal + events, ⇐ (ScrollLeft) and ⇒ (ScrollRight).

                +

                When appropriate, Ardour will differentiate between these two different scroll axes. Otherwise it will interpret ScrollDown and ScrollLeft as equivalent and similarly interpret ScrollUp and ScrollRight as equivalent.

                +

                - Typically, scroll wheel input is used to adjust - continuous controls such as faders and knobs, or to scroll - vertically or horizontally inside a window. + Typically, scroll wheel input is used to adjust continuous + controls such as faders and knobs, or to scroll vertically or + horizontally inside a window.

                diff --git a/include/using-the-presonus-faderport.html b/include/using-the-presonus-faderport.html index 62d9089..3d12ac9 100644 --- a/include/using-the-presonus-faderport.html +++ b/include/using-the-presonus-faderport.html @@ -62,10 +62,10 @@ The Faderport's controls can be divided into three groups:
                1. Global controls such as the transport buttons
                  2. - +
                2. Controls which change the settings for particular track or bus
                  3. - +
                3. Controls which alter which track or bus is modified by the per-track/bus controls.
                @@ -164,7 +164,7 @@

                Proj
                -
                +

                Possible actions include:

                  @@ -193,7 +193,7 @@
                  Undo Causes the last operation carried out in the editor to be undone. When pressed in conjuction with the Shift button, it - causes the most recent undone operation to be re-done. + causes the most recent undone operation to be re-done.
                  Punch
                  @@ -210,7 +210,7 @@

                  See above. Any and all GUI-initiated actions can be driven with - by pressing this button on its own, or with a "long" press. + by pressing this button on its own, or with a "long" press.

                  When pressed in conjunction with the Shift button, this will move @@ -233,7 +233,7 @@

              - +

              Per-track Controls

              @@ -260,7 +260,7 @@ The fader controls the gain applied to the currently controlled track/bus. If the Faderport is powered, changing the gain in Ardour's GUI or via another control surface, or via automation, - will result in the fader moving under its own control. + will result in the fader moving under its own control.
              Knob/Dial/Encoder
              diff --git a/include/vbap-panner.html b/include/vbap-panner.html index f3e8bb3..bf08d04 100644 --- a/include/vbap-panner.html +++ b/include/vbap-panner.html @@ -5,7 +5,7 @@ rely on it for important production work while the dust settles.

              - VBAP + VBAP is a versatile and straightforward method to pan a source around over an arbitrary number of speakers on a horizontal polygon or a 3D surface, even if the speaker layout is highly irregular. @@ -15,7 +15,7 @@

              VBAP was developed by Ville Pulkki at Aalto University, Helsinki, in 2001. It works by distributing the signal to the speakers nearest to the desired - direction with appropriate weightings, aiming to create a maximally sharp + direction with appropriate weightings, aiming to create a maximally sharp phantom source by using as few speakers as possible:

              Reference from Current Location
              -
              Only useful for opening files that were previously encoded (are already +
              Only useful for opening files that were previously encoded (are already in a good format/codec). Use with care.
              Do not Import Video
              Useful for extracting audio only.
              @@ -54,11 +54,11 @@ If it is a large video (e.g. full-HD) it makes sense to scale it down to decrease the CPU load and disk I/O required to decode and play the file.
              - A small, low-quality representation of the image is usually sufficient - for editing soundtracks. The default bitrate in kbit/sec is set to use - 0.7 bits per pixel. (Compare: the average DVD medium uses 5000 kbit/s; - at PAL resolution this is about 0.5 bits per pixel. But the DVD is - using the mpeg2—a denser compression algorithm than the + A small, low-quality representation of the image is usually sufficient + for editing soundtracks. The default bitrate in kbit/sec is set to use + 0.7 bits per pixel. (Compare: the average DVD medium uses 5000 kbit/s; + at PAL resolution this is about 0.5 bits per pixel. But the DVD is + using the mpeg2—a denser compression algorithm than the mjpeg codec used by Ardour.)

              @@ -70,45 +70,45 @@

              Exporting Video

              - The video export will take audio from the current Ardour session and - multiplex it with a video file. The soundtrack of the video is taken from + The video export will take audio from the current Ardour session and + multiplex it with a video file. The soundtrack of the video is taken from an audio export of Ardour's master bus.

              - An arbitrary video file can be chosen. For high quality exports, the - original file (before it was imported into the timeline) should be used. - This is the default behaviour if that file can be found. If not, Ardour - will fall back to the imported proxy-video which is currently in use + An arbitrary video file can be chosen. For high quality exports, the + original file (before it was imported into the timeline) should be used. + This is the default behaviour if that file can be found. If not, Ardour + will fall back to the imported proxy-video which is currently in use on the timeline. Any existing audio tracks on this video file are stripped.

