diff --git a/manual/Makefile b/manual/Makefile
index 4fa647f44a..76965262c2 100644
--- a/manual/Makefile
+++ b/manual/Makefile
@@ -9,6 +9,22 @@ CSSFILE ?= $(DOCNAME).css
XSLTPROC ?= xsltproc
#PWD = $(shell pwd)
+help::
+ @echo " The Following is a list of supported build targets:"
+ @echo
+ @echo " html:"
+ @echo " Build HTML version of ardour manual."
+ @echo
+ @echo " test:"
+ @echo " Validate DocBook XML source."
+ @echo
+ @echo " format:"
+ @echo " Format DocBook XML source using xmlformat."
+ @echo
+ @echo " clean:"
+ @echo " Remove temporary files."
+ @echo
+
# xsltproc -output option gives I/O errors because??, so
# just move the html to the output directory
html:: clean
@@ -26,10 +42,19 @@ html:: clean
.PHONY : html
test::
+ # validating book
xmllint --noout --postvalid --xinclude $(XMLFILE)
.PHONY : test
+format:: test
+ @for file in `find xml/*.xml`; \
+ do xmlformat/xmlformat.pl --in-place --backup .bak \
+ --config-file xmlformat/xmlformat-ardour.conf $$file; \
+ done
+
+.PHONY : format
+
clean::
@rm -rf $(OUTDIR)
diff --git a/manual/xml/adding_tracks.xml b/manual/xml/adding_tracks.xml
index 8375f392de..999c65959a 100644
--- a/manual/xml/adding_tracks.xml
+++ b/manual/xml/adding_tracks.xml
@@ -1,53 +1,47 @@
+
+ Adding Tracks
+
+ To add a new Track or Bus activate the New Track Dialog
+
- Adding Tracks
+
+
+
+ SessionAdd
+ Track/Bus
+
+
+
+
+
+
+
+
+
+ In the Add Tracks dialog, choose whether you wish to add a new Track or
+ a new Bus.
+
-
- To add a new Track or Bus activate the New Track Dialog
-
+
+
+
+ Enter the number of new tracks/busses you want to add.
+
+
+
-
-
-
-
- Session
- Add Track/Bus
-
-
-
-
-
-
-
-
-
-
-
-
- In the Add Tracks dialog, choose whether you wish to add a new Track or a new Bus.
-
-
-
-
-
- Enter the number of new tracks/busses you want to add.
-
-
-
-
-
- Choose the I/O configuration of the tracks/busses you are adding using
- the clickbox.
-
-
-
-
diff --git a/manual/xml/advanced_editing.xml b/manual/xml/advanced_editing.xml
index 1a31fc19be..980f333d5c 100644
--- a/manual/xml/advanced_editing.xml
+++ b/manual/xml/advanced_editing.xml
@@ -5,13 +5,13 @@
]>
- Advanced Editing
-
- This section of the manual covers various editing techniques that go beyond
- basic cutting/trimming/rearranging of regions in a playlist.
-
- Advanced Editing
+
+ This section of the manual covers various editing techniques that go
+ beyond basic cutting/trimming/rearranging of regions in a playlist.
+
+
-
diff --git a/manual/xml/ardour_basics.xml b/manual/xml/ardour_basics.xml
index 7f80a88ba4..d936f317f5 100644
--- a/manual/xml/ardour_basics.xml
+++ b/manual/xml/ardour_basics.xml
@@ -1,39 +1,29 @@
+
-
- Ardour Basics
-
- Ardour Basics
+
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
diff --git a/manual/xml/ardour_manual.xml b/manual/xml/ardour_manual.xml
index 007f5a9c3a..abbed68e2d 100644
--- a/manual/xml/ardour_manual.xml
+++ b/manual/xml/ardour_manual.xml
@@ -1,4 +1,5 @@
+
@@ -6,52 +7,50 @@
]>
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
+
diff --git a/manual/xml/automation.xml b/manual/xml/automation.xml
index 81f5370b25..0f19d0720e 100644
--- a/manual/xml/automation.xml
+++ b/manual/xml/automation.xml
@@ -5,208 +5,217 @@
]>
- Automation
-
- This chapter will explain how to use Ardour's automation facilities to make
- editing and mixing your sessions more productive.
-
+ Automation
+
+ This chapter will explain how to use Ardour's automation facilities to
+ make editing and mixing your sessions more productive.
+
-
- What is automation?
-
- Automation refers to Ardour's ability to remember changes you made to
- various parameters in the session, and at what point along the timeline
- playback had reached when you made them. Later, Ardour can make these
- changes happen automatically at the same point on the timeline, thus
- leaving your hands free to do something else. A typical practice when using
- automation is to work on one or two tracks while leaving others alone,
- recording the edits/changes. Once satisfied with the track(s), you can move
- on to adjust other tracks. As the overall mix changes, you can return to
- earlier tracks and adjust their existing automation.
-
-
+
+ What is automation?
+
+ Automation refers to Ardour's ability to remember changes you made to
+ various parameters in the session, and at what point along the
+ timeline playback had reached when you made them. Later, Ardour can
+ make these changes happen automatically at the same point on the
+ timeline, thus leaving your hands free to do something else. A typical
+ practice when using automation is to work on one or two tracks while
+ leaving others alone, recording the edits/changes. Once satisfied with
+ the track(s), you can move on to adjust other tracks. As the overall
+ mix changes, you can return to earlier tracks and adjust their
+ existing automation.
+
+
-
- What can be automated?
-
- You can automate all changes to track/bus gain control, panning (currently
- only for stereo output) and all plugin parameters. Future versions of
- Ardour will allow automation of mute/solo controls, non-stereo panning, and
- send gain levels.
-
-
+
+ What can be automated?
+
+ You can automate all changes to track/bus gain control, panning
+ (currently only for stereo output) and all plugin parameters. Future
+ versions of Ardour will allow automation of mute/solo controls,
+ non-stereo panning, and send gain levels.
+
+
-
- Automation Modes
-
- Each parameter that can be automated has a button available to control its
- state of automation. Each button can be used to put the parameter into one
- of 4 possible automation states:
-
+
+ Automation Modes
+
+ Each parameter that can be automated has a button available to control
+ its state of automation. Each button can be used to put the parameter
+ into one of 4 possible automation states:
+
-
-
-
- Off
-
-
- No changes to the parameter are recorded, and any existing automation
- for the parameter is ignored. This is the default.
-
-
-
+
+
+
+ Off
+
+
+ No changes to the parameter are recorded, and any existing
+ automation for the parameter is ignored. This is the default.
+
+
+
-
- Play
-
-
- Existing automation data controls the value of the parameter, and
- graphical/hardware editing of the value is disabled.
-
-
-
+
+ Play
+
+
+ Existing automation data controls the value of the parameter,
+ and graphical/hardware editing of the value is disabled.
+
+
+
-
- Write
-
-
- All changes to the parameter are recorded as new automation data,
- overwriting any existing data for that point in time.
-
-
-
+
+ Write
+
+
+ All changes to the parameter are recorded as new automation
+ data, overwriting any existing data for that point in time.
+
+
+
-
- Touch
-
-
- Existing automation data controls the value of the parameter, but new
- changes to the parameter are recorded, overwriting any existing data for
- that point in time.
-
-
-
-
-
+
+ Touch
+
+
+ Existing automation data controls the value of the parameter,
+ but new changes to the parameter are recorded, overwriting any
+ existing data for that point in time.
+
+
+
+
+
-
- Basic Automation Recording
-
- Gain and Pan
-
- Each track/bus has two automation control buttons for gain and pan in its
- mixer strip. For each track/bus that you wish to automate, click on the
- relevant automation button. From the popup menu that appears (showing all
- automation states) choose Record . As long as the
- automation state remains in "Record", then any changes you make to gain or
- pan for that track/bus will be recorded.
-
-
+
+ Basic Automation Recording
+
+ Gain and Pan
+
+ Each track/bus has two automation control buttons for gain and pan
+ in its mixer strip. For each track/bus that you wish to automate,
+ click on the relevant automation button. From the popup menu that
+ appears (showing all automation states) choose
+ Record . As long as the automation state
+ remains in "Record", then any changes you make to gain or pan for
+ that track/bus will be recorded.
+
+
-
- Plugin Parameters
-
- Many plugins have many parameters that you might wish to play while
- recording gain automation, so Ardour offers independent control of
- recording changes to these parameters. You can access the controls in
- either of two ways:
-
+
+ Plugin Parameters
+
+ Many plugins have many parameters that you might wish to play while
+ recording gain automation, so Ardour offers independent control of
+ recording changes to these parameters. You can access the controls
+ in either of two ways:
+
-
-
-
- open the plugin's editor window, and click on the appropriate automation
- control button. From the menu that pops up, choose
- Record
-
-
-
-
- make the automation track for this parameter visible (see
- plugin_automation_tracks on how to do this), and click on the automation
- control button in the track controls. From the menu that pops up, choose
- Record .
-
-
-
+
+
+
+ open the plugin's editor window, and click on the appropriate
+ automation control button. From the menu that pops up, choose
+ Record
+
+
-
- To record edits to the parameter, click on the appropriate
- arec button. As long as the button stays pressed,
- all edits to that parameter will be recorded.
-
-
-
+
+
+ make the automation track for this parameter visible (see
+ plugin_automation_tracks on how to do this), and click on the
+ automation control button in the track controls. From the menu
+ that pops up, choose Record .
+
+
+
-
- Basic Automation Playback
-
- Gain and Pan
-
- Each track/bus has two automation control buttons for gain and pan in its
- mixer strip. For each track/bus where you want existing automation data to
- control gain and/or panning, click on the relevant automation button. From
- the popup menu that appears (showing all automation states) choose
- Play. As long as the automation state remains in
- Play, you can no longer control the gain and/or panning from the
- graphical user interface or an external hardware control surface.
-
-
+
+ To record edits to the parameter, click on the appropriate
+ arec button. As long as the button stays
+ pressed, all edits to that parameter will be recorded.
+
+
+
-
- Plugin Parameters
-
- For each plugin parameter you want controlled by automation data, you need
- to activate automation playback which can be done in one of two ways:
-
+
+ Basic Automation Playback
+
+ Gain and Pan
+
+ Each track/bus has two automation control buttons for gain and pan
+ in its mixer strip. For each track/bus where you want existing
+ automation data to control gain and/or panning, click on the
+ relevant automation button. From the popup menu that appears
+ (showing all automation states) choose
+ Play. As long as the automation state
+ remains in Play, you can no longer
+ control the gain and/or panning from the graphical user interface or
+ an external hardware control surface.
+
+
-
-
-
- open the plugin's editor window, and click on the appropriate automation
- control button, and choose Play from the menu
- that pops up.
-
-
-
-
- make the automation track for this parameter visible (see
- plugin_automation_tracks on how to do this), and click on the automation
- control button in the track controls. Choose Play
- from the menu that pops up.
-
-
-
+
+ Plugin Parameters
+
+ For each plugin parameter you want controlled by automation data,
+ you need to activate automation playback which can be done in one of
+ two ways:
+
-
- You also need to enable automation playback for the plugin itself. This
- needs to be done in the plugin's editor window by clicking on the
- automation button in the upper right corner. Without this step, the
- individual parameter buttons will not enable automation playback.
-
+
+
+
+ open the plugin's editor window, and click on the appropriate
+ automation control button, and choose
+ Play from the menu that pops up.
+
+
-
- The plugin automation button also allows you to globally disable
- automation control of all parameters by unsetting it (clicking it so that
- it is no longer "pressed"). This leaves the individual automation control
- buttons in whatever state they were already in, but it stops the use of
- automation data for all parameters. This can be useful if you have a
- hardware control surface, and have automation-playback-enabled several
- parameters. You can override the automation playback settings and manually
- control parameter values from the control surface without having to click
- on each parameter's automation control button individually.
-
-
-
+
+
+ make the automation track for this parameter visible (see
+ plugin_automation_tracks on how to do this), and click on the
+ automation control button in the track controls. Choose
+ Play from the menu that pops up.
+
+
+
-
- Editing Automation Data
-
- The editor window can display all automation data for a track. Each type of
- automation data is shown in its own "track" to make it easy to see the
- data, and to edit it.
-
-
+
+ You also need to enable automation playback for the plugin itself.
+ This needs to be done in the plugin's editor window by clicking on
+ the automation button in the upper right corner. Without this step,
+ the individual parameter buttons will not enable automation
+ playback.
+
+
+
+ The plugin automation button also allows you to globally disable
+ automation control of all parameters by unsetting it (clicking it so
+ that it is no longer "pressed"). This leaves the individual
+ automation control buttons in whatever state they were already in,
+ but it stops the use of automation data for all parameters. This can
+ be useful if you have a hardware control surface, and have
+ automation-playback-enabled several parameters. You can override the
+ automation playback settings and manually control parameter values
+ from the control surface without having to click on each parameter's
+ automation control button individually.
+
+
+
+
+
+ Editing Automation Data
+
+ The editor window can display all automation data for a track. Each
+ type of automation data is shown in its own "track" to make it easy to
+ see the data, and to edit it.
+
+
- Basic Recording
-
- Recording audio is theoretically a very simple process. You have to make
- essentially 2 decisions: what are you going to record, and how many channels
- will you be recording, then press a couple of buttons and you're recording.
-
+ Basic Recording
+
+ Recording audio is theoretically a very simple process. You have to make
+ essentially 2 decisions: what are you going to record, and how many
+ channels will you be recording, then press a couple of buttons and
+ you're recording.
+
-
- Unfortunately, most recording also requires monitoring—providing some
- way to hear what you are recording as you record it, possibly with existing
- recorded material as well. Monitoring in Ardour is very flexible, but with
- flexibility comes complexity. If you want to try to skip ahead and record
- without reading about monitoring, you are welcome to do so. Ardour attempts
- to use reasonable defaults for monitoring, but the variety of hardware
- setups make it impossible to pick one default that will work for everyone.
-
+
+ Unfortunately, most recording also requires monitoring—providing
+ some way to hear what you are recording as you record it, possibly with
+ existing recorded material as well. Monitoring in Ardour is very
+ flexible, but with flexibility comes complexity. If you want to try to
+ skip ahead and record without reading about monitoring, you are welcome
+ to do so. Ardour attempts to use reasonable defaults for monitoring, but
+ the variety of hardware setups make it impossible to pick one default
+ that will work for everyone.
+
-
- For this reason, you are strongly recommended to spend a few minutes
- understanding , because otherwise you're
- going to get very confused and possibly irritated.
-
+
+ For this reason, you are strongly recommended to spend a few minutes
+ understanding , because otherwise you're
+ going to get very confused and possibly irritated.
+
-
- Recording a single audio track
-
- These steps can all be taken directly within the Editor window, although
- most of them can also be done via Mixer window if you prefer.
-
-
+
+ Recording a single audio track
+
+ These steps can all be taken directly within the Editor window,
+ although most of them can also be done via Mixer window if you prefer.
+
+
-
- Setting up a new track for recording
-
-
-
- Choose SessionAdd
- Track/Bus. This will popup a dialog allowing
- you to choose how many tracks to add, and what basic I/O configuration
- the track will have (mono, stereo, etc.). You can change I/O
- configurations for tracks at any time.
-
-
-
-
- Make the editor's dedicated mixer strip visible by clicking on the
- Editor Mixer button located at the left end of the
- transport bar.
-
-
- In Ardour2, there is no Editor Mixer button, but
- you can make the mixer strip visible by selecting
- ViewShow Editor Mixer
- , or by pressing
- ShiftE on the
- keyboard.
-
-
-
-
-
-
- Selecting the source to record
-
-
-
- Check the input configuration for the new track. Click on its control
- area. A mixer strip appears in the editor for this track. Click on the
- Input button near the top of the strip, and
- select Edit from the menu. The standard I/O
- dialog pops up to let you connect the track to whichever JACK port you
- want to record from.
-
-
-
-
- Rename the track. This is an important step in helping you make sense of
- your session, because track names are used when naming newly created
- regions.
-
-
-
-
- Click on the track's record-enable button to record enable the track.
- You can use the r button in the track control
- area or the record button of the mixer strip. The
- button will turn pink.
-
-
-
-
- Adjust the output level of the sound source to the a level where the
- loudest input drives the meter in the mixer strip close to, but not
- over, 0dB. The mixer strip will show the incoming signal level, along
- with peak indicators
-
-
-
-
- If you are using software monitoring, adjust the output volume and
- possibly panning if desired. These settings do not affect the recorded
- material.
-
-
-
-
- Check the output configuration for the new track. Click on the
- Output button near the bottom of the strip, and
- select Edit from the menu. Make sure the
- track's output is connected as you intend.
-
+
+ Setting up a new track for recording
+
+
+
+ Choose SessionAdd
+ Track/Bus. This will popup a dialog
+ allowing you to choose how many tracks to add, and what basic I/O
+ configuration the track will have (mono, stereo, etc.). You can
+ change I/O configurations for tracks at any time.
+
+
+
+
+ Make the editor's dedicated mixer strip visible by clicking on the
+ Editor Mixer button located at the left end
+ of the transport bar.
+
+
+ In Ardour2, there is no Editor Mixer
+ button, but you can make the mixer strip visible by selecting
+ ViewShow Editor
+ Mixer, or by pressing
+ ShiftE
+ on the keyboard.
+
+
+
+
+
+
+ Selecting the source to record
+
+
+
+ Check the input configuration for the new track. Click on its
+ control area. A mixer strip appears in the editor for this
+ track. Click on the Input button near the
+ top of the strip, and select Edit
+ from the menu. The standard I/O dialog pops up to let you
+ connect the track to whichever JACK port you want to record
+ from.
+
+
+
+
+ Rename the track. This is an important step in helping you make
+ sense of your session, because track names are used when naming
+ newly created regions.
+
+
+
+
+ Click on the track's record-enable button to record enable the
+ track. You can use the r button in the
+ track control area or the record button
+ of the mixer strip. The button will turn pink.
+
+
+
+
+ Adjust the output level of the sound source to the a level where
+ the loudest input drives the meter in the mixer strip close to,
+ but not over, 0dB. The mixer strip will show the incoming signal
+ level, along with peak indicators
+
+
+
+
+ If you are using software monitoring, adjust the output volume
+ and possibly panning if desired. These settings do not affect
+ the recorded material.
+
+
+
+
+ Check the output configuration for the new track. Click on the
+ Output button near the bottom of the strip,
+ and select Edit from the menu. Make sure
+ the track's output is connected as you intend.
+
-
-
- by default (and when not using a session template that works otherwise)
- mono tracks have mono outputs, meaning that you cannot pan them.
-
-
-
-
+
+
+ by default (and when not using a session template that works
+ otherwise) mono tracks have mono outputs, meaning that you cannot
+ pan them.
+
+
+
+
-
- To record to the new audio track
-
-
-
- If necessary, setup the session's default meter and tempo by on the
- initial meter and tempo markers.
-
-
-
-
- If desired, enable the click track in the transport bar.
-
-
-
-
- Click on the Record button of the transport
- window, which will start to flash.
-
-
-
-
- When you are ready to record, click the Play
- button in the transport window.
-
-
-
-
- When you have finished recording, click the Stop
- button in the transport window.
-
-
-
-
- If desired, click the track's record-enable button to disengage
- record-enable for this track.
-
-
-
-
- The audio you recorded will be written to a new audio file stored on one of
- your disks. In the editor, a new region will appear in the track display
- area and also in the region list display.
-
-
+
+ To record to the new audio track
+
+
+
+ If necessary, setup the session's default meter and tempo by on
+ the initial meter and tempo markers.
+
+
+
+
+ If desired, enable the click track in the transport bar.
+
+
+
+
+ Click on the Record button of the
+ transport window, which will start to flash.
+
+
+
+
+ When you are ready to record, click the
+ Play button in the transport window.
+
+
+
+
+ When you have finished recording, click the
+ Stop button in the transport window.
+
+
+
+
+ If desired, click the track's record-enable button to disengage
+ record-enable for this track.
+
+
+
+
+ The audio you recorded will be written to a new audio file stored on
+ one of your disks. In the editor, a new region will appear in the
+ track display area and also in the region list display.
+
+
-
- To play back the new audio track
-
-
-
- Press the Home key (or
- CtrlA) to return
- the playhead to the start of the track
-
-
-
-
- In the transport bar click on the Play button, or
- press the spacebar.
-
-
-
-
- Adjust the track's volume as necessary, using either the mixer strip in
- the editor, or the corresponding strip in the mixer window.
-
-
-
-
+
+ To play back the new audio track
+
+
+
+ Press the Home key (or
+ CtrlA) to
+ return the playhead to the start of the track
+
+
+
+
+ In the transport bar click on the Play
+ button, or press the spacebar.
+
+
+
+
+ Adjust the track's volume as necessary, using either the mixer
+ strip in the editor, or the corresponding strip in the mixer
+ window.
+
+
+
+
-
- Cancelling a take
-
-
+
+ Cancelling a take
+
+
-
- Recording multiple tracks
-
- Multiple tracks can easily be recorded simultaneously by record-enabling
- each track you would like to record.
-
-
+
+ Recording multiple tracks
+
+ Multiple tracks can easily be recorded simultaneously by
+ record-enabling each track you would like to record.
+
+
-
- Recording additional takes
-
-
+
+ Recording additional takes
+
+
-
- Appending new material
-
-
+
+ Appending new material
+
+
-
- Recording into a new playlist
-
- There is a p button in the track controls. If you
- press it and select new playlist, the contents
- will be cleared, allowing you to construct a new arrangement of recordings.
- You can recall your playlist later by using the same button and selecting
- select.... This will open a window displaying
- all the playlists you have recorded on that track. Select the one you want
- and proceed. Playlists from other tracks can also be selected.. in fact you
- can have the same playlist on two different tracks if you feel it
- necessary.
-
-
+
+ Recording into a new playlist
+
+ There is a p button in the track controls. If
+ you press it and select new playlist, the
+ contents will be cleared, allowing you to construct a new arrangement
+ of recordings. You can recall your playlist later by using the same
+ button and selecting select.... This will
+ open a window displaying all the playlists you have recorded on that
+ track. Select the one you want and proceed. Playlists from other
+ tracks can also be selected.. in fact you can have the same playlist
+ on two different tracks if you feel it necessary.
+
+
-
- Punch Recording
-
- You can automate the portion of a track to be recorded using the punch
- functions. This is most often implemented when a portion of a particular
- take is problematic but an adjacent portion is good. In order to punch
- record, the punch range must be set.
-
-
+
+ Punch Recording
+
+ You can automate the portion of a track to be recorded using the punch
+ functions. This is most often implemented when a portion of a
+ particular take is problematic but an adjacent portion is good. In
+ order to punch record, the punch range must be set.
+
+
-
- Loop Recording
-
-
+
+ Loop Recording
+
+
-
- Setting Punch/Loop Points
-
-
+
+ Setting Punch/Loop Points
+
+
-
- Using Pre- and Post-Roll
-
-
+
+ Using Pre- and Post-Roll
+
+
]>
-
- Ardour Manual
- 1.0
- 2.0
-
-
- This is the manual for Ardour, a digital audio workstation for Linux
- and MacOSX. This manual is jointly created and edited by the Ardour
- community. It may be published in paper format at some time in the
- future.
-
-
-
-
+
+ Ardour Manual
+ 1.0
+ 2.0
+
+
+ This is the manual for Ardour, a digital audio workstation for Linux
+ and MacOSX. This manual is jointly created and edited by the Ardour
+ community. It may be published in paper format at some time in the
+ future.
