<p>The name "Ardour" came from considerations of how to pronounce the acronym HDR(Hard Disk Recorder). The most obvious attempt sounds like a vowelless "harder" and it then was then a short step to an unrelated by slightly homophonic word:</p>
-<p><em>ardour “ n 1: a feeling of strong eagerness (usually in favor of a person or cause); "they were imbued with a revolutionary ardor"; "he felt a kind of religious zeal" [syn: ardor, elan, zeal] 2: intense feeling of love [syn: ardor] 3: feelings of great warmth and intensity; "he spoke with great ardor" [syn: ardor, fervor, fervour, fervency, fire, fervidness] ”</em></p>
+<p><em>ardour “ n 1: a feeling of strong eagerness (usually in favor of a person or cause); "they were imbued with a revolutionary ardor"; "he felt a kind of religious zeal" [syn: ardor, elan, zeal] 2: intense feeling of love [syn: ardor] 3: feelings of great warmth and intensity; "he spoke with great ardor" [syn: ardor, fervor, fervour, fervency, fire, fervidness] ”</em></p>
<p>Given the work required to develop Ardour, and the personality of its primary author, the name seemed appropriate even without the vague relationship to HDR.</p>
<p>Years later, another interpretation of "Ardour" appeared, this time based on listening to non-native English speakers attempt to pronounce the word. Rather than "Ardour", it became "Our DAW", which seemed poetically fitting for a Digital Audio Workstation whose source code and design belongs to a group of collaborators.</p>
<p> A track is a concept common to most <abbr title="Digital Audio Workstation">DAWs</abbr>, and also used in Ardour. Tracks can record audio or MIDI data to disk, and then replay it with processing. They also allow the audio or MIDI data to be edited in a variety of different ways.</p>
<p>In a typical pop production, one might use a track each for the kick drum, another for the snare, more perhaps for the drum overheads and others for bass, guitars and vocals.</p>
<p>Ardour can record to any number of tracks at one time, and then play those tracks back. On playback, a track's recordings may be processed by any number of plugins, panned, and its level altered to achieve a suitable mix.</p>
-<p>A track's type is really only related to the type of data that it stores on disk. It is possible, for example, to have a MIDI track with a synthesizer plugin which converts MIDI to audio. Even though the track remains ‘MIDI’, in the sense that its on-disk recordings are MIDI, its output may be audio-only.</p>
+<p>A track's type is really only related to the type of data that it stores on disk. It is possible, for example, to have a MIDI track with a synthesizer plugin which converts MIDI to audio. Even though the track remains ‘MIDI’, in the sense that its on-disk recordings are MIDI, its output may be audio-only.</p>
<p>More details can be found at <a href="/working-with-tracks">Working With Tracks</a>.</p>
<h3 id="busses">Busses</h3>
<p>Busses are another common concept in both DAWs and hardware mixers. They are similar in many ways to tracks; they process audio or MIDI, and can run processing plugins. The only difference is that their input is obtained from other tracks or busses, rather than from disk.</p>
-<p>One might typically use a bus to collect together the outputs of related tracks. Consider, for example, a 3-track recording of a drum-kit; given kick, snare and overhead tracks, it may be helpful to connect the output of each to a bus called ‘drums’, so that the drum-kit's level can be set as a unit, and processing (such as equalisation or compression) can be applied to the mix of all tracks.</p>
+<p>One might typically use a bus to collect together the outputs of related tracks. Consider, for example, a 3-track recording of a drum-kit; given kick, snare and overhead tracks, it may be helpful to connect the output of each to a bus called ‘drums’, so that the drum-kit's level can be set as a unit, and processing (such as equalisation or compression) can be applied to the mix of all tracks.</p>
<h3>Regions</h3>
<p>A track may contain many segments of audio or MIDI. Ardour contains these segments in things called regions, which are self-contained snippets of audio or MIDI data. Any recording pass, for example, generates a region on each track that is enabled for recording. Regions can be subjected to many editing operations; they may be moved around, split, trimmed, copied, and so on. </p>
<dt>LADSPA</dt>
<dd>the first major plugin standard for Linux. Many LADSPA plugins are availble, mostly free and open-source.</dd>
