diff --git a/STYLE_GUIDE b/STYLE_GUIDE
index 09b45df..5c3c383 100644
--- a/STYLE_GUIDE
+++ b/STYLE_GUIDE
@@ -120,7 +120,7 @@ signal to the build system that it is an internal link that needs to be fixed
so that it points to the correct URL.
-4.1 Inline markups
+4.2 Inline markups
------------------
@@ -156,7 +156,7 @@ spacing of sections. If you're unhappy with those, fix the CSS (which fixes the
entire manual in one go!).
-4.2 Lists
+4.3 Lists
---------
,
@@ -170,7 +170,7 @@ Definition lists are for technical terms
@@ -182,7 +182,7 @@ For inline citations, the W3C recommends to
use the cite and q elements
.
-4.4 Keyboard/Controller interaction
+4.5 Keyboard/Controller interaction
-----------------------------------
@@ -237,7 +237,7 @@ is only used for the textual output of any code, never for anything the user
types or presses.
-4.5 Images
+4.6 Images
----------
@@ -260,7 +260,7 @@ inside as well to describe to the reader what the image is.
* Avoid any typographical quotation marks to highlight terms or express any
kind of subtle inflection, use semantic markup instead.
-* The hyphen is used to for compound words such as this well-advised example.
+* The hyphen is used for compound words such as this well-advised example.
* Do not hyphenate words at line breaks.
* For breaks in thought—such as this splendid example—use the long
em-dash. Note that the em-dash is snugged up against the text on both
diff --git a/include/connecting-audio-and-midi-devices.html b/include/connecting-audio-and-midi-devices.html
index 5fb81f5..c611c2c 100644
--- a/include/connecting-audio-and-midi-devices.html
+++ b/include/connecting-audio-and-midi-devices.html
@@ -18,7 +18,7 @@
- Crossfades refer to the behavior of two audio regions transitionning + Crossfades refer to the behavior of two audio regions transitioning smoothly (mixing) from one to another on the same track. Historically, this was done by splicing two pieces of analog tape together, and this concept was carried forward into digital @@ -26,14 +26,14 @@ two regions are butted against each other, there needs to be a method to splice them smoothly together. The crossfade allows one region to fade smoothly out, while the next region fades smoothly in, like two - pieces of tape that have been cut at and angle, and overlapped. + pieces of tape that have been cut at an angle, and overlapped.
But Ardour uses a more refined "layered" editing model, and therefore it is possible for multiple regions to be stacked on a single location with arbitrary overlaps between different layers. For this reason, crossfades must be implemented differently. It can't be - assumed that a crossfade is an entitry that exists between two regions; + assumed that a crossfade is an entity that exists between two regions; instead each region must have its own associated crossfades at each end, and the topmost region must always crossfade down to the underlying region(s), if any. @@ -93,13 +93,13 @@ transition.
- As an exemple, supposing that the clock is in BBT mode, displaying + As an example, supposing that the clock is in BBT mode, displaying 024|03|0029, altering the value to the first beat of the current bar can be done by clicking on the clock and typing 010000. @@ -123,7 +123,7 @@
With the mouse pointer over the clock, pressing the left mouse button and - dragging also affects the clocks : dragging upwards increases the value shown + dragging also affects the clocks: dragging upwards increases the value shown on the clock, dragging downwards decreases it, again with a step size equal to the unit of the field where the drag began on.
diff --git a/include/export-dialog.html b/include/export-dialog.html index 4e9337f..709d608 100644 --- a/include/export-dialog.html +++ b/include/export-dialog.html @@ -6,7 +6,7 @@- You can also export the outputs of multiple tracks & busses all at once via + You can also export the outputs of multiple tracks and busses all at once via Session > Export > Stem Export….
@@ -118,7 +118,7 @@Checking Analyze Exported Audio shows the Export Report/Analysis - window. This provides a lot of usefull informations about the exported file: + window. This provides a lot of useful information about the exported file:
As well as exporting an audio file, create a file (in CUE or TOC format respectively) containg CD track information, as defined in the -Ranges & Marks List. +Ranges and Marks List.