+
+
+
N/A
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
- 2007
- Ardour Foundation
-
-
+
+
+
+
+
+
+
+
+
+
+
+
+
+
+
+ 2007
+ Ardour Foundation
+
-
-
diff --git a/manual/xml/cleaning_up_a_session.xml b/manual/xml/cleaning_up_a_session.xml
index 8b0077137f..9a5e3d9bc9 100644
--- a/manual/xml/cleaning_up_a_session.xml
+++ b/manual/xml/cleaning_up_a_session.xml
@@ -1,45 +1,43 @@
+
+ Cleaning up a Session
+
+ placeholder text: needs editing and references to menu items
+
- Cleaning up a Session
-
-
- placeholder text: needs editing and references to menu items
-
-
- Cleanup looks for audio files that were recorded by ardour for this
- session, but are no longer in use. "In use" means "present in any
- playlist in any snapshot of the session". If you have unused playlists
- (e.g. alternate takes) cleanup will volunteer to delete them for you.
- then it will search all snapshots (including the one you are working
- with), and move all unused captured audio files into the "dead_sounds"
- directory within the session. At this point, you could still
- potentially get material that was "cleaned up" back, though its quite
- tricky to do.
-
-
-
- It is advisable, even firmly recommended that after this cleanup
- step, you save the session, exit ardour and restart. This will enable
- you to confirm that the session still works as expected. If all goes
- well (and it should), you can then do the 2nd phase cleanup, which will
- remove the files from the dead_sounds directory (at which point,
- the material is not recoverable without backups on your part).
-
-
-
- Note that the presence of snapshots can cause user confusion, as in
- "why didn’t cleanup do anything?" The answer is frequently that there
- are all capture audio files are in use in this snapshot or in others.
-
+
+ Cleanup looks for audio files that were recorded by ardour for this
+ session, but are no longer in use. "In use" means "present in any
+ playlist in any snapshot of the session". If you have unused playlists
+ (e.g. alternate takes) cleanup will volunteer to delete them for you.
+ then it will search all snapshots (including the one you are working
+ with), and move all unused captured audio files into the "dead_sounds"
+ directory within the session. At this point, you could still potentially
+ get material that was "cleaned up" back, though its quite tricky to do.
+
-
-
diff --git a/manual/xml/clocks.xml b/manual/xml/clocks.xml
index e1321a6a56..aa3ba8fd6b 100644
--- a/manual/xml/clocks.xml
+++ b/manual/xml/clocks.xml
@@ -5,91 +5,99 @@
]>
- Clocks
-
- There are several clock displays in the user interface for Ardour:
-
+ Clocks
+
+ There are several clock displays in the user interface for Ardour:
+
-
-
-
- Primary transport clock
-
-
-
-
- Secondary transport clock
-
-
-
-
- Nudge clock
-
-
-
-
- Region position and length clocks
-
-
-
-
- SMPTE offset clock
-
-
-
+
+
+
+ Primary transport clock
+
+
-
- and more. All of these clocks provide the same operations and can be used in
- the same way.
-
+
+
+ Secondary transport clock
+
+
-
- Clock Operations
-
- Changing Clock Mode
-
- All clocks can be used in any one of 5 modes:
-
+
+
+ Nudge clock
+
+
-
-
-
- SMPTE time
-
-
-
-
- BBT time
-
-
-
-
- Audio frames
-
-
-
-
- Minutes:Seconds
-
-
-
-
- Off
-
-
-
+
+
+ Region position and length clocks
+
+
-
- To change clock modes, simply ContextClick on the clock, and select the
- desired mode from the popup menu.
-
-
+
+
+ SMPTE offset clock
+
+
+
-
- Editing Clock Values
-
-
-
+
+ and more. All of these clocks provide the same operations and can be
+ used in the same way.
+
+
+
+ Clock Operations
+
+ Changing Clock Mode
+
+ All clocks can be used in any one of 5 modes:
+
+
+
+
+
+ SMPTE time
+
+
+
+
+
+ BBT time
+
+
+
+
+
+ Audio frames
+
+
+
+
+
+ Minutes:Seconds
+
+
+
+
+
+ Off
+
+
+
+
+
+ To change clock modes, simply ContextClick on the clock, and select
+ the desired mode from the popup menu.
+
+
+
+
+ Editing Clock Values
+
+
+
-
diff --git a/manual/xml/configuring_usb_device_access.xml b/manual/xml/configuring_usb_device_access.xml
index 6bfbd5d22c..88781b018b 100644
--- a/manual/xml/configuring_usb_device_access.xml
+++ b/manual/xml/configuring_usb_device_access.xml
@@ -5,34 +5,35 @@
]>
- Configuring USB device access (Linux only)
-
- Linux is by default a multi-user system, so it has to have a policy to
- determine who can access various devices. This includes those that can be
- plugged into to a USB port.
-
+ Configuring USB device access (Linux only)
+
+ Linux is by default a multi-user system, so it has to have a policy to
+ determine who can access various devices. This includes those that can
+ be plugged into to a USB port.
+
-
- For devices known to the operating system (which these days includes most
- digital cameras, scanners, MIDI interfaces etc.), a logged-in user will be
- granted access automatically. However, for devices that the OS doesn't
- recognize (even if there is software on it that can use it), this is not the
- case. It is possible to configure Linux to reverse this policy and grant all
- users access to all devices, but this is not recommended for security
- reasons.
-
+
+ For devices known to the operating system (which these days includes
+ most digital cameras, scanners, MIDI interfaces etc.), a logged-in user
+ will be granted access automatically. However, for devices that the OS
+ doesn't recognize (even if there is software on it that can use it),
+ this is not the case. It is possible to configure Linux to reverse this
+ policy and grant all users access to all devices, but this is not
+ recommended for security reasons.
+
-
- Configuring Access to a Frontier Design Tranzport
-
- Using the Tranzport on Linux requires a couple of extra steps to enable
- non-administrative users to access the device.
-
+
+ Configuring Access to a Frontier Design Tranzport
+
+ Using the Tranzport on Linux requires a couple of extra steps to
+ enable non-administrative users to access the device.
+
-
- First, you need to login as the administrative user ("root"). Then put the
- following into a new file called /etc/hotplug/usb/tranzport
-
+
+ First, you need to login as the administrative user ("root"). Then put
+ the following into a new file called
+ /etc/hotplug/usb/tranzport
+
#!/bin/sh
@@ -41,26 +42,26 @@ if [ $ACTION = "add" ] && [ -f $DEVICE ] ; then
fi
exit 0
-
- Then make sure that the file is executable by running
-
+
+ Then make sure that the file is executable by running
+
chmod +x /etc/hotplug/usb/tranzport
-
- Second, edit the file /etc/hotplug/usb.usermap by adding the following 2
- lines to the end of it (make sure that the 2nd line is not split across
- multiple lines, even though it is very long):
-
+
+ Second, edit the file /etc/hotplug/usb.usermap by
+ adding the following 2 lines to the end of it (make sure that the 2nd
+ line is not split across multiple lines, even though it is very long):
+
# Frontier Design Tranzport
tranzport 0x0000 0x165b 0x8101 0x0000 0x0000 0x00 0x00 0x00 0x00 0x00 0x00 0x00000000
-
- After doing these steps, the next time you plugin your Tranzport it will be
- accessible to you as a regular user.
-
-
+
+ After doing these steps, the next time you plugin your Tranzport it
+ will be accessible to you as a regular user.
+
+
-
diff --git a/manual/xml/control_surfaces.xml b/manual/xml/control_surfaces.xml
index 9c6b29093b..3d9bdd2069 100644
--- a/manual/xml/control_surfaces.xml
+++ b/manual/xml/control_surfaces.xml
@@ -5,20 +5,21 @@
]>
- Using Control Surfaces
-
- You can use a variety of different control surfaces with Ardour. We
- anticipate full support for a new class of control surfaces (those using the
- Mackie Control protocol) by the mid-summer of 2006, possibly earlier.
-
- Using Control Surfaces
+
+ You can use a variety of different control surfaces with Ardour. We
+ anticipate full support for a new class of control surfaces (those using
+ the Mackie Control protocol) by the mid-summer of 2006, possibly
+ earlier.
+
+
-
-
-
-
diff --git a/manual/xml/creating_a_new_session.xml b/manual/xml/creating_a_new_session.xml
index 65d37d9475..d969f04d78 100644
--- a/manual/xml/creating_a_new_session.xml
+++ b/manual/xml/creating_a_new_session.xml
@@ -1,148 +1,138 @@
+
+ Creating a new Session
+
+ The first step in starting a new project with Ardour is to create a new
+ session. When you do this, Ardour creates a new folder named after your
+ session, and stores differents kinds of files and subfolders within it.
+ The two most important subfolders are sounds which
+ contains all the audio recorded or imported for the session and
+ automation which contains automation data for
+ various parts of the session.
+
- Creating a new Session
+
+ When you start ardour without specifying an existing session, it
+ automatically brings up the new session dialog. If you want to create a
+ new session at other times, choose
+ SessionNew Session
+ .
+
+
+
+
+
+
+
+ Enter a name for the new session. You can use any characters you like as
+ part of the name, but you should know that more or less anything other
+ than alphabetic and numeric characters will be converted to underscores
+ to form the name of the session folder.
+
-
- The first step in starting a new project with Ardour is to create a
- new session. When you do this, Ardour creates a new folder named after
- your session, and stores differents kinds of files and subfolders
- within it. The two most important subfolders are
- sounds which contains all the audio recorded or
- imported for the session and automation which
- contains automation data for various parts of the session.
-
-
-
- When you start ardour without specifying an existing session, it
- automatically brings up the new session dialog. If you want to create a
- new session at other times, choose
-
- Session
- New Session
- .
-
-
-
-
-
-
-
-
-
- Enter a name for the new session. You can use any characters you
- like as part of the name, but you should know that more or less
- anything other than alphabetic and numeric characters will be converted
- to underscores to form the name of the session folder.
-
-
-
- Next, choose where you want to store the new session folder. If its
- not in your current working folder, click on the browse button to
- expand the file selector, and then navigate to your desired location.
-
+
+ Next, choose where you want to store the new session folder. If its not
+ in your current working folder, click on the browse button to expand the
+ file selector, and then navigate to your desired location.
+
+
+
+
+
+
+
+ Input and Output Configuration
+
+ Next, configure the basic IO setup for the session. You have several
+ choices here, and doing nothing is one of them. This will give you a
+ session that includes:
+
-
-
-
-
-
+
+
+
+ a stereo master bus with its outputs connected to the first two
+ outputs of your audio interface
+
+
-
+
+
+ all new track will have their outputs sent to the master bus
+
+
- Input and Output Configuration
-
-
- Next, configure the basic IO setup for the session. You have
- several choices here, and doing nothing is one of them. This will give
- you a session that includes:
-
+
+
+ all new track inputs will be connected to Ardour’s best guess at
+ the relevant input of your audio interface.
+
+
+
-
+
+ However, if you want more control over this, click on the expander
+ next to Advanced options label to show the full
+ set of options:
+
+
+
+
+
+
+
+ There are two options available for track input configuration:
+ autoconnect or manual. If you select autoconnect (the default) then
+ new tracks will be connected to an input of your audio interface. If
+ you select manual, it will be up to you to configure the input for
+ each track.
+
-
-
- a stereo master bus with its outputs connected to the first two outputs of
- your audio interface
-
-
-
-
- all new track will have their outputs sent to the master bus
-
-
-
-
- all new track inputs will be connected to Ardour’s best guess at the relevant
- input of your audio interface.
-
-
+
+ For output, the first two choices are whether to have control and
+ master outs. Most DAWs assume the presence of master outs, and few (if
+ any) offer control outs.
+
-
-
-
- However, if you want more control over this, click on the expander next to
- Advanced options label to show the full set of options:
-
-
-
-
-
-
-
+
+ Master Outputs
+
+ A Master out is a bus to which all (or most) tracks and other busses
+ send their output. It provides a convenient single point of control
+ for the output of ardour, and is a typical location for global
+ effects. Because of this, using master outs is enabled by default,
+ and the master out bus is setup to be stereo (2 inputs, 2 outputs).
+ However, if you are feeding Ardour’s output through a hardware
+ mixing console, you may not want master outs. In such cases, disable
+ them by clicking on the radio button next to “Use master outs”.
+ Alternatively, you may want some other channel configuration for the
+ master output (for example, 8 channel surround sound). Select this
+ by using the clickbox (see clickboxes) next to the radio button.
+
+
-
- There are two options available for track input configuration:
- autoconnect or manual. If you select autoconnect (the default) then new
- tracks will be connected to an input of your audio interface. If you
- select manual, it will be up to you to configure the input for each
- track.
-
-
-
- For output, the first two choices are whether to have control and
- master outs. Most DAWs assume the presence of master outs, and few (if
- any) offer control outs.
-
-
-
- Master Outputs
-
- A Master out is a bus to which all (or most) tracks and other
- busses send their output. It provides a convenient single point of
- control for the output of ardour, and is a typical location for global
- effects. Because of this, using master outs is enabled by default, and
- the master out bus is setup to be stereo (2 inputs, 2 outputs).
- However, if you are feeding Ardour’s output through a hardware mixing
- console, you may not want master outs. In such cases, disable them by
- clicking on the radio button next to “Use master outs”. Alternatively,
- you may want some other channel configuration for the master output
- (for example, 8 channel surround sound). Select this by using the
- clickbox (see clickboxes) next to the radio button.
-
-
-
-
- Control Outputs
-
- Control outs are unusual for DAWs, but because Ardour is designed
- to be as flexible as possible, and in particular is intended to be
- useful as a live mixer, they are included here. Using control outs
- provides you with a dedicated bus to which all tracks have an
- additional output connection. As well as feeding their regular outputs,
- they send data to the control outs as well. In an unadjusted session,
- this means that the control outs carry the same signal as the master
- outs. However, once you start soloing tracks, the control outs will
- carry only soloed tracks while the master outs continue to carry the
- entire mix. A typical use of control outs is when doing live stage
- work. The mix engineer will be listening to the control outs, and can
- therefore solo tracks without affecting the signal being sent to the
- master outs (the main speakers).
-
-
-
+
+ Control Outputs
+
+ Control outs are unusual for DAWs, but because Ardour is designed to
+ be as flexible as possible, and in particular is intended to be
+ useful as a live mixer, they are included here. Using control outs
+ provides you with a dedicated bus to which all tracks have an
+ additional output connection. As well as feeding their regular
+ outputs, they send data to the control outs as well. In an
+ unadjusted session, this means that the control outs carry the same
+ signal as the master outs. However, once you start soloing tracks,
+ the control outs will carry only soloed tracks while the master outs
+ continue to carry the entire mix. A typical use of control outs is
+ when doing live stage work. The mix engineer will be listening to
+ the control outs, and can therefore solo tracks without affecting
+ the signal being sent to the master outs (the main speakers).
+
+
+
diff --git a/manual/xml/default_track_names.xml b/manual/xml/default_track_names.xml
index cad4345ca9..e16d152e4b 100644
--- a/manual/xml/default_track_names.xml
+++ b/manual/xml/default_track_names.xml
@@ -5,18 +5,18 @@
]>
- Default Track Names
-
- When a track is added to the session it is given a default name based on the
- Track type. For example, the first audio track that is added to the session
- will be given the name Audio 1 and the first bus will be
- called Bus 1 and any subsequently added tracks will be
- consecutively numbered.
-
+ Default Track Names
+
+ When a track is added to the session it is given a default name based on
+ the Track type. For example, the first audio track that is added to the
+ session will be given the name Audio 1 and the first
+ bus will be called Bus 1 and any subsequently added
+ tracks will be consecutively numbered.
+
-
- Track names determine the names of the files created when recording to a
- track so it is suggested that meaningful names are given to tracks, see
-
-
+
+ Track names determine the names of the files created when recording to a
+ track so it is suggested that meaningful names are given to tracks, see
+
+
diff --git a/manual/xml/editing_concepts.xml b/manual/xml/editing_concepts.xml
index 354ef8db95..c73bb00c2a 100644
--- a/manual/xml/editing_concepts.xml
+++ b/manual/xml/editing_concepts.xml
@@ -5,321 +5,335 @@
]>
- Editing Concepts
-
- In Ardour, "editing" describes the process of
-
+ Editing Concepts
+
+ In Ardour, "editing" describes the process of
+
-
-
-
- making modifications to playlists. Recall that
- playlists are nothing more
- than lists of regions arranged
- over time.
-
-
-
-
- recording/modifying automation data
-
-
-
+
+
+
+ making modifications to playlists. Recall that
+ playlists are nothing
+ more than lists of
+ regions arranged over
+ time.
+
+
-
- Cut/Copy/Paste
-
-
+
+
+ recording/modifying automation data
+
+
+
-
- Snap Settings
-
- By default, when you move objects around, they move freely. There
- is a "granularity" to the motion, but it is a single
- audio frame (so typically on the order of 1/48000'th or 1/96000'th of a
- second), and at most zoom levels it will not be apparent in any way.
-
+
+ Cut/Copy/Paste
+
+
-
- However, this is not always the way you want to move some kinds of objects.
- If you are working with structured compositions that utilize traditional
- concepts of bars, beats, rythmn and so forth, you will often want to move
- regions so that that they always align to specific periodic time points
- that correspond to the start of a bar, or a beat etc. If you are working on
- a movie soundtrack, you may prefer to have regions always align to SMPTE
- frames, or perhaps even to whole seconds.
-
+
+ Snap Settings
+
+ By default, when you move objects around, they move freely. There
+ is a "granularity" to the motion, but it is a
+ single audio frame (so typically on the order of 1/48000'th or
+ 1/96000'th of a second), and at most zoom levels it will not be
+ apparent in any way.
+
-
- Ardour provides a wide variety of "snap" settings. If any but "None" is
- selected, they define a grid of timepoints which will be used to "snap"
- object positions as they are dragged. The grid can be regular (as is the
- case if you choose "Beats", for example), or it can be completely irregular
- (if you choose "Marks", for example). It can even consist of a
- single timepoint (if you choose "Edit cursor", for
- example).
-
+
+ However, this is not always the way you want to move some kinds of
+ objects. If you are working with structured compositions that utilize
+ traditional concepts of bars, beats, rythmn and so forth, you will
+ often want to move regions so that that they always align to specific
+ periodic time points that correspond to the start of a bar, or a beat
+ etc. If you are working on a movie soundtrack, you may prefer to have
+ regions always align to SMPTE frames, or perhaps even to whole
+ seconds.
+
-
- Possible Snap Settings
-
- None
-
-
- no alignment used at all
-
-
-
+
+ Ardour provides a wide variety of "snap" settings. If any but "None"
+ is selected, they define a grid of timepoints which will be used to
+ "snap" object positions as they are dragged. The grid can be regular
+ (as is the case if you choose "Beats", for example), or it can be
+ completely irregular (if you choose "Marks", for example). It can even
+ consist of a single timepoint (if you choose
+ "Edit cursor", for example).
+
-
- CD Frames
-
-
- align to 1/75th of a second intervals, as defined by the "Redbook" Audio
- CD standards
-
-
-
+
+ Possible Snap Settings
+
+ None
+
+
+ no alignment used at all
+
+
+
-
- SMPTE Frames
-
-
- align to whatever the current SMPTE frame interval is (defined in the
- options editor)
-
-
-
+
+ CD Frames
+
+
+ align to 1/75th of a second intervals, as defined by the
+ "Redbook" Audio CD standards
+
+
+
-
- SMPTE Seconds
-
-
- align to whole seconds, adjusted to account for any SMPTE start offset
-
-
-
+
+ SMPTE Frames
+
+
+ align to whatever the current SMPTE frame interval is (defined
+ in the options editor)
+
+
+
-
- SMPTE Minutes
-
-
- align to whole minutes, adjust to account for any SMPTE start offset
-
-
-
+
+ SMPTE Seconds
+
+
+ align to whole seconds, adjusted to account for any SMPTE start
+ offset
+
+
+
-
- Seconds
-
-
- align to whole seconds
-
-
-
+
+ SMPTE Minutes
+
+
+ align to whole minutes, adjust to account for any SMPTE start
+ offset
+
+
+
-
- Minutes
-
-
- align to whole minutes
-
-
-
+
+ Seconds
+
+
+ align to whole seconds
+
+
+
-
- Beats/32
-
-
- align to 1/32 divisions of the beat
-
-
-
+
+ Minutes
+
+
+ align to whole minutes
+
+
+
-
- Beats/16
-
-
- align to 1/16 divisions of the beat
-
-
-
+
+ Beats/32
+
+
+ align to 1/32 divisions of the beat
+
+
+
-
- Beats/8
-
-
- align to 1/8 divisions of the beat
-
-
-
+
+ Beats/16
+
+
+ align to 1/16 divisions of the beat
+
+
+
-
- Beats/4
-
-
- align to 1/4 divisions of the beat
-
-
-
+
+ Beats/8
+
+
+ align to 1/8 divisions of the beat
+
+
+
-
- Beats/3
-
-
- align to 1/3 divisions of the beat
-
-
-
+
+ Beats/4
+
+
+ align to 1/4 divisions of the beat
+
+
+
-
- Beats
-
-
- align to beats
-
-
-
+
+ Beats/3
+
+
+ align to 1/3 divisions of the beat
+
+
+
-
- Bars
-
-
- align to the start of bars
-
-
-
+
+ Beats
+
+
+ align to beats
+
+
+
-
- Marks
-
-
- align to the nearest mark of some kind
-
-
-
+
+ Bars
+
+
+ align to the start of bars
+
+
+
-
- Edit Cursor
-
-
- align to the current position of the edit cursor
-
-
-
+
+ Marks
+
+
+ align to the nearest mark of some kind
+
+
+
-
- Region starts
-
-
- align to the nearest start of a region in the (first) selected track
-
-
-
+
+ Edit Cursor
+
+
+ align to the current position of the edit cursor
+
+
+
-
- Region ends
-
-
- align to the nearest end of a region in the (first) selected track
-
-
-
+
+ Region starts
+
+
+ align to the nearest start of a region in the (first) selected
+ track
+
+
+
-
- Region syncs
-
-
- align to the nearest region sync point in the (first) selected track
-
-
-
+
+ Region ends
+
+
+ align to the nearest end of a region in the (first) selected
+ track
+
+
+
-
- Region bounds
-
-
- align to the nearest region start or end in the (first) selected track
-
-
-
-
+
+ Region syncs
+
+
+ align to the nearest region sync point in the (first) selected
+ track
+
+
+
-
- To change snap settings
-
- Move the mouse pointer to the toolbar panel of the editor window. Click on
- the "expansion arrow" of the "Snap setting" chooser. This will popup a
- list of available snap settings. If necessary, scroll down to see your
- desired choice. Click on your choice in the list to dismiss it and make
- Ardour switch to the new setting.
-
+
+ Region bounds
+
+
+ align to the nearest region start or end in the (first) selected
+ track
+
+
+
+
-
-
- Changing snap settings has no effect on the position
- of any existing region. Its effect is only on objects being moved.
-
-
-
-
- The snap setting also affects moving the playhead, the edit cursor,
- loop/punch and location markers, and dragging/moving range selections.
-
-
-
+
+ To change snap settings
+
+ Move the mouse pointer to the toolbar panel of the editor window.
+ Click on the "expansion arrow" of the "Snap setting" chooser. This
+ will popup a list of available snap settings. If necessary, scroll
+ down to see your desired choice. Click on your choice in the list to
+ dismiss it and make Ardour switch to the new setting.
+
-
- Snap Mode
-
- There are two subtly different ways in which the snap setting can affect
- region motion:
-
+
+
+ Changing snap settings has no effect on the
+ position of any existing region. Its effect is only on objects
+ being moved.
