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First pass at cleanup of Part II.

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Shamus Hammons 2017-03-14 22:57:34 -05:00
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1
include/about-ardours-documentation.html
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@ -154,3 +154,4 @@
Hairy issues that might cause things to go wrong, lose data, impair sound
quality, or eat your proverbial goldfish, are displayed in this way.
</p>

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@ -47,3 +47,4 @@
from the menu. A warning dialog will pop up, as track removal cannot be undone;
use this option with care!
</p>

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include/align-spot-regions.html
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@ -13,3 +13,4 @@
<tr><th>Align Region starts relative <kbd class="key">a</kbd></th>
<td>Selected region(s) are moved so that the start of the earliest region is located at the current edit point, and all others maintain their relative position relative to that region</td></tr>
</table>

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<tr><td>64</td><td>Audio Hardware</td><td>On</td><td>On</td><td>On</td><td>&#9654;</td><td>Off</td><td>Input</td><td>HW Pass Through</td></tr>
</tbody>
</table>

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<p>
Using a general purpose computer for the recording and playback of digital
audio is not trivial. This chapter covers some of the most common pitfalls
encountered on the way to creating a reliable and powerful audio workstation.
</p>

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@ -354,3 +354,4 @@
is replaced by the beginning of the text, so it can be used as a "sub" name for
the track.
</p>

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include/basic-gui-operations.html
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@ -178,3 +178,4 @@
class="mod3">Z</kbd>. There is also an undo for selection; see "Selection
Techniques" above.
</p>

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include/behringer-devices-in-mackielogic-control-mode.html
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@ -248,11 +248,11 @@ The surface can be broken into 8 groups of controls.
<td>FIX ME</td></tr>
</table>
<h3>Views</h3>
<p>
<img alt="Digramatic Image of the LED display for different Views"
src="/images/BCF2000-Views.png">
</p>
<p>
FIX ME
</p>
<p class=fixme>Missing content</p>

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<p>
<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>
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.
</p>
<h2>MIDI Handling Frameworks</h2>
<p>
MIDI input and output for Ardour are handled by the same "engine" that
handles audio input and output.
</p>
<table class="dl">
<tr><th>OS X</th>
<td><dfn>CoreMIDI</dfn> is the standard MIDI framework on OSX systems.</td></tr>
<tr><th>Linux</th>
<td><dfn><abbr title="Advanced Linux Sound API">ALSA</abbr> MIDI</dfn> is the
standard MIDI framework on Linux systems.</td></tr>
<tr><th>Windows</th>
<td>There is no single standard MIDI framework on Windows, but Ardour
can work with ASIO and others.</td></tr>
</table>
<p class="note">
On Linux systems, <dfn>QJackCtl</dfn> control software displays ALSA MIDI
ports under its "ALSA" tab (it does not currently display CoreMIDI 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 ports. One of several ways of <dfn>bridging</dfn> between the native MIDI frameworks (e.g. CoreMIDI or ALSA) and JACK MIDI must be chosen, as described in the following sections.
</p>

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<p class=fixme>Add content</p>
<p>
Normally Ardour does not care about how audio and MIDI gets into the computer&mdash;it pretty much deals only with its own inputs and outputs; it is up to the user to ensure that all external routing is sound. After all, Ardour has no way to know how signals from the outside world get to it. However, there are some things that Ardour can do to help troubleshoot problems with audio and MIDI connections&mdash;at least on the computer side.
</p>
<p>
For example, a typical setup might include a microphone that feeds a mixer that then feeds the computer. A failure can occur anywhere in that signal chain, including the cables that connect everything together. As far as Ardour is concerned, the most important connection is the one coming from the sound source to the physical audio input of the computer&mdash;in this example, the cable connecting between the mixer and the computer.
</p>
<p>
Common sense and basic troubleshooting skills are needed when problems arise, and in the above example, one would have to go through the entire signal chain to ensure that each component was working as it should.
</p>
<h2>Common Problems</h2>
<p>
Ardour tries to set things up in a sane manner by automatically connecting the hardware inputs of the computer to its master input and the hardware outputs to the master output. If the signal coming into the hardware inputs is active, the meters on Ardour's master channel should move. If they don't, some things to check include:
</p>
<ul>
<li>Making sure there is actaully an input signal</li>
<li>Making sure the input signal is getting into the computer</li>
<li>Making sure that Ardour is talking to the correct sound card</li>
<li>Making sure that the sound card in use by Ardour is working properly</li>
</ul>

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include/control-masters-mixer-strips.html
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@ -63,3 +63,4 @@ A VCA strip is made of (from top to bottom in the screenshot):
multiple buttons. Disconnecting a VCA from a track is done by unchecking this VCA in
the list that pops up, or clicking <kbd class="menu">Unassign All</kbd> to disconnect from all VCAs at once.
</p>

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@ -40,3 +40,4 @@
<dfn>overlap</dfn>. This is much more flexible and will cover almost all of the
cases that the fixed rules above might make cumbersome.
</p>

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@ -131,3 +131,4 @@ finds it appropriate.</td></tr>
amount of effort to shorten the fade is much easier than messing with a
crossfade editor dialog.
</p>

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@ -49,3 +49,4 @@
class="mod2n"></kbd>, <kbd class="mod3n"></kbd>, etc.) differ among
platforms, so different default bindings for each are provided.
</p>

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@ -22,7 +22,7 @@
way currently to edit in note data for multiple regions at the same time, so for
example notes cannot be selected in several regions and then all deleted, nor
can they be copied-and-pasted from one region to another. Region(s), though, can
be copy-pasted just as with audio.
be copy-pasted just as with audio.
</li>
<li>
All MIDI I/O is done via JACK for sample accurate timing and maximal
@ -73,3 +73,4 @@
and the operation cannot be undone.
</li>
</ul>

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<p>
These preferences apply to all Ardour sessions.
Global <dfn>preferences</dfn> control general workflow and system
configuration, and should apply to all sessions. They are located in <kbd
class="menu">Edit &gt; Preferences</kbd> and stored in Ardour's <dfn>user
configuration file</dfn> in the user's home directory.
</p>
<figure class="center">
<img src="/images/a4_preferences_misc.png" alt="ardour preferences
dialog"/>
<figcaption class="center">The Global Prefences Dialog.</figcaption>
</figure>

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unusable. This option should not be used in conjunction with the use any of the
Region grid units.
</p>

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<p>
The range selection note above can be especially useful in this context.
</p>

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<li>Stem exports</li>
<li>Use AATranslator</li>
</ul>

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@ -33,8 +33,8 @@
</ol>
<p>
At this point you can close the <kbd class="menu">System Settings</kbd>
application.
At this point the <kbd class="menu">System Settings</kbd> application can be
closed.
</p>
<h3>Background Info</h3>

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@ -741,3 +741,4 @@ new ardour version.-->
<tr><th><kbd class="osc">Mixer/unity-gain</kbd></th><td>Set Gain to 0dB on Mixer-Selected Tracks/Busses</td></tr>
</tbody>
</table class="dl">