<dt>LV2</dt>
-<dd> the successor to LADSPA. Lots of plugins have been ‘ported’ from LADSPA to LV2, and also many new plugins written.</dd>
+<dd> the successor to LADSPA. Lots of plugins have been ‘ported’ from LADSPA to LV2, and also many new plugins written.</dd>
<dt>VST</dt>
<dd>Ardour supports VST plugins that have been compiled for Linux.</dd>
<dt> AudioUnit (AU)</dt>
</dd>
</dl>
<h2>Reporting Issues</h2>
-<p>Given the difficulties in supporting Ubuntu and the limited time/resources of the Ardour team, the <code>Ubuntu Studio Project</code> has requested that issues and bug reports related to Ubuntu, Ubuntu Studio and other derivitives be directed to them.<p>
+<p>Given the difficulties in supporting Ubuntu and the limited time/resources of the Ardour team, the <code>Ubuntu Studio Project</code> has requested that issues and bug reports related to Ubuntu, Ubuntu Studio and other derivitives be directed to them.</p>
<h4>Contact Information for Ubuntu Studio</h4>
<p><a href="http://ubuntustudio.org" target="_blank">The Ubuntu Studio Homepage</a></p>
<p><a href="http://ubuntuforums.org/forumdisplay.php?f=335" target="_blank">The Ubuntu Studio Forums.</a></p>
<p><a href="https://help.ubuntu.com/community/UbuntuStudio/MailLists" target="_blank">Information on the Ubuntu Studio Mailing Lists.</a></p>
-<p><a href="https://help.ubuntu.com/community/UbuntuStudio/IRC" target-"_blank">Information on the Ubuntu Studio IRC channel.</a> #ubuntustudio on irc.freenode.net</p>
+<p><a href="https://help.ubuntu.com/community/UbuntuStudio/IRC" target="_blank">Information on the Ubuntu Studio IRC channel.</a> #ubuntustudio on irc.freenode.net</p>
<p>In Ardour, you work in two main windows: the Editor window and the Mixer window.</p>
-<p><img src="/ardour/manual/html/diagrams/editor-summary.png" alt="ardour's editor window"></p>
+<p><img src="/ardour/manual/html/diagrams/editor-summary.png" alt="ardour's editor window" /></p>
<p>The Editor window includes the editor track "canvas" where you can arrange audio and MIDI data along a timeline. This is the window you will be in while editing and arranging a project. The window has a general "horizontal" sense to it: the timeline flows from left to right, the playhead showing the current position in the session moves from left to right - the window really represents "time" in a fairly literal way.</p>
-<p><img src="/ardour/manual/html/diagrams/mixer-summary.png" alt="ardour's mixer window"></p>
+<p><img src="/ardour/manual/html/diagrams/mixer-summary.png" alt="ardour's mixer window" /></p>
<p>The Mixer window on the other hand represents signal flow and is the window you will probably be using most when mixing a session. It includes elements called "channel strips" for each track and bus in your session. It has a general "vertical" sense to it: signals flow from the top of each channel strip through the processing elements in the strip to reach the output listed at the bottom. </p>
<p>It is possible to show a single channel strip in the editor window, and some people find this enough to work on mixing without actually opening the mixer window. Most of the time though, you will want both of these windows at various stages of a session's lifetime - sometimes you'll be focused on editing, sometimes on mixing and possibly some of the time on both.</p>
<h2>Starting Ardour on the command line (Linux)</h2>
<p>Like (almost) any other program on Linux, Ardour can be started on the command line.</p>
<ul>
-<li>type the following command in a terminal window<br><pre>ardour3</pre>
+<li>type the following command in a terminal window<br
/><pre>ardour3</pre>
</li>
-<li>to start Ardour with an existing session, type the following command in a terminal window<br><pre>ardour3 /path/to/session</pre>
+<li>to start Ardour with an existing session, type the following command in a terminal window<br
+/><pre>ardour3 /path/to/session</pre>
<p>replacing /path/to/session with the actual path to your session. You can specify either the session folder or any session file inside the folder (including snapshots).</p>
</li>
-<li>to start Ardour with a new, named session, type the following command in a terminal window<br><pre>ardour3 -N /path/to/new/session</pre>
+<li>to start Ardour with a new, named session, type the following command in a terminal
+window<br/ ><pre>ardour3 -N /path/to/new/session</pre>
<p>replacing /path/to/new/session with the name of the folder where you want the session stored.