+
+
+
+
+ The snap setting also affects moving the playhead, the edit
+ cursor, loop/punch and location markers, and dragging/moving range
+ selections.
+
+
+
-
-
-
- normal snap mode
-
-
- regions can only be moved to positions defined by the snap setting. It
- is not possible to move them to intermediate positions.
-
-
-
+
+ Snap Mode
+
+ There are two subtly different ways in which the snap setting can
+ affect region motion:
+
-
- magnetic snap mode
-
-
- regions can still be moved to positions not defined by the setting, but
- they "stick" to the timepoints that are when dragged across them.
- Imagine that the timepoints and the regions are magnetic - or just try
- it and see.
-
-
-
-
+
+
+
+ normal snap mode
+
+
+ regions can only be moved to positions defined by the snap
+ setting. It is not possible to move them to intermediate
+ positions.
+
+
+
-
- However, you can press the snap modifier key while
- dragging, and the snap setting will be ignored. By default, this is the
- key on your keyboard that generates Mod3 , but you
- can modify this from the Options Editor keyboard tab.
-
-
+
+ magnetic snap mode
+
+
+ regions can still be moved to positions not defined by the
+ setting, but they "stick" to the timepoints that are when
+ dragged across them. Imagine that the timepoints and the
+ regions are magnetic - or just try it and see.
+
+
+
+
-
- To change snap mode
-
- Move the mouse pointer to the toolbar panel of the editor window. Click on
- the "expansion arrow" of the "Snap mode" chooser. This will popup a list
- of available snap settings. If necessary, scroll down to see your desired
- choice. Click on your choice in the list to dismiss it and make Ardour
- switch to the new setting.
-
-
-
+
+ However, you can press the snap modifier key
+ while dragging, and the snap setting will be ignored. By default,
+ this is the key on your keyboard that generates
+ Mod3 , but you can modify this from the
+ Options Editor keyboard tab.
+
+
+
+
+ To change snap mode
+
+ Move the mouse pointer to the toolbar panel of the editor window.
+ Click on the "expansion arrow" of the "Snap mode" chooser. This will
+ popup a list of available snap settings. If necessary, scroll down
+ to see your desired choice. Click on your choice in the list to
+ dismiss it and make Ardour switch to the new setting.
+
+
+
-
diff --git a/manual/xml/editor_edit_cursor_position_key_bindings.xml b/manual/xml/editor_edit_cursor_position_key_bindings.xml
index b9e8043192..1190e3efa7 100644
--- a/manual/xml/editor_edit_cursor_position_key_bindings.xml
+++ b/manual/xml/editor_edit_cursor_position_key_bindings.xml
@@ -1,124 +1,133 @@
+
+ Moving the Edit Cursor
+
-
diff --git a/manual/xml/editor_window_region_list.xml b/manual/xml/editor_window_region_list.xml
index 551c9acee9..7c7990e1da 100644
--- a/manual/xml/editor_window_region_list.xml
+++ b/manual/xml/editor_window_region_list.xml
@@ -5,132 +5,146 @@
]>
- Region List
-
- To the right of the track display is the region list, which uses a tree
- display to show all regions in the session. There are sections in the region
- list, “Captured” and “External”.
- “Captured” contains all regions that were either recorded by
- Ardour or imported as native audio files. “External”contains
- regions created using audio files external to Ardour (from a sample library,
- for example).
-
+ Region List
+
+ To the right of the track display is the region list, which uses a tree
+ display to show all regions in the session. There are sections in the
+ region list, “Captured” and “External”.
+ “Captured” contains all regions that were either recorded by
+ Ardour or imported as native audio files. “External”contains
+ regions created using audio files external to Ardour (from a sample
+ library, for example).
+
-
- Organization of the region list
-
- In both sections of the region list, any regions containing multiple
- channels will have its name followed by “[N]” where N is a
- number indicating the number of channels. Any region that ends in
- “-N”, where N is a number, is a region that describes an entire
- audio file. Any region that ends in “.N” is a region that
- describes part of an audio file. Any subtree within the region list can be
- hidden or displayed by clicking on the box left of its name.
-
+
+ Organization of the region list
+
+ In both sections of the region list, any regions containing multiple
+ channels will have its name followed by “[N]” where N is a
+ number indicating the number of channels. Any region that ends in
+ “-N”, where N is a number, is a region that describes an
+ entire audio file. Any region that ends in “.N” is a
+ region that describes part of an audio file. Any subtree within the
+ region list can be hidden or displayed by clicking on the box left of
+ its name.
+
-
- Within the Captured part of the tree, each track is represented by its own
- subtree (strictly speaking, its not each track but each playlist that is
- represented). Within that subtree is an entry for each take recorded for
- that track. Remember that each take is stored as one and audio files
- (strictly, one per channel). Within the take tree is an entry for each
- region created from that take.
-
+
+ Within the Captured part of the tree, each track is represented by its
+ own subtree (strictly speaking, its not each track but each playlist
+ that is represented). Within that subtree is an entry for each take
+ recorded for that track. Remember that each take is stored as one and
+ audio files (strictly, one per channel). Within the take tree is an
+ entry for each region created from that take.
+
-
- Within the External part of the tree, there is a subtree for each audio
- file embedded into the session. Within that subtree are entries for each
- region created from that audio file.
-
-
+
+ Within the External part of the tree, there is a subtree for each
+ audio file embedded into the session. Within that subtree are entries
+ for each region created from that audio file.
+
+
-
- Region list operations
-
- Click on the box to the left of the name of part of the tree to hide/show
- that part of the subtree.
-
+
+ Region list operations
+
+ Click on the box to the left of the name of part of the tree to
+ hide/show that part of the subtree.
+
-
- Click the name of a region and then drag it to the track display area to
- insert a region into a track.
-
+
+ Click the name of a region and then drag it to the track display area
+ to insert a region into a track.
+
-
- Click on the title bar of the region list to display a menu allowing you to
-
-
Region List Context Menu
-
-
-
-
-
-
- Menu Item
-
-
- Description
-
-
-
-
-
-
- Find
-
-
-
-
- Show/Hide All
-
-
-
- fully expand or collapse the region list
-
-
-
-
-
- Sort
-
-
-
-
- Display Automatic Regions normally,
-
-
- Ardour does not display regions created as a result of a side effect of
- user actions. If this option is selected, all regions will be included
- in the region list.
-
-
-
-
- Import audio files
-
-
-
- copy (and if necessary convert) audio files into the session. See
- Importing for more details.
-
-
-
-
-
- Embed audio file
-
-
-
- embed external audio files into the session. No new files are created,
- and no format conversion is done. See [[editing:Embedding]] for more
- details.
-
-
-
-
-
-
-
+
+ Click on the title bar of the region list to display a menu allowing
+ you to
+
+
+
+ Region List Context Menu
+
+
+
+
+
+
+ Menu Item
+
+
+
+ Description
+
+
+
+
+
+
+ Find
+
+
+
+
+
+ Show/Hide All
+
+
+
+
+ fully expand or collapse the region list
+
+
+
+
+
+
+ Sort
+
+
+
+
+
+ Display Automatic Regions normally,
+
+
+
+ Ardour does not display regions created as a result of a side
+ effect of user actions. If this option is selected, all
+ regions will be included in the region list.
+
+
+
+
+
+ Import audio files
+
+
+
+
+ copy (and if necessary convert) audio files into the
+ session. See Importing for more details.
+
+
+
+
+
+
+ Embed audio file
+
+
+
+
+ embed external audio files into the session. No new files
+ are created, and no format conversion is done. See
+ [[editing:Embedding]] for more details.
+
+
+
+
+
+
+
-
diff --git a/manual/xml/exporting.xml b/manual/xml/exporting.xml
index 3e9d51b9cb..fb34fb30f5 100644
--- a/manual/xml/exporting.xml
+++ b/manual/xml/exporting.xml
@@ -4,11 +4,12 @@
]>
-Exporting
-
- This section covers ways to get your session converted into various formats
- for use by other software or systems.
-
-
+ Exporting
+
+ This section covers ways to get your session converted into various
+ formats for use by other software or systems.
+
+
diff --git a/manual/xml/exporting_to_cd.xml b/manual/xml/exporting_to_cd.xml
index adce9f55dd..2042e29c2e 100644
--- a/manual/xml/exporting_to_cd.xml
+++ b/manual/xml/exporting_to_cd.xml
@@ -5,182 +5,184 @@
]>
-
-
-
-
- Nick
- Mainsbridge
-
-
-
-
+
+
+
+
+ Nick
+ Mainsbridge
+
+
+
+
+ Exporting to CD
+
+ Table of Contents
+
+ A Table of Contents is a description of the data stored on a medium.
+ In the case of audio Cds, the TOC comes in the form of PQ data which
+ is intermingled with the audio data whaen the CD is burnt. Because PQ
+ data isn't part of 'normal' audio file formats such as wav or aiff,
+ this information must be stored in a separate file on your computer (a
+ CUE or TOC file) ready for use by your CD burning software which will
+ combine the two.
+
- Exporting to CD
+
+ At the moment, Ardour can export TOC and CUE files containing the
+ red-book related fields Track, Index, ISRC, SCMS and Preemphasis. The
+ CD-TEXT fields TITLE, COMPOSER, PERFORMER and disc title are also
+ supported.
+
-
- Table of Contents
-
- A Table of Contents is a description of the data stored on a medium. In the
- case of audio Cds, the TOC comes in the form of PQ data which is
- intermingled with the audio data whaen the CD is burnt. Because PQ data
- isn't part of 'normal' audio file formats such as wav or aiff, this
- information must be stored in a separate file on your computer (a CUE or
- TOC file) ready for use by your CD burning software which will combine the
- two.
-
+
+ Range markers in Ardour can be 'promoted' to become CD tracks in the
+ locations window. Marks (point markers) can be promoted to be CD
+ Indexes in the same window. All TOC/CUE export operations hinge on
+ this.
+
-
- At the moment, Ardour can export TOC and CUE files containing the red-book
- related fields Track, Index, ISRC, SCMS and Preemphasis. The CD-TEXT fields
- TITLE, COMPOSER, PERFORMER and disc title are also supported.
-
+
+ Assuming you have several songs on your timeline laid out so that
+ their spacing and level is 'correct' as you hear it, you should then
+ set ranges that represent the start and end points of each track,
+ These will become the start and end points on your CD. The start times
+ are all rounded down to the previous CD frame (Of which there are
+ 75/second) on export, so if you want to hear the exact point that your
+ CD player will start from, select 'CD frames' as your snap setting
+ while you do this. If you want track indexes (nobody does, but they're
+ there), set a location marker for each desired index.
+
-
- Range markers in Ardour can be 'promoted' to become CD tracks in the
- locations window. Marks (point markers) can be promoted to be CD Indexes in
- the same window. All TOC/CUE export operations hinge on this.
-
+
+ The locations dialog is useful here, as you can just 'go' to a point
+ to audition the exact position of a marker/range.
+
+
-
- Assuming you have several songs on your timeline laid out so that their
- spacing and level is 'correct' as you hear it, you should then set ranges
- that represent the start and end points of each track, These will become
- the start and end points on your CD. The start times are all rounded down
- to the previous CD frame (Of which there are 75/second) on export, so if
- you want to hear the exact point that your CD player will start from,
- select 'CD frames' as your snap setting while you do this. If you want
- track indexes (nobody does, but they're there), set a location marker for
- each desired index.
-
+
+ Pregap
+
+ A word about pregap:
+
-
- The locations dialog is useful here, as you can just 'go' to a point to
- audition the exact position of a marker/range.
-
-
+
+ A 'normal' redbook CD should have a blank (digital black) space of 2
+ seconds before the first modulation called the pregap. Ideally, your
+ first song will have been placed at 2 seconds when you began, but you
+ can always drag the whole collection of songs to the right position
+ fairly easily at this point.
+
-
- Pregap
-
- A word about pregap:
-
+
+ Also, note that this 2 second rule can be fun to break. You can make
+ the pregap as long as you like.. even hide whole songs in there. The
+ player will still play track one when the disc is inserted. Only those
+ listeners with the urge to rewind beyond the beginning will find your
+ hidden song/dog bark. Also keep in mind that there is a pregap for
+ each song. It starts where the previous song ends. In other words, if
+ you leave a gap in the ranges between songs 2 & 3, that gap will
+ only play for those listening through the entire CD. Anyone skipping
+ directly to 3 will miss your secret 'long' intro.
+
-
- A 'normal' redbook CD should have a blank (digital black) space of 2
- seconds before the first modulation called the pregap. Ideally, your first
- song will have been placed at 2 seconds when you began, but you can always
- drag the whole collection of songs to the right position fairly easily at
- this point.
-
+
+ After setting a non-overlapping range for each track (overlapping CD
+ tracks are removed on export, from left to right, as are indexes that
+ aren't inside a track), open the locations window and make your ranges
+ into track markers by clicking the CD button. Fill in whatever
+ information you feel is necessary in the boxes below. Unused fields
+ will be ignored as far as the exported TOC/CUE file is concerned.
+
-
- Also, note that this 2 second rule can be fun to break. You can make the
- pregap as long as you like.. even hide whole songs in there. The player
- will still play track one when the disc is inserted. Only those listeners
- with the urge to rewind beyond the beginning will find your hidden song/dog
- bark. Also keep in mind that there is a pregap for each song. It starts
- where the previous song ends. In other words, if you leave a gap in the
- ranges between songs 2 & 3, that gap will only play for those listening
- through the entire CD. Anyone skipping directly to 3 will miss your secret
- 'long' intro.
-
+
+ CD-TEXT track titles are taken from the range's name. The CD-TEXT
+ title of the CD is taken from the session name (i should have told you
+ that first, right?).
+
-
- After setting a non-overlapping range for each track (overlapping CD tracks
- are removed on export, from left to right, as are indexes that aren't
- inside a track), open the locations window and make your ranges into track
- markers by clicking the CD button. Fill in whatever information you feel is
- necessary in the boxes below. Unused fields will be ignored as far as the
- exported TOC/CUE file is concerned.
-
+
+
+ Pre-emphasis is there for those strange types that use it (they also
+ use track indexes). You almost certainly don't want pre-emphasis. A
+ valid ISRC is all capitals, 12 characters.
+
+
+
-
- CD-TEXT track titles are taken from the range's name. The CD-TEXT title of
- the CD is taken from the session name (i should have told you that first,
- right?).
-
+
+ Cue Files
+
+ Cue files have no notion of 'the end'. Its a drag. They think the end
+ of the file is the end of the last track. If you want to use CUE
+ files, you have to make sure that the session end marker is snapped to
+ CD frames (before you export, of course), or else use the -pad option
+ when you burn.
+
+
-
-
- Pre-emphasis is there for those strange types that use it (they also
- use track indexes). You almost certainly don't want pre-emphasis. A valid
- ISRC is all capitals, 12 characters.
-
-
-
+
+ Export The Session
+
+ Now export the session to a file (16bit 44.1kHz for CD), selecting
+ your preferred cuefile type (TOC or CUE). The TOC/CUE file is written
+ to the same directory as your audio file, and has the same name, only
+ with '.toc' or '.cue' appended. Usually you will only be selecting the
+ two master outputs to export, with output 1 always being 'left'. The
+ export is post fader and panner. Don't assume that the sound will be
+ identical after you have truncated/dithered to 16 bits. It can be
+ worthwhile to experiment with different dither settings when making
+ your export.
+
-
- Cue Files
-
- Cue files have no notion of 'the end'. Its a drag. They think the end of
- the file is the end of the last track. If you want to use CUE files, you
- have to make sure that the session end marker is snapped to CD frames
- (before you export, of course), or else use the -pad option when you burn.
-
-
-
-
- Export The Session
-
- Now export the session to a file (16bit 44.1kHz for CD), selecting your
- preferred cuefile type (TOC or CUE). The TOC/CUE file is written to the
- same directory as your audio file, and has the same name, only with '.toc'
- or '.cue' appended. Usually you will only be selecting the two master
- outputs to export, with output 1 always being 'left'. The export is post
- fader and panner. Don't assume that the sound will be identical after you
- have truncated/dithered to 16 bits. It can be worthwhile to experiment with
- different dither settings when making your export.
-
-
-
- To check out the details without burning
-
+
+ To check out the details without burning
+
cdrdao show-toc blah.wav.toc
-
- to correct a problem, make your changes, then use the 'export toc file
- only' option. If you have to change the session end marker, you'll have to
- re-export your audio file.
-
+
+ to correct a problem, make your changes, then use the 'export toc file
+ only' option. If you have to change the session end marker, you'll
+ have to re-export your audio file.
+
-
- To burn
-
+
+ To burn
+
cdrdao write /home/britney/globalsmash.wav.toc
-
- One last thing:
-
+
+ One last thing:
+
-
- If you don't make any CD Track ranges and export a TOC/CUE file, the entire
- session is treated as one track with no pregap. Indexes, if present, will
- be honoured.
-
-
+
+ If you don't make any CD Track ranges and export a TOC/CUE file, the
+ entire session is treated as one track with no pregap. Indexes, if
+ present, will be honoured.
+
+
-
- FAQ
-
- Why no DDP? ( http://www.dcainc.com/products/ddp/ )
-
+
+ FAQ
+
+ Why no DDP? ( http://www.dcainc.com/products/ddp/ )
+
-
- A: DCA have been kind enough to get in touch. Hopefully they will allow a
- GPL implementaton soon.
-
-
+
+ A: DCA have been kind enough to get in touch. Hopefully they will
+ allow a GPL implementaton soon.
+
+
-
- What about catalog numbers for the CD?
-
- A: coming eventually.. we need a tab for session-wide variables like these.
- where to put it? in the export dialog or the options menu?
-
-
+
+ What about catalog numbers for the CD?
+
+ A: coming eventually.. we need a tab for session-wide variables like
+ these. where to put it? in the export dialog or the options menu?
+
+
-
diff --git a/manual/xml/generic_midi_control_surface.xml b/manual/xml/generic_midi_control_surface.xml
index f8e6fd152b..675d8948a9 100644
--- a/manual/xml/generic_midi_control_surface.xml
+++ b/manual/xml/generic_midi_control_surface.xml
@@ -5,10 +5,10 @@
]>
- Using a Generic MIDI control surface
-
- To be completed. Applies only to Ardour 2.
-
+ Using a Generic MIDI control surface
+
+ To be completed. Applies only to Ardour 2.
+
-
diff --git a/manual/xml/jack.xml b/manual/xml/jack.xml
index 1e0a0bfd5e..8798a45686 100644
--- a/manual/xml/jack.xml
+++ b/manual/xml/jack.xml
@@ -5,275 +5,286 @@
]>
- Getting Audio In, Out and Around Your Computer
-
- Before you can begin to use Ardour, you will need to get the audio
- input/output capabilities of your system working and properly configured.
- There are two aspects to this process: getting your audio interface
- (soundcard) working, and configuring it to work with the Jack Audio
- Connection Kit (JACK).
-
+ Getting Audio In, Out and Around Your Computer
+
+ Before you can begin to use Ardour, you will need to get the audio
+ input/output capabilities of your system working and properly
+ configured. There are two aspects to this process: getting your audio
+ interface (soundcard) working, and configuring it to work with the Jack
+ Audio Connection Kit (JACK).
+
-
- JACK
-
- It is extremely important to understand that Ardour does not interact
- directly with your audio interface when it is running. Instead, all of the
- audio data signals that Ardour receives and generates are sent to and from
- JACK, a piece of software that routes audio data between an audio interface
- and audio applications, in real time.
-
+
+ JACK
+
+ It is extremely important to understand that Ardour does not interact
+ directly with your audio interface when it is running. Instead, all of
+ the audio data signals that Ardour receives and generates are sent to
+ and from JACK, a piece of software that routes audio data between an
+ audio interface and audio applications, in real time.
+
-
- Traditionally, most of the audio sources that you would want to record, as
- well as a lot of the more significant effects processing, existed outside
- the computer. Consequently one of the biggest issues in integrating a
- computer into the operation of the studio is how to move audio data in and
- out of the computer.
-
+
+ Traditionally, most of the audio sources that you would want to
+ record, as well as a lot of the more significant effects processing,
+ existed outside the computer. Consequently one of the biggest issues
+ in integrating a computer into the operation of the studio is how to
+ move audio data in and out of the computer.
+
-
- However, it is becoming increasingly common for studios to use audio
- sources and effects processing that are comprised completely of software,
- quite often running on the same machine as an audio sequencer or digital
- audio workstation (DAW). A new problem arises in such situations, because
- moving audio in and out of the DAW no longer involves your hardware audio
- interface. Instead, data has to be moved from one piece of software to
- another, preferably with the same kind of sample synchronisation you’d
- have in a properly configured digital hardware system. This is a problem
- that has been solved at least a couple of times (ReWire from PropellerHeads
- and DirectConnect from Digidesign are the two most common examples), but
- JACK is a new design developed as an open source software project, and is
- thusly available for anyone to use, learn from, extend, *fix or modify.
-
+
+ However, it is becoming increasingly common for studios to use audio
+ sources and effects processing that are comprised completely of
+ software, quite often running on the same machine as an audio
+ sequencer or digital audio workstation (DAW). A new problem arises in
+ such situations, because moving audio in and out of the DAW no longer
+ involves your hardware audio interface. Instead, data has to be moved
+ from one piece of software to another, preferably with the same kind
+ of sample synchronisation you’d have in a properly configured
+ digital hardware system. This is a problem that has been solved at
+ least a couple of times (ReWire from PropellerHeads and DirectConnect
+ from Digidesign are the two most common examples), but JACK is a new
+ design developed as an open source software project, and is thusly
+ available for anyone to use, learn from, extend, *fix or modify.
+
-
- New users may not initially realize that by using Jack, their computer
- becomes an extremely flexible and powerful audio tool - especially with
- Ardour acting as the ’heart’ of the system.
-
-
+
+ New users may not initially realize that by using Jack, their computer
+ becomes an extremely flexible and powerful audio tool - especially
+ with Ardour acting as the ’heart’ of the system.
+
+
-
- Getting Your Audio Interface Working
-
-
- Although Ardour runs on OS X as well as Linux, this documentation
- describes only a Linux (ALSA) system. The issues faced on OS X tend to be
- entirely different, and are centered mostly on JACK. There are also
- alternative audio device driver families for Linux but they are also not
- discussed here.
-
-
+
+ Getting Your Audio Interface Working
+
+
+ Although Ardour runs on OS X as well as Linux, this documentation
+ describes only a Linux (ALSA) system. The issues faced on OS X tend
+ to be entirely different, and are centered mostly on JACK. There are
+ also alternative audio device driver families for Linux but they are
+ also not discussed here.
+
+
-
- Getting your audio interface working can be the hardest part of setting
- your computer up to run Ardour, or it could be one of the easiest. The
- level of difficulty you will face depends on the type of audio interface
- ("soundcard") you are using, the operating system version you are using,
- and your own understanding of how it all works.
-
+
+ Getting your audio interface working can be the hardest part of
+ setting your computer up to run Ardour, or it could be one of the
+ easiest. The level of difficulty you will face depends on the type of
+ audio interface ("soundcard") you are using, the operating system
+ version you are using, and your own understanding of how it all works.
+
-
- In an ideal world, your computer already has a working audio interface, and
- all you need do is to start up qjackctl and run JACK. You can determine if
- you face this ideal situation by doing a few simple tests on your machine.
- The most obvious test is whether you’ve already heard audio coming out of
- your computer. If you are in this situation, you can skip ahead to
- .