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<p class=fixme>This section is need of updating.</p>
<p>
<dfn>Microsoft Windows</dfn> is not currently officially supported. If you are
willing to live with bugs and <b>help to test</b> this platform, read on.
<dfn>Microsoft Windows</dfn> is not currently officially supported. If you
are willing to live with bugs and <b>help to test</b> this platform, read on.
</p>
<h2>Installing Ardour</h2>
<p>
<ol>
<li>Download the latest windows build from <a href="http://nightly.ardour.org/">
the nightly build page</a>.</li>
<li>Run the installer and follow the prompts.</li>
</ol>
</p>
<ol>
<li>Download the latest windows build from <a
href="http://nightly.ardour.org/"> the nightly build page</a>.</li>
<li>Run the installer and follow the prompts.</li>
</ol>
<h2>How to help</h2>
<p>
<ul>
<li>Hang out in #ardour-windows on irc.freenode.net. You may ask questions
there and if you can, answer questions that others have.</li>
<li>Keep an eye on the <a href="https://community.ardour.org/forum/27"> Windows
forum</a> and contribute to the discussions there.</li>
<li>Update this manual via pull requests on <a href="https://github.com/Ardour/manual">github<a/>.</li>
</ul>
</p>
<ul>
<li>Hang out in #ardour-windows on irc.freenode.net. One may ask questions
there and if possible, answer questions that others have.</li>
<li>Keep an eye on the <a
href="https://community.ardour.org/forum/27">Windows forum</a> and contribute
to the discussions there.</li>
<li>Update this manual via pull requests on <a
href="https://github.com/Ardour/manual">github<a/>.</li>
</ul>

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@ -1,71 +1,73 @@
The right approach for using MIDI on Linux depends on which version of
JACK you use. The world divides into:
<p>
The right approach for using MIDI on Linux depends on which version of JACK
is in use. The world divides into:
</p>
<table class="dl">
<tr><th>Systems using JACK 1, versions 0.124 or later</th>
<td>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.</td></tr>
<tr><th>All others</th>
<td>Use a2jmidid to act as a bridge between ALSA MIDI and JACK. Do
not use the -X seq or -X raw arguments&mdash;the timing and performance
of these options is not acceptable.
</td></tr>
<tr><th>Systems using JACK 1, versions 0.124 or later</th>
<td>On these systems, simply start JACK with the <code>-X alsa_midi</code>
server argument. To support legacy control applications, the <code>-X
seq</code> argument to the ALSA backend of JACK can also be used to get the
exact same results.</td></tr>
<tr><th>All others</th>
<td>Use a2jmidid to act as a bridge between ALSA MIDI and JACK. Do not use
the <code>-X seq</code> or <code>-X raw</code> arguments&mdash;the timing and
performance of these options is unacceptable.</td></tr>
</table>
<h2>a2jmidid</h2>
<h2>Using a2jmidid</h2>
<p>
<dfn>a2jmidid</dfn> is an application that bridges between the system
<abbr title="Musical Instrument Digital Interface">MIDI</abbr> ports and
<abbr title="JACK Audio Connection Kit">JACK</abbr>.
</p>
<p>
First you should make sure that there is no ALSA sequencer support enabled
in JACK. To do that open QJackCtl's <kbd class="menu">Setup</kbd> window.
</p>
<p>
First it must be ensured that there is no ALSA sequencer support enabled in
JACK. To check that, open QJackCtl's <kbd class="menu">Setup</kbd> window.
Set <kbd class="menu">Settings &gt; MIDI Driver</kbd> to <kbd
class="input">none</kbd>.
Then uncheck the <kbd class="optoff">Misc &gt; Enable ALSA Sequencer
support</kbd> option.<br>
Now it's time to restart your jack server before going on.
class="input">none</kbd>. Then uncheck the <kbd class="optoff">Misc &gt;
Enable ALSA Sequencer support</kbd> option. Now restart the jack server
before going on.
</p>
<h3>Check for a2jmidid availability</h3>
<p>
First, check whether a2jmidid is already installed in your system. After
starting your JACK server, go to the command line and type
</p>
<kbd class="cmd lin">a2jmidid -e</kbd>
<p>
If a2jmidid does not exist, install it with the software manager of your
Linux distribution and try again.
Next, check whether a2jmidid is already installed. After starting the JACK
server, go to the command line and type:
</p>
<kbd class="cmd lin">a2jmidid -e</kbd>
<p>
If a2jmidid does not exist, install it with the software manager of the
Linux distribution in use and try again.
</p>
<h2>Check available MIDI ports</h2>
<p>
If you have correctly configured JACK for MIDI, then your MIDI ports should appear in
qjackctl under <kbd class="menu">Connections &gt; MIDI </kbd>.
If JACK is correctly configured for MIDI, then the MIDI ports should appear
in qjackctl under <kbd class="menu">Connections &gt; MIDI</kbd>.
</p>
<h3>Making it automatic</h3>
<p>
Once you've verified that the ports appear in JACK as expected, you
can make this happen whenever you start JACK.
</p>
<p>If you use a newer version of JACK 1, just make sure the -X
alsa_midi or -X seq options are enabled for whatever technique you use
to start JACK.
</p>
<p>
For other versions of JACK,
add <kbd class="input">a2jmidid -e &amp;</kbd> as an "after start-up" script
in the <kbd class="menu">Setup &gt; Options</kbd> tab of QJackCtl, so
that it is started automatically whenever you start JACK.
Once it has been verified that the ports appear in JACK as expected, this can
be made to happen whenever JACK is started:
</p>
<ul>
<li>If a newer version of JACK 1 is in use, just make sure the <code>-X
alsa_midi</code> or <code>-X seq</code> options are enabled for whatever
technique is being used to start JACK.</li>
<li>For other versions of JACK, add <code>a2jmidid -e &amp;</code> as an
"after start-up" script in the <kbd class="menu">Setup &gt; Options</kbd> tab
of QJackCtl, so that it is started automatically whenever JACK is
started.</li>
</ul>

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<p>
In order for CoreMIDI to work with Jack MIDI, a CoreMIDI-to-JACK-MIDI
<dfn>bridge</dfn>
is required. This feature is available on versions equal to or great than
version 0.89 of JackOSX.
<dfn>bridge</dfn> is required. This feature is available on versions equal to
or greater than version 0.89 of JackOSX.
</p>
<h2>Routing MIDI</h2>
<h3>Inside Ardour</h3>
<p>
MIDI ports show up in Ardour's MIDI connection matrix in multiple
locations. Bridged CoreMIDI ports as well as JACK MIDI ports that have
been created by other software clients will show up under the "Other" tab.
Bridged CoreMIDI hardware ports show up under the "Hardware" tab.
MIDI ports show up in Ardour's MIDI connection matrix in multiple locations.
Bridged CoreMIDI ports as well as JACK MIDI ports that have been created by
other software clients will show up under the "Other" tab. Bridged CoreMIDI
hardware ports show up under the "Hardware" tab.
</p>
<h3>External Applications</h3>
<p>
There are multiple options for connecting MIDI ports outside of Ardour.
</p>
<ul>
<li><a href="http://www.snoize.com/MIDIMonitor/">MIDI Monitor</a> is a handy
tool for doing various MIDI-related tasks.</li>
<li><a href="http://notahat.com/midi_patchbay/">MIDI Patchbay</a> lets you
connect ports and filters MIDI data.</li>
<li><a href="http://notahat.com/midi_patchbay/">MIDI Patchbay</a> allows
connection of ports and filters MIDI data.</li>
</ul>