The same approach as for takes is useful when recording or editing content in - multiple versions, such as dubbed movie dialog in several languages : having + multiple versions, such as dubbed movie dialog in several languages: having all versions on the same track allows to apply the same processing, making it easy to switch language before exporting the session.
diff --git a/include/processor-box.html b/include/processor-box.html index 04b675f..d910dd9 100644 --- a/include/processor-box.html +++ b/include/processor-box.html @@ -13,7 +13,7 @@- The main box in the top half of a mixer strip shows the processor box. Processors are shown as colored rectangles, with a small "LED" beside them that lights up when the processor is enabled. The color of the processor depends on its location in the sequence; processors that are pre-fader are colored in red, and post-fader processors are colored green (in the default theme). + The main box in the top half of a mixer strip shows the processor box. Processors are shown as colored rectangles, with a small LED beside them that lights up when the processor is enabled. The color of the processor depends on its location in the sequence; processors that are pre-fader are colored in red, and post-fader processors are colored green (in the default theme).
@@ -47,7 +47,7 @@
- Processors can be re-ordered using drag & drop. Dragging a processor allows it to be moved around within the chain, or copied to another processor list on another track or bus. + Processors can be re-ordered using drag and drop. Dragging a processor allows it to be moved around within the chain, or copied to another processor list on another track or bus.
- In the initial situation, before trimming, two adjascent regions are present, + In the initial situation, before trimming, two adjacent regions are present, the rightmost-one being selected.
diff --git a/include/region-naming.html b/include/region-naming.html index 0ba8d37..9c57972 100644 --- a/include/region-naming.html +++ b/include/region-naming.html @@ -46,7 +46,7 @@
Duplicating or splitting a region creates new region(s) that are based on the same original files. Hence, they share the same base name (in the - exemple above, Hang drum-1), but their version number will be incremented + example above, Hang drum-1), but their version number will be incremented each time. Duplicating Hang drum-1.4 by left dragging it will create a new region called Hang drum-1.5. Splitting Hang drum-1.5 by hitting the S key will remove the diff --git a/include/sidechaining.html b/include/sidechaining.html index 818becb..e4e6bcc 100644 --- a/include/sidechaining.html +++ b/include/sidechaining.html @@ -70,10 +70,10 @@
- In the first example above, if the entire drum part is on one track, then compressing with this signal as a sidechain will result in every peak triggering the compression, be them bass drum kicks or snare, cymbals, etc. + In the first example above, if the entire drum part is on one track, then compressing with this signal as a sidechain will result in every peak triggering the compression, be they bass drum kicks or snare, cymbals, etc.
- In this case, adding an EQ to the drum track with a low pass filter would filter out the peaks created by the high pitched instruments of the drum kit, and allow for a better triggering, though to avoid damaging the original drum track, a send to an intermediary track would be better suited to place the EQ on. This track won't be connected to the Master, as its content is of no musical interest except for it's use as a trigger, allowing for some extreme EQ. + In this case, adding an EQ to the drum track with a low pass filter would filter out the peaks created by the high pitched instruments of the drum kit, and allow for a better triggering, though to avoid damaging the original drum track, a send to an intermediary track would be better suited to place the EQ on. This track won't be connected to the Master, as its content is of no musical interest except for its use as a trigger, allowing for some extreme EQ.
diff --git a/include/stretching-regions.html b/include/stretching-regions.html index 38d2663..d094bce 100644 --- a/include/stretching-regions.html +++ b/include/stretching-regions.html @@ -5,7 +5,7 @@ key.- It allows to extend or reduce the duration of a region, optionnaly maintaining + It allows to extend or reduce the duration of a region, optionally maintaining its pitch. This is one of the few operations in Ardour that affect the underlying audio data from a region, even if the original audio is kept safely—no data is lost in the process. @@ -13,7 +13,7 @@
This operation is usually used to fit an audio sequence with a different rhythm into a session, but can be used in a wide area of cases, due to its ability to - maitain or alter the pitch. + maintain or alter the pitch.