-
-
+
+ In an ideal world, your computer already has a working audio
+ interface, and all you need do is to start up qjackctl and run JACK.
+ You can determine if you face this ideal situation by doing a few
+ simple tests on your machine. The most obvious test is whether
+ you’ve already heard audio coming out of your computer. If you are
+ in this situation, you can skip ahead to
+ .
+
+
-
- Checking For an Audio Interface
-
- If you’ve never tried to play audio on your computer before, you should
- use a basic playback program such as play, aplay or possibly xmms. Find an
- audio file on your machine (locate .wav may help here),
- and try to play it. There are several possibilities:
-
+
+ Checking For an Audio Interface
+
+ If you’ve never tried to play audio on your computer before, you
+ should use a basic playback program such as play, aplay or possibly
+ xmms. Find an audio file on your machine (locate
+ .wav may help here), and try to play it. There are several
+ possibilities:
+
-
-
-
- You may get an error from the program
-
-
-
-
- You may hear nothing
-
-
-
-
- You may hear something, but its too quiet
-
-
-
-
- you may hear something from the wrong loudspeakers.
-
-
-
-
+
+
+
+ You may get an error from the program
+
+
-
- Selecting Capture Source
-
- Many audio interfaces, particularly the cheaper varieties that are often
- found built into computers, have ways to plug in both microphones and
- instruments or other audio equipment to be recorded. This immediately poses
- a question: how does Ardour (or any software) know which signal to record,
- the one coming into the microphone input, or the one arriving at the "line
- in" socket? The same question arises also for "high-end" audio interfaces,
- though in different ways.
-
+
+
+ You may hear nothing
+
+
-
- The short answer is: Ardour doesn’t. Instead, this is a choice you have
- to make using a program a program that understands how to control the
- mixing hardware on the audio interface. Linux/ALSA has a number of such
- programs: alsamixer, gamix, aumix, kmix are just a few of them. Each of
- them offers you a way to select which of the possible recordable signals
- will be used for as the "capture source". How you select the preferred
- signal varies from program to program, so you will have to consult the help
- documentation for whichever program you choose to use.
-
+
+
+ You may hear something, but its too quiet
+
+
-
- There are also a few programs that offer ways to control just one
- particular kind of audio interface. For example, the
- hdspmixer program offers control over the very
- powerful matrix mixer present on several RME audio interface.
- envy24ctrl does the same for a number of
- interfaces built around the common ice1712/envy24 chipset, found in devices
- from M-Audio, Terratec and others. Please note that this quite similar to
- the situation for Windows and MacOS users, where each audio interface often
- comes with its own control program that allows certain critical
- configuration choices to be made.
-
+
+
+ you may hear something from the wrong loudspeakers.
+
+
+
+
-
- "I don’t get any signal when I record …"
-
- The most common problem for first-time audio users on Linux is to try to
- record something and get no signal at all, or alternatively, a very low
- signal. The low signal problem typically arises from one or more of the
- following issues:
-
+
+ Selecting Capture Source
+
+ Many audio interfaces, particularly the cheaper varieties that are
+ often found built into computers, have ways to plug in both
+ microphones and instruments or other audio equipment to be recorded.
+ This immediately poses a question: how does Ardour (or any software)
+ know which signal to record, the one coming into the microphone input,
+ or the one arriving at the "line in" socket? The same question arises
+ also for "high-end" audio interfaces, though in different ways.
+
-
-
-
- a microphone input plugged into the "line in" socket of the interface.
- The signal levels delivered by microphones are very small, and require
- amplification before they can be used by most audio circuitry. In
- professional recording studios, this is done using a dedicated box
- called a "pre-amplifier". If your audio interface has a "mic input"
- socket, then it has its own pre-amplifier built in, although its
- probably not a very good one. If you make the mistake of plugging a
- microphone into the "line in" socket, you will get either an inaudible
- or very quiet signal.
-
-
-
-
- the wrong capture source selected in the audio interface’s hardware
- mixer (see above)
-
-
-
-
- the "capture" gain level in the audio interface’s hardware mixer is
- turned down too low. You will need to use a hardware mixer application
- (as described above) to increase this.
-
-
-
+
+ The short answer is: Ardour doesn’t. Instead, this is a choice you
+ have to make using a program a program that understands how to control
+ the mixing hardware on the audio interface. Linux/ALSA has a number of
+ such programs: alsamixer, gamix, aumix, kmix are just a few of them.
+ Each of them offers you a way to select which of the possible
+ recordable signals will be used for as the "capture source". How you
+ select the preferred signal varies from program to program, so you
+ will have to consult the help documentation for whichever program you
+ choose to use.
+
-
-
- You will notice in the mixer strip for each track in ardour that you can
- change the selection of the monitoring source between input/pre/post.
- Adjusting the fader while watching the ’input’ levels will NOT have
- any affect on the levels. As mentioned above, ardour is dependent on
- external mixer settings for a source level.
-
-
-
-
+
+ There are also a few programs that offer ways to control just one
+ particular kind of audio interface. For example, the
+ hdspmixer program offers control over the
+ very powerful matrix mixer present on several RME audio interface.
+ envy24ctrl does the same for a number of
+ interfaces built around the common ice1712/envy24 chipset, found in
+ devices from M-Audio, Terratec and others. Please note that this quite
+ similar to the situation for Windows and MacOS users, where each audio
+ interface often comes with its own control program that allows certain
+ critical configuration choices to be made.
+
-
- Monitoring Choices
-
- Its unfortunate that we have to raise this issue at a point in the manual
- where you, the reader, may not even knoiw what "monitoring" means. However,
- it is such an absolutely critical aspect of using any digital audio
- workstation that we need to at least cover the basics here. The only people
- who don’t need to care about monitoring are those who will never use
- ardour to record a live performance (even on performed using a software
- synthesizer).
-
+
+ "I don’t get any signal when I record …"
+
+ The most common problem for first-time audio users on Linux is to
+ try to record something and get no signal at all, or alternatively,
+ a very low signal. The low signal problem typically arises from one
+ or more of the following issues:
+
-
- Monitoring is the term we use to describe listening to what ardour is
- recording. If you are playing a guitar and recording it with ardour, you
- can probably hear the guitar’s own sound, but there are many situations
- where relying on the sound of the instrument is completely inadequate. For
- example, with an electronic instrument, there is no sound until the
- electrical signal that it generates has been processed by an amplifier and
- fed to a loudspeaker. But if Ardour is recording the instrument’s signal,
- what is responsible for sending it to the amp+loudspeakers? It can get a
- lot more complex than that: if you are recording multiple performers at the
- same time, each performer needs to hear their own playing/singing, but they
- also probably need to hear some of their colleagues’ sound as well. You
- might be overdubbing yourself - playing a new line on an instrument while
- listening to tracks you’ve already recorded - how do you hear the new
- material as well as the existing stuff?
-
+
+
+
+ a microphone input plugged into the "line in" socket of the
+ interface. The signal levels delivered by microphones are very
+ small, and require amplification before they can be used by most
+ audio circuitry. In professional recording studios, this is done
+ using a dedicated box called a "pre-amplifier". If your audio
+ interface has a "mic input" socket, then it has its own
+ pre-amplifier built in, although its probably not a very good
+ one. If you make the mistake of plugging a microphone into the
+ "line in" socket, you will get either an inaudible or very quiet
+ signal.
+
+
-
- Well, hopefully, you’re convinced that there are some questions to be
- dealt with surrounding monitoring, see for
- more in depth information.
-
-
+
+
+ the wrong capture source selected in the audio interface’s
+ hardware mixer (see above)
+
+
-
- Can I use multiple soundcards
-
- There are really lots of great reasons why you should not even attempt to
- do this. But seriously, save your money for a while and buy yourself a
- properly designed multichannel soundcard.
-
-
+
+
+ the "capture" gain level in the audio interface’s hardware
+ mixer is turned down too low. You will need to use a hardware
+ mixer application (as described above) to increase this.
+
+
+
-
- Qjackctl
-
- JACK itself does not come with graphical user interface - to start JACK and
- control it you need to have access to a command line and a basic knowledge
- of Unix-like operating systems. However,
- qjackctl is a
- wonderful application that wraps JACK up with a graphical interface that is
- both nice to look at and useful at same time. qjackctl is the recommended
- way of using JACK.
-
-
-
-
-
-
-
- You should be able to start qjackctl from the “application menu” of
- your system, typically found on the panel/appbar/dock or whatever its
- called that lives at the top/bottom/left/right of your screen.
-
+
+
+ You will notice in the mixer strip for each track in ardour that
+ you can change the selection of the monitoring source between
+ input/pre/post. Adjusting the fader while watching the ’input’
+ levels will NOT have any affect on the levels. As mentioned above,
+ ardour is dependent on external mixer settings for a source level.
+
+
+
+
-
- [ need screenshot of GNOME/KDE/OSX menus here ]
-
-
+
+ Monitoring Choices
+
+ Its unfortunate that we have to raise this issue at a point in the
+ manual where you, the reader, may not even knoiw what "monitoring"
+ means. However, it is such an absolutely critical aspect of using any
+ digital audio workstation that we need to at least cover the basics
+ here. The only people who don’t need to care about monitoring are
+ those who will never use ardour to record a live performance (even on
+ performed using a software synthesizer).
+
+
+
+ Monitoring is the term we use to describe listening to what ardour is
+ recording. If you are playing a guitar and recording it with ardour,
+ you can probably hear the guitar’s own sound, but there are many
+ situations where relying on the sound of the instrument is completely
+ inadequate. For example, with an electronic instrument, there is no
+ sound until the electrical signal that it generates has been processed
+ by an amplifier and fed to a loudspeaker. But if Ardour is recording
+ the instrument’s signal, what is responsible for sending it to the
+ amp+loudspeakers? It can get a lot more complex than that: if you are
+ recording multiple performers at the same time, each performer needs
+ to hear their own playing/singing, but they also probably need to hear
+ some of their colleagues’ sound as well. You might be overdubbing
+ yourself - playing a new line on an instrument while listening to
+ tracks you’ve already recorded - how do you hear the new material as
+ well as the existing stuff?
+
+
+
+ Well, hopefully, you’re convinced that there are some questions to
+ be dealt with surrounding monitoring, see
+ for more in depth information.
+
+
+
+
+ Can I use multiple soundcards
+
+ There are really lots of great reasons why you should not even attempt
+ to do this. But seriously, save your money for a while and buy
+ yourself a properly designed multichannel soundcard.
+
+
+
+
+ Qjackctl
+
+ JACK itself does not come with graphical user interface - to start
+ JACK and control it you need to have access to a command line and a
+ basic knowledge of Unix-like operating systems. However,
+ qjackctl is a
+ wonderful application that wraps JACK up with a graphical interface
+ that is both nice to look at and useful at same time. qjackctl is the
+ recommended way of using JACK.
+
+
+
+
+
+
+
+ You should be able to start qjackctl from the “application menu”
+ of your system, typically found on the panel/appbar/dock or whatever
+ its called that lives at the top/bottom/left/right of your screen.
+
+
+
+ [ need screenshot of GNOME/KDE/OSX menus here ]
+
+
-
-
+
-
-
-
-
-
-
-
-
-
+
- ardour.rc file that you will have contains a single
- port definition. It defines a port that is almost guaranteed to be usable
- on your system ((Linux/ALSA users may need to ensure that the
- snd-seq kernel module gets loaded - many distributions
- do not do this by default)). This port is a "virtual port" it isn't
- actually a hardware MIDI port, but instead is a software port that can be
- connected to other software ports or to whatever hardware MIDI ports you
- have (see ).
-
-
+ ardour.rc file that you will have contains a
+ single port definition. It defines a port that is almost guaranteed to
+ be usable on your system ((Linux/ALSA users may need to ensure that
+ the snd-seq kernel module gets loaded - many
+ distributions do not do this by default)). This port is a "virtual
+ port" it isn't actually a hardware MIDI port, but instead is a
+ software port that can be connected to other software ports or to
+ whatever hardware MIDI ports you have (see
+ ).
+
+
-
- Defining additional MIDI ports
-
- To define additional ports, find the line in ardour.rc
- that looks roughly like this:
-
+
+ Defining additional MIDI ports
+
+ To define additional ports, find the line in
+ ardour.rc that looks roughly like this:
+
<MIDI-port tag="hw:0" device="/dev/snd/midiC1D0" type="alsa/raw" mode="duplex"/>
-
- On OSX/CoreMIDI it would look more like:
-
+
+ On OSX/CoreMIDI it would look more like:
+
<MIDI-port tag="coremidi" device="ardour" type="coremidi" mode="duplex"/>
-
- You can then add another line right after it that looks similar but
- contains a different port definition.
-
+
+ You can then add another line right after it that looks similar but
+ contains a different port definition.
+
-
- You will see there are 4 pieces of information required to define a MIDI
- port for use within Ardour. Your port definition
-
+
+ You will see there are 4 pieces of information required to define a
+ MIDI port for use within Ardour. Your port definition
+
-
- Tag
-
- This is just a name of your own choosing. It is how the port will be
- referred to within Ardour. You could use a name that describes what is
- plugged into the port (e.g. "1600x", "Novation"), or a name that describes
- the computer device/system that provides the port (e.g. "HDSP",
- "Sequencer"), or a whimsical name of your own choice (e.g. "bowtie",
- "merlin").
-
-
+
+ Tag
+
+ This is just a name of your own choosing. It is how the port will be
+ referred to within Ardour. You could use a name that describes what
+ is plugged into the port (e.g. "1600x", "Novation"), or a name that
+ describes the computer device/system that provides the port (e.g.
+ "HDSP", "Sequencer"), or a whimsical name of your own choice (e.g.
+ "bowtie", "merlin").
+
+
-
- Type
-
- This is an operating system specific identifier that defines what kind of
- port this is. It can be set to one of three values:
-
+
+ Type
+
+ This is an operating system specific identifier that defines what
+ kind of port this is. It can be set to one of three values:
+
-
-
-
- alsa/raw - the port corresponds to a physical MIDI
- port that is accessed directly without involving the ALSA MIDI routing
- subsystem.
-
-
-
-
- alsa/sequencer - the port is a virtual port that can
- send and receive MIDI data via the ALSA MIDI routing subsystem.
-
-
-
-
- coremidi - the port is a virtual port that can send
- and receive MIDI data via the CoreMidi inter-application MIDI routing
- subsystem.
-
-
-
-
+
+
+
+ alsa/raw - the port corresponds to a physical
+ MIDI port that is accessed directly without involving the ALSA
+ MIDI routing subsystem.
+
+
-
- Device
-
- This is an operating specific and MIDI subsystem-specific name that
- actually identifies the device to be used for MIDI I/O.
-
+
+
+ alsa/sequencer - the port is a virtual port
+ that can send and receive MIDI data via the ALSA MIDI routing
+ subsystem.
+
+
-
-
-
- for a raw ALSA hardware port, it is the name of the device file
- corresponding to the hardware MIDI port. A typical value might be
- /dev/snd/midiC0D0/.
-
-
-
-
- for an ALSA sequencer port, it is an arbitrary name for the port that
- will appear as part of the ALSA MIDI routing system
-
-
-
-
- for a CoreMIDI port, it is an arbitrary name for the port that will
- appear as in any CoreMIDI port selection dialogs.
-
-
-
-
+
+
+ coremidi - the port is a virtual port that
+ can send and receive MIDI data via the CoreMidi
+ inter-application MIDI routing subsystem.
+
+
+
+
-
- Mode
-
- This specifies whether the port is available for input, output or both:
-
+
+ Device
+
+ This is an operating specific and MIDI subsystem-specific name that
+ actually identifies the device to be used for MIDI I/O.
+
-
-
-
- read - the port is available for input only
-
-
-
-
- write - the port is available for output only
-
-
-
-
- duplex - the port is available for input and output
-
-
-
+
+
+
+ for a raw ALSA hardware port, it is the name of the device file
+ corresponding to the hardware MIDI port. A typical value might
+ be /dev/snd/midiC0D0/.
+
+
-
- You should probably always use duplex here. It is rare to need to open a
- port for unidirectional communication only.
-
-
-
+
+
+ for an ALSA sequencer port, it is an arbitrary name for the port
+ that will appear as part of the ALSA MIDI routing system
+
+
-
- Removing Midi Ports
-
- To remove a MIDI port, simply delete the line in your
- ardour.rc file that defines it.
-
-
+
+
+ for a CoreMIDI port, it is an arbitrary name for the port that
+ will appear as in any CoreMIDI port selection dialogs.
+
+
+
+
-
- Making Connections
-
- If you use actual physical hardware MIDI ports, then establishing
- connections to other MIDI equipment is simply a matter of connecting cables
- correctly. However, if you use "virtual ports" such as those offered by the
- ALSA router/sequencer or CoreMIDI, making connections is slightly more
- involved.
-
+
+ Mode
+
+ This specifies whether the port is available for input, output or
+ both:
+
-
- Ardour does not come with any way of establishing MIDI connections from/to
- other software MIDI ports. This is a difficult task to get right, and
- Ardour may offer something in the future. For now, you need to use an
- external tool that is dedicated to this purpose, much the same way you
- would use a patchbay (audio/MIDI) with physical equipment.
-
+
+
+
+ read - the port is available for input only
+
+
-
- Linux/ALSA
-
- qjackctl (the same program that is recommended
- for controlling JACK) also includes an excellent MIDI connection manager.
- You could also use command line tools such as
- aconnect.
-
-
+
+
+ write - the port is available for output only
+
+
-
- OSX/CoreMIDI
-
- On OSX/CoreMIDI you need to connect the MIDI ports with a patchbay tool
- such as the excellent MIDI Patchbay from
- Pete Yandell
-
-
-
+
+
+ duplex - the port is available for input and
+ output
+
+
+
-
- Using MIDI ports
-
- Each port that is defined in ardour.rc can be used for
- any of the following functions:
-
+
+ You should probably always use duplex here. It is
+ rare to need to open a port for unidirectional communication only.
+
+
+
-
-
-
- MTC input and output
-
-
-
-
- MMC input and output
-
-
-
-
- MIDI CC/Note input and output
-
-
-
-
+
+ Removing Midi Ports
+
+ To remove a MIDI port, simply delete the line in your
+ ardour.rc file that defines it.
+
+
+
+
+ Making Connections
+
+ If you use actual physical hardware MIDI ports, then establishing
+ connections to other MIDI equipment is simply a matter of connecting
+ cables correctly. However, if you use "virtual ports" such as those
+ offered by the ALSA router/sequencer or CoreMIDI, making connections
+ is slightly more involved.
+
+
+
+ Ardour does not come with any way of establishing MIDI connections
+ from/to other software MIDI ports. This is a difficult task to get
+ right, and Ardour may offer something in the future. For now, you need
+ to use an external tool that is dedicated to this purpose, much the
+ same way you would use a patchbay (audio/MIDI) with physical
+ equipment.
+
+
+
+ Linux/ALSA
+
+ qjackctl (the same program that is
+ recommended for controlling JACK) also includes an excellent MIDI
+ connection manager. You could also use command line tools such as
+ aconnect.
+
+
+
+
+ OSX/CoreMIDI
+
+ On OSX/CoreMIDI you need to connect the MIDI ports with a patchbay
+ tool such as the excellent MIDI Patchbay from
+ Pete Yandell
+
+
+
+
+
+ Using MIDI ports
+
+ Each port that is defined in ardour.rc can be
+ used for any of the following functions:
+
+
+
+
+
+ MTC input and output
+
+
+
+
+
+ MMC input and output
+
+
+
+
+
+ MIDI CC/Note input and output
+
+
+
+
diff --git a/manual/xml/mixer_strip_list.xml b/manual/xml/mixer_strip_list.xml
index 99afa3b21d..ca72916e85 100644
--- a/manual/xml/mixer_strip_list.xml
+++ b/manual/xml/mixer_strip_list.xml
@@ -5,86 +5,91 @@
]>
- Strip List
-
- The Strip List provides a simple interface to the layout of the mixer strips
- on the mixer. Mixer strips on the mixer have two possible states - visible
- and hidden. Mixer strips can also be placed in any order on the mixer.
- Rearranging the order of the mixer strips has no effect on the signal flow
- of the session. The names of all tracks in your session are listed in their
- current order. Hidden mixer strips are darker in colour than visible ones. A
- single left click on a track name will remove the track's mixer strip from
- the mixer, and changing the colour of the item on the strip list. This
- action has no effect on signal flow. Dragging a track name vertically with
- the left mouse button will rearrange the mixer to reflect the order selected
- when the mouse button is released. Clicking the word "Strip" at
- the top of the strip list will open a drop-down list of shortcuts to actions
- that change the strip list (and consequently the state of the mixer).
-
+ Strip List
+
+ The Strip List provides a simple interface to the layout of the mixer
+ strips on the mixer. Mixer strips on the mixer have two possible states
+ - visible and hidden. Mixer strips can also be placed in any order on
+ the mixer. Rearranging the order of the mixer strips has no effect on
+ the signal flow of the session. The names of all tracks in your session
+ are listed in their current order. Hidden mixer strips are darker in
+ colour than visible ones. A single left click on a track name will
+ remove the track's mixer strip from the mixer, and changing the colour
+ of the item on the strip list. This action has no effect on signal flow.
+ Dragging a track name vertically with the left mouse button will
+ rearrange the mixer to reflect the order selected when the mouse button
+ is released. Clicking the word "Strip" at the top of the strip list will
+ open a drop-down list of shortcuts to actions that change the strip list
+ (and consequently the state of the mixer).
+
-
- Strip List Context Menu
-
- show all
-
-
- sets all hidden mixer strips to the visible state
-
-
-
+
+ Strip List Context Menu
+
+ show all
+
+
+ sets all hidden mixer strips to the visible state
+
+
+
-
- hide all
-
-
- sets all visible mixer strips to the hidden state.
-
-
-
+
+ hide all
+
+
+ sets all visible mixer strips to the hidden state.
+
+
+
-
- show all AudioTrack Mixer Strips
-
-
- sets all hidden mixer strips that are audio tracks to the visible state
-
-
-
+
+ show all AudioTrack Mixer Strips
+
+
+ sets all hidden mixer strips that are audio tracks to the visible
+ state
+
+
+
-
- hide all AudioTrack Mixer Strips
-
-
- sets all visible mixer strips that are audio tracks to the hidden state.
-
-
-
+
+ hide all AudioTrack Mixer Strips
+
+
+ sets all visible mixer strips that are audio tracks to the hidden
+ state.
+
+
+
-
- show all AudioBus Mixer Strips
-
-
- sets all hidden mixer strips that are audio buses to the visible state
-
-
-
+
+ show all AudioBus Mixer Strips
+
+
+ sets all hidden mixer strips that are audio buses to the visible
+ state
+
+
+
-
- hide all AudioBus Mixer Strips
-
-
- sets all visible mixer strips that are audio buses to the hidden state.
-
-
-
-
+
+ hide all AudioBus Mixer Strips
+
+
+ sets all visible mixer strips that are audio buses to the hidden
+ state.
+
+
+
+
-
- At the bottom right of the strip list, a square box provides a method for
- resizing the pane. Holding down the left mouse button while dragging the
- square vertically will move the lower border of the strip list.
-
-
diff --git a/manual/xml/mixer_strips.xml b/manual/xml/mixer_strips.xml
index 3c52aa13b4..b381ced49a 100644
--- a/manual/xml/mixer_strips.xml
+++ b/manual/xml/mixer_strips.xml
@@ -7,493 +7,513 @@
- Mixer Strips
-
- Each track and bus is represented in the mixer window by a mixer
- strip that contains various controls related to signal flow.
