Rearrangement and cleanup of Part I.

This includes rewriting out all of the "you" language that was peppered
throughout, fixing inconsistencies in layout, and removing <br>s
wherever they were misused and unnecessary (which was quite a lot).

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

include/about-ardours-documentation.html

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

include/add-new-notes.html

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

include/adding-pre-existing-material.html

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

include/adding-tracks-busses-and-vcas.html

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

include/additional-resources.html

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

include/ardour-concepts.html

@@ -1,2 +0,0 @@
-
-

include/ardour-overview.html

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

include/audio-track-controls.html

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

include/aux-sends.html

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

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.
 </p>
+

include/balance-control.html

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

include/basic-gui-operations.html

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

include/behringer-devices-in-mackielogic-control-mode.html

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

include/bus-controls.html

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

include/change-note-properties.html

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

include/cleaning-up-sessions.html

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

include/common-region-edit-operations.html

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

include/comparing-aux-sends-and-subgroups.html

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

include/controlling-playback.html

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

include/controlling-track-appearance.html

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

include/controlling-track-ordering.html

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

include/copy-regions.html

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

include/copying-the-interchange-folder.html

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

include/copying-versus-linking.html

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

include/corresponding-regions-selection.html

@@ -1,22 +1,22 @@
-  
+
 <p>
   <a href="@@the-track-and-bus-group-list">Track Groups</a> have
-  a property titled <kbd class="option">Select</kbd> which, if enabled, cause 
+  a property titled <kbd class="option">Select</kbd> which, if enabled, cause
   Ardour to propagate a region selection in one track of a group to the
   <dfn>corresponding regions</dfn> of the other tracks in that group.
  </p>
 <p>
-  For example, let's assume you have used multiple microphones to record a 
+  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 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. 
+  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 
+  corresponding region in every other drum track, which in turn means that a
-  subsequent edit operation will affect all the drum tracks together. 
+  subsequent edit operation will affect all the drum tracks together.
 </p>
 
 <h2>How Ardour Decides Which Regions are "Corresponding"</h2>
 <p>
-  Regions in different tracks are considered to be corresponding for the purposes 
+  Regions in different tracks are considered to be corresponding for the purposes
   of sharing <dfn>selection</dfn> if they satisfy <em>all</em> the following criteria:
 </p>
 <ol>
@@ -27,17 +27,17 @@
 
 <h2>Overlap Correspondence</h2>
 <p>
-  Sometimes, the rules outlined above are too strict to get Ardour to do what you 
+  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 
+  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 
+  slightly differently, and this will cause Ardour to not select regions in other
   grouped tracks.</p>
 <p>
-  In this case, change  
+  In this case, change
   <kbd class="menu">Edit &gt; Preferences &gt; Editor &gt; Regions in
   active edit groups are edited together:</kbd> to <kbd
   class="menu">whenever they overlap in time</kbd>. With this option enabled, r
   egions in different tracks will be considered equivalent for the purposes of selection if they
-  <dfn>overlap</dfn>. This is much more flexible and will cover almost all of the 
+  <dfn>overlap</dfn>. This is much more flexible and will cover almost all of the
   cases that the fixed rules above might make cumbersome.
 </p>
 

include/create-midi-regions.html

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

include/create-midi-tracks.html

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

include/create-region-fades-and-crossfades.html

@@ -1,6 +1,6 @@
-<p>Every Region has a fade-in and fade-out. By default, the region fade 
+<p>Every Region has a fade-in and fade-out. By default, the region fade
-is very short, and serves to de-click the transitions at the start and 
+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 
+end of the region.  By adjusting the regions fade length, a more
 gradual transition can be accomplished.<br></p>
 