              - The range selection allows to cut or extend the video. If the session is - longer than the video duration, black frames are prefixed or appended to - the video. (Note: this process may fail with non-standard pixel aspect + The range selection allows to cut or extend the video. If the session is + longer than the video duration, black frames are prefixed or appended to + the video. (Note: this process may fail with non-standard pixel aspect ratios). If Ardour's session range is shorter, the video will be cut accordingly.

              - Audio samplerate and normalization are options for Ardour's audio exporter. + Audio samplerate and normalization are options for Ardour's audio exporter. The remaining settings are options that are directly passed on to ffmpeg.

              The file format is determined by the extension that you choose for it (.avi, .mov, .flv, .ogv, .webm,…) - Note: not all combinations of format, codec, and settings produce files - which are according to specifications. For example, flv files require - sample rates of 22.1 kHz or 44.1 kHz, mpeg containers can not - be used with ac3 audio-codec, etc. If in doubt, use one of the built-in + Note: not all combinations of format, codec, and settings produce files + which are according to specifications. For example, flv files require + sample rates of 22.1 kHz or 44.1 kHz, mpeg containers can not + be used with ac3 audio-codec, etc. If in doubt, use one of the built-in presets.

              Video Export Dialog

              - Ardour video export is not recommended for mastering! While ffmpeg - (which is used by Ardour) can produce high-quality files, this export - lacks the possibility to tweak many settings. We recommend to use winff, + Ardour video export is not recommended for mastering! While ffmpeg + (which is used by Ardour) can produce high-quality files, this export + lacks the possibility to tweak many settings. We recommend to use winff, devede or dvdauthor to mux & master. Nevertheless this video-export c omes in handy to do quick snapshots, intermediates, dailies or online videos.

              diff --git a/include/working-with-ardour-built-plugin-editors.html b/include/working-with-ardour-built-plugin-editors.html index bc2b8e1..4749e81 100644 --- a/include/working-with-ardour-built-plugin-editors.html +++ b/include/working-with-ardour-built-plugin-editors.html @@ -1,22 +1,22 @@

              - To view a plugin editor, double-click on the plugin within the - processor box. + To view a plugin editor, double-click on the plugin within the + processor box. A new window will appear showing the editor/GUI for the plugin. -

              +

              Add a pic showing the generic GUI

              If a plugin does not have its own GUI, Ardour will construct a - generic plugin editor from a small set of common control - elements. Ardour will do this even for plugins that have their - own, if Edit > Preferences > + generic plugin editor from a small set of common control + elements. Ardour will do this even for plugins that have their + own, if Edit > Preferences > GUI > Use Plugins' own interface instead of Ardour's is disabled.

              - The generic UI can be temporarily switched to by context-clicking on + The generic UI can be temporarily switched to by context-clicking on a processor and selecting Edit with generic controls. This is necessary in order to access the plugin automation controls. diff --git a/include/working-with-extenders.html b/include/working-with-extenders.html index 0d880d0..d394f16 100644 --- a/include/working-with-extenders.html +++ b/include/working-with-extenders.html @@ -5,7 +5,7 @@ right side or master on the left side. There are three presets for a master and two extenders with the master on the left, in the center and on the right. While these files will work for many uses there may - be cases where a custom device profile makes more sense. + be cases where a custom device profile makes more sense. The best way is to start with the *.device file in the Source Tree that matches your diff --git a/include/working-with-markers.html b/include/working-with-markers.html index 487346d..6255516 100644 --- a/include/working-with-markers.html +++ b/include/working-with-markers.html @@ -1,18 +1,18 @@ - +

              It is very useful to be able to tag different locations in a session for later use when editing and mixing. Ardour supports both - locations, which define specific positions in time, - and ranges which define a start and end position in time. + locations, which define specific positions in time, + and ranges which define a start and end position in time.