- There are two places in Ardour in which you can see mixer strips. The mixer
- window is the obvious one (and the one we deal with here), but you can also
- view a single mixer strip in the editor window by clicking the
- editor mixer button.
-
-
-
-
-
-
-
- this image needs replacing with labels and better resolution The mixer strip
- for a bus is essentially identical to the one for an audio track, but it is
- missing certain controls that make no sense - you cannot record into a bus,
- so there is no record enable button, for example.
-
+ Mixer Strips
+
+ Each track and bus is represented in the mixer window by a
+ mixer strip that contains various controls related
+ to signal flow. There are two places in Ardour in which you can see
+ mixer strips. The mixer window is the obvious one (and the one we deal
+ with here), but you can also view a single mixer strip in the editor
+ window by clicking the editor mixer button.
+
+
+
+
+
+
+
+ this image needs replacing with labels and better resolution The mixer
+ strip for a bus is essentially identical to the one for an audio track,
+ but it is missing certain controls that make no sense - you cannot
+ record into a bus, so there is no record enable button, for example.
+
-
- The mixer strips are designed to visually model signal flow. The input
- button selects the input of the track that this mixer strip monitors. The
- outputs of the track (the 'tape recorder') are 'hard-wired' to the inputs of
- the mixer strip. Think of the input to the strip starting at the polarity
- switch, flowing down through the prefader inserts/plugins/sends section,
- through the gain fader, past the postfader inserts/plugins/sends section,
- the panner, and out through the output selector. In the case of a bus, there
- is no 'tape machine' inserted between the input selector and the actual
- input of the strip, but the signal flow is identical otherwise.
-
+
+ The mixer strips are designed to visually model signal flow. The input
+ button selects the input of the track that this mixer strip monitors.
+ The outputs of the track (the 'tape recorder') are 'hard-wired' to the
+ inputs of the mixer strip. Think of the input to the strip starting at
+ the polarity switch, flowing down through the prefader
+ inserts/plugins/sends section, through the gain fader, past the
+ postfader inserts/plugins/sends section, the panner, and out through the
+ output selector. In the case of a bus, there is no 'tape machine'
+ inserted between the input selector and the actual input of the strip,
+ but the signal flow is identical otherwise.
+
-
- Narrow Mixer Strip Button
-
- the button on the top left of the mixer strip is labelled with two arrows
- separated by a line. Left clicking this button will reduce the horizontal
- size of the mixer strip. Clicking it again will restore the previous size.
- The first click also has the effect of shortening the names of controls.
- Plugin lists become very small in this mode, however more faders are
- accessible without scrolling. Your needs may vary, hence the existence of
- this button.
-
-
+
+ Narrow Mixer Strip Button
+
+ the button on the top left of the mixer strip is labelled with two
+ arrows separated by a line. Left clicking this button will reduce the
+ horizontal size of the mixer strip. Clicking it again will restore the
+ previous size. The first click also has the effect of shortening the
+ names of controls. Plugin lists become very small in this mode,
+ however more faders are accessible without scrolling. Your needs may
+ vary, hence the existence of this button.
+
+
-
- Hide Button
-
- The button opposite the Narrow Mixer Strip Button
- hides the mixer strip from view. this button has no effect on signal flow
- or muting. When a mixer strip is hidden, it's entry in the strips list is
- darkened. To restore the mixer strip to the visible state, click it's entry
- in the strip list with the left mouse button.
-
-
+
+ Hide Button
+
+ The button opposite the Narrow Mixer Strip Button
+ hides the mixer strip from view. this button has no effect on signal
+ flow or muting. When a mixer strip is hidden, it's entry in the strips
+ list is darkened. To restore the mixer strip to the visible state,
+ click it's entry in the strip list with the left mouse button.
+
+
-
- Track Name
-
- The track name displays the current name of the track as displayed in the
- editor window. right-clicking on the name brings up a drop-down menu that
- allows you to rename, activate, deactivate and remove the track. Selecting
- Rename opens a new window displaying the name of
- the track. to change it, type your change and press ok. to leave it
- unaltered, press cancel. Selecting remove opens
- a new window asking for confirmation of your track removal request.
- removing a track removes that track from the project. If the playlist used
- by the removed track is not used by any other track, it will also be
- removed.
-
-
+
+ Track Name
+
+ The track name displays the current name of the track as displayed in
+ the editor window. right-clicking on the name brings up a drop-down
+ menu that allows you to rename, activate, deactivate and remove the
+ track. Selecting Rename opens a new window
+ displaying the name of the track. to change it, type your change and
+ press ok. to leave it unaltered, press cancel. Selecting
+ remove opens a new window asking for
+ confirmation of your track removal request. removing a track removes
+ that track from the project. If the playlist used by the removed track
+ is not used by any other track, it will also be removed.
+
+
-
- Group Button
-
- The group button displays the name of the currently selected mix group. if
- no group is selected, it will read no group. when clicked, a drop-down menu
- appears which lists the current mixer groups, along with the option no
- group. if a group is selected, any fader movement on one of the group
- member faders will be translated to the other members of the group.
-
-
+
+ Group Button
+
+ The group button displays the name of the currently selected mix
+ group. if no group is selected, it will read no group. when clicked, a
+ drop-down menu appears which lists the current mixer groups, along
+ with the option no group. if a group is selected, any fader movement
+ on one of the group member faders will be translated to the other
+ members of the group.
+
+
-
- Input Selector
-
- The input selector allows you to assign hardware or software inputs to the
- track that this mixer strip monitors. clicking on the input box makes a
- drop-down menu appear which lists ready-made combinations of jack ports,
- along with the options disconnect and edit. You can either select a preset
- hardware input combination from the drop-down list, or select
- edit to open the input selector window which
- allows finer control, such as changing the number of inputs to the track or
- using software devices as inputs. For more information on this window, see
- . Disconnect
- removes all input assignments while leaving the number of ports untouched.
-
-
+
+ Input Selector
+
+ The input selector allows you to assign hardware or software inputs to
+ the track that this mixer strip monitors. clicking on the input box
+ makes a drop-down menu appear which lists ready-made combinations of
+ jack ports, along with the options disconnect and edit. You can either
+ select a preset hardware input combination from the drop-down list, or
+ select edit to open the input selector
+ window which allows finer control, such as changing the number of
+ inputs to the track or using software devices as inputs. For more
+ information on this window, see .
+ Disconnect removes all input assignments while
+ leaving the number of ports untouched.
+
+
-
- Polarity Button
-
- The polarity button, when pressed, inverts the phase of the signal as it
- leaves the track and enters the mixer strip. it has no effect on the signal
- being recorded to disk. It has no effect on the timing of the signal,
- either.
-
-
+
+ Polarity Button
+
+ The polarity button, when pressed, inverts the phase of the signal as
+ it leaves the track and enters the mixer strip. it has no effect on
+ the signal being recorded to disk. It has no effect on the timing of
+ the signal, either.
+
+
-
- Solo Button
-
- The solo button puts the mixer strip in solo mode. the solo indicator in
- the editor window will flash if any mixer strip is set to solo, and only
- those tracks that are set in solo will be routed through the system.
-
-
+
+ Solo Button
+
+ The solo button puts the mixer strip in solo mode. the solo indicator
+ in the editor window will flash if any mixer strip is set to solo, and
+ only those tracks that are set in solo will be routed through the
+ system.
+
+
-
- Mute Button
-
- The mute button mutes the output of the mixer strip.
-
-
+
+ Mute Button
+
+ The mute button mutes the output of the mixer strip.
+
+
-
- Track Speed Control
-
- The track speed allows a varispeed setting to be applied to the track. a
- setting of 1.0 corresponds to the normal playback speed
- of the session. a setting of 0.5 will play at half
- normal playback speed. when altered, the track will be redrawn to reflect
- the new position of the audio resulting from the speed change. The Track
- Speed Control has three decimal places of precision. A left or right click
- on the displayed number will raise or lower the track speed by 0.1%. when
- the speed is not exactly 1, the display will be coloured red. Hovering over
- the displayed number will allow you to use the mouse wheel to set the
- desired speed. A middle click on the displayed number will return the speed
- to exactly 1.
-
+
+ Track Speed Control
+
+ The track speed allows a varispeed setting to be applied to the track.
+ a setting of 1.0 corresponds to the normal playback
+ speed of the session. a setting of 0.5 will play at
+ half normal playback speed. when altered, the track will be redrawn to
+ reflect the new position of the audio resulting from the speed change.
+ The Track Speed Control has three decimal places of precision. A left
+ or right click on the displayed number will raise or lower the track
+ speed by 0.1%. when the speed is not exactly 1, the display will be
+ coloured red. Hovering over the displayed number will allow you to use
+ the mouse wheel to set the desired speed. A middle click on the
+ displayed number will return the speed to exactly 1.
+
-
-
+
+
-
- Record Enable Button
-
- The record enable button arms the track for recording. pressing this will
- change the way you monitor and meter the selected input signal depending on
- the state of the monitoring settings in the options editor, as well as the
- auto input setting in the editor.
-
-
+
+ Record Enable Button
+
+ The record enable button arms the track for recording. pressing this
+ will change the way you monitor and meter the selected input signal
+ depending on the state of the monitoring settings in the options
+ editor, as well as the auto input setting in the editor.
+
+
-
- Automation Mode Buttons
-
- The automation mode buttons allow you to select a fader or pan automation
- mode from a drop-down list. see for more
- information about automation modes.
-
-
+
+ Automation Mode Buttons
+
+ The automation mode buttons allow you to select a fader or pan
+ automation mode from a drop-down list. see
+ for more information about automation
+ modes.
+
+
-
- Redirect Boxes
-
- These dark areas above and below the fader allow you to place inserts,
- sends and plugins into the signal path before and after the fader
- respectively. you may also easily reorder them whilst playing.
- collectively, the objects that belong in these boxes are called redirects.
- If there are redirects present in the channel, they can be reordered by
- dragging them vertically. because plugins and inserts can have different
- numbers of inputs to outputs, sometimes you may reach a situation where the
- inputs and outputs cannot be all connected sensibly. in this case, your
- reordering change will be disallowed by the program.
-
+
+ Redirect Boxes
+
+ These dark areas above and below the fader allow you to place inserts,
+ sends and plugins into the signal path before and after the fader
+ respectively. you may also easily reorder them whilst playing.
+ collectively, the objects that belong in these boxes are called
+ redirects. If there are redirects present in the channel, they can be
+ reordered by dragging them vertically. because plugins and inserts can
+ have different numbers of inputs to outputs, sometimes you may reach a
+ situation where the inputs and outputs cannot be all connected
+ sensibly. in this case, your reordering change will be disallowed by
+ the program.
+
-
- Right clicking within the dark area will bring up a drop-down menu which
- allows you to manipulate the redirects in various ways.
-
+
+ Right clicking within the dark area will bring up a drop-down menu
+ which allows you to manipulate the redirects in various ways.
+
-
- Redirect Boxes
-
- new plugin
-
-
- selecting new plugin will open a dialog which lists the plugins
- available on your system. selecting a plugin which is compatible with
- the number of streams in the channel at that point will result in the
- plugin being placed in the redirect box in an inactive state. this is
- indicated by the brackets around the plugin name. double-clicking the
- plugin name will bring up a window that allows you to control the
- parameters of the plugin statically (including bypass) or using
- automation. all plugins that report their latency are time-compensated
- automatically in ardour.
-
-
-
+
+ Redirect Boxes
+
+ new plugin
+
+
+ selecting new plugin will open a dialog which lists the plugins
+ available on your system. selecting a plugin which is compatible
+ with the number of streams in the channel at that point will
+ result in the plugin being placed in the redirect box in an
+ inactive state. this is indicated by the brackets around the
+ plugin name. double-clicking the plugin name will bring up a
+ window that allows you to control the parameters of the plugin
+ statically (including bypass) or using automation. all plugins
+ that report their latency are time-compensated automatically in
+ ardour.
+
+
+
-
- new insert
-
-
- places at least two new jack ports at that point in the mixer strip (one
- input, one output). these ports will then be available to any jack
- client (including Ardour itself), allowing another program (or channels
- within another program) to be inserted across the channel. hardware
- ports may also, of course, be used, allowing the insertion of outboard
- equipment. the insert will then appear in the redirect box in brackets
- indicating that it is inactive. to activate or deactivate an insert,
- right-click on it and select activate. double-clicking on the insert
- will bring up a dialog which allows to to assign its inputs and outputs
- to other jack ports.
-
-
-
+
+ new insert
+
+
+ places at least two new jack ports at that point in the mixer
+ strip (one input, one output). these ports will then be
+ available to any jack client (including Ardour itself), allowing
+ another program (or channels within another program) to be
+ inserted across the channel. hardware ports may also, of course,
+ be used, allowing the insertion of outboard equipment. the
+ insert will then appear in the redirect box in brackets
+ indicating that it is inactive. to activate or deactivate an
+ insert, right-click on it and select activate. double-clicking
+ on the insert will bring up a dialog which allows to to assign
+ its inputs and outputs to other jack ports.
+
+
+
-
- new send
-
-
- selecting new send will first bring up a dialog box that enables you to
- select the number of outputs the send has, along with the destination of
- each output. closing this dialog will reveal the name of the send in
- brackets, indicating that it is inactive. to activate the send, right
- click on it and select Activate. double-clicking on the send brings up
- the previous dialog, which will now include a fader which is provided
- for level control.
-
-
-
+
+ new send
+
+
+ selecting new send will first bring up a dialog box that enables
+ you to select the number of outputs the send has, along with the
+ destination of each output. closing this dialog will reveal the
+ name of the send in brackets, indicating that it is inactive. to
+ activate the send, right click on it and select Activate.
+ double-clicking on the send brings up the previous dialog, which
+ will now include a fader which is provided for level control.
+
+
+
-
- clear
-
-
- selecting clear in the menu removes all redirects from the mixer strip
- (pre and post fader). you can remove an individual redirect by holding
- the shift key and right clicking it.
-
-
-
+
+ clear
+
+
+ selecting clear in the menu removes all redirects from the mixer
+ strip (pre and post fader). you can remove an individual
+ redirect by holding the shift key and right clicking it.
+
+
+
-
- cut, copy, paste
-
-
- these items allow you to cut, copy and paste plugins, including their
- current settings, between Redirect Boxes.
-
-
-
+
+ cut, copy, paste
+
+
+ these items allow you to cut, copy and paste plugins, including
+ their current settings, between Redirect Boxes.
+
+
+
-
- rename
-
-
- selecting rename will bring up a dialog displaying the name of the
- selected redirect. change the name by typing into the text area and
- pressing ok.
-
-
-
+
+ rename
+
+
+ selecting rename will bring up a dialog displaying the name of
+ the selected redirect. change the name by typing into the text
+ area and pressing ok.
+
+
+
-
- select all/deselect all
-
-
- these two options select or deselect all plugins in the channel. this
- could be used, for instance, in preparation to copy all plugins from a
- channel to another one, along with the current settings.
-
-
-
+
+ select all/deselect all
+
+
+ these two options select or deselect all plugins in the channel.
+ this could be used, for instance, in preparation to copy all
+ plugins from a channel to another one, along with the current
+ settings.
+
+
+
-
- activate/deactivate
-
-
- selecting either of these will activate or deactivate the currently
- selected redirect(s) respectively. deactivate is the equivalent of
- bypass.
-
-
-
- note that you can bypass a plugin from it's parameter window as well as
- from here.
-
-
-
-
+
+ activate/deactivate
+
+
+ selecting either of these will activate or deactivate the
+ currently selected redirect(s) respectively. deactivate is the
+ equivalent of bypass.
+
-
- activate all/deactivate all
-
-
- selecting either of these will activate or deactivate all redirect(s) in
- the mixer strip respectively. deactivate is the equivalent of
- bypass if you're a plugin.
-
-
-
+
+
+ note that you can bypass a plugin from it's parameter window
+ as well as from here.
+
+
+
+
-
- edit
-
-
- selecting edit brings up the controls relevent to the selected redirect.
- this is the equivalent to holding control and right-clicking on a
- redirect. note that the right click method will not bring up the
- controls of the selected redirect, only the one beneath the mouse
- pointer.
-
-
-
-
-
+
+ activate all/deactivate all
+
+
+ selecting either of these will activate or deactivate all
+ redirect(s) in the mixer strip respectively. deactivate is the
+ equivalent of bypass if you're a
+ plugin.
+
+
+
-
- Pre/Post/Input Button
-
- This button cycles between three metering modes, which determine which
- signal is fed to the meters. the modes are pre-fader (the signal at the
- input to the fader), post-fader and input (the level at the track input).
- left clicking cycles through the three modes one step at a time, while
- middle-clicking alternates between the current setting and the setting two
- steps ahead. this allows one-click direct a/b comparison between all
- available monitoring points.
-
-
+
+ edit
+
+
+ selecting edit brings up the controls relevent to the selected
+ redirect. this is the equivalent to holding control and
+ right-clicking on a redirect. note that the right click method
+ will not bring up the controls of the selected redirect, only
+ the one beneath the mouse pointer.
+
+
+
+
+
-
- Gain Display
-
- this control displays the current gain of the fader to the nearest 0.1dB.
- left clicking on the value will lower the gain by an amount dependent upon
- the fader position the graduations become smaller as the fader nears 0dB
- gain. right clicking increases the gain by the same amount. middle clicking
- resets the gain to 0dB.
-
-
+
+ Pre/Post/Input Button
+
+ This button cycles between three metering modes, which determine which
+ signal is fed to the meters. the modes are pre-fader (the signal at
+ the input to the fader), post-fader and input (the level at the track
+ input). left clicking cycles through the three modes one step at a
+ time, while middle-clicking alternates between the current setting and
+ the setting two steps ahead. this allows one-click direct a/b
+ comparison between all available monitoring points.
+
+
-
- Unit Selector
-
- Right clicking on the meter bars allows you to select the range of signal
- levels displayed by the meters. the selected range will be displayed as a
- column of numbers next to the meter. /*XXX this feature is currently not
- working*/ Gain Level Display
-
-
+
+ Gain Display
+
+ this control displays the current gain of the fader to the nearest
+ 0.1dB. left clicking on the value will lower the gain by an amount
+ dependent upon the fader position the graduations become smaller as
+ the fader nears 0dB gain. right clicking increases the gain by the
+ same amount. middle clicking resets the gain to 0dB.
+
+
-
- Peak Meter
-
- This control displays the highest peak since the last peak meter reset.
- Resetting the peak meter is achieved by left-clicking the displayed number.
- The peak meter monitors the signal selected by the Pre/Post/Input
- Button .. the same signal as the meters. It should be noted here
- that 0dBfs corresponds a value equal to the maximum input or output level
- of your audio hardware, independent of it's bit depth.
-
-
+
+ Unit Selector
+
+ Right clicking on the meter bars allows you to select the range of
+ signal levels displayed by the meters. the selected range will be
+ displayed as a column of numbers next to the meter. /*XXX this feature
+ is currently not working*/ Gain Level Display
+
+
-
- Gain Fader
-
- The fader changes the signal level within the mixer strip before the
- post-fader plugins, which are before the output ports. 6dB of gain is
- allowed. there are several shortcuts available for the fader. Using the
- scroll wheel of your mouse while hovering above the fader will coarsely
- change its position. Holding the control key whilst mouse wheeling will
- give you finer control. Holding the shift key and clicking the fader will
- reset it to unity gain. Holding control and pressing the middle mouse
- button whilst over the fader will allow you to bind a midi control to it,
- provided you have an available midi device set in the options menu.
-
-
+
+ Peak Meter
+
+ This control displays the highest peak since the last peak meter
+ reset. Resetting the peak meter is achieved by left-clicking the
+ displayed number. The peak meter monitors the signal selected by the
+ Pre/Post/Input Button .. the same signal as the
+ meters. It should be noted here that 0dBfs corresponds a value equal
+ to the maximum input or output level of your audio hardware,
+ independent of it's bit depth.
+
+
-
- Meters
-
- The number of meters displayed next to the fader is dependent on the number
- of inputs or outputs the channel has, whichever is greater. The meters
- provide a colour-graduated scale from -50 dBfs to +6dBfs. They display the
- instantaneous value of the signal at the monitoring point selected by the
- Pre/Post/Input button. 0dBfs corresponds a value equal to the maximum input
- or output level of your audio hardware, independent of it's bit depth.
- Exceeding 0dBfs does not correspond to running out of headroom within the
- mixer, or in any signal path subsequent to that point within the Jack
- server. It merely means that if that signal is connected directly to a
- hardware port whose resolution is less than the 32-bit floating point
- resolution that Ardour uses (i.e. a soundcard), then that port will exceed
- it's maximum output level, resulting in distortion. hitting 0dB within the
- mixer (or any point in the Jack server) means that you have approximately
- 100dB of headroom remaining. as it is unlikely that you will reach this
- point, it is not represented in any special way by the meter. Naturally, if
- the input is selected as the monitoring point for the meter, exceeding
- 0dBfs means that the input of your a/d converter has clipped.
-
-
+
+ Gain Fader
+
+ The fader changes the signal level within the mixer strip before the
+ post-fader plugins, which are before the output ports. 6dB of gain is
+ allowed. there are several shortcuts available for the fader. Using
+ the scroll wheel of your mouse while hovering above the fader will
+ coarsely change its position. Holding the control key whilst mouse
+ wheeling will give you finer control. Holding the shift key and
+ clicking the fader will reset it to unity gain. Holding control and
+ pressing the middle mouse button whilst over the fader will allow you
+ to bind a midi control to it, provided you have an available midi
+ device set in the options menu.
+
+
-
- Panner
-
- The panner in Ardour is actually two panners. Because any mixer strip in
- Ardour can route any number of streams of audio anywhere, the idea of
- panning can be a complex one. To allow for the current stereo-centric
- mainstream world as well as the multi-speaker experimental one, one of two
- styles of panner will appear here depending on the number of outputs the
- channel strip has. In the simple case of mono channel input / stereo
- output, a single panner will be present. The current pan position is
- represented by a dot (the dot is the audio stream) which lies between the
- letters 'L' and 'R', which represent the left and right outputs
- respectively. To change the panning position of the stream, move the mouse
- while holding down the left mouse button. the dot will follow your mouse
- pointer. To introduce sudden changes to the pan setting, place the mouse
- pointer over the desired position and click the middle mouse button. The
- pan control will immediately snap to the mouse pointer position. The panner
- may be bypassed by right-clicking the control and selecting
- bypass from the drop-down menu. The panner will
- immediately be bypassed. The increased level you notice when the panner is
- bypassed is due to the way panning works. It is not a bug. XXX
- what gain law is used in the panner?
-
+
+ Meters
+
+ The number of meters displayed next to the fader is dependent on the
+ number of inputs or outputs the channel has, whichever is greater. The
+ meters provide a colour-graduated scale from -50 dBfs to +6dBfs. They
+ display the instantaneous value of the signal at the monitoring point
+ selected by the Pre/Post/Input button. 0dBfs corresponds a value equal
+ to the maximum input or output level of your audio hardware,
+ independent of it's bit depth. Exceeding 0dBfs does not correspond to
+ running out of headroom within the mixer, or in any signal path
+ subsequent to that point within the Jack server. It merely means that
+ if that signal is connected directly to a hardware port whose
+ resolution is less than the 32-bit floating point resolution that
+ Ardour uses (i.e. a soundcard), then that port will exceed it's
+ maximum output level, resulting in distortion. hitting 0dB within the
+ mixer (or any point in the Jack server) means that you have
+ approximately 100dB of headroom remaining. as it is unlikely that you
+ will reach this point, it is not represented in any special way by the
+ meter. Naturally, if the input is selected as the monitoring point for
+ the meter, exceeding 0dBfs means that the input of your a/d converter
+ has clipped.