</p>
</li>
</ul>
<h3>Other Command Line Options</h3>
-<dl>
-<dt></dt>
-<dd></dd>
-</dl>
<dt>L</dt>
<dd>whether the region position is locked, so that it cannot be moved.</dd>
<dt>G</dt>
-<dd>whether the region's position is ‘glued’ to bars and beats. If so, the region will stay at the same position in bars and beats even if the tempo and/or time signature change.</dd>
+<dd>whether the region's position is ‘glued’ to bars and beats. If so, the region will stay at the same position in bars and beats even if the tempo and/or time signature change.</dd>
<dt>M</dt>
<dd>whether the region is muted, so that it will not be heard.</dd>
<dt>O</dt>
-<dd>whether the region is opaque; opaque regions ‘block’ regions below them from being heard, whereas ‘transparent’ regions have their contents mixed with whatever is underneath. </dd>
+<dd>whether the region is opaque; opaque regions ‘block’ regions below them from being heard, whereas ‘transparent’ regions have their contents mixed with whatever is underneath. </dd>
</dl>
<p>Hovering the mouse pointer over a column heading shows a tool-tip which can be handy to remember what the columns are for.</p>
<p>A handy feature of the region list is that its regions can be dragged and dropped into a suitable track in the session.</p>
-<p>This shows the track/bus groups that exist in the session. These groups allow related tracks to share various properties (such as mute or record enable state). For full details, see the section called “Track and bus groups”.</p>
+<p>This shows the track/bus groups that exist in the session. These groups allow related tracks to share various properties (such as mute or record enable state). For full details, see the section called
+“Track and bus groups”.</p>
<p>The columns in this list are as follows:</p>
<dl>
<dt>Col</dt>
In the transport bar of the editor window there are two (or, if you are on a very small screen, just one) clocks that display both the current position of the playhead, and additional information related to transport control and the timeline. These are called the "transport clocks"; the leftmost one is the primary transport clock and the rightmost one is the secondary transport clock. They look like this:
</p>
<p>
-<img src="/files/manual/a3/images/new_main_clocks.png" alt="An image of the transport clocks in Ardour 3"></p>
+<img src="/files/manual/a3/images/new_main_clocks.png" alt="An image of the transport clocks in Ardour 3" /></p>
<p>
Editing the time in the transport clocks will reposition the playhead in the same way that various other editing operations will.
</p>
Under the <code>Windows</code> item in the main menu you will find the "Big Clock" window, which also shows the playhead position in a big, fully resizable window. The big clock is very useful when you need to work away from the screen but still want to see the playhead position clearly (such as when working with a remote control device across, or in another, room). The big clock will also change its visual appearance to indicate when active recording is taking place. Below on the left is a screenshot showing a fairly large big clock window filling a good part of the display, and on the right, the same clock during active recording.
</p>
<p>
-<a href="/files/bigclock.png"><img src="/files/bigclock.png" height="100" alt="an image of the big clock filling a screen"></a> <a href="/files/bigclock-recording.png"><img src="/files/bigclock-recording.png" height="100" alt="an image of the big clock while recording"></a>
+<a href="/files/bigclock.png"><img src="/files/bigclock.png" height="100" alt="an image of the big clock filling a screen"
/></a> <a href="/files/bigclock-recording.png"><img src="/files/bigclock-recording.png" height="100" alt="an image of the big clock while recording"></a>
</p>
<h4>The Special Role of the Secondary Transport Clock</h4>
<p>
The transport bar also contains a set of 5 clocks that show the current selection range and punch ranges. Clicking on the punch range clocks will locate to either the beginning or end of the punch range. Similarly, clicking on the range clocks will locate to either the beginning or end of the current selection. In this screen shot there is no current selection range, so the selection clocks show an "off" state.