 <h2>Region Fades</h2>
@@ -8,7 +8,7 @@ gradual transition can be accomplished.<br></p>
 all audio regions. In object mode, a grip appears at the top left and
 top right of an audio region when the cursor hovers over it. Placing
 the cursor over the top of the grip displays the region fade cursor
-tip. Click and drag the grip left or right in the timeline to 
+tip. Click and drag the grip left or right in the timeline to
 adjust the length of the fade.<br>
 </p>
 <h2>Crossfades</h2>

include/creating-music-with-ardour.html

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

include/creating-range-markers.html

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

include/cut-and-paste-operations.html

@@ -1,31 +0,0 @@
-  
-<p>
-  The <dfn>clipboard</dfn> is a holder for various kinds of objects (regions,
-  control events, plugins) that is used during <dfn>cut-and-paste
-  operations</dfn>.
-</p>
-
-<h2>Cut</h2>
-<p>
-  A <dfn>cut</dfn> operation removes selected objects and places them in the
-  clipboard. The existing contents of the clipboard are overwriten.<br>
-  The default key binding is <kbd class="mod1">x</kbd>.
-</p>
-
-<h2>Copy</h2>
-<p>
-  A <dfn>copy</dfn> of the selected objects are placed in clipboard. There is
-  no effect on the selected objects themselves. The existing contents of the
-  clipboard are overwritten. <br>
-  The default key binding is <kbd class="mod1">c</kbd>.
-</p>
-
-<h2>Paste</h2>
-<p>
-  The current contents of the clipboard are <dfn>paste</dfn>d (inserted)
-  into the session, using the current <dfn>edit point</dfn> as the
-  destination. The contents of the clipboard remain unchanged&mdash;you
-  can paste the same item multiple times. <br>
-  The default key binding is <kbd class="mod1">v</kbd>.
-</p>
-

include/default-keyboard-bindings.html

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

include/deleting-objects.html

@@ -1,34 +0,0 @@
-
-<p>
-  Within the Editor window (and to some extent within the Mixer window too),
-  there are several techniques for <dfn>deleting</dfn> objects (regions, 
-  control points, and more).
-</p>
-
-<h2>Using the mouse and keyboard</h2>
-<p>
-  Select the object(s) and then press the <kbd>Del</kbd> key. 
-  This does <strong>not</strong> put the deleted object(s) into the cut
-  buffer, so they cannot be pasted elsewhere.
-</p>
-
-<h2>Using normal cut and paste shortcuts</h2>
-<p>
-  Select the object(s) and then press <kbd class="mod1">x</kbd>. This puts
-  the deleted object(s) into the cut buffer so that they could be pasted
-  elsewhere.
-</p>
-
-<h2>Using just the mouse</h2>
-<p>
-  By default, <kbd class="mouse">Shift Right</kbd> will delete the
-  clicked-upon object. Like the Del key, this does <strong>not</strong> 
-  put the deleted object(s) into the cut buffer.
-</p>
-<p>
-  The modifier and mouse button used for this can be controlled via 
-  <kbd class="menu">Edit &gt; Preferences &gt; User Interaction &gt; 
-  Delete using &hellip;</kbd>. Any modifier and mouse button combination can 
-  be used.
-</p>
-

include/export-dialog.html

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

include/external-sends.html

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

include/fades-tab.html

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

include/filenames-tab.html

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

include/fundamental-concepts.html

@@ -3,31 +3,31 @@
 <ol>
   <li>Editing should be done without having to enter a new window</li>
   <li>
-    Editing should be able to carried out completely with the keyboard, 
+    Editing should be able to carried out completely with the keyboard,
     or completely with the mouse, or with any combination of the two.
   </li>
 </ol>
 <p>
-  Currently,  MIDI editing is primarily restricted to note data. Other 
+  Currently,  MIDI editing is primarily restricted to note data. Other
-  kinds of data (controller events, sysex data) are present and can be 
+  kinds of data (controller events, sysex data) are present and can be
-  added and deleted, but not actually edited. 
+  added and deleted, but not actually edited.
 </p>
 