+
+
-
- In the case of a stereo input / stereo output combination, two panning
- controls will appear, one corresponding to each audio stream. You can
- link the controls together in two different ways in
- this situation, using the direction arrows next to the
- link button. Panners can be linked to travel either
- in opposite directions or to maintain a consistent stereo width across the
- travel of the control. These two modes are represented by the orientation
- of the two arrows next to the link button, which
- point in either the same or opposite directions. The
- link button must be engaged before you can change
- the link mode. To link all the panners in a mixer
- strip, left-click the link button, then select the
- desired link mode by pressing the button marked with arrows.
-
+
+ Panner
+
+ The panner in Ardour is actually two panners. Because any mixer strip
+ in Ardour can route any number of streams of audio anywhere, the idea
+ of panning can be a complex one. To allow for the current
+ stereo-centric mainstream world as well as the multi-speaker
+ experimental one, one of two styles of panner will appear here
+ depending on the number of outputs the channel strip has. In the
+ simple case of mono channel input / stereo output, a single panner
+ will be present. The current pan position is represented by a dot (the
+ dot is the audio stream) which lies between the letters 'L' and 'R',
+ which represent the left and right outputs respectively. To change the
+ panning position of the stream, move the mouse while holding down the
+ left mouse button. the dot will follow your mouse pointer. To
+ introduce sudden changes to the pan setting, place the mouse pointer
+ over the desired position and click the middle mouse button. The pan
+ control will immediately snap to the mouse pointer position. The
+ panner may be bypassed by right-clicking the control and selecting
+ bypass from the drop-down menu. The panner
+ will immediately be bypassed. The increased level you notice when the
+ panner is bypassed is due to the way panning works. It is not a bug.
+ XXX what gain law is used in the panner?
+
-
- Let's get a little more complicated by adding another output to the mixer
- strip. From this point onwards, the panning positions are represented with
- numbered dots on a square field. Orange dots represent the outputs, and the
- numbered dots represent the streams. the position of the outputs change
- according to the number of outputs in the strip. This happens in order to
- allow the most useful arrangement of the available space. At some point,
- adding an output will cause the outputs to line up from the top left of the
- panning square towards the centre. this is to allow for the 'multi-speaker
- big sweep' to occur - where the sound is panned from speaker to speaker
- around the room in sequence.
-
+
+ In the case of a stereo input / stereo output combination, two panning
+ controls will appear, one corresponding to each audio stream. You can
+ link the controls together in two different ways
+ in this situation, using the direction arrows next to the
+ link button. Panners can be linked to travel
+ either in opposite directions or to maintain a consistent stereo width
+ across the travel of the control. These two modes are represented by
+ the orientation of the two arrows next to the
+ link button, which point in either the same or
+ opposite directions. The link button must be
+ engaged before you can change the link mode. To
+ link all the panners in a mixer strip, left-click the
+ link button, then select the desired link mode
+ by pressing the button marked with arrows.
+
-
- Don't forget that you can bypass the panner by right clicking and selecting
- bypass from the drop-down menu. this may
- simplify your multi-speaker setup, as often in this type of project panning
- between all speakers or outputs is not required on all tracks.
-
-
+
+ Let's get a little more complicated by adding another output to the
+ mixer strip. From this point onwards, the panning positions are
+ represented with numbered dots on a square field. Orange dots
+ represent the outputs, and the numbered dots represent the streams.
+ the position of the outputs change according to the number of outputs
+ in the strip. This happens in order to allow the most useful
+ arrangement of the available space. At some point, adding an output
+ will cause the outputs to line up from the top left of the panning
+ square towards the centre. this is to allow for the 'multi-speaker big
+ sweep' to occur - where the sound is panned from speaker to speaker
+ around the room in sequence.
+
-
- Output Selector
-
- The output selector allows you to assign the outputs of each mixer strip.
- left-clicking the output selector causes a ready-made list of output ports
- to appear in a drop-down menu, along with edit and disconnect options.
- Selecting Edit will allow you to change the
- number of outputs the channel has, as well as select software and hardware
- ports to route signals to. For more information on the window that appears
- when you select this option, see the .
- Disconnect will leave the number of output ports
- unchanged, but remove all assignments to output ports.
-
-
+
+ Don't forget that you can bypass the panner by right clicking and
+ selecting bypass from the drop-down menu.
+ this may simplify your multi-speaker setup, as often in this type of
+ project panning between all speakers or outputs is not required on all
+ tracks.
+
+
-
- Scratch Pad
-
- This is the text area below the output button. it
- allows you to enter any notes that you feel may be relevant to that track.
- The notes are stored when you save the session.
-
-
+
+ Output Selector
+
+ The output selector allows you to assign the outputs of each mixer
+ strip. left-clicking the output selector causes a ready-made list of
+ output ports to appear in a drop-down menu, along with edit and
+ disconnect options. Selecting Edit will
+ allow you to change the number of outputs the channel has, as well as
+ select software and hardware ports to route signals to. For more
+ information on the window that appears when you select this option,
+ see the .
+ Disconnect will leave the number of output
+ ports unchanged, but remove all assignments to output ports.
+
+
+
+
+ Scratch Pad
+
+ This is the text area below the output button.
+ it allows you to enter any notes that you feel may be relevant to that
+ track. The notes are stored when you save the session.
+
+
diff --git a/manual/xml/mixer_window.xml b/manual/xml/mixer_window.xml
index 35a50c795f..8346773ee8 100644
--- a/manual/xml/mixer_window.xml
+++ b/manual/xml/mixer_window.xml
@@ -5,81 +5,85 @@
]>
- The Mixer
-
- The mixer window provides a view of the session that mimics a traditional
- hardware mixing console. Rather than focusing on the arranging of regions
- along a timeline, the mixer is designed to allow you to manipulate the
- signal flow elements of a session - gain control, plugins, bussing and so
- forth.
-
+ The Mixer
+
+ The mixer window provides a view of the session that mimics a
+ traditional hardware mixing console. Rather than focusing on the
+ arranging of regions along a timeline, the mixer is designed to allow
+ you to manipulate the signal flow elements of a session - gain control,
+ plugins, bussing and so forth.
+
-
- The left area of the mixer contains three small vertical panes which allow
- various operations to be made on the larger area, which of course represents
- a mixing console.
-
+
+ The left area of the mixer contains three small vertical panes which
+ allow various operations to be made on the larger area, which of course
+ represents a mixing console.
+
-
- The lines that outline the three smaller panes all have a small square near
- their vertices. This square can be used to resize the four panes that form
- the mixer window. Dragging each of these squares with the left mouse button
- will move the border.
-
+
+ The lines that outline the three smaller panes all have a small square
+ near their vertices. This square can be used to resize the four panes
+ that form the mixer window. Dragging each of these squares with the left
+ mouse button will move the border.
+
-
- Mixer Window Layout
-
-
-
-
-
-
+ Mixer Window Layout
+
+
+
+
+
+
-
-
- Group List
-
- The group list pane provides an interface to create and control the state
- of the mix groups present on the mixer. Mix groups provide a method of
- linking faders together, so that a movement on one fader will translate to
- all the other faders in the group.
-
+
+ Group List
+
+ The group list pane provides an interface to create and control the
+ state of the mix groups present on the mixer. Mix groups provide a
+ method of linking faders together, so that a movement on one fader
+ will translate to all the other faders in the group.
+
-
- A new session will contail one group, called all. This preset group refers
- to all mixer strips?? what is 'all' doing here? Any
- new groups you create will be listed in this pane. Left clicking the
- Mix Groups button will open a window titled
- Name for a new mix group, which contains a dark text area.
- Enter a name for your new mix group in the text area. Left clicking
- cancel will close the Name for a new mix
- group window. The group list will be unaffected. Left clicking
- OK will create a new mix group. The new group will be
- listed in the group list pane with an empty box next to it's name. All
- mixer strips will now contain the name of the new group in their
- group button. Selecting the new group in a mixer
- strip will assign control of that channel's gain fader to the selected
- group, but only if the group is active. Left clicking
- the box next to the group name will activate the group.
-
+
+ A new session will contail one group, called all. This preset group
+ refers to all mixer strips?? what is 'all' doing
+ here? Any new groups you create will be listed in this
+ pane. Left clicking the Mix Groups button
+ will open a window titled Name for a new mix
+ group, which contains a dark text area. Enter a name for
+ your new mix group in the text area. Left clicking
+ cancel will close the Name for a new
+ mix group window. The group list will be unaffected. Left
+ clicking OK will create a new mix group. The
+ new group will be listed in the group list pane with an empty box
+ next to it's name. All mixer strips will now contain the name of the
+ new group in their group button. Selecting
+ the new group in a mixer strip will assign control of that channel's
+ gain fader to the selected group, but only if the group is
+ active. Left clicking the box next to the group name will
+ activate the group.
+
-
- At the bottom right of the group list, a square box provides a method for
- resizing the pane. Holding down the left mouse button while dragging the
- square vertically will move the lower border of the group list.
-
-
+
+ At the bottom right of the group list, a square box provides a
+ method for resizing the pane. Holding down the left mouse button
+ while dragging the square vertically will move the lower border of
+ the group list.
+
+
-
- Snapshot List
-
- Track Name Group Button Input Selector Solo Button Mute Button Polarity
- Button Track Speed Control Record Enable Button Automation Record Button
- Automation Playback Button Pre/Post Button Gain Display Unit Selector Gain
- Level Display Peak Meter Gain Fader Meters Output Selector
-
-
-
+
+ Snapshot List
+
+ Track Name Group Button Input Selector Solo Button Mute Button
+ Polarity Button Track Speed Control Record Enable Button Automation
+ Record Button Automation Playback Button Pre/Post Button Gain
+ Display Unit Selector Gain Level Display Peak Meter Gain Fader
+ Meters Output Selector
+
+
+
diff --git a/manual/xml/mixer_window_key_bindings.xml b/manual/xml/mixer_window_key_bindings.xml
index d2a9c252a6..b207203585 100644
--- a/manual/xml/mixer_window_key_bindings.xml
+++ b/manual/xml/mixer_window_key_bindings.xml
@@ -5,80 +5,90 @@
]>
- Mixer window key bindings
-
- Solo, Mute and Rec enable buttons
-
-
-
-
-
-
- Mouse Action
-
-
- Result
-
-
-
-
-
-
- Button1 click
-
-
- toggle for the track (or the entire mix group when the group is active)
-
-
-
-
- Button2 click
-
-
- momentary switch
-
-
-
-
- CtrlButton1
- click
-
-
- toggle for the entire mix group when the group is not active
-
-
-
-
- ShiftCtrlButton1
- click
-
-
- toggle for all the tracks and busses
-
-
-
-
- CtrlButton2
- click
-
-
- learn MIDI control
-
-
-
-
-
-
- Solo Buttons Only
-
-
-
-
-
-
- Mouse Action
-
-
- Result
-
-
-
-
-
-
- ShiftButton1
- click
-
-
- toggle "lock" of current solo state ("solo safe")
-
-
-
-
- CtrlAltButton1
- click
-
-
- solo only this track or active group, unsolo all others
-
-
-
-
-
- Marks, Locations
-
-
-
-
-
-
- Mouse Action
-
-
- Result
-
-
-
-
-
-
- Button1 click in marker, tempo, meter ruler
-
-
- create a new marker
-
-
-
-
- Button1 drag on a marker
-
-
- move marker
-
-
-
-
- CtrlButton1
- drag on loop or punch mark
-
-
- move both ends of range at once
-
-
-
-
- CtrlShiftButton1
- click in marker
-
-
- hide marker but do not remove it
-
-
-
-
-
-
- Punch/Loop Ranges
-
-
-
-
-
-
- Mouse Action
-
-
- Result
-
-
-
-
-
-
- Button1 drag
-
-
- define a new punch or loop range
-
-
-
-
- other operations as for marks and locations above
-
-
-
-
-
+ Ruler Operations
+
+ Marks, Locations
+
+
+
+
+
+
+ Mouse Action
+
+
+
+ Result
+
+
+
+
+
+
+ Button1 click in marker, tempo, meter
+ ruler
+
+
+
+ create a new marker
+
+
+
+
+
+ Button1 drag on a marker
+
+
+
+ move marker
+
+
+
+
+
+ CtrlButton1
+ drag on loop or punch mark
+
+
+
+ move both ends of range at once
+
+
+
+
+
+ CtrlShiftButton1
+ click in marker
+
+
+
+ hide marker but do not remove it
+
+
+
+
+
+
+
+ Punch/Loop Ranges
+
+
+
+
+
+
+ Mouse Action
+
+
+
+ Result
+
+
+
+
+
+
+ Button1 drag
+
+
+
+ define a new punch or loop range
+
+
+
+
+
+ other operations as for marks and locations above
+
+
+
+
+
-
diff --git a/manual/xml/other_windows.xml b/manual/xml/other_windows.xml
index d7dd436fc7..d3c2069937 100644
--- a/manual/xml/other_windows.xml
+++ b/manual/xml/other_windows.xml
@@ -5,230 +5,240 @@
]>
- Other Windows
-
- This page summarises various windows you will find in your travels through
- Ardour that aren't available from the windows
- menu in the editor. They aren't available because they are specific to a
- particular object, like a mixer strip, and are launched from the object
- itself.
-
+ Other Windows
+
+ This page summarises various windows you will find in your travels
+ through Ardour that aren't available from the
+ windows menu in the editor. They aren't
+ available because they are specific to a particular object, like a mixer
+ strip, and are launched from the object itself.
+
-
- Input/Output Connections Editor
-
- Selecting edit from the input drop-down menu on
- a mixer strip will open this window, as will selecting
- edit from the output button. The Input/Output
- connections editor is one of the strangest interfaces known to man. After a
- small amount of use, however, you will find it quite natural to use.
- Because these two windows are identical except for 'input' being transposed
- with 'output', we will cover the Input Connections Editor here and leave it
- up to your imaginative self to work out what it all means in the output
- window.
-
+
+ Input/Output Connections Editor
+
+ Selecting edit from the input drop-down
+ menu on a mixer strip will open this window, as will selecting
+ edit from the output button. The
+ Input/Output connections editor is one of the strangest interfaces
+ known to man. After a small amount of use, however, you will find it
+ quite natural to use. Because these two windows are identical except
+ for 'input' being transposed with 'output', we will cover the Input
+ Connections Editor here and leave it up to your imaginative self to
+ work out what it all means in the output window.
+
-
- When the window opens, you will be see that it is divided into two main
- areas marked Inputs and Available
- Connections . A third area contains buttons marked
- rescan, OK and
- Cancel.
-
+
+ When the window opens, you will be see that it is divided into two
+ main areas marked Inputs and Available
+ Connections . A third area contains buttons marked
+ rescan, OK and
+ Cancel.
+
-
- The Inputs area has two buttons marked add
- input and clear connections. The
- add input button adds an audio stream to the mixer
- strip.
-
+
+ The Inputs area has two buttons marked
+ add input and clear
+ connections. The add input button
+ adds an audio stream to the mixer strip.
+
-
- In other words, if you currently have a two input channel, pressing
- add input will make it a three input channel. If you
- subsequently record on the corresponding track, each region will comprise
- of three channels of audio taken from the inputs you have set in the area
- below.
-
+
+ In other words, if you currently have a two input channel, pressing
+ add input will make it a three input channel.
+ If you subsequently record on the corresponding track, each region
+ will comprise of three channels of audio taken from the inputs you
+ have set in the area below.
+
-
- Pressing clear connections will remove all
- connections you have assigned in the area below.
-
+
+ Pressing clear connections will remove all
+ connections you have assigned in the area below.
+
-
- Speaking of "the area below", if you've used a template to create your new
- session with, the input fields will aready be filled in with default values
- that are determined by the number of channels your hardware supports. It
- should be noted that by default, inputs are initially set to hardware
- ports, as presumably you will be recording from a hardware device
- initially. This doesn't indicate a preference on Ardour's part, as software
- inputs are just as valid to Ardour as hardware ones.
-
+
+ Speaking of "the area below", if you've used a template to create your
+ new session with, the input fields will aready be filled in with
+ default values that are determined by the number of channels your
+ hardware supports. It should be noted that by default, inputs are
+ initially set to hardware ports, as presumably you will be recording
+ from a hardware device initially. This doesn't indicate a preference
+ on Ardour's part, as software inputs are just as valid to Ardour as
+ hardware ones.
+
-
- Anyway, in "the area below", notice that one input (probably labelled
- in 1) is a lighter colour than the other. If you only
- have one input at the moment, press add input just
- to see the difference. You can remove an input by holding the control key
- while right-clicking on the input name.
-
+
+ Anyway, in "the area below", notice that one input (probably labelled
+ in 1) is a lighter colour than the other. If you
+ only have one input at the moment, press add
+ input just to see the difference. You can remove an input
+ by holding the control key while right-clicking on the input name.
+
-
- The lighter coloured input is the one that will be added to when an output
- in the Available connections area is clicked. If the
- wrong input is highlighted, you can highlight the correct one by
- left-clicking the text of the input name you desire.
-
+
+ The lighter coloured input is the one that will be added to when an
+ output in the Available connections area is
+ clicked. If the wrong input is highlighted, you can highlight the
+ correct one by left-clicking the text of the input name you desire.
+
-
- Note that you can "mux" as many inputs together as you like when doing
- this, they just pile up on top of the last one. Be warned, though, that
- they are all summed at unity gain. You can reach some fairly astonishing
- levels by doing this a lot.
-
+
+ Note that you can "mux" as many inputs together as you like when doing
+ this, they just pile up on top of the last one. Be warned, though,
+ that they are all summed at unity gain. You can reach some fairly
+ astonishing levels by doing this a lot.
+
-
- If you click an output from the Available connections
- area, the connection is added to that input's list, the connection is made
- active, and the next input is made a lighter colour, indicating that it is
- ready to accept your selection. This makes it a simple matter to assign
- many connections rapidly. The transport does not have to be stopped to
- change inputs or outputs (or anything, really) in Ardour.
-
+
+ If you click an output from the Available
+ connections area, the connection is added to that input's
+ list, the connection is made active, and the next input is made a
+ lighter colour, indicating that it is ready to accept your selection.
+ This makes it a simple matter to assign many connections rapidly. The
+ transport does not have to be stopped to change inputs or outputs (or
+ anything, really) in Ardour.
+
-
- Removing assignments is achieved by left-clicking the relevant output in
- the inputs area. As with most objects in Ardour, you
- can also remove an assignment by holding the shift key while right-clicking
- it.
-
+
+ Removing assignments is achieved by left-clicking the relevant output
+ in the inputs area. As with most objects in
+ Ardour, you can also remove an assignment by holding the shift key
+ while right-clicking it.
+
-
- The Available connections area lists all available connections, sorted into
- tabs which represent their associated hardware or software ports. The front
- tab is always alsa_pcm. this represents the physical
- ports on your computer. It should contain as many ports as hour hardware
- has inputs.
-
+
+ The Available connections area lists all available connections, sorted
+ into tabs which represent their associated hardware or software ports.
+ The front tab is always alsa_pcm. this represents
+ the physical ports on your computer. It should contain as many ports
+ as hour hardware has inputs.
+
-
- The next tab is Ardour. This tab lists all the connections that Ardour has
- available, including inserts and sends. If you have some other Jack aware
- programs running, they will be given tabs in this area which will
- correspond to their Jack output ports.
-
+
+ The next tab is Ardour. This tab lists all the connections that Ardour
+ has available, including inserts and sends. If you have some other
+ Jack aware programs running, they will be given tabs in this area
+ which will correspond to their Jack output ports.
+
-
- The rescan button searches for any new available
- outputs. It may be necessary to use it if you have started a Jack
- application after you open the window.
-
+
+ The rescan button searches for any new
+ available outputs. It may be necessary to use it if you have started a
+ Jack application after you open the window.
+
-
- The Cancel button closes the window XXX
- what really happens? , as does the OK
- button.
-
-
+
+ The Cancel button closes the window
+ XXX what really happens? , as does the
+ OK button.
+
+
-
- The LADSPA Plugin Window
-
- This window opens when you double-left-click or control right-click a
- plugin on a mixer strip. It allows you to adjust, store and automate the
- controls presented by any LADSPA plugin. Because LADSPA plugins do not
- contain graphical interface information, this window adapts itself to suit
- the various controls presented by the plugin. The advantage of this system
- is that each plugin appears consistently within Ardour. The disadvantage is
- that with a few plugins, the controls seem to be laid out in a haphazard
- fashion. This is not usually the case, however.
-
+
+ The LADSPA Plugin Window
+
+ This window opens when you double-left-click or control right-click a
+ plugin on a mixer strip. It allows you to adjust, store and automate
+ the controls presented by any LADSPA plugin. Because LADSPA plugins do
+ not contain graphical interface information, this window adapts itself
+ to suit the various controls presented by the plugin. The advantage of
+ this system is that each plugin appears consistently within Ardour.
+ The disadvantage is that with a few plugins, the controls seem to be
+ laid out in a haphazard fashion. This is not usually the case,
+ however.
+
-
- Each plugin window will have a bypass switch in the
- top left. Whenever you add a plugin, it's initial state will be bypass. The
- button will be red and appear depressed. To activate the plugin, press the
- bypass button. you should immediately hear the
- plugin inserted in the signal path. All plugins that report their latency
- are automatically time compensated sample-accurately.
-
+
+ Each plugin window will have a bypass switch in
+ the top left. Whenever you add a plugin, it's initial state will be
+ bypass. The button will be red and appear depressed. To activate the
+ plugin, press the bypass button. you should
+ immediately hear the plugin inserted in the signal path. All plugins
+ that report their latency are automatically time compensated
+ sample-accurately.
+
-
- To the left of the bypass switch you will see the name of the plugin, the
- author and the number of inputs and outputs that the plugin makes use of.
- To the right will be a text entry area, a list selector and a
- Save button. To save a combination of settings,
- press the Save button. A window will appear asking
- for the name of the preset. Enter a name, press OK,
- and your new preset will appear on the list of saved settings.
-
+
+ To the left of the bypass switch you will see the name of the plugin,
+ the author and the number of inputs and outputs that the plugin makes
+ use of. To the right will be a text entry area, a list selector and a
+ Save button. To save a combination of settings,
+ press the Save button. A window will appear
+ asking for the name of the preset. Enter a name, press
+ OK, and your new preset will appear on the list
+ of saved settings.
+
-
- To restore a saved preset, select it from the list. The settings should
- immediately be restored as you release the mouse button.
-
+
+ To restore a saved preset, select it from the list. The settings
+ should immediately be restored as you release the mouse button.
+
-
- The rest of the window consists of sliders and buttons which represent the
- various controls available for the plugin. To move a slider, left click it
- and slide the mouse horizontally over the range of the control. You can see
- the numeric value and the bar change as you move the mouse. You can also
- press the control key while moving for finer adjustments.
-
+
+ The rest of the window consists of sliders and buttons which represent
+ the various controls available for the plugin. To move a slider, left
+ click it and slide the mouse horizontally over the range of the
+ control. You can see the numeric value and the bar change as you move
+ the mouse. You can also press the control key while moving for finer
+ adjustments.
+
-
- Next to each control is an automation mode button. The default state is
- off. To write automation information, press the
- button and select write from the drop-down list.
- After engaging the transport, movement of the control will be recorded for
- playback when the play automation mode is
- selected. Touch mode automatically switches from
- play to write as the
- control is first selected with the mouse button and released, respectively.