</p>
<p>
-<img src="/files/selectionpunchclocks.png" alt="An image of the the selection and punch clocks in Ardour 3"></p>
+<img src="/files/selectionpunchclocks.png" alt="An image of the the selection and punch clocks in Ardour 3" /></p>
<p></p>
<h2>Clock Modes</h2>
<p>Every clock in Ardour has four different modes it can be set to, each of which displays time using different units. You can change the clock mode by right-clicking on the clock and selecting the desired mode from the menu. Some clocks are entirely independent of any other clock's mode; others are linked so that changing one changes all clocks in that group. The different modes are:</p>
<p>
New values for the clock can be typed from the keyboard after clicking on the relevant clock. Clicking on the clock will show a thin vertical cursor bar just to the right of the next character to be overwritten. Enter time in the same order as the current clock mode - if the clock is in Timecode mode, you need to enter hours, minutes, seconds, frames. So, to change to a time of 12:15:20:15 you would type <code> 1 2 1 5 2 0 1 5</code>. Each number you type will appear in a different color, from right to left, overwriting the existing value. Mid-edit, after typing <code>3 2 2 2</code> the clock might look like this:</p>
<p>
-<img src="/files/clockedit.png" alt="An image of a clock being edited in Ardour 3"></p>
+<img src="/files/clockedit.png" alt="An image of a clock being edited in Ardour 3" /></p>
<p>
To finish the edit, press the enter/return or tab key. To exit an edit without changing the clock press the escape key. If you mis-type an entry so that the new value would be illegal (for example, resulting in more than 30 frames when Timecode is set to 30 frames per second), the clock will reset at the end of the edit, and move the cursor back to the start so that you may begin again.
</p>
</p>
<p>
-<img src="/ardour/manual/html/screenshots/meter-preferences.png" alt=""></p>
+<img src="/ardour/manual/html/screenshots/meter-preferences.png" alt="" /></p>
</p>
<p>
</p>
<p>
-<img src="/ardour/manual/html/screenshots/mixer-meter-context-menu.png" alt="mixer strip meter context menu">
+<img src="/ardour/manual/html/screenshots/mixer-meter-context-menu.png" alt="mixer strip meter context menu" />
</p>
<p>
</p>
<p>
-<img src="/ardour/manual/html/screenshots/meter-types-18.png" alt=""></p>
-<p>
+<img src="/ardour/manual/html/screenshots/meter-types-18.png" alt="" />
+</p>
<p>
Due to layout concerns and consistent look&feel all meters available in Ardour3 itself are bar-graph type meters.
</p>
<p>
-<img src="/ardour/manual/html/screenshots/needle-meters-18.png" alt=""></p>
-<p>
+<img src="/ardour/manual/html/screenshots/needle-meters-18.png" alt="" />
+</p>
<p>Rages are essentially two Location Markers the are grouped together to mark the beginning and end of a section in the timeline.
<h3>Creating a Range on the timeline</h3>
<p>To create a <code>Range</code> on the timeline, right click on the <code>Range Markers</code> <code>Ruler</code> at the top of the <code>Timeline</code> then select <code>New Range</code>. Two markers with the same name will appear along the ruler. Both marks can be moved along the timeline by clicking and dragging them to the desired location.
-
+</p>
<h3>Creating a Range from the Ranges & Marks List</h3>
</dd>
<dt>Interface</dt>
- <dd>
<dd>The selector should show all availiable interfaces that driver
provides that are duplex capable for Ardour to
use. <strong>Important</strong> if you are using an Intel Mac
first <a href="setting-up-your-system/us
ing_more_than_one_audio_device/">merge its separate input and
output devices into a single "aggregate device"</a> before
- Ardour will be able to use it.<br>
- </dd>
+ Ardour will be able to use it.