              - In addition to the standard location markers, there are three kinds of + In addition to the standard location markers, there are three kinds of special markers:

              • - CD markers are locations that are restricted to legal - CD sector boundaries. They can be used to add track index + CD markers are locations that are restricted to legal + CD sector boundaries. They can be used to add track index markers to compact disc images.
              • diff --git a/master-doc.txt b/master-doc.txt index 02fdfea..23f2075 100644 --- a/master-doc.txt +++ b/master-doc.txt @@ -21,29 +21,13 @@ part: subchapter --- --- -title: Welcome to Ardour! -include: welcome-to-ardour_2.html -link: welcome-to-ardour_2 +title: Ardour Overview +include: ardour-overview.html +link: ardour-overview uri: welcome-to-ardour part: subchapter --- ---- -title: Isn't This A Really Complicated Program? -include: isnt-this-a-really-complicated-program.html -link: isnt-this-a-really-complicated-program -uri: welcome-to-ardour/about-ardour/isnt-this-a-really-complicated-program -part: subchapter ---- - ---- -title: Why Write a DAW for Linux? -include: why-write-a-daw-for-linux.html -link: why-write-a-daw-for-linux -uri: welcome-to-ardour/about-ardour/why-write-a-daw-for-linux -part: subchapter ---- - --- title: Why is it called Ardour? include: why-is-it-called-ardour.html @@ -53,18 +37,19 @@ part: subchapter --- --- -title: Why write another DAW? -include: why-write-another-daw.html -link: why-write-another-daw -uri: welcome-to-ardour/about-ardour/why-write-another-daw +title: Why Write a DAW for Linux? +include: why-write-a-daw-for-linux.html +link: why-write-a-daw-for-linux +uri: welcome-to-ardour/about-ardour/why-write-a-daw-for-linux part: subchapter --- --- -title: Additional Resources -include: additional-resources.html -link: additional-resources -uri: welcome-to-ardour/additional-resources +title: Isn't This a Really Complicated Program? +menu_title: Isn't This a Complex Program? +include: isnt-this-a-really-complicated-program.html +link: isnt-this-a-really-complicated-program +uri: welcome-to-ardour/about-ardour/isnt-this-a-really-complicated-program part: subchapter --- @@ -77,61 +62,38 @@ part: subchapter --- --- -title: Ardour Concepts -include: ardour-concepts.html -link: ardour-concepts +title: Additional Resources +include: additional-resources.html +link: additional-resources +uri: welcome-to-ardour/additional-resources +part: subchapter +--- + +--- +title: Ardour Basics +include: ardour-basics.html +link: ardour-basics uri: introducing-ardour part: chapter --- +--- +title: Starting Ardour +include: starting-ardour.html +link: starting-ardour +uri: setting-up-your-system/starting-ardour +part: subchapter +--- + --- title: Understanding Basic Concepts and Terminology +menu_title: Basic Concepts and Terminology include: understanding-basic-concepts-and-terminology.html link: understanding-basic-concepts-and-terminology uri: introducing-ardour/understanding-basic-concepts-and-terminology part: subchapter --- ---- -title: Basic GUI Operations -include: basic-gui-operations.html -link: basic-gui-operations -uri: introducing-ardour/basic-gui-operations -part: subchapter ---- - ---- -title: Interface Elements -include: interface-elements.html -link: interface-elements -uri: introducing-ardour/basic-gui-operations/interface-elements -part: subchapter ---- - ---- -title: Selection Techniques -include: selection-techniques.html -link: selection-techniques -uri: introducing-ardour/basic-gui-operations/selection-techniques -part: subchapter ---- - ---- -title: Tooltips -include: tooltips.html -link: tooltips -uri: introducing-ardour/basic-gui-operations/tooltips -part: subchapter ---- - ---- -title: Undo/Redo for Editing -include: undoredo-for-editing.html -link: undoredo-for-editing -uri: introducing-ardour/basic-gui-operations/undoredo-for-editing- -part: subchapter ---- - --- title: Using the Mouse include: using-the-mouse.html @@ -141,26 +103,10 @@ part: subchapter --- --- -title: Cut and Paste Operations -include: cut-and-paste-operations.html -link: cut-and-paste-operations -uri: introducing-ardour/basic-gui-operations/cut-and-paste-operations -part: subchapter ---- - ---- -title: Deleting Objects -include: deleting-objects.html -link: deleting-objects -uri: introducing-ardour/basic-gui-operations/deleting-objects -part: subchapter ---- - ---- -title: Starting Ardour -include: starting-ardour.html -link: starting-ardour -uri: setting-up-your-system/starting-ardour +title: Basic GUI Operations +include: basic-gui-operations.html +link: basic-gui-operations +uri: introducing-ardour/basic-gui-operations part: subchapter --- diff --git a/source/css/app.css b/source/css/app.css index d520d30..d1f2031 100644 --- a/source/css/app.css +++ b/source/css/app.css @@ -675,8 +675,9 @@ samp:after { } #chapter { padding-top: 1em; padding-left: 1em; } - #subchapter { padding-left: 4em; } +#section { padding-left: 6em; } +#subsection { padding-left: 8em; } #content table.alternate{ border-collapse:collapse; } .alternate td{ padding:7px; border:#4e95f4 1px solid; }