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<p class="note">
Note: The MIDI Tracer can lists all kind of MIDI events, "audio" ones, but also <a href="@@midi-scene-automation">scene automation</a> or <a href="@@timecode-generators-and-slaves">timecodes</a> ones.
</p>

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<p>
Ardour is designed to work best with a <dfn>three button mouse</dfn>
equipped with a <dfn>scroll wheel</dfn>.
</p>
<p>
It can be used with a two button mouse or touchpad, but at least two key
operations will not (easily) be available to you:
equipped with a <dfn>scroll wheel</dfn>. While it can be used with a two
button mouse or touchpad, at least two key operations will not be (easily)
available:
</p>
<ul>
<li>time-constrained region copying</li>
<li><a href="@@generic-midi-learn"><abbr title="Musical
Instrument Digital Interface">MIDI</abbr> bindings</a>
created by "learning" them from incoming MIDI data</li>
</ul>
<p>
You are strongly encouraged to invest in a three-button mouse. You will
find that a good quality mouse (especially one with a weighted,
latchable scroll wheel) will make your use of Ardour vastly more
efficient. They are cheap, and time is not.
</p>
<p>
For more detailed instructions, see
<a href="@@using-the-mouse">Using the mouse</a>.
It is strongly encouraged to invest in a three-button mouse. A good quality
mouse (especially one with a weighted, latchable scroll wheel) will make the
use of Ardour vastly more efficient. They are cheap, and time is not.
</p>
<p>
For information on how to use the mouse in Ardour, see <a
href="@@using-the-mouse">Using the mouse</a>.
</p>

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@ -109,3 +109,4 @@
class="menu">CoreMIDI</kbd>. On Linux, you can change between two legacy
ALSA drivers or the (preferred) new JACK+ALSA implementation.</td></tr>
</table>

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@ -65,3 +65,4 @@
clock and time. It is possible to extract absolute position data
and speed from it.
</p>

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@ -37,10 +37,11 @@
Provide Bar|Beat|Tick and other information to JACK.
</td></tr>
</table>
<p>These settings are session specific.</p>
<h2>Transport Preferences</h2>
<table class="dl">
<tr><th><kbd class="menu">External timecode source</kbd></th>
<td>
@ -91,13 +92,19 @@
is 0&nbsp;dBu (which is -18&nbsp;dbFS in an EBU calibrated system).
</td></tr>
</table>
<p>These settings are common to all sessions.</p>
<p>
These settings are common to all sessions.
</p>
<h2>MIDI Preferences</h2>
<table class="dl">
<tr><th><kbd class="option">Send MIDI Timecode</kbd></th><td>Enable MTC generator</td></tr>
<tr><th><kbd class="option">Send MIDI Clock</kbd></th><td>Enable MIDI Clock generator</td></tr>
</table>
<p>These settings are also common to all sessions.</p>
<p>
These settings are also common to all sessions.
</p>

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<p>
Ardour splits its configuration options into two categories:
</p>
<ul>
<li>
Global <dfn>preferences</dfn> control general workflow and system
configuration, and should apply to all sessions. They are located in
<kbd class="menu">Edit &gt; Preferences</kbd> and stored in
Ardour's <dfn>user configuration file</dfn> in your home directory.
</li>
<li><dfn>Session properties</dfn> control aspects of the workflow or
configuration that pertain to the current session only. You can find them
in <kbd class="menu">Session &gt; Properties</kbd>, and they will be stored
in the session file.
</li>
</ul>

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trim to reduce the leftmost region, then doing a simple trim to extend the rightmost
one to fill the gap.
</p>

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@ -72,3 +72,4 @@
selects it. This will do nothing for whole-file regions, since they do not exist
anywhere in a playlist or track.
</p>

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Region arrangement before and after 'Separate Using Loop Range'
</figcaption>
</figure>

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<img src="/images/a4_session_properties_timecode.png" alt="session properties dialog"/>
<p>
This dialog allows you to change settings for the current session. These settings
are initially set from the template used to create the session. To open the dialog
use <kbd class="menu">Session &gt; Properties</kbd>
<dfn>Session properties</dfn> control aspects of the workflow or
configuration that pertain to the current session only; these settings are
initially set from the template used to create the session. They can be found
in <kbd class="menu">Session &gt; Properties</kbd>, and are stored in the
session file.
</p>
<figure class="center">
<img src="/images/a4_session_properties_timecode.png" alt="session properties dialog"/>
<figcaption class="center">The Session Properties dialog.</figcaption>
</figure>

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<h2>What Can Ardour Do With MIDI?</h2>
<p>
<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>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.
</p>
<h2>MIDI Handling Frameworks</h2>
<p>
MIDI input and output for Ardour are handled by the same "engine"
that handles audio input and output.
</p>
<table class="dl">
<tr><th>OS X</th>
<td> <dfn>CoreMIDI</dfn> is the standard MIDI framework on OSX systems.
</td></tr>
<tr><th>Linux</th>
<td>
<dfn><abbr title="Advanced Linux Sound API">ALSA</abbr> MIDI</dfn>
is the standard MIDI framework on Linux systems.
</td></tr>
<tr><th>Windows</th>
<td>
<dfn>There is no single standard MIDI framework on Windows,
but Ardour can work with ASIO and others.
</td></tr>
</table>
<p class="note">
On Linux systems, <dfn>QJackCtl</dfn> control software displays ALSA MIDI
ports under its "ALSA" tab (it does not currently display CoreMIDI
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
ports on your system. You must choose one of several ways
of <dfn>bridging</dfn> between the native MIDI frameworks
(e.g. CoreMIDI or ALSA) and JACK MIDI, as described in the sections
below.
</p>

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<p>
Using a general purpose computer for recording digital audio is not
trivial. This chapter will guide you through the basic steps and help
you with some of the most common pitfalls on the way to a reliable and
powerful audio workstation.
It is unfortunate, but some OSes and/or Desktop Environments will cause
problems that are beyond the capability of Ardour to address. The following
covers some of the known problems and how to work around them.
</p>

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<li>For multi-tonal material (chords,&hellip;), either one of the three first choice, or the default
<em>Crisp</em>.</li>
</ul>

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<p class="note">The minimum length for silence can be useful when editing very
percussive material and just needing to automatically trim the ends of a region.
</p>