</dd>
<dt>Sample Rate</dt>
<p><a href="http://www.aatranslator.com.au/">AATranslator</a> is a Windows application that can convert sessions/projects from many diffferent DAWs into other formats. At the present time (December 2012), it can read and write Ardour 2.X sessions, and can read Ardour 3 sessions. </p>
<p>The program runs very well on Linux using <a href="http://www.winehq.org/">Wine</a> (a Windows environment for Linux). There are equivalent solutions for running Windows applications on OS X, but we have no experience with them at this time. Ardour users have reported great results using AATranslator on Ardour 2.X sessions.</p>
<p>The <a href="http://www.aatranslator.com.au/">AATranslator website</a> has full details on which formats/DAWs it supports, but they include ProTools, Live, Reaper, OMF, AAF and many more.</p>
-<p><img src="/images/No%20problem.gif"></p>
+<p><img src="/images/No%20problem.gif"/></p>
<p>Ardour allows arbitrary layering of regions - you can stack as many regions you wish over a given position. By default, the editor windows overlaps the regions. The overlapping layers saves vertical space.</p>
<p>However, this display mode can be confusing for tracks with many overdubs, because its not always entirely clear how the overdubs are all layered with respect to each other. Although there are other methods of moving particular regions to the top of an overlapping set, and although Ardour also has playlists to let you manage takes a bit more efficiently than just continually overdubbing, there are times when being able to clearly see all regions in a track without any overlaps is reassuring and useful. </p>
<p>Here is an image of a track with a rather drastic overdub/overlap situation, viewed in normal "overlaid" mode:</p>
-<p><img src="/files/a3/a3_overlaps_layered.png" alt="overlapping regions in overlaid mode"></p>
+<p><img src="/files/a3/a3_overlaps_layered.png" alt="overlapping regions in overlaid mode" /></p>
<p>To change this display, right click on the track header, and you'll see this menu:</p>
-<p><img src="/files/a3/a3_layers_menu.png" alt="layer display menu"></p>
+<p><img src="/files/a3/a3_layers_menu.png" alt="layer display menu" /></p>
<p>You will see that there are two choices for "Layers": overlaid (currently selected) and stacked. Click on stacked and the track display changes to this:</p>
-<p><img src="/files/a3/a3_layers_stacked.png" alt="overlapping regions in stacked mode"></p>
+<p><img src="/files/a3/a3_layers_stacked.png" alt="overlapping regions in stacked mode" /></p>
<p>You can still move regions around as usual, and in fact you can even drag them so that they overlay each again, but when you release the mouse button, things will flip back to them all being stacked cleaning. This display mode works best when you use sensible track heights. The number of "lanes" for the track is determined by the maximum number of regions existing in any one spot throughout the track, so if you have really stacked up 10 overdubs in one spot, you'll end up with 10 lanes. Obviously, using a large track height works much better for this than a small one.</p>
<dt>Follow order of mixer</dt>
<dd>When enabled, remote control IDs will be reset to match the mixer window order, so that the leftmost track/bus has RID 1. Manual assignment of RIDs is not possible.</dd>
<dt>Assigned by user</dt>
-<dd>When enabled, the remote control ID is completely independent of the ordering in either window, and RID's may be changed manually by the user.<br>
+<dd>When enabled, the remote control ID is completely independent of the ordering in either window, and RID's may be changed manually by the user.
</dd>
</dl>
<p> </p>
<p> Tracks and busses can be put into groups. You can set members of a group can to share various settings - useful for managing tracks that are closely related to each other. Examples might include tracks that contain multiple-microphone recordings of a single source (an acoustic guitar, perhaps, or a drum-kit).</p>
<p>You can group tracks and busses in various ways. In the editor window, a track's controls might look like these:</p>
-<p><img src="/ardour/manual/html/screenshots/track-in-group.png" alt="track headers for a group"></p>
+<p><img src="/ardour/manual/html/screenshots/track-in-group.png" alt="track headers for a group" /></p>