 <h2>Fundamentals of MIDI Editing in Ardour 3</h2>
 <p>
-  MIDI, just like audio, exists in <dfn>regions</dfn>. MIDI regions 
+  MIDI, just like audio, exists in <dfn>regions</dfn>. MIDI regions
   behave like audio regions: they can be moved, trimmed, copied (cloned),
-  or deleted. Ardour allows either editing MIDI (or audio) regions, or MIDI 
+  or deleted. Ardour allows either editing MIDI (or audio) regions, or MIDI
   region content (the notes), but never both at the same time. The
-  <kbd>e</kbd> key (by default) toggles between <dfn>region level</dfn> 
+  <kbd>e</kbd> key (by default) toggles between <dfn>region level</dfn>
   and <dfn>note level</dfn> editing, as will double-clicking on a MIDI region.
 </p>
 <p class="note">
   One very important thing to note: editing note information in Ardour
-  occurs in only a single region. There is no way currently to edit in note 
+  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 
+  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 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 
+  notes from one region to another. You can, of course, copy and paste the
   region(s), just as with audio.
-</p>  
+</p>
 

include/getting-more-plugins.html

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

include/handling-overlapping-notes.html

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

include/independent-and-dependent-midi-region-copies.html

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

include/inserts.html

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

include/interchange-with-other-daws.html

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

include/interface-elements.html

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

include/isnt-this-a-really-complicated-program.html

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

include/latency-and-latency-compensation.html

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

include/latency-considerations.html

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

include/layering-display.html

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

include/locations-tab.html

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

include/managing-plugin-presets.html

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

include/media-tab.html

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

include/metadata.html

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

include/meterbridge-tab.html

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

include/metering-in-ardour.html

@@ -1,37 +1,37 @@
 
 <h2>Introduction</h2>
 <p>
-  An engineer reading and using audio level meters compares to a musician 
+  An engineer reading and using audio level meters compares to a musician
-  reading or writing sheet-music. Just like there are virtuoso musicians 
+  reading or writing sheet-music. Just like there are virtuoso musicians
   who can't read a single note, there are great sound-engineers who just
-  go by their ears and produce great mixes and masters without ever looking 
+  go by their ears and produce great mixes and masters without ever looking
   at a single meter.
 </p>
 <p>
-  Yet, if you want to work in or with the broadcast industry, it is 
+  Yet, if you want to work in or with the broadcast industry, it is
   usually unavoidable to use meters.
 </p>
 <p>
-  Audio level meters are very powerful tools that are useful in every 
+  Audio level meters are very powerful tools that are useful in every
   part of the entire production chain:
 </p>
 <ul>
-  <li>When tracking, meters are used to ensure that the input 
+  <li>When tracking, meters are used to ensure that the input
-  signal does not <dfn>overload</dfn> and maintains reasonable 
+  signal does not <dfn>overload</dfn> and maintains reasonable
   <dfn>headroom</dfn>.</li>
-  <li>Meters offer a <dfn>quick visual indication</dfn> of a 
+  <li>Meters offer a <dfn>quick visual indication</dfn> of a
   activity when working with a large number of tracks.</li>
-  <li>During mixing, meters provide an rough estimate of the 
+  <li>During mixing, meters provide an rough estimate of the
   <dfn>loudness</dfn> of each track.</li>
-  <li>At the mastering stage, meters are used to check 
+  <li>At the mastering stage, meters are used to check
-  compliance with upstream <dfn>level</dfn> and <dfn>loudness 
+  compliance with upstream <dfn>level</dfn> and <dfn>loudness
   standards</dfn> and to optimize the <dfn>loudness range</dfn>
   for a given medium.</li>
 </ul>
 
 <h2>Meter Types</h2>
 <p>
-  A general treatise on metering is beyond the scope of this 
+  A general treatise on metering is beyond the scope of this
   manual. It is a complex subject with a history&hellip;
   For background information and further reading we recommend:
 </p>
@@ -48,25 +48,25 @@
 
 <dl>
   <dt>Digital peak-meter</dt>
-  <dd>A <dfn>Digital Peak Meter</dfn> displays the absolute maximum signal 
+  <dd>A <dfn>Digital Peak Meter</dfn> displays the absolute maximum signal
-  of the raw audio PCM signal (for a given time). It is commonly used when 
+  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 
+  tracking to make sure the recorded audio never clips. To that end, DPMs
   are always calibrated to 0&nbsp;<abbr title="DeciBel Full
   Scale">dBFS</abbr>, or the maximum level that can be represented digitally
-  in a given system. This value has no musical reason whatsoever and depends 
+  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 
+  only on the properties of the signal chain or target medium. There are
-  conventions  for <dfn>fall-off-time</dfn> and <dfn>peak-hold</dfn>, but no 
+  conventions  for <dfn>fall-off-time</dfn> and <dfn>peak-hold</dfn>, but no
   exact specifications.
   <p>
-  Various conventions for DPM fall-off times and dBFS line-up level can be 
+  Various conventions for DPM fall-off times and dBFS line-up level can be
   chosen in <kbd class="menu">Edit &gt; Preferences &gt; GUI</kbd>.
   </p>
   </dd>
 