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<p>
Tempo and meter belong together. without both, there is no way to know where a beat lies in time.
Tempo and meter belong together. without both, there is no way to know where
a beat lies in time.
</p>
<p>
Tempo provides a musical pulse, which is divided into beats and bars by a meter. When you change tempo or move an audio-locked meter, all objects on the timeline that are glued to bars and beats (locations, regions) will move in sympathy.
Tempo provides a musical pulse, which is divided into beats and bars by a
meter. When tempo is changed or an audio-locked meter is moved, all objects
on the timeline that are glued to bars and beats (locations, regions) will
move in sympathy.
</p>
<p class="note">
When performing meter or tempo operations, it is advised that you show the BBT ruler (available by right-clicking an existing marker or ruler name), and ensure that the constraint modifier is set (in Preferences->User Interaction) so that no other modifiers share its key combination.<br>
The constraint modifier is the "Constrain drags using: " setting under the "When Beginning a Drag" heading. One viable setting is <kbd class="mod1"></kbd><kbd class="mod3"></kbd>.
When performing meter or tempo operations, it is advisable to use the BBT
ruler (available by right-clicking an existing marker or ruler name), and
ensure that the constraint modifier is set (in Preferences->User Interaction)
so that no other modifiers share its key combination. The constraint modifier
is the "Constrain drags using: " setting under the "When Beginning a Drag"
heading. One viable setting is
<kbd class="mod1n"></kbd><kbd class="mod3n"></kbd>.
</p>
<h3>Tempo</h3>
@ -19,34 +28,64 @@
</p>
<ul>
<li>by double clicking on a tempo marker. This opens the tempo dialog which will allow you to enter the tempo directly into an entry box.</li>
<li>by using the constraint modifier (which is set in Preferences->User Interaction) to drag the beat/bars in the BBT ruler or the tempo/meter lines. This is the preferred way to match the tempo to previously recorded material.</li>
<li>by double clicking on a tempo marker. This opens the tempo dialog which
allows entering the tempo directly into an entry box.</li>
<li>by using the constraint modifier (which is set in Preferences->User
Interaction) to drag the beat/bars in the BBT ruler or the tempo/meter lines.
This is the preferred way to match the tempo to previously recorded
material.</li>
<p class ="note">
When dragging the BBT ruler, musical snap has no effect, however be warned that non-musical snap is in effect if enabled. Snapping to a minute while dragging a beat may result in some verly slow tempos. Snapping a beat to a video frame however is an incredibly useful way to ensure your soundtrack is punchy and synchronised to the sample.
When dragging the BBT ruler, musical snap has no effect, however be warned
that non-musical snap is in effect if enabled. Snapping to a minute while
dragging a beat may result in some verly slow tempos. Snapping a beat to a
video frame however is an incredibly useful way to ensure a soundtrack is
punchy and synchronised to the sample.
</p>
<li>by holding down the constaint modifier while dragging a tempo vertically. This is used for more complex tempo solving, as it allows you to change the position and tempo of a tempo marker in the same drag, it is, however, a useful way to adjust the first tempo for a quick result.</li>
<li>by holding down the constaint modifier while dragging a tempo vertically.
This is used for more complex tempo solving, as it allows changing of the
position and tempo of a tempo marker in the same drag; it is, however, a
useful way to adjust the first tempo for a quick result.</li>
</ul>
<p>
A tempo may be locked to audio or musical time. You may change this by right-clicking on a tempo. If a tempo is locked to music, an entry will be available to lock it to audio. Similarly an audio-locked tempo may be locked to music by right clicking it an selecting the "Lock to Music" entry.
A tempo may be locked to audio or musical time. This can be changed by <kbd
class="mouse">right</kbd>-clicking on a tempo. If a tempo is locked to music,
an entry will be available to lock it to audio. Similarly an audio-locked
tempo may be locked to music by <kdb class="mouse">right</kbd>-clicking it
and selecting the "Lock to Music" entry.
</p>
<p>
Audio locked tempo marks stay in their frame position as their neigbours positions are altered. Their pulse (musical) position will change as their neighbours move. Music locked tempo marks move their frame position as their neighbours are moved, but keep their pulse position (they will move as the music is moved).
Audio locked tempo marks stay in their frame position as their neigbour's
positions are altered. Their pulse (musical) position will change as their
neighbours move. Music locked tempo marks move their frame position as their
neighbours are moved, but keep their pulse position (they will move as the
music is moved).
</p>
<p>
A tempo may be ramped or constant.
A tempo may be constant or ramped:
</p>
<ul>
<li>A constant tempo will keep the sesion tempo constant until the next tempo section, at which time it will jump instantly to the next tempo. These are mostly useful abrupt changes, and is the way in which traditional DAWs deal with tempo changes (abrupt jumps in tempo).</li>
<li>A ramped tempo increases its tempo over time so that when the next tempo section has arrived, the sesion tempo is the same as the second one. This is useful for matching the session tempo to music which has been recorded without a metronome. Ramps may also be used as a compositional tool, but more on this later. Note that a ramp requires two points&mdash;a start and an end tempo. The first tempo in a new session is ramped, but appears to be constant as it has no tempo to ramp to. It is only when you add a new tempo and adjust one of them that you will hear a ramp. The same applies to the last tempo in the session&mdash;it will always appear to be constant until a new last tempo is added and changed.</li>
<li>A constant tempo will keep the sesion tempo constant until the next tempo
section, at which time it will jump instantly to the next tempo. These are
mostly useful abrupt changes, and is the way in which traditional DAWs deal
with tempo changes (abrupt jumps in tempo).</li>
<li>A ramped tempo increases its tempo over time so that when the next tempo
section has arrived, the sesion tempo is the same as the second one. This is
useful for matching the session tempo to music which has been recorded
without a metronome. Ramps may also be used as a compositional tool, but more
on this later. Note that a ramp requires two points&mdash;a start and an end
tempo. The first tempo in a new session is ramped, but appears to be constant
as it has no tempo to ramp to. It is only when a new tempo is added and one
of them is adjusted that a ramp will be heard. The same applies to the last
tempo in the session&mdash;it will always appear to be constant until a new
last tempo is added and changed.</li>
</ul>
<figure>
<img src="/images/constant-tempo.png" alt="A constant tempo displaying the tempo at the playhead in the audio clock">
<figcaption>
@ -61,37 +100,51 @@
</figcaption>
</figure>
<p>
To add a new tempo, use the primary modifier and click on the tempo line at the desired position. The new tempo will be the same as the tempo at the position of the mouse click (it will not change the shape of the ramp).
To add a new tempo, use the primary modifier and click on the tempo line at
the desired position. The new tempo will be the same as the tempo at the
position of the mouse click (it will not change the shape of the ramp).
</p>
<p>
To copy a tempo, hold down the primary modifier and drag the tempo you wish to copy.
To copy a tempo, hold down the primary modifier and drag the tempo to be
copied.
</p>
<h3>Meter</h3>
<p>
Meter positions beats using the musical pulse of a tempo, and groups them into bars using its number of divisions per bar.
Meter positions beats using the musical pulse of a tempo, and groups them
into bars using its number of divisions per bar.
</p>
<p>
The first meter in a new session may be moved freely. It has an associated tempo which cannot be dragged by itself (although all others can). It can be moved freely and is locked to audio.
The first meter in a new session may be moved freely. It has an associated
tempo which cannot be dragged by itself (although all others can). It can be
moved freely and is locked to audio.
</p>
<p>
New meters are locked to music. They may only occur on a bar line if music locked.
New meters are locked to music. They may only occur on a bar line if music
locked.
</p>
<p>
An audio locked meter provides a way to cope with musical passages which have no meter (rubato, pause), or to allow a film composer to insert a break in music which cannot be counted in beats.
An audio locked meter provides a way to cope with musical passages which have
no meter (rubato, pause), or to allow a film composer to insert a break in
music which cannot be counted in beats.
</p>
<p>
If a meter is audio-locked, its bar number is fixed from the point at which it left the main score. That bar number cannot be changed, nor can tempo motion allow the previous bar to overlap. If you need another bar, lock the meter to music again (right click-&gt;"Lock to Music"), drag the meter to the desired bar and re-lock to audio. You may now drag your new bar freely again.
If a meter is audio-locked, its bar number is fixed from the point at which
it left the main score. That bar number cannot be changed, nor can tempo
motion allow the previous bar to overlap. If another bar is needed, lock the
meter to music again (right click-&gt;"Lock to Music"), drag the meter to the
desired bar and re-lock to audio. The new bar can be freely dragged again.
</p>
<li>To change a meter, double click it. A dialog will appear.</li>
<ul>
<li>To change a meter, double click it. A dialog will appear.</li>
<li>To copy a meter, hold down <kbd class="mod1n"></kbd> and drag it.</li>
</ul>
<li>To copy a meter, hold down <kbd class="mod1n"></kbd> and drag it.</li>