<p> The green tab to the left of the track header indicates that this track is in a group called ‘Fred’. You can drag these tabs to add or remove tracks from a group. </p>
<h2>Create New Groups</h2>
<h2>Modify Group Properties</h2>
<p>To edit the properties of a group, context-click (right-click) on its tab and choosing Edit Group…. This opens the track/bus group dialog, which is also used when creating new groups:</p>
-<p><img src="/ardour/manual/html/screenshots/route-group-dialogue.png" alt="the track/bus group dialog"></p>
+<p><img src="/ardour/manual/html/screenshots/route-group-dialogue.png" alt="the track/bus group dialog" /></p>
<h3>Group Color</h3>
<p>Click on the color selector button to change a group's colour. This affects the colour of the group's tab in the editor and mixer windows. The color does <strong>not</strong> affect the color of the group members unless you also enable the shared <code>Color</code> property. </p>
<li>Calf <a href="http://calf.sourceforge.net/">http://calf.sourceforge.net/</a>
</li>
<li>LinuxDSP <a href="http://www.linuxdsp.co.uk/">http://www.linuxdsp.co.uk</a>
+</li>
</ul>
<h3 id="LinuxVST">Linux VST (LXVST)</h3>
<h3>Embedding</h3>
<p>An existing media file is used as a the source for a region, but is not copied or modified in any way.</p>
<p>You can choose to import or embed the files in your session selecting or de-selecting the "Copy file to session" option in the Import dialog window.</p>
-<p><img src="/files/reference/images/225-ARDOUR_1_2_1.png"> the file will be imported in the audio/MIDI folder of your session</p>
-<p><img src="/files/reference/images/226-ARDOUR_1_2_1.png"> the file won't be copied.</p>
+<p><img src="/files/reference/images/225-ARDOUR_1_2_1.png" /> the file will be imported in the audio/MIDI folder of your session</p>
+<p><img src="/files/reference/images/226-ARDOUR_1_2_1.png" /> the file won't be copied.</p>
<p>If it doesn't work you can uncheck <code>Preferences > Misc > Session Management > Always copy imported files</code>.</p>
<li>Type in new/extra tags in the Tags section of the Soundfile Information box
</li>
</ol>
-<p><img src="/files/reference/images/216-ARDOUR_1_2_1.png"></p>
+<p><img src="/files/reference/images/216-ARDOUR_1_2_1.png" /></p>
<p>Tags are stored when the input box loses focus, there is no reason to explicitly "save" them.</p>
<li>Enter the tag(s) you want to search for and press "Search"
</li>
</ol>
-<p><img src="/files/reference/images/228-ARDOUR_1_2_1.png"></p>
+<p><img src="/files/reference/images/228-ARDOUR_1_2_1.png" /></p>
<p>Files which have been "tagged" with the input terms will appear in the results window. You can audition these files and apply tags to them from this window.</p>
-<p><img src="/files/reference/images/209-ARDOUR_1_2_1.png"></p>
+<p><img src="/files/reference/images/209-ARDOUR_1_2_1.png" /></p>
<h3>The Soundfile Information Box</h3>
<h3>Previewing Files Before Import</h3>
<h3>Importing Files as Tracks or Regions</h3>
<h3>External Monitoring</h3>
<p>With this approach, Ardour plays no role in monitoring at all. Perhaps the recording set-up has an external mixer which can be used to set up monitor mixes, or perhaps the sound-card being used has some ‘listen to the input’-style feature. This approach often has the advantage of zero or near-zero latency. On the other hand it requires external hardware, and the monitoring settings are not saved with the session.</p>
-<p><img src="/ardour/manual/html/diagrams/external-monitoring.png"></p>
+<p><img src="/ardour/manual/html/diagrams/external-monitoring.png" /></p>
<h3>JACK-Based Hardware Monitoring</h3>
<p>Some sound cards have the ability to mix signals from their inputs to their outputs with zero- or low-latency. Furthermore, on some cards these features can be controlled by <a href="/signal-routing/role-of-jack/">JACK</a>. This is a nice arrangement, if the sound card supports it, as it combines the convenience of having the monitoring controlled by Ardour with the low latency operation of doing it externally. </p>
-<p><img src="/ardour/manual/html/diagrams/jack-monitoring.png"></p>
+<p><img src="/ardour/manual/html/diagrams/jack-monitoring.png" /></p>
<h3>Software Monitoring</h3>