   <dt>RMS meters</dt>
   <dd>An <dfn><abbr title="Root Mean Square">RMS</abbr>-type meter</dfn>
-  is an averaging meter that looks at the energy in the signal. It 
+  is an averaging meter that looks at the energy in the signal. It
-  provides a general indication of loudness as perceived by humans. Ardour 
+  provides a general indication of loudness as perceived by humans. Ardour
   features three RMS meters, all of which offer additonal peak indication.
   <ul>
     <li><dfn>K20</dfn>: A meter according to the K-system introduced by Bob
@@ -80,36 +80,36 @@
   </dd>
 
   <dt>IEC PPMs</dt>
-  <dd><dfn><abbr title="International Electrontechnical Commission">IEC</abbr>-type 
+  <dd><dfn><abbr title="International Electrontechnical Commission">IEC</abbr>-type
-  <abbr title="Peak Programme Meters">PPM</abbr>s</dfn> are a mix between DPMs and 
+  <abbr title="Peak Programme Meters">PPM</abbr>s</dfn> are a mix between DPMs and
-  RMS meters, created mainly for the purpose of 
+  RMS meters, created mainly for the purpose of
   interoperability. Many national and institutional varieties exist (<abbr
   title="European Broadcasting Union">EBU</abbr>, <abbr title="British Broadcasting
-  Corporation">BBC</abbr>, <abbr title="Deutsche Industrie-Norm">DIN</abbr>). 
+  Corporation">BBC</abbr>, <abbr title="Deutsche Industrie-Norm">DIN</abbr>).
   <p>
-  These loudness and metering standards provide a common point of 
+  These loudness and metering standards provide a common point of
-  reference which is used by broadcasters in particular so that the 
+  reference which is used by broadcasters in particular so that the
   interchange of material is uniform across their sphere of influence,
   regardless of the equipment used to play it back.
   </p>
   <p>
   For home recording, there is no real need for this level of
-  interoperability, and these meters are only strictly required when 
+  interoperability, and these meters are only strictly required when
-  working in or with the broadcast industry. However, IEC-type meters have 
+  working in or with the broadcast industry. However, IEC-type meters have
-  certain characteristics (rise-time, ballistics) that make them useful 
+  certain characteristics (rise-time, ballistics) that make them useful
   outside the context of broadcast.
   </p>
   <p>
-  Their specification is very exact, and consquently, there are no 
+  Their specification is very exact, and consquently, there are no
   customizable parameters.
   </p>
   </dd>
-  
+
   <dt>VU meters</dt>
-  <dd><dfn><abbr title="Volume Unit">VU</abbr> meters</dfn> are the dinosaurs (1939) 
+  <dd><dfn><abbr title="Volume Unit">VU</abbr> meters</dfn> are the dinosaurs (1939)
   amongst the meters. They react very slowly, averaging out peaks.
-  Their specification is very strict (300ms rise-time, 1&ndash;1.5% overshoot, 
+  Their specification is very strict (300ms rise-time, 1&ndash;1.5% overshoot,
-  flat frequency response). Ardour's VU meter adheres to that spec, but for 
+  flat frequency response). Ardour's VU meter adheres to that spec, but for
   visual consistency it is displayed as a bar-graph rather than needle-style
   (more below).
   </dd>
@@ -130,8 +130,8 @@
 </ul>
 <p>
   They all share the same configuration and color-theme which is available in
-  preferences and the theme-manager. Settings for the Peak and RMS+Peak meters 
+  preferences and the theme-manager. Settings for the Peak and RMS+Peak meters
-  as well as VU meter standards are found in  
+  as well as VU meter standards are found in
   <kbd class="menu">Edit &gt; Preferences &gt; GUI &gt; Metering</kbd>.
 </p>
 <p>
@@ -143,7 +143,7 @@
 </p>
 <img class="right" src="/images/meter-preferences.png" alt="" />
 <p>
-  Regardless of meter type and standard the meter display will highlight red if 
+  Regardless of meter type and standard the meter display will highlight red if
   the signal on the given channel exceeds the configured peak threshold.
 </p>
 <p>
@@ -156,7 +156,7 @@
 <h2>Overview of meter types</h2>
 