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<p>
It would be nice to think that you could just go and buy any computer,
install a bit of software on it and start using it to record and create
music. This idea isn't wrong, but there some important details that it
misses.
</p>
<p>
Any computer that you can buy today (since somewhere around the end of
2012) is capable of recording and processing a lot of audio data. It
will come with a builtin audio interface that can accept inputs from
microphones or electrical instruments. It will have a disk with a huge
It is nice to think that one could just go and buy any computer, install a
bit of software on it and start using it to record and create music. This
idea isn't necessarily wrong, but there are some important details that it
misses. Any computer that that can be bought today (since somewhere around
the end of 2012) is capable of recording and processing a lot of audio data.
It will come with a builtin audio interface that can accept inputs from
microphones and/or electrical instruments; it will have a disk with a huge
amount of space for storing audio files.
</p>
<p>
When you are recording, editing and mixing music, you generally want to
work with very little <dfn>latency</dfn> between the time that
a sound is generated and when you can hear it. When the audio signal
flows through a computer, that means that the computer has to be able to
receive the signal, process it and send it back out again as fast as
possible.<br>
And that is where it becomes very important <em>what</em> computer system
you have, because it is <strong>absolutely not</strong> the case that any
computer can do this job well.
However, when recording, editing and mixing music, it is generally desirable
to have very little <dfn>latency</dfn> between the time a sound is generated
and when it can be heard. When the audio signal flows through a computer,
that means that the computer has to be able to receive the signal, process it
and send it back out again as quickly as possible. And this is where it
becomes very important <em>what</em> computer system is being used for this
task, because it is <strong>absolutely not</strong> the case that
<em>any</em> computer can do it well.
</p>
<p>
Routing audio through a computer will always cause some delay, but if it
is small, you will generally never notice it. There are also ways to work
in which the delay does not matter at all (for example, not sending the
output from the computer to speakers).
Routing audio through a computer will always cause some delay, but if it is
small, it will generally never be noticed. There are also ways to work in
which the delay does not matter at all (for example, not sending the output
from the computer to speakers).
</p>
<p>
The latency that you want for working with digital audio is typically in
the 1&ndash;5&nbsp;ms range. For comparison, if you are sitting 1&nbsp;m
(3&nbsp;ft) from your speakers, the time the sound takes to reach your
The latency that is typically needed for working with digital audio is in the
1&ndash;5&nbsp;ms range. For comparison, if one is sitting 1&nbsp;m
(3&nbsp;ft) from a set of speakers, the time the sound takes to reach the
ears is about 3&nbsp;ms. Any modern computer can limit the delay to
100&nbsp;ms. Most can keep it under 50&nbsp;ms. Many will be able to get
down to 10&nbsp;ms without too much effort. If you try to reduce the delay
on a computer that cannot meet your goal, you will get clicks and
glitches in the audio, which is clearly extremely undesirable.
100&nbsp;ms; most can keep it under 50&nbsp;ms. Many will be able to get down
to 10&nbsp;ms without too much effort. Attempting to reduce the latency on a
computer that cannot physically do it will cause clicks and glitches in the
audio, which is clearly undesirable.
</p>
<h2>Hardware-related Considerations</h2>
<table class="dl">
<tr><th>Video interface</th>
<td>Poorly engineered video interfaces (and/or their device drivers) can
"steal" computer resources for a long time, preventing the audio interface
from keeping up with the flow of data</td></tr>
from keeping up with the flow of data.</td></tr>
<tr><th>Wireless interface</th>
<td>Poorly engineered wireless networking interfaces (and/or their device
drivers) can also block the audio interface from keeping up with the flow
of data</td></tr>
drivers) can also block the audio interface from keeping up with the flow of
data.</td></tr>
<tr><th><abbr title="Universal Serial Bus">USB</abbr> ports</th>
<td>If you are using an audio interface connected via USB, and sometimes
even if you are not, the precise configuration of your system's USB ports
can make a big difference. There are many cases where plugging the
interface into one port will work, but using different USB port results
in much worse performance. This has been seen even on Apple systems.
</td></tr>
<td>When using an audio interface connected via USB, and sometimes even if
not, the precise configuration of the system's USB ports can make a big
difference. There are many cases where plugging the interface into one port
will work, but using different USB port results in much worse performance.
This has been seen even on Apple systems.</td></tr>
<tr><th>Internal USB Hubs</th>
<td>Ideally, you'd like your USB ports to all connect directly to the
main bus inside the computer. Some laptops (and possibly some
desktop systems) come wired with an internal USB hub between the
ports and the system bus, which can then cause problems for various
kinds of external USB devices, including some models of audio
interfaces. It is very difficult to discover whether this is true or
not, without simplying trying it out.</td></tr>
<td>Ideally, all USB ports should connect directly to the main bus inside the
computer. Some laptops (and possibly some desktop systems) come wired with an
internal USB hub between the ports and the system bus, which can then cause
problems for various kinds of external USB devices, including some models of
audio interfaces. It is very difficult to discover whether this is true or
not without simplying trying it out.</td></tr>
<tr><th><abbr title="Central Processing Unit">CPU</abbr> speed control</th>
<td>Handling audio with low latency requires that your processor keeps
running at its highest speed at all times. Many portable systems try to
regulate processor speed in order to save power&mdash;for low latency
audio, you want this totally disabled, either in the BIOS or at the OS
level.</td></tr>
<td>Handling audio with low latency requires that the processor keeps running
at its highest speed at all times. Many portable systems try to regulate
processor speed in order to save power&mdash;for low latency audio, this
should be totally disabled, either in the BIOS or at the OS level.</td></tr>
<tr><th>Excessive Interrupt Sharing</th>
<td>If your audio interface is forced by your computer to share an
interrupt line (basically a way to tell the CPU that something needs
its attention) with too many, or the wrong, other devices, this can also
prevent the audio interface from keeping up with the flow of data. In
laptops it is generally impossible to do anything about this. In many
desktop systems, it is possible at the BIOS level to reassign interrupts
to work around the problem.</td></tr>
<td>If the audio interface is forced by the computer to share an interrupt
line (basically a way to tell the CPU that something needs its attention)
with too many other (or wrong) devices, this can also prevent the audio
interface from keeping up with the flow of data. In laptops it is generally
impossible to do anything about this. In many desktop systems, it is possible
at the BIOS level to reassign interrupts to work around the problem.</td></tr>
<tr><th><abbr title="System Management Interrupt">SMI</abbr>s</th>
<td>SMIs are interrupts sent by the motherboard to tell the computer
about the state of various hardware. They cannot safely be disabled,
but they can also take a relatively long time to process. It is better
to have a motherboard which never sends SMIs at all&mdash;this is
also a requirement for realtime stock trading systems, which have
similar issues with latency.</td></tr>
<td>SMIs are interrupts sent by the motherboard to tell the computer about
the state of various hardware. They cannot safely be disabled, and they can
take a relatively long time to process. It is better to have a motherboard
which never sends SMIs at all&mdash;this is also a requirement for realtime
stock trading systems, which have similar issues with latency.</td></tr>
<tr><th>Hyperthreading</th>
<td>This technology is becoming less common as actual multi-core CPUs
become the norm, but it still exists and is generally not good for
realtime performance. Sometimes you can disable this in the BIOS,
sometimes you cannot. A processor that uses hyperthreading will be
less stable in very low latency situations than one without.</td></tr>
<td>This technology is becoming less common as actual multi-core CPUs become
the norm, but it still exists and is generally not good for realtime
performance. Sometimes this can be disabled in the BIOS, sometimes it cannot.
A processor that uses hyperthreading will be less stable in very low latency
situations than one without.</td></tr>
<tr><th>Excessive vibration</th>
<td>This doesn't affect the flow of data to/from the audio interface,
but it can cause the flow of data to/from your disk storage to become
<em>much</em> slower. If you are going to use a computer in an
environment with loud live sound (specifically, high bass volume),
make sure to place it so that the disk is not subject to noticeable
vibration. The vibrations will physically displace the head-write
heads of disk, and the resulting errors will force a retry of the
reading from the disk. Retrying over and over massively reduces the
rate at which data can be read from the disk. Avoid this.</td></tr>
<td>This doesn't affect the flow of data to or from the audio interface, but
it can cause the flow of data to and from disk storage to become
<em>much</em> slower. If a computer going to be used in an environment with
loud live sound (specifically, high bass volume), make sure it is placed so
that the disk is not subjected to noticeable vibration. The vibrations will
physically displace the read-write heads of disk, and the resulting errors
will force a retry of the reading from the disk. Retrying over and over
massively reduces the rate at which data can be read from the disk. Avoid
this.</td></tr>
</table>