<p>With this approach all monitoring is performed by Ardour; it makes track inputs available at track outputs, under the influence of various controls. This approach will almost always have more routing flexibility than JACK-based monitoring. The disadvantage is that there will be a latency between the input and the output. The size of the latency depends largely on the JACK buffer size that is being used. </p>
-<p><img src="/ardour/manual/html/diagrams/ardour-monitoring.png"></p>
+<p><img src="/ardour/manual/html/diagrams/ardour-monitoring.png" /></p>
<h2>Set up Monitoring</h2>
<p>There are three main settings which affect how monitoring is performed. The first is <code>Edit > Preferences > Audio > Record monitoring handled by</code>. There are two or three options here, depending on the capabilities of your hardware: </p>
<dd>overdubs write to new audio files, new regions are created but if they overlap with existing regions, the existing regions are trimmed so that there no overlaps</dd>
</dl>
<p>To change the recording mode of a track, right click on its track header to get the context menu:</p>
-<p><img src="/files/a3/a3_nonlayered_mode_menu.png" alt="track header context menu"></p>
+<p><img src="/files/a3/a3_nonlayered_mode_menu.png" alt="track header context menu" /></p>
<p>Below is a screenshot that shows the subtly different results of an overdub in normal and non-layered mode. Both tracks were created using identical audio data. </p>
<p>The upper track is in normal mode, and the overdub (the middle shorter region, selected) has created a new region which if you look carefully has been layered on top of the the existing (longer) region. </p>
<p>The lower track is in non-layered mode, and rather than overlay the overdub region, it split the existing region and inserted the new one in between.</p>
-<p><img src="/files/a3/a3_nonlayered_example.png" alt="different results from normal and non-layered recording"></p>
+<p><img src="/files/a3/a3_nonlayered_example.png" alt="different results from normal and non-layered recording" /></p>
<p>Non-layered mode is extremely useful when combined with <a href="/editing-and-arranging/changing-region-lengths/pushpull-trimming">push/pull trimming</a>.</p>
<p>Subgroups remove the original signal routing to the main mix, but create a new one that delivers the output of the subgroup bus to the main mix instead.</p>
<p>The following two diagrams compares the signal flow when using subgroups and when using aux sends:</p>
<h2>Subgroup signal routing</h2>
-<p><img height="400px" src="/files/manual/a3/images/subgroup_routes.png" atl="sub group signal routing"></p>
+<p><img height="400px" src="/files/manual/a3/images/subgroup_routes.png" alt="sub group signal routing" /></p>
<h2>Aux send signal routing</h2>
-<p><img height="400px" src="/files/manual/a3/images/aux_routing.png" atl="aux signal routing"></p>
+<p><img height="400px" src="/files/manual/a3/images/aux_routing.png" alt="aux signal routing" /></p>
<blockquote><p>
Notable exceptions are aux sends and connections to the monitor bus (if you are using one): these cannot be controlled from a patchbay, and are basically not under manual control at all.
</p></blockquote>
-<p><img align="center" src="/ardour/manual/html/screenshots/connection-manager.png" alt="an example patchbay"></p>
+<p><img align="center" src="/ardour/manual/html/screenshots/connection-manager.png" alt="an example patchbay" /></p>
<p>The patchbay presents two groups of ports; one set of sources (which produce data), and one of destinations (which consume data). Depending on the relative number of each, the sources will be placed on the left or the top of the dialogue, and the destinations on the right or the bottom. Thus, in general, signal flow is from top or left to right or bottom.</p>
<p>Both sources and destinations are divided up into groups, with each group being given a tab. Click on the appropriate tab to show the ports in each group (‘Ardour Busses’, ‘Ardour Tracks’ and so on).</p>
<p>The groups that are used are as follows:</p>
</ul>
</li>
<li> For all other edit points
-<ul><li>use the selected regions <strong>and</strong> those that are both under the edit position<br><strong>and</strong> on a selected track, or on a track which is in the same active edit-enabled route group<br>
+<ul><li>use the selected regions <strong>and</strong> those that are both under the edit position <strong>and</strong> on a selected track, or on a track which is in the same active edit-enabled route group<br>
as a selected region.