- The automation data is accessible from the editor window, along with the
- other automation data for the track.
-
-
+
+ Next to each control is an automation mode button. The default state
+ is off. To write automation information,
+ press the button and select write from the
+ drop-down list. After engaging the transport, movement of the control
+ will be recorded for playback when the play
+ automation mode is selected. Touch mode
+ automatically switches from play to
+ write as the control is first selected with
+ the mouse button and released, respectively. The automation data is
+ accessible from the editor window, along with the other automation
+ data for the track.
+
+
-
- The Export Window
-
- The export window appears when either export session to
- audiofile or export range to
- audiofile have been selected from the session menu. This
- window enables an audio file to be rendered from either the master bus or
- individual tracks in freewheel mode. A large range of audio file formats
- are supported, as is the ability to export a CUE or TOC file representing
- any CD index or track markers you may have in the session. Bit depth
- reduction can be performed with three types of dither, or no dither.
-
-
+
+ The Export Window
+
+ The export window appears when either export session to
+ audiofile or export range to
+ audiofile have been selected from the session menu. This
+ window enables an audio file to be rendered from either the master bus
+ or individual tracks in freewheel mode. A large range of audio file
+ formats are supported, as is the ability to export a CUE or TOC file
+ representing any CD index or track markers you may have in the
+ session. Bit depth reduction can be performed with three types of
+ dither, or no dither.
+
+
-
- The Crossfade Editor Window
-
- The crossfade editor will appear whenever you select
- crossfadeedit
- from any active or inactive crossfade in the editor window. This window
- allows you to customise the default crossfade that is automatically applied
- when two regions overlap. Provision is made for auditioning different
- elements of the crossfade, or the crossfade as a whole.
-
-
+
+ The Crossfade Editor Window
+
+ The crossfade editor will appear whenever you select
+ crossfadeedit
+ from any active or inactive crossfade in the editor
+ window. This window allows you to customise the default crossfade that
+ is automatically applied when two regions overlap. Provision is made
+ for auditioning different elements of the crossfade, or the crossfade
+ as a whole.
+
+
-
- the Locations Window
-
- The locations window provides a means to locate to and define points and
- ranges in your session. Points and ranges may also be 'promoted' to be CD
- Index or CD Track markers, respectively. Once promoted, they may be
- exported to a standard T.O.C. or CUE file along with the exported audio
- using the export window. The locations window will appear when
- windowslocations
- is selected from the editor window.
-
-
+
+ the Locations Window
+
+ The locations window provides a means to locate to and define points
+ and ranges in your session. Points and ranges may also be 'promoted'
+ to be CD Index or CD Track markers, respectively. Once promoted, they
+ may be exported to a standard T.O.C. or CUE file along with the
+ exported audio using the export window. The locations window will
+ appear when windows
+ locations is selected from the
+ editor window.
+
+
-
-
+
-
diff --git a/manual/xml/recording.xml b/manual/xml/recording.xml
index 2b56bdf40a..6b3feb6112 100644
--- a/manual/xml/recording.xml
+++ b/manual/xml/recording.xml
@@ -5,15 +5,15 @@
]>
- Recording
-
- This section covers the main points of recording audio into an Ardour
- session.
-
- Recording
+
+ This section covers the main points of recording audio into an Ardour
+ session.
+
+
-
-
diff --git a/manual/xml/renaming_tracks.xml b/manual/xml/renaming_tracks.xml
index e1318550a7..22aa34e72b 100644
--- a/manual/xml/renaming_tracks.xml
+++ b/manual/xml/renaming_tracks.xml
@@ -5,52 +5,55 @@
]>
- Renaming Tracks
-
- Tracks can be renamed from within the Editor
- Window or the Mixer Window.
-
+ Renaming Tracks
+
+ Tracks can be renamed from within the
+ Editor Window or the
+ Mixer Window.
+
-
- To change the name of a track in the Editor Window click within the track
- name field in the Track Controls,
- enter the new track name and press the Enter key to confirm
- the change.
-
-
-
-
-
-
-
- If you decide not to rename a track after already changing the content of
- the track name field but before confirming the change pressing the
- ESC key will restore the original track name.
-
-
-
- Several tracks can be renamed quickly in sequence by using the
- Tab key to move the focus between the track name fields.
-
-
-
- To change the name of a track in Mixer Window click on the track name button
- and choose Rename from the pop-up menu.
-
-
-
-
-
-
-
- A dialog will then appear allowing you to rename the track, input the new
- name and press Enter or click
- Rename to confirm the name change.
-
+
+ To change the name of a track in the Editor Window click within the
+ track name field in the Track
+ Controls, enter the new track name and press the
+ Enter key to confirm the change.
+
+
+
+
+
+
+
+ If you decide not to rename a track after already changing the content
+ of the track name field but before confirming the change pressing the
+ ESC key will restore the original track name.
+
+
+
+ Several tracks can be renamed quickly in sequence by using the
+ Tab key to move the focus between the track name
+ fields.
+
+
+
+ To change the name of a track in Mixer Window click on the track name
+ button and choose Rename from the pop-up
+ menu.
+
+
+
+
+
+
+
+ A dialog will then appear allowing you to rename the track, input the
+ new name and press Enter or click
+ Rename to confirm the name change.
+
-
-
- Changes to track names cannot be undone.
-
-
+
+
+ Changes to track names cannot be undone.
+
+
diff --git a/manual/xml/saving_a_session.xml b/manual/xml/saving_a_session.xml
index 3fcd84a5b3..b430a90256 100644
--- a/manual/xml/saving_a_session.xml
+++ b/manual/xml/saving_a_session.xml
@@ -1,41 +1,32 @@
+
+ Saving a Session
+
+ Ardour will save your session every time you add a new track/bus, and
+ after every capture. Saving regularly at other times will help ensure
+ that your work is preserved on your disk drive.
+
- Saving a Session
+
+ Save the Session File
+
+ Choose Session
+ Save to save the changes that
+ have been made to the session.
+
-
- Ardour will save your session every time you add a new track/bus,
- and after every capture. Saving regularly at other times will help
- ensure that your work is preserved on your disk drive.
-
-
-
-
- Save the Session File
-
-
- Choose
-
- Session
- Save
-
- to save the changes that have been made to the session.
-
-
-
-
- Saving a session writes a new session in place of the old one, and it
- cannot be undone.
-
-
-
-
-
-
+
+ Saving a session writes a new session in place of the old one, and
+ it cannot be undone.
+
+
+
+
-
diff --git a/manual/xml/sessions.xml b/manual/xml/sessions.xml
index e7c153ee1c..a9e31f5790 100644
--- a/manual/xml/sessions.xml
+++ b/manual/xml/sessions.xml
@@ -1,39 +1,29 @@
+
-
- Sessions
-
-
- This chapter covers the basics of starting a new project with Ardour,
- including how to set up a session.
-
-
- Sessions
+
+ This chapter covers the basics of starting a new project with Ardour,
+ including how to set up a session.
+
+
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
diff --git a/manual/xml/setting_up_to_record.xml b/manual/xml/setting_up_to_record.xml
index bde52fd06a..88b94bd816 100644
--- a/manual/xml/setting_up_to_record.xml
+++ b/manual/xml/setting_up_to_record.xml
@@ -5,225 +5,229 @@
]>
- Setting Up To Record
-
- This page needs massive work
-
+ Setting Up To Record
+
+ This page needs massive work
+
-
- It is very important that you check your system is connected and configured
- correctly before attempting to record. See Hardware Installation for more
- information on this topic.
-
+
+ It is very important that you check your system is connected and
+ configured correctly before attempting to record. See Hardware
+ Installation for more information on this topic.
+
-
- Connections
-
-
+
+ Connections
+
+
-
- Levels
-
-
+
+ Levels
+
+
-
- Clipping
-
-
+
+ Clipping
+
+
-
- Record Enabling Tracks
-
-
+
+ Record Enabling Tracks
+
+
-
- Monitoring
-
-
+
+ Monitoring
+
+
-
- Hardware Monitoring
-
-
+
+ Hardware Monitoring
+
+
-
- Software Monitoring
-
-
+
+ Software Monitoring
+
+
-
- Latency
-
-
+
+ Latency
+
+
-
- External Monitoring
-
-
+
+ External Monitoring
+
+
-
- Auto-Input
-
-
+
+ Auto-Input
+
+
-
- Track Naming
-
-
+
+ Track Naming
+
+
-
- Default names
-
-
+
+ Default names
+
+
-
- Disk Allocation
-
- It is of course possible to use Ardour on a single-disk system, but you are
- more likely to have performance problems this way.
-
+
+ Disk Allocation
+
+ It is of course possible to use Ardour on a single-disk system, but
+ you are more likely to have performance problems this way.
+
-
- If you have more than one disk available, we highly recommend using one
- "system" disk and one or more "audio" disks.
-
+
+ If you have more than one disk available, we highly recommend using
+ one "system" disk and one or more "audio" disks.
+
-
- Using the system disk
-
- The "system" disk is the main disk on which your operating system and
- (usually) all your installed software reside.
-
+
+ Using the system disk
+
+ The "system" disk is the main disk on which your operating system
+ and (usually) all your installed software reside.
+
-
- If you have any other disks available, it is usually
- not
- advisable to put your Ardour session and all its soundfiles on the main
- system disk. The reason is that this disk may be used at any time by the
- OS or other programs and, if Ardour is trying to play a large amount of
- disk data at that moment, in the worst case this can cause Ardour's
- playback to stop completely. (insert screenshot of error dialog here)
-
+
+ If you have any other disks available, it is usually
+ not advisable to put your Ardour session and
+ all its soundfiles on the main system disk. The reason is that this
+ disk may be used at any time by the OS or other programs and, if
+ Ardour is trying to play a large amount of disk data at that moment,
+ in the worst case this can cause Ardour's playback to stop
+ completely. (insert screenshot of error dialog here)
+
-
- Even so, if you have only two disks (the system disk and your audio disk),
- it is possible that a large session will reach the performance limits of a
- single dedicated audio disk. In this case, it may be better to put some
- audio data on the system disk as described in the Soft RAID section below.
-
-
+
+ Even so, if you have only two disks (the system disk and your audio
+ disk), it is possible that a large session will reach the
+ performance limits of a single dedicated audio disk. In this case,
+ it may be better to put some audio data on the system disk as
+ described in the Soft RAID section below.
+
+
-
- Using Multiple Disks
-
- Hardware RAID
-
- You can of course use a normal RAID disk array to spread data across
- multiple disks. This is beyond the scope of this manual.
-
-
+
+ Using Multiple Disks
+
+ Hardware RAID
+
+ You can of course use a normal RAID disk array to spread data
+ across multiple disks. This is beyond the scope of this manual.
+
+
-
- Ardour's "Soft" RAID Path
-
- It is possible to spread the resources for your Ardour session across
- multiple disks. This can increase the number of tracks or regions you can
- work with at once.
-
+
+ Ardour's "Soft" RAID Path
+
+ It is possible to spread the resources for your Ardour session
+ across multiple disks. This can increase the number of tracks or
+ regions you can work with at once.
+
-
- There is no reason to do this if your computer has only one disk.
-
+
+ There is no reason to do this if your computer has only one disk.
+
-
- To use the "soft RAID" feature, manually create a new directory on
- another disk. Open the Options Editor window. Click on the Paths/Files
- tab. In the "session RAID path" text box, you will see that the default
- value is the path to the directory where your current session lives. But
- this Session RAID Path can actually be a colon-separated list of
- directories. To add your new directory to this list, type a single colon
- after the existing Session RAID Path, followed by the full path to the
- new directory. Ardour will now record new tracks to either directory.
- (question: how does ardour decide which files go where?)
-
+
+ To use the "soft RAID" feature, manually create a new directory on
+ another disk. Open the Options Editor window. Click on the
+ Paths/Files tab. In the "session RAID path" text box, you will see
+ that the default value is the path to the directory where your
+ current session lives. But this Session RAID Path can actually be
+ a colon-separated list of directories. To add your new directory
+ to this list, type a single colon after the existing Session RAID
+ Path, followed by the full path to the new directory. Ardour will
+ now record new tracks to either directory. (question: how does
+ ardour decide which files go where?)
+
-
- You can squeeze some more disk performance out of an existing session by
- following the above procedure, then manually moving some files from the
- sounds/
- subdirectory of the existing session into a
- sounds/
- subdirectory of your new directory. Be very careful when doing this! If
- you accidentally delete these sound files, Ardour cannot magically fix it
- for you.
-
+
+ You can squeeze some more disk performance out of an existing
+ session by following the above procedure, then manually moving
+ some files from the
+ sounds/
+ subdirectory of the existing session into a
+ sounds/
+ subdirectory of your new directory. Be very careful when doing
+ this! If you accidentally delete these sound files, Ardour cannot
+ magically fix it for you.
+
-
-
- If you use the "soft" RAID feature described above, take care to
- remember this when making and restoring session backups! You will not be
- happy if you forget to back up one of your data directories; and
- restoring a backup won't work if you don't make sure that the "Session
- RAID Path" setting corresponds to the directories where you actually put
- the restored files.
-
-
-
-
-
+
+
+ If you use the "soft" RAID feature described above, take care to
+ remember this when making and restoring session backups! You
+ will not be happy if you forget to back up one of your data
+ directories; and restoring a backup won't work if you don't make
+ sure that the "Session RAID Path" setting corresponds to the
+ directories where you actually put the restored files.
+
+
+
+
+
-
- Recording modes
-
- destructive recording
-
- When creating tracks, there are 2 different options: Normal tracks and
- Tape tracks. Tape tracks implement a "destructive" style of recording that
- is useful when you will be making multiple recordings to the same track,
- and you don't want to keep a separate "region" on disk for each take.
- There is no undo function (yet) and there is no way to edit a tape track
- (yet). So what is this good for? Well, consider the case where you are
- doing a final mixdown of a project. You could record-enable two Tape
- tracks, and send the master bus output to these tracks. Every time you
- play through a section of the project, the resulting mix will be recorded
- onto the continuous tape track. Once you reach the end of the project, you
- can send the resultant wav file directly to the next production step.
- There is no "rendering" step required. The utility of this increases when
- you are using an outboard, automated mixer. This type of recording is very
- common on a film dubbing stage.
-
-
-
+
+ Recording modes
+
+ destructive recording
+
+ When creating tracks, there are 2 different options: Normal tracks
+ and Tape tracks. Tape tracks implement a "destructive" style of
+ recording that is useful when you will be making multiple recordings
+ to the same track, and you don't want to keep a separate "region" on
+ disk for each take. There is no undo function (yet) and there is no
+ way to edit a tape track (yet). So what is this good for? Well,
+ consider the case where you are doing a final mixdown of a project.
+ You could record-enable two Tape tracks, and send the master bus
+ output to these tracks. Every time you play through a section of the
+ project, the resulting mix will be recorded onto the continuous tape
+ track. Once you reach the end of the project, you can send the
+ resultant wav file directly to the next production step. There is no
+ "rendering" step required. The utility of this increases when you
+ are using an outboard, automated mixer. This type of recording is
+ very common on a film dubbing stage.
+
+
+
-
- loop recording
-
-
+
+ loop recording
+
+
-
- Punch Recording
-
-
+
+ Punch Recording
+
+
-
- Recording with a Click track
-
-
+
+ Recording with a Click track
+
+
-
- The Click Track
-
- Enabling the click Routing the click Specifying click sounds Default Meter
- Default Tempo
-
-
+
+ The Click Track
+
+ Enabling the click Routing the click Specifying click sounds Default
+ Meter Default Tempo
+
+
-
- Tempo
-
- manual tempo tap tempo
-
-
+
+ Tempo
+
+ manual tempo tap tempo
+
+
-
- A snapshot is nothing more than a new session file. It still references the
- same audio and automation data as the primary session file.
-
+
+ A snapshot is nothing more than a new session file. It still references
+ the same audio and automation data as the primary session file.
+
-
-
- Saving a snapshot does not change the status of the current session. It
- does not change what will happen when you choose
- SessionSave at a
- later time. Note that a snapshot is not a new session.
-
-
+
+
+ Saving a snapshot does not change the status of the current session.
+ It does not change what will happen when you choose
+ SessionSave
+ at a later time. Note that a snapshot is not a new session.
+
+
-
diff --git a/manual/xml/tracks_and_busses.xml b/manual/xml/tracks_and_busses.xml
index cbe1d7c662..d008a64864 100644
--- a/manual/xml/tracks_and_busses.xml
+++ b/manual/xml/tracks_and_busses.xml
@@ -5,319 +5,317 @@
]>
- Tracks and Busses
-
- This chapter covers basic management of tracks. Tracks are probably the most
- important objects in Ardour. They represent the fundamental way to playback
- and record audio, MIDI, and image data.
-
-
-
-
-
-
-
- Creating Tracks
-
- Tracks may be added to the session at any time.
-
-
-
- Creating a new Track
-
-
- Choose SessionAdd
- Track/Bus
-
-
-
-
- add_track.ps Add Track Dialog
-
-
-
-
- In the Add Tracks dialog, choose whether you wish to add a new Track or a
- new Bus.
-
-
-
-
- Enter the number of new tracks/busses you want to add.
-
-
-
-
- Choose the I/O configuration of the tracks/busses you are adding using
- the clickbox.
-
-
-
-
-
- Tracks and Busses
+
+ This chapter covers basic management of tracks. Tracks are probably the
+ most important objects in Ardour. They represent the fundamental way to
+ playback and record audio, MIDI, and image data.
+
+
+
+
+
+
+
+ Creating Tracks
+
+ Tracks may be added to the session at any time.
+
+ Creating a new Track
+
+
+ Choose SessionAdd
+ Track/Bus
+
+
+
+
+ add_track.ps Add Track Dialog
+
+
+
+
+ In the Add Tracks dialog, choose whether you wish to add a new
+ Track or a new Bus.
+
+
+
+
+ Enter the number of new tracks/busses you want to add.
+
+
+
+
+ Choose the I/O configuration of the tracks/busses you are adding
+ using the clickbox.
+
+
+
+
+
+
+ Deleting Tracks
+
+ Deleting a track is permanent operation that cannot be undone.
+ However, since the audio, MIDI, automation and other data associated
+ with the track will remain as part of the session, and the actual
+ playlist(s) that were in use by the track are still available. for use
+ by other tracks. As a result, although inadvertently deleting a track
+ is inconvenient, it doesn't result in any significant loss of
+ information.
+
-
- Deleting Tracks
-
- Deleting a track is permanent operation that cannot be undone. However,
- since the audio, MIDI, automation and other data associated with the track
- will remain as part of the session, and the actual playlist(s) that were in
- use by the track are still available. for use by other tracks. As a result,
- although inadvertently deleting a track is inconvenient, it doesn't result
- in any significant loss of information.
-
+
+ deleting a track
+
+ Click on the name of the track you want to delete. From the menu
+ that appears, select Remove. A
+ confirmation dialog will appear to ensure that you really meant to
+ remove the track.
+
+
+
-
- deleting a track
-
- Click on the name of the track you want to delete. From the menu that
- appears, select Remove. A confirmation dialog will appear to ensure that
- you really meant to remove the track.
-
-
-
+
+ Hiding Tracks
+
+ The track list on the left edge of the Editor and Mixer can be used to
+ hide or show specific tracks in either or both of those two windows.
+ To hide a track, click to on the tracks name in the relevant track
+ list. To show a track, click on its name in the track list. Visible
+ tracks have their names shown in cyan, hidden ones in orange.
+
-
- Hiding Tracks
-
- The track list on the left edge of the Editor and Mixer can be used to hide
- or show specific tracks in either or both of those two windows. To hide a
- track, click to on the tracks name in the relevant track list. To show a
- track, click on its name in the track list. Visible tracks have their names
- shown in cyan, hidden ones in orange.
-
+
+ You can also hide any track by clicking its hide button
+ (images/hidebutton.ps).
+
-
- You can also hide any track by clicking its hide button
- (images/hidebutton.ps).
-
+
+ Hiding a track in the Editor has no effect on its visibility in the
+ Mixer, and vice versa. Hiding a track in one or both windows does not
+ affect the playback of that track's material.
+
+
-
- Hiding a track in the Editor has no effect on its visibility in the Mixer,
- and vice versa. Hiding a track in one or both windows does not affect the
- playback of that track's material.
-
-
+
+ Track Visibility
+
+ Showing all Tracks
+
+ Click on the titlebar of the track list of the Editor or Mixer. From
+ the menu that appears, select "Show All"
+
+
-
- Track Visibility
-
- Showing all Tracks
-
- Click on the titlebar of the track list of the Editor or Mixer. From the
- menu that appears, select "Show All"
-
-
+
+ Hiding all Tracks
+
+ Click on the titlebar of the track list of the Editor or Mixer. From
+ the menu that appears, select "Hiding All".
+
+
-
- Hiding all Tracks
-
- Click on the titlebar of the track list of the Editor or Mixer. From the
- menu that appears, select "Hiding All".
-
-
+
+ Showing certain classes of tracks
+
+ Click on the titlebar of the track list of the Editor or Mixer. From
+ the menu that appears, select "Show All Audio Tracks", or "Show all
+ Busses" as appropriate.
+
+
-
- Showing certain classes of tracks
-
- Click on the titlebar of the track list of the Editor or Mixer. From the
- menu that appears, select "Show All Audio Tracks", or "Show all Busses" as
- appropriate.
-
-
+
+ Hiding certain classes of tracks
+
+ Click on the titlebar of the track list of the Editor or Mixer. From
+ the menu that appears, select "Hide All Audio Tracks", or "Hide all
+ Busses" as appropriate.
+
+
-
- Hiding certain classes of tracks
-
- Click on the titlebar of the track list of the Editor or Mixer. From the
- menu that appears, select "Hide All Audio Tracks", or "Hide all Busses" as
- appropriate.
-
-
+
+ Reordering Tracks
+
+ Tracks may be reordered by clicking on their name in one of the
+ track lists and dragging it to a new position in the list. Note that
+ the order of tracks in the editor is totally independent of their
+ order in the mixer.
+
+
+
-
- Reordering Tracks
-
- Tracks may be reordered by clicking on their name in one of the track
- lists and dragging it to a new position in the list. Note that the order
- of tracks in the editor is totally independent of their order in the
- mixer.
-
-
-
+
+ I/O Configuration
+
+
-
- I/O Configuration
-
-
+
+ Soloing Tracks
+
+ "Soloing" a track refers to changing some aspect of the signal flow
+ through Ardour that makes it possible to listen to one (or just a few)
+ tracks at a time. It is often done during mixing and mastering to help
+ an audio engineer listen carefully to parts of the mix.
+
-
- Soloing Tracks
-
- "Soloing" a track refers to changing some aspect of the signal flow through
- Ardour that makes it possible to listen to one (or just a few) tracks at a
- time. It is often done during mixing and mastering to help an audio
- engineer listen carefully to parts of the mix.
-
+
+ Tracks may be soloed at any time. When one or more tracks are soloed,
+ all non-soloedntracks will no longer be audible.
+
-
- Tracks may be soloed at any time. When one or more tracks are soloed, all
- non-soloedntracks will no longer be audible.
-
+
+ Soloing tracks does not affect the solo status of busses, nor vice
+ versa. That is, soloing a track leaves all busses audible and soloing
+ a track leaves all tracks "audible". You may not actually be able to
+ hear the "audible" material if it is routed through a non-soloed bus.
+
-
- Soloing tracks does not affect the solo status of busses, nor vice versa.
- That is, soloing a track leaves all busses audible and soloing a track
- leaves all tracks "audible". You may not actually be able to hear the
- "audible" material if it is routed through a non-soloed bus.