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<tr><th>Toggle Active</th><td>Toggles the active state of a track. An inactive track will be grayed and wont play any sound. That can be seen in the <kbd class="menu">A</kbd> colomn of the <a href="@@the-tracks-and-busses-list">Tracks and Busses List</a></td></tr>
<tr><th>Remove</th><td>Deletes this track and its playlist (no file is harmed in the process, and the regions from the playlist stay in the Editor for later use)</td></tr>
</table>

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cross-hairs. This tool acts on region gain and automation as the Draw tool.<br>
On a MIDI region, it allows to lasso-select multiple notes at a time.</td></tr>
</table>

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Go to the <kdb class="menu">Transport</kbd> and <kdb class="menu">Transport &gt;
Playhead</kbd> to find more.
</p>

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<td>Trim the end of selected region(s) to the start of the following region.
If the region is too short, it is extended to it's maximum to the right.</td></tr>
</table>

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<p>
<dfn>Ubuntu Linux</dfn> is the most popular variety of Linux in use on desktop
and laptop systems. It has the backing of a for-profit corporation
(Canonical Inc.), a defined philosophy and a huge and
worldwide user base. As a result, it is a common platform for people
who want to use Ardour and other tools for music creation and
pro-audio work.
<dfn>Ubuntu Linux</dfn> is the most popular variety of Linux in use on
desktop and laptop systems. It has the backing of a for-profit corporation
(Canonical Inc.), a defined philosophy and a huge and worldwide user base. As
a result, it is a common platform for people who want to use Ardour and other
tools for music creation and pro-audio work.
</p>
<h2>High Level Recommendations for Ubuntu Users</h2>
<p>
Currently, installing pro audio applications on vanilla Ubuntu requires
some configuration, in order for the user to gain realtime privilege
(read below).
Ubuntu Studio, which is an official flavor of Ubuntu, and thus shares
the repositories with Ubuntu, has this already configured.
Other distributions, such as KXStudio, and Dreamstudio are largely based
on Ubuntu, and like Ubuntu Studio, has these settings preconfigured, while
also containing customized versions of Ubuntu packages, which often are
more up to date.
Currently, installing pro audio applications on vanilla Ubuntu requires some
configuration, in order for the user to gain realtime privilege (read below).
Ubuntu Studio, which is an official flavor of Ubuntu, and thus shares the
repositories with Ubuntu, has this already configured. Other distributions,
such as KXStudio, and Dreamstudio are largely based on Ubuntu, and like
Ubuntu Studio, has these settings preconfigured, while also containing
customized versions of Ubuntu packages, which often are more up to date.
</p>
<h2>Installing Ardour</h2>
<p>
There may be unintended differences, and even bugs in Ubuntu native
packages, as a result of a different building method. For this reason,
Ardour developers highly recommend you to install the official
ready-to-run version of the program that you can get from <a
There may be unintended differences, and even bugs in Ubuntu native packages,
as a result of a different building method. For this reason, Ardour
developers highly recommend installing the official ready-to-run version of
the program that can be downloaded from <a
href="https://community.ardour.org/download">ardour.org</a>, as Ubuntu native
packages are not supported in official Ardour forums or other
support channels.
packages are not supported in the official Ardour forums or other support
channels.
</p>
<p>
Follow these steps to install the latest version of Ardour.
<ol>
<li>Download the latest release from <a href="https://community.ardour.org/download">
ardour.org</a>.</li>
<li><kbd class="mouse">Right+Click</kbd> the downloaded file and choose
properties.</li>
<li>Click the Permissions tab and check the option "Allow this file to
run as a program"</li>
Follow these steps to install the latest version of Ardour:
</p>
<ol>
<li>Download the latest release from <a
href="https://community.ardour.org/download">ardour.org</a>.</li>
<li><kbd class="mouse">Right</kbd>-click the downloaded file and choose
properties.</li>
<li>Click the Permissions tab and check the option "Allow this file to run as
a program".</li>
<li>Close the dialog and double-click the file.</li>
<li>Follow the prompts.</li>
</ol>
</p>
<h2>Problems with the interaction between PulseAudio and JACK</h2>
<h3>Background Info</h3>
<p>
Like many distributions, Ubuntu has decided to use <dfn>PulseAudio</dfn> as the
default audio system. PulseAudio is a rich and capable system that
provides excellent services for typical users of Linux on the
desktop. However, it is not capable of the type of performance that
tools like Ardour require and in particular does not offer the
possibility of sending audio between applications that can make the
Linux audio environment a very interesting one.
Like many distributions, Ubuntu has decided to use <dfn>PulseAudio</dfn> as
the default audio system. PulseAudio is a rich and capable system that
provides excellent services for typical users of Linux on the desktop.
However, it is not capable of the type of performance that tools like Ardour
require and in particular does not offer the possibility of sending audio
between applications that can make the Linux audio environment a very
interesting one.
</p>
<p>
This would not be a problem if it were not for the fact that JACK
will not run correctly (if at all) if it needs to use the same
soundcard/audio interface that PulseAudio is using. And since on
Ubuntu, PulseAudio is configured by default to always use the
(typically single) audio interface on your computer, this is a bit
of a problem.
This would not be a problem if it were not for the fact that JACK will not
run correctly (if at all) if it needs to use the same soundcard/audio
interface that PulseAudio is using. And since, PulseAudio on Ubuntu is
configured by default to always use the (typically single) audio interface on
the computer, this is a bit of a problem.
</p>
<p>
The developers of JACK and PulseAudio got together in 2009 and