 <p>
-  The figure on the left shows all available meter-types in Ardour 3.4 when fed with a 
+  The figure on the left shows all available meter-types in Ardour 3.4 when fed with a
   -18&nbsp;dBFS 1&nbsp;kHz sine wave.
 </p>
 
@@ -166,7 +166,7 @@ alt="Needle-style meters as external LV2 plugins" />
 alt="Bar-graph meters in Ardour" />
 
 <p>
-  Due to layout concerns and consistent look&amp;feel all meters available in 
+  Due to layout concerns and consistent look&amp;feel all meters available in
   Ardour itself are bar-graph type meters. Corresponding needle-style
   meters&mdash;which take up more visual screen space&mdash;are available as
   LV2 plugins (see image on the right):

include/midi-on-linux.html

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

include/midi-on-os-x.html

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

include/midi-scene-automation.html

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

include/midi-track-controls.html

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

include/mnemonic-bindings-for-linux.html

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

include/mnemonic-bindings-for-os-x.html

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

include/monitor-setup-in-ardour.html

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

include/monitor-signal-flow.html

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

include/monitoring-tab.html

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

include/monitoring.html

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

include/move-regions-with-the-mouse.html

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

include/move-regions.html

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

include/moving-markers.html

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

include/muting-and-soloing.html

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

include/newopen-session-dialog.html

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

include/note-cut-copy-and-paste.html

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

include/note-selection.html

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

include/on-clock-and-time.html

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

include/overview-of-all-timecode-related-settings.html

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

include/panning.html

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

include/patch-change.html

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

include/patchbay.html

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

include/playlist-operations.html

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

include/playlist-usecases.html

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

include/preferences-and-session-properties.html

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

include/processor-box.html

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

include/punch-range.html

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

include/pushpull-trimming.html

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

include/quantize-midi.html

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

include/region-context-menu.html

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

include/region-naming.html

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

include/renaming-a-session.html

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

include/searching-for-files-using-tags.html

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

include/selecting-tracks.html

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

include/selection-techniques.html

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

include/separate-range.html

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

include/separate-under.html

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

include/session-misc-tab.html

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

include/session-templates.html

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

include/setting-up-midi.html

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

include/setting-up-your-system.html

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

include/signal-routing.html

@@ -1,6 +1,6 @@
 
 <p>
-  Ardour does most of its internal <dfn>signal routing</dfn> via JACK: 
+  Ardour does most of its internal <dfn>signal routing</dfn> via JACK:
   all track and bus inputs and outputs are JACK ports, as are sends and
   inserts, which means they can be tapped into by other JACK clients.
   Only the signal flow inside a track or bus (i.e. from <a
@@ -11,7 +11,7 @@
 <ul>
   <li>
     <dfn>Track inputs</dfn> are optionally auto-connected to hardware inputs, in round robin
-    order, depending on the setting you chose in the 
+    order, depending on the setting you chose in the
     <a href="@@newopen-session-dialog"><kbd
     class="menu">Session &gt; New Session</kbd> dialog</a>.
   </li>
@@ -30,14 +30,14 @@
   </li>
 </ul>
 <p>
-  This configuration is sufficient to do basic tracking and playback of many 
+  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 
+  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 
+  start to change these connections, be certain that you have a good reason
   to do so&mdash;it is generally not necessary and often leads to problems.
 </p>
 <p>
-  However, for many workflows during mixing, more complicated signal routing 
+  However, for many workflows during mixing, more complicated signal routing
-  is required. Ardour offers many possibilties for connecting things in the 
+  is required. Ardour offers many possibilties for connecting things in the
   way you may need or want them.
 </p>
 

include/ssl-nucleus.html

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

include/starting-ardour.html

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

include/stem-exports.html

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