-
+
+ This design is intended to allow FX busses and master outs to be
+ useful even when soloing. Soloing is made significantly more complex
+ by the presence of control outs (see control_outs_soloing for more
+ details on soloing with control outs).
+
-
- This design is intended to allow FX busses and master outs to be useful
- even when soloing. Soloing is made significantly more complex by the
- presence of control outs (see control_outs_soloing for more details on
- soloing with control outs).
-
+
+ Rude Solo Light
+
+ Whenever one or more tracks are soloed, the "rude solo light" in the
+ transport window will flash. You can cancel any current solos by
+ clicking on the "rude solo light".
+
+
-
- Rude Solo Light
-
- Whenever one or more tracks are soloed, the "rude solo light" in the
- transport window will flash. You can cancel any current solos by clicking
- on the "rude solo light".
-
-
+
+ Solo modes
+
+ Ardour has two solo modes.
+
-
- Solo modes
-
- Ardour has two solo modes.
-
+
+
+
+ solo latch
+
+
+ soloing a track adds it to the set of soloed tracks, so you
+ may have any number of soloed tracks.
+
+
+
-
-
-
- solo latch
-
-
- soloing a track adds it to the set of soloed tracks, so you may have
- any number of soloed tracks.
-
-
-
+
+ solo unlatch
+
+
+ soloing a track unsolos any other soloed track, so you can
+ have only one soloed track at a time.
+
+
+
+
+
-
- solo unlatch
-
-
- soloing a track unsolos any other soloed track, so you can have only
- one soloed track at a time.
-
-
-
-
-
+
+ Changing Solo Mode
+
+ To change the solo mode, goto the Options editor (options_editor)
+ and view the Misc tab.
+
+
-
- Changing Solo Mode
-
- To change the solo mode, goto the Options editor (options_editor) and view
- the Misc tab.
-
-
+
+ Soloing a Track
+
+ To toggle the solo state of a track, click on the solo button in
+ either the mixer strip for the track or the track controls section
+ in the editor.
+
-
- Soloing a Track
-
- To toggle the solo state of a track, click on the solo button in either
- the mixer strip for the track or the track controls section in the editor.
-
+
+ To toggle the solo state of all tracks in an edit or mix group, use
+ Ctrl1 on the solo button of a track in the group. If you do this in
+ the Editor, the edit group will be used; in the Mixer, the mix group
+ will be used.
+
-
- To toggle the solo state of all tracks in an edit or mix group, use Ctrl1
- on the solo button of a track in the group. If you do this in the Editor,
- the edit group will be used; in the Mixer, the mix group will be used.
-
+
+ To toggle the solo state of all tracks, use
+ CtrlShiftButton1
+ on a track solo button.
+
+
-
- To toggle the solo state of all tracks, use
- CtrlShiftButton1
- on a track solo button.
-
-
+
+ Solo safe
+
+ To protect a track's current solo status, use Shift1 on that track's
+ solo button. The color of the button will change to a pale blue to
+ indicate "solo safe" status. No changes to the solo state for that
+ track are possible until "solo safe" has been unset for the track.
+
+
-
- Solo safe
-
- To protect a track's current solo status, use Shift1 on that track's solo
- button. The color of the button will change to a pale blue to indicate
- "solo safe" status. No changes to the solo state for that
- track are possible until "solo safe" has been unset for the track.
-
-
+
+ Momentary solo
+
+ Use 2 on a track's solo button to solo the track for as long as the
+ mouse button is pressed.
+
+
+
-
- Momentary solo
-
- Use 2 on a track's solo button to solo the track for as long as the mouse
- button is pressed.
-
-
-
+
+ Track Display Size
+
+ In the editor window, tracks always extend across the full extent of
+ the track display area, but they can have varying heights. In the
+ mixer window, tracks always from the top to the bottom of the mixer
+ (as strips), but they can have varying widths.
+
-
- Track Display Size
-
- In the editor window, tracks always extend across the full extent of the
- track display area, but they can have varying heights. In the mixer window,
- tracks always from the top to the bottom of the mixer (as strips), but they
- can have varying widths.
-
+
+ Changing editor track height
+
+
-
- Changing editor track height
-
-
+
+ Changing mixer track width
+
+
+
-
- Changing mixer track width
-
-
-
+
+ Grouping Tracks
+
+ Creating a Group
+
+
-
- Grouping Tracks
-
- Creating a Group
-
-
+
+ Renaming a Group
+
+
-
- Renaming a Group
-
-
+
+ Changing members of a group
+
+
-
- Changing members of a group
-
-
+
+ Deleting a Group
+
+
+
-
- Deleting a Group
-
-
-
-
-
- Track Controls
-
-
-
-
+ Track Controls
+
+
+
-
-
diff --git a/manual/xml/user_interface_conventions.xml b/manual/xml/user_interface_conventions.xml
index b79fea1e87..61f80ad6ba 100644
--- a/manual/xml/user_interface_conventions.xml
+++ b/manual/xml/user_interface_conventions.xml
@@ -5,173 +5,177 @@
]>
- Interface Basics
+ Interface Basics
+
+ Although Ardour has a fairly conventional graphical user interface,
+ there are a few elements that are unique to it and are probably new to
+ you. This chapter provides a guide to using these aspects of the
+ interface.
+
-
- Although Ardour has a fairly conventional graphical user interface, there
- are a few elements that are unique to it and are probably new to you. This
- chapter provides a guide to using these aspects of the interface.
-
+
+ Mouse Clicks
+
+ Click
+
+ When we say "click on" without specifying a mouse button, we mean
+ use Button1 to click on a user interface
+ element (button, fader, menu, etc).
+
+
-
- Mouse Clicks
+
+ Context Click
+
+ As in most graphical user interfaces today, a "context click"
+ (Button3) in many parts of the user
+ interface will popup a context-specific menu, allowing you to set
+ parameters or carry out operations. There are a lot of examples of
+ this, but trying it on an audio region, a mixer mute button and a
+ mixer strip name will show the general idea.
+
+
-
- Click
+
+ Delete & Edit Click
+
+ There are two additional mouse/key combinations that you should be
+ familiar and comfortable with. They are called "delete click" and
+ "edit click", and by default they consist
+ ShiftButton3
+ click and
+ CtrlButton3
+ click respectively. A delete click on most objects within Ardour's
+ editor will delete that object. This includes regions, markers,
+ curve control points and so on. An edit click on the any of the same
+ kind of objects will pop up an editor dialog for that object.
+
+
+
-
- When we say "click on" without specifying a mouse button, we mean use
- Button1 to click on a user interface element (button, fader, menu, etc).
-
-
+
+ Clocks
+
+ There are several clocks in Ardour's user interface, some of them
+ visible all the time, others in windows that are only shown by
+ request. All these clocks are identical to each other in their
+ functionality, although some can be edited by the user and some are
+ for display only.
+
-
- Context Click
+
+ Context clicking on a clock brings up a menu that allows you to modify
+ the display mode of that clock. The choices are:
+
-
- As in most graphical user interfaces today, a "context click" (Button3) in
- many parts of the user interface will popup a context-specific menu,
- allowing you to set parameters or carry out operations. There are a lot of
- examples of this, but trying it on an audio region, a mixer mute button
- and a mixer strip name will show the general idea.
-
-
+
+
+
+ Audio Frames
+
+
-
- Delete & Edit Click
+
+
+ BBT (Bars,Beats,Ticks - musical tempo & meter based time)
+
+
-
- There are two additional mouse/key combinations that you should be
- familiar and comfortable with. They are called "delete click" and "edit
- click", and by default they consist
- ShiftButton3 click and
- CtrlButton3 click respectively. A delete click on most objects within
- Ardour's editor will delete that object. This includes regions, markers,
- curve control points and so on. An edit click on the any of the same kind
- of objects will pop up an editor dialog for that object.
-
-
-
+
+
+ SMPTE
+
+
-
- Clocks
+
+
+ Min:Sec
+
+
+
-
- There are several clocks in Ardour's user interface, some of them visible
- all the time, others in windows that are only shown by request. All these
- clocks are identical to each other in their functionality, although some
- can be edited by the user and some are for display only.
-
+
+ Each clock mode has a number of different fields. For example, SMPTE
+ has hours, minutes, seconds, and video frames.
+
-
- Context clicking on a clock brings up a menu that allows you to modify the
- display mode of that clock. The choices are:
-
+
+ To edit the value of a particular clock, click in the leftmost field
+ you want to modify. You can then enter a new value for that field
+ using numeric keys, along with '.' where appropriate. Editing will
+ move the next field of the clock after you have entered the maximum
+ number of digits for a field. To move to the next field before this
+ press Tab. To finish editing, either press Return or
+ use the Tab key to advance through all remaining
+ fields.
+
+
-
-
-
- Audio Frames
-
-
-
-
- BBT (Bars,Beats,Ticks - musical tempo & meter based time)
-
-
-
-
- SMPTE
-
-
-
-
- Min:Sec
-
-
-
+
+ Bar Controllers
+
+ Bar controllers were inspired by a comment made by "Larry the O" in
+ Electronic Musician in 2001.
+
-
- Each clock mode has a number of different fields. For example, SMPTE has
- hours, minutes, seconds, and video frames.
-
+
+ A bar controller is a user interface element that works rather
+ differently than any standard element found in most programs. They are
+ used to provide a combined method of displaying and modifying a
+ parameter.
+
-
- To edit the value of a particular clock, click in the leftmost field you
- want to modify. You can then enter a new value for that field using numeric
- keys, along with '.' where appropriate. Editing will move the next field of
- the clock after you have entered the maximum number of digits for a field.
- To move to the next field before this press Tab. To finish editing, either
- press Return or use the Tab key to advance through all remaining fields.
-
-
+
+ To graphically edit the value of the parameter represented by a bar
+ controller, press Button1 and drag the
+ controller left/right or up/down as appropriate. To edit the value
+ with greater precision, double click the controller and it will
+ transform into a data entry box. You can enter an exact value for the
+ parameter, or use arrow buttons to increment/decrement the displayed
+ value. When you are finished editing, the Enter or Tab keys will
+ transform the data entry box back into the normal version of the bar
+ controller.
+
+
-
- Bar Controllers
+
+ Click Boxes
+
+ Click boxes were also inspired by Larry's comment.
+
-
- Bar controllers were inspired by a comment made by "Larry the O" in
- Electronic Musician in 2001.
-
+
+ A click box is, as its name suggests, just a part of a window you can
+ click on to change some parameter or control value.
+
-
- A bar controller is a user interface element that works rather differently
- than any standard element found in most programs. They are used to provide
- a combined method of displaying and modifying a parameter.
-
+
+ Clicking with 3 moves the parameter to the next value, clicking with 1
+ moves to the previous value. Clicking and holding either button will
+ automatically advance through the possible values in the appropriate
+ direction.
+
-
- To graphically edit the value of the parameter represented by a bar
- controller, press Button1 and drag the controller left/right or up/down as
- appropriate. To edit the value with greater precision, double click the
- controller and it will transform into a data entry box. You can enter an
- exact value for the parameter, or use arrow buttons to increment/decrement
- the displayed value. When you are finished editing, the Enter or Tab keys
- will transform the data entry box back into the normal version of the bar
- controller.
-
-
+
+
+ we are slowly eliminating click boxes in favor of bar controllers
+
+
+
-
- Click Boxes
-
-
- Click boxes were also inspired by Larry's comment.
-
-
-
- A click box is, as its name suggests, just a part of a window you can click
- on to change some parameter or control value.
-
-
-
- Clicking with 3 moves the parameter to the next value, clicking with 1
- moves to the previous value. Clicking and holding either button will
- automatically advance through the possible values in the appropriate
- direction.
-
-
-
-
- we are slowly eliminating click boxes in favor of bar controllers
-
-
-
-
-
- Panes
-
-
- Panes are user interface elements that allow you to adjust the relative
- sizes of two sections of a window. The panes in Ardour work perfectly
- normally but have one additional feature: a Delete-click on the pane
- divider will completely hide one side of its two sections. Which section
- depends on the pane, and is not user configurable, but is neary always
- precisely what you'd want anyway. If the pane is already hidden, then
- Delete-click (on the still-visible pane) will restore it to the size it had
- before it was hidden.
-
-
+
+ Panes
+
+ Panes are user interface elements that allow you to adjust the
+ relative sizes of two sections of a window. The panes in Ardour work
+ perfectly normally but have one additional feature: a Delete-click on
+ the pane divider will completely hide one side of its two sections.
+ Which section depends on the pane, and is not user configurable, but
+ is neary always precisely what you'd want anyway. If the pane is
+ already hidden, then Delete-click (on the still-visible pane) will
+ restore it to the size it had before it was hidden.
+
+
- .
-
-
+ .
+
+
-
- No restrictions on track I/O configuration
-
- Tracks and busses in ardour do not come in pre-determined configurations.
- You can create a mono track, and convert it to a stereo track at any time.
- You can convert it to a track with 3 inputs and 7 outputs if you want,
- because Ardour also doesn't restrict track I/O configurations to a fixed
- set of mono/stereo/5.1/7.1 etc. In addition, because of Ardour's use of
- JACK , a track with one input
- can actually receive data from many different locations. You can also
- connect any track to any number of other tracks and busses. In Ardour, the
- only difference between a track and a bus is that a track plays back
- pre-recorded material from your disk drives and can record to them. Both
- tracks and busses can have plugins, sends, inserts, automation data and
- more.
-
-
+
+ No restrictions on track I/O configuration
+
+ Tracks and busses in ardour do not come in pre-determined
+ configurations. You can create a mono track, and convert it to a
+ stereo track at any time. You can convert it to a track with 3 inputs
+ and 7 outputs if you want, because Ardour also doesn't restrict track
+ I/O configurations to a fixed set of mono/stereo/5.1/7.1 etc. In
+ addition, because of Ardour's use of
+ JACK , a track with one
+ input can actually receive data from many different locations. You can
+ also connect any track to any number of other tracks and busses. In
+ Ardour, the only difference between a track and a bus is that a track
+ plays back pre-recorded material from your disk drives and can record
+ to them. Both tracks and busses can have plugins, sends, inserts,
+ automation data and more.
+
+
-
- Your audio hardware is not the only I/O option
-
- Because Ardour uses JACK , your
- session isn't limited to receiving and sending audio to and from your audio
- interface. It can freely send and receive audio signals to any other JACK
- application, in some cases even JACK applications running on other
- computers. On the one hand, this makes understanding the I/O options for a
- track or bus a little more complex than in a conventional program, but it
- also adds incredible power to Ardour, as you will see later.
-
-
+
+ Your audio hardware is not the only I/O option
+
+ Because Ardour uses JACK ,
+ your session isn't limited to receiving and sending audio to and from
+ your audio interface. It can freely send and receive audio signals to
+ any other JACK application, in some cases even JACK applications
+ running on other computers. On the one hand, this makes understanding
+ the I/O options for a track or bus a little more complex than in a
+ conventional program, but it also adds incredible power to Ardour, as
+ you will see later.
+
+
- Region Context Menu
-
- If you context-click on a region, a popup menu will appear. At or near the
- top of that menu is a list of all regions that exist in the clicked-upon
- track under the mouse pointer. Each region entry (shown by name) points to
- a submenu that contains region-specific operations:
-
+
+ Fixed-time copying
+
+ If you want to copy region(s) to other track(s) but keep the copies
+ at the exact position on the timeline as the originals, simply use
+ CtrlButton2
+ instead of
+ CtrlButton1.
+
+
+
-
-
-
- Popup region editor
-
-
- creates and displays the editor for this region, allowing even more
- specific control over the region than this menu
-
-
-
+
+ Trimming Regions
+
+
-
- Raise to top layer
-
-
- moves the region to the top layer of this track (works only in "Most
- recently added/moved/trimmed regions are higher" layer
- mode
-
-
-
+
+ Auditioning Regions
+
+
-
- Lower to bottom layer
-
-
- moves the region to the bottom layer of this track (works only in "Most
- recently added/moved/trimmed regions are higher" layer
- mode
-
-
-
+
+ Region Gain Envelopes
+
+
-
- Define sync point
-
-
- if the edit cursor is within this region, defines the region sync point
- at the edit cursor location.
-
-
-
+
+
+ Region Context Menu
+
+ If you context-click on a region, a popup menu will appear. At or near
+ the top of that menu is a list of all regions that exist in the
+ clicked-upon track under the mouse pointer. Each region entry (shown
+ by name) points to a submenu that contains region-specific operations:
+
-
- Remove sync point
-
-
-
-
+
+
+
+ Popup region editor
+
+
+ creates and displays the editor for this region, allowing even
+ more specific control over the region than this menu
+
+
+
-
- Audition
-
-
- plays this region via the auditioner
-
-
-
+
+ Raise to top layer
+
+
+ moves the region to the top layer of this track (works only in
+ "Most recently added/moved/trimmed regions are higher"
+ layer mode
+
+
+
-
- Export
-
-
- exports this region to a new audio file, via the export dialog (thus
- allowing resampling, dithering, format specification etc.)
-
-
-
+
+ Lower to bottom layer
+
+
+ moves the region to the bottom layer of this track (works only
+ in "Most recently added/moved/trimmed regions are higher"
+ layer mode
+
+
+
-
- Bounce
-
-
- re-records this region (with any plugins/inserts applied) to a new audio
- file, and replaces the region with one referring to the new file.
-
-
-
+
+ Define sync point
+
+
+ if the edit cursor is within this region, defines the region
+ sync point at the edit cursor location.
+
+
+
-
- Lock
-
-
- prevents the region from being moved, trimmed, or modified in almost any
- way.
-
-
-
+
+ Remove sync point
+
+
+
+
-
- Unlock
-
-
- removes the lock on region modification
-
-
-
+
+ Audition
+
+
+ plays this region via the
+ auditioner
+
+
+
-
- Mute
-
-
- makes the region silent during playback
-
-
-
+
+ Export
+
+
+ exports this region to a new audio file, via the export dialog
+ (thus allowing resampling, dithering, format specification etc.)
+
+
+
-
- Unmute
-
-
-
-
+
+ Bounce
+
+
+ re-records this region (with any plugins/inserts applied) to a
+ new audio file, and replaces the region with one referring to
+ the new file.
+
+
+
-
- Toggle envelope visibility
-
-
- shows/hides the region gain envelope
-
-
-
+
+ Lock
+
+
+ prevents the region from being moved, trimmed, or modified in
+ almost any way.
+
+
+
-
- Toggle envelope active
-
-
- turns the region gain envelope on/off (the line is gray when the
- envelope is off, green when it is on)
-
-
-
+
+ Unlock
+
+
+ removes the lock on region modification
+
+
+
-
- Original position
-
-
- if the region was recorded (and Broadcast WAVE was the native file
- format) moves the region to its original capture position
-
-
-
+
+ Mute
+
+
+ makes the region silent during playback
+
+
+
-
- Normalize
-
-
- alters the gain processing of the region so that the loudest sample is
- at 0dBFS
-
-
-
+
+ Unmute
+
+
+
+
-
- DeNormalize
-
-
- undoes the effect of a normalize
-
-
-
+
+ Toggle envelope visibility
+
+
+ shows/hides the region gain envelope
+
+
+
-
- Reverse
-
-
- writes the region to a new audio file with the contents reversed, and
- replaces the region with one referring to the new file
-
-
-
+
+ Toggle envelope active
+
+
+ turns the region gain envelope on/off (the line is gray when the
+ envelope is off, green when it is on)
+
+
+
-
- Nudge
-
-
- moves the region in various ways
-
-
-
+
+ Original position
+
+
+ if the region was recorded (and Broadcast WAVE was the native
+ file format) moves the region to its original capture position
+
+
+
-
- Nudge fwd
-
-
- moves the region forward by the amount shown in the nudge clock
-
-
-
+
+ Normalize
+
+
+ alters the gain processing of the region so that the loudest
+ sample is at 0dBFS
+
+
+
-
- Nudge bwd
-
-
- moves the region backward by the amount shown in the nudge clock
-
-
-
+
+ DeNormalize
+
+
+ undoes the effect of a normalize
+
+
+
-
- Nudge fwd by capture offset
-
-
- moves the region forward by the same offset that it might have been
- (incorrectly) adjusted by when captured
-
-
-
+
+ Reverse
+
+
+ writes the region to a new audio file with the contents
+ reversed, and replaces the region with one referring to the new
+ file
+
+
+
-
- Nudge bwd by capture offset
-
-
- moves the region backwards by the same offset that it might have been
- (incorrectly) adjusted by when captured
-
-
-
+
+ Nudge
+
+
+ moves the region in various ways
+
+
+
-
- Trim
-
-
-
-
+
+ Nudge fwd
+
+
+ moves the region forward by the amount shown in the nudge clock
+
+
+
-
- Start to edit cursor
-
-
- adjusts the start of the region to the current position of the edit
- cursor (if possible)
-
-
-
+
+ Nudge bwd
+
+
+ moves the region backward by the amount shown in the nudge clock
+
+
+
-
- Edit cursor to end
-
-
- adjusts the end of the region to the current position of the edit cursor
- (if possible)
-
-
-
+
+ Nudge fwd by capture offset
+
+
+ moves the region forward by the same offset that it might have
+ been (incorrectly) adjusted by when captured
+
+
+
-
- Split
-
-
- if the edit cursor is within the region, splits the region at the editor
- cursor location
-
-
-
+
+ Nudge bwd by capture offset
+
+
+ moves the region backwards by the same offset that it might have
+ been (incorrectly) adjusted by when captured
+
+
+
-
- Make mono regions
-
-
- if the region is a multi-channel one, creates new regions corresponding
- to each channel. The new regions are added to the editor's region list,
- not the track.
-
-
-
+
+ Trim
+
+
+
+
-
- Duplicate
-
-
- pops up a dialog allowing the region to be copied 1 or more times. Each
- copy is placed directly after the original or previous copy.
-
-
-
+
+ Start to edit cursor
+
+
+ adjusts the start of the region to the current position of the
+ edit cursor (if possible)
+
+
+
-
- Fill Track
-
-
- copies the region as many times as necessary to fill the track to the
- current session end mark. Each copy is placed directly after the
- original or previous copy.
-
-
-
+
+ Edit cursor to end
+
+
+ adjusts the end of the region to the current position of the
+ edit cursor (if possible)
+
+
+
-
- Remove
-
-
- remove the region from the track (non-destructive)
-
-
-
+
+ Split
+
+
+ if the edit cursor is within the region, splits the region at
+ the editor cursor location
+
+
+
-
- Destroy
-
-
- remove the region from the track and the editor region list, and if no
- other regions are referencing it, remove the audio file that the region
- is derived from. ( DESTRUCTIVE )
-
-
-
-
-
+
+ Make mono regions
+
+
+ if the region is a multi-channel one, creates new regions
+ corresponding to each channel. The new regions are added to the
+ editor's region list, not the track.
+
+
+
+
+
+ Duplicate
+
+
+ pops up a dialog allowing the region to be copied 1 or more
+ times. Each copy is placed directly after the original or
+ previous copy.
+
+
+
+
+
+ Fill Track
+
+
+ copies the region as many times as necessary to fill the track
+ to the current session end mark. Each copy is placed directly
+ after the original or previous copy.
+
+
+
+
+
+ Remove
+
+
+ remove the region from the track (non-destructive)
+
+
+
+
+
+ Destroy
+
+
+ remove the region from the track and the editor region list, and
+ if no other regions are referencing it, remove the audio file
+ that the region is derived from. (
+ DESTRUCTIVE )
+
+
+
+
+