agreed upon a mechanism by which PulseAudio and JACK could cooperate
in their use of a single soundcard. Whether or not PulseAudio is running by
default, when JACK starts up it sends out a request to use the
soundcard. If PulseAudio is running, it will give up its use of the
soundcard to allow JACK to take over (and can optionally be told to
route its own audio through JACK). When JACK finishes, it sends out
another message, and PulseAudio can once again use the soundcard
directly.
The developers of JACK and PulseAudio got together in 2009 and agreed upon a
mechanism by which PulseAudio and JACK could cooperate in their use of a
single soundcard. Whether or not PulseAudio is running by default, when JACK
starts up it sends out a request to use the soundcard. If PulseAudio is
running, it will give up its use of the soundcard to allow JACK to take over
(and can optionally be told to route its own audio through JACK). When JACK
finishes, it sends out another message, and PulseAudio can once again use the
soundcard directly.
</p>
<h3>What is the problem?</h3>
<p>
The specific issues known at this time for all flavors of Ubuntu
12.04 and 12.10 are:
The specific issues known at this time for all flavors of Ubuntu 12.04 and
12.10 are:
</p>
<ul>
<li>a bug in PulseAudio that causes it not to give up the
soundcard when JACK asks
(<a href="https://bugs.launchpad.net/ubuntu/+source/pulseaudio/+bug/1163638">LP:
#1163638</a>,
fixed in Ubuntu 13.04).</li>
</ul>
<ul>
<li>a bug in PulseAudio that causes it not to give up the soundcard when JACK
asks (<a
href="https://bugs.launchpad.net/ubuntu/+source/pulseaudio/+bug/1163638">LP:
#1163638</a>, fixed in Ubuntu 13.04).</li>
</ul>
<h3>Symptoms</h3>
<p>
<samp>Cannot start JACK</samp> (though see the next section for other
causes of this)
A message like <samp>Cannot start JACK</samp> in the output from JACK as it
starts up (though see the next section for other causes of this). This output
may be hidden in the Messages window of QJackCtl (aka JACK Control), so one
should check there.
</p>
<h3>How to fix</h3>
<p>
These bugs do not affect releases from 13.04, and earlier releases
(12.04 and 12.10) are in the process of being fixed.
These bugs do not affect releases from 13.04, and earlier releases (12.04 and
12.10) are in the process of being fixed.
</p>
<h2>Problems with JACK configuration</h2>
<h3>What is the problem?</h3>
<p>
To function as intended, JACK needs to run with access to two
operating system facilities called <dfn>realtime scheduling</dfn> and
<dfn>memory locking</dfn>. This means that you, the user who starts JACK, must be
allowed access to these facilities. By default, Ubuntu does create a
user group that has this permission but&mdash;it does not put new
users into this group by default. Read more about why <a href="https://wiki.ubuntu.com/Audio/TheAudioGroup">here</a>.
Consequently, you will not have permission to run JACK in the way you should.
</p>
<p>
To function as intended, JACK needs to run with access to two operating
system facilities called <dfn>realtime scheduling</dfn> and <dfn>memory locking</dfn>. This means that the user who starts JACK <em>must</em> be
allowed access to these facilities. By default, Ubuntu does create a user
group that has this permission but&mdash;it does not put new users into this
group by default. Read more about why <a
href="https://wiki.ubuntu.com/Audio/TheAudioGroup">here</a>. Consequently,
the user will not have permission to run JACK in the way they should.
</p>
<h3>Symptoms</h3>
<p>
A message like <samp>Cannot lock down memory</samp> in the output from JACK as
it starts up. This output may be hidden in the Messages window of
QJackctrl (aka JACK Control), so you should check there.
</p>
<p>
A message like <samp>Cannot lock down memory</samp> in the output from JACK
as it starts up. This output may be hidden in the Messages window of QJackCtl
(aka JACK Control), so one should check there.
</p>
<h3>How to fix</h3>
<p>
Make sure the file /etc/security/limits.d/audio.conf exists. If it is
named /etc/security/limits.d/audio.conf.disabled, rename it to the former.
Run the command
</p>
<kbd class="cmd lin">sudo usermod -a -G audio
<em>YOUR-LOGIN-NAME</em></kbd>
<p>
Then log out and log in again. On Ubuntu Studio the user is a member of audio
group by default, but not on other official flavors.
</p>
<p>
Make sure the file /etc/security/limits.d/audio.conf exists. If it is named
/etc/security/limits.d/audio.conf.disabled, rename it to the former. Run the
command:
</p>
<kbd class="cmd lin">sudo usermod -a -G audio <em>YOUR-LOGIN-NAME</em></kbd>
<p>
Then log out and log in again. On Ubuntu Studio the user is a member of audio
group by default, but not on other official flavors.
</p>
<h2>Reporting Issues</h2>
<p>
Given the difficulties in supporting Ubuntu and the limited time/resources
of the Ardour team, the <dfn>Ubuntu Studio Project</dfn> has requested that
issues and bug reports related to Ubuntu, Ubuntu Studio and other
derivitives be directed to them.
</p>
<h3>Contact Information for Ubuntu Studio</h3>
<p><a href="http://ubuntustudio.org">The Ubuntu Studio Homepage</a></p>
<p><a href="http://ubuntuforums.org/forumdisplay.php?f=335">The Ubuntu Studio Forums.</a></p>
<p><a href="https://help.ubuntu.com/community/UbuntuStudio/MailLists">Information on the Ubuntu Studio Mailing Lists.</a></p>
<p><a href="https://help.ubuntu.com/community/UbuntuStudio/IRC">Information on the Ubuntu Studio IRC channel.</a> #ubuntustudio on irc.freenode.net</p>
<p>
Given the difficulties in supporting Ubuntu and the limited time and
resources of the Ardour team, the <dfn>Ubuntu Studio Project</dfn> has
requested that issues and bug reports related to Ubuntu, Ubuntu Studio and
other derivitives be directed to them.
</p>
<h3>Contact Information for Ubuntu Studio</h3>
<p>
<a href="http://ubuntustudio.org">The Ubuntu Studio Homepage</a>
</p>
<p>
<a href="http://ubuntuforums.org/forumdisplay.php?f=335">The Ubuntu Studio
Forums.</a>
</p>
<p>
<a href="https://help.ubuntu.com/community/UbuntuStudio/MailLists">Information
on the Ubuntu Studio Mailing Lists.</a>
</p>
<p>
<a href="https://help.ubuntu.com/community/UbuntuStudio/IRC">Information on
the Ubuntu Studio IRC channel.</a> #ubuntustudio on irc.freenode.net
</p>

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<p class=fixme>Add content</p>

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@ -1,79 +1,73 @@
<p>
Ardour will only ever deal with a single <dfn>audio device</dfn>. If you
want to use more than one, you have two choices:
Ardour will only ever deal with a single <dfn>audio device</dfn>. When it is
desired to use more than one audio device at the same time, there are two
choices:
</p>
<ul>
<li>
If you want to use Ardour to start JACK (which handles all
audio I/O) you will need to create a "fake" audio device on your
computer the represents all the multiple devices you wish to
use. How to do this is platform dependent and described below.
</li>
<li>
Use a different tool to start JACK and manage all the devices.
</li>
<li>Use Ardour to start JACK (which handles all audio I/O), and create a
"fake" audio device which represents all the multiple devices to be used. How
to do this is platform dependent and described below.</li>
<li>Use a different tool to start JACK and manage all the devices.</li>
</ul>
<p>
Ardour is fundamentally designed to be a component in a
pro-audio/music creation environment. Standard operating practice
for such setups involves using only a single digital <dfn>sample
clock</dfn> (something counting off the time between audio samples).
This means that trying to use multiple independent soundcards is
problematic, because each soundcard has its own sample clock, running
independently from the others. Over time, these different clocks
<dfn>drift</dfn>
out of sync with each other, which causes glitches in the audio. You
cannot stop this drift, although in some cases the effects may be
insignificant enough that some people might not care about them.
Ardour is fundamentally designed to be a component in a pro-audio/music
creation environment. Standard operating practice for such setups involves
using only a single digital <dfn>sample clock</dfn> (something counting off
the time between audio samples). This means that trying to use multiple
independent soundcards is problematic, because each soundcard has its own
sample clock, running independently from the others. Over time, these
different clocks <dfn>drift</dfn> out of sync with each other, which causes
glitches in the audio. This drift cannot be stopped, although in some cases
the effects may be insignificant enough that they might not be noticeable.
</p>
<p>
Thus in an ideal world you should not use multiple independent
soundcards but instead use a single device with a single clock and all
the inputs, outputs and other features that you need.
</p>
<p>
Of course, a lot of people don't live in an ideal world, and believe
that software should make up for this.
Thus, in an ideal world, a single device with a single clock and all the inputs, outputs and other features needed should be used. Of course, there are those who like to point out that this is not an ideal world, and believe that software should make up for this.
</p>
<h2>OS X</h2>
<p>
In CoreAudio, <dfn>aggregate devices</dfn> provide a method to use
multiple soundcards as a single device. For example, you can
aggregate two 8-channel devices so that you can record 16 channels
into Ardour.
In CoreAudio, <dfn>aggregate devices</dfn> provide a method to use multiple
soundcards as a single device. For example, two eight-channel devices can be
aggregated so that 16 channels can be recorded in Ardour.
</p>
<div class="note">
<p>
If you are using a <em>single</em> typical 3rd party
audio interface (such as those from Apogee, RME, Presonus, and many
others), <em>or</em> you are using JackPilot or a similar
application to start JACK, you do not need to worry about this.<br>
You will need to set up an aggregate device only if either
of the following conditions are true:
</p>
When using a <em>single</em> typical 3rd party audio interface (such as those
from Apogee, RME, Presonus, and many others), <em>or</em> using JackPilot or
a similar application to start JACK, there is no need to worry about any of
this. An aggregate device only needs to be set up if any of the following
conditions are true:
<ul>
<li>You want to use two entirely separate
devices <em>and</em> want to start JACK using Ardour.</li>
<li>You want to use your <dfn>builtin audio device</dfn> <em>and</em>
want to start JACK using Ardour.</li>
<li>You want to use more than two entirely separate devices</li>
<li>Two entirely separate devices are used <em>and</em> JACK is started using
Ardour</li>
<li>A <dfn>builtin audio device is used</dfn> <em>and</em> JACK is started
using Ardour</li>
<li>More than two entirely separate devices are used</li>
</ul>
</div>
<p>
In the case of your builtin audio device, you will need to create
an aggregate device that combines "Builtin Input" and "Builtin
Output" into one device.
In the case of a builtin audio device, an aggregate device that combines
"Builtin Input" and "Builtin Output" into one device needs to be created.
</p>
<p>
The precise instructions for creating an aggregate device on OS X
have varied from one released to another. Please read <a href="https://support.apple.com/en-us/HT202000">https://support.apple.com/en-us/HT202000</a>
The precise instructions for creating an aggregate device on OS X have varied
from one released to another. Please read <a
href="https://support.apple.com/en-us/HT202000">https://support.apple.com/en-us/HT202000</a>.
</p>
<h2>Linux</h2>
<p>
Please see the instructions at <a href="http://jackaudio.org/faq/"
title="http://jackaudio.org/faq/">http://jackaudio.org/faq</a>
title="http://jackaudio.org/faq/">http://jackaudio.org/faq</a>.
</p>

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users&mdash;thousands of users&mdash;on Linux who would like to use your
plugins.
</p>

49
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@ -119,7 +119,7 @@ part: chapter
---
title: Default Keyboard Bindings
menu_title: Key Bindings
menu_title: Default Key Bindings
include: default-keyboard-bindings.html
link: default-keyboard-bindings
uri: default-keyboard-bindings
@ -128,7 +128,7 @@ part: subchapter
---
title: Mnemonic Bindings for Linux
menu_title: Linux
menu_title: Linux Bindings
include: mnemonic-bindings-for-linux.html
link: mnemonic-bindings-for-linux
uri: default-keyboard-bindings/mnemonic-bindings-for-linux
@ -137,6 +137,7 @@ part: subchapter
---
title: Mnemonic Bindings for OS X
menu_title: OS X Bindings
include: mnemonic-bindings-for-os-x.html
link: mnemonic-bindings-for-os-x
uri: default-keyboard-bindings/mnemonic-bindings-for-os-x
@ -165,7 +166,7 @@ part: subchapter
---
---
title: Mouse
title: The Right Mouse
include: mouse.html
link: mouse
uri: setting-up-your-system/mouse
@ -212,6 +213,7 @@ part: chapter
---
title: Connecting Audio and MIDI Devices
menu_title: Audio and MIDI Devices
include: connecting-audio-and-midi-devices.html
link: connecting-audio-and-midi-devices
uri: setting-up-your-system/connecting-audio-and-midi-devices
@ -220,6 +222,7 @@ part: subchapter
---
title: Using More Than One Audio Device
menu_title: More Than One Audio Device
include: using-more-than-one-audio-device.html
link: using-more-than-one-audio-device
uri: setting-up-your-system/using_more_than_one_audio_device
@ -227,27 +230,12 @@ part: subchapter
---
---
title: Preferences
include: preferences.html
link: preferences
part: chapter
---
---
title: Preferences and Session Properties
include: preferences-and-session-properties.html
link: preferences-and-session-properties
uri: preferences-and-session-properties
part: subchapter
---
---
title: Global Preferences Dialog
title: Global Preferences
menu_title: Global Preferences
include: global-preferences-dialog.html
link: global-preferences-dialog
uri: preferences-and-session-properties/preferences-dialog
part: subchapter
part: chapter
---
---
@ -368,12 +356,12 @@ part: subchapter
---
---
title: Session Properties Dialog
title: Session Properties
menu_title: Session Properties
include: session-properties-dialog.html
link: session-properties-dialog
uri: preferences-and-session-properties/session-properties-dialog
part: subchapter
part: chapter
---
---
@ -461,23 +449,8 @@ part: subchapter
title: Configuring MIDI
include: configuring-midi.html
link: configuring-midi
part: chapter
---
---
title: Using External MIDI Devices
include: using-external-midi-devices.html
link: using-external-midi-devices
uri: setting-up-your-system/using-external-midi-devices
part: subchapter
---
---
title: Setting Up MIDI
include: setting-up-midi.html
link: setting-up-midi
uri: setting-up-your-system/setting-up-midi
part: subchapter
part: chapter
---
---