</li></ul>
</li>
<dd>Snaps positions to the nearest region start or end</dd>
</dl>
<p>To use Region starts/ends/syncs/bounds as snap choices, you must have either
-<ol>
+<ul>
<li><em>No</em> tracks selected, which means that Ardour snaps to regions on any track, or </li>
<li>Several tracks selected, which means that Ardour only snaps to regions on those selected tracks.</li>
</ul>
+<p>
If you are moving items on a track, and only the current track is selected, then you will only be able to snap to other regions on the same track. This means that enabling <code>Edit > Preferences > Editor > Link Selections of Regions and Tracks</code> will make the "Region" grid units unusable. Avoid the use of this option if you are going to use any of the Region grid units.</p>
+</p>
\ No newline at end of file
<p>Normally when you trim regions by dragging with the mouse, it affects only the selected regions. Their lengths are directly affected by the trim operation, but nothing else is. Sometimes though, you'd like to trim a region that directly adjoins another, and keep this relationship the same - you're not trying to make one of the regions extend over the other - you'd like the junction to move in one direction or the other as part of the trim. This requires trimming both regions on either side of the junction, in opposite directions. <em>Push/Pull</em> trim, activated by pressing shift key before starting the drag, will do just that. Here's a few pictures to show the difference in the results of a normal trim and push/pull trim. First, the initial situation:</p>
-<p><img src="/files/a3/a3_before_trim.png" alt="region arrangement before trim"></p>
+<p><img src="/files/a3/a3_before_trim.png" alt="region arrangement before trim" /></p>
<p>Now lets look at what happens after we trim the right hand (selected) region by dragging its starting position earlier:</p>
-<p><img src="/files/a3/a3_after_trim.png" alt="region arrangement after a trim"></p>
+<p><img src="/files/a3/a3_after_trim.png" alt="region arrangement after a trim" /></p>
<p>You can see that it now overlaps the earlier region and a crossfade has been created between them.</p>
<p>Lets look now at what happens if we do the same trim, but using shift-drag to turn it into a push-pull trim instead:</p>
-<p><img src="/files/a3/a3_after_push_trim.png" alt="region arrangement after a push trim"></p>
+<p><img src="/files/a3/a3_after_push_trim.png" alt="region arrangement after a push trim" /></p>
<p>There is no overlap, and the end of the earlier region has been moved along with the start of the later region, so that they still directly adjoin each other.</p>
<p>You may have a situation where you've positioned one region over another, and you just want to cut the lower region so that it directly adjoins both ends of the overlapping one, with no overlaps. To do this, select the upper region, then choose <code>Edit > Separate > Separate Under</code>. This will split the lower region so that it no longer overlaps the upper region at all. Here is an example where we start with a short region placed so that it overlaps a longer region:</p>
-<p><img src="/files/a3/a3_before_separate_under.png" alt="region arrangement before separate under"></p>
+<p><img src="/files/a3/a3_before_separate_under.png" alt="region arrangement before separate under" /></p>
<p>When we perform the Separate Under edit, the lower region splits in two, with boundaries exactly positioned at the edges of the upper region:</p>
-<p><img src="/files/a3/a3_after_separate_under.png" alt="region arrangement after separate under"></p>
+<p><img src="/files/a3/a3_after_separate_under.png" alt="region arrangement after separate under" /></p>
<p>If the upper region covers only one end of the lower region, then this operation is equivalent to <a href="/editing-and-arranging/change-region-lengths/#trimtonextprevious">Trim to Next or Trim to Previous</a>, depending on which end is covered.</p>
<p>From the region context menu choose <code>Edit > Strip Silence</code> to detect silence (based on a user-chosen threshold in <abbr title="Decibels relative to Full Scale">dBFS</abbr>), split a region based on the boundaries of the silent segments, and remove the silence. You can also specify a minimum length for silence - useful when editing very percussive material and just needing to automatically trim the ends of a region. The dialog looks like this:</p>
-<p><img src="/files/a3/a3_strip_silence.png" alt="strip silence dialog"></p>
+<p><img src="/files/a3/a3_strip_silence.png" alt="strip silence dialog" /></p>
<p>The edit applies to all selected regions, allowing batch processing. You can also see in the screenshot how the main editor window is used to show silent segments and report the number and durations of the shortest segments.</p>
<p>So, to summarize:</p>
<dl class="wide-table">
<dt>
-<em>Selecting, moving, copying, trimming, deleting</em> <strong>regions</strong><br><dt>
+<em>Selecting, moving, copying, trimming, deleting</em> <strong>regions</strong><dt>
</dt>
</dt>
<dd>leave "Note Level Editing" disabled, use object, range or other mouse modes</dd>
-<p><img src="/files/a3/a3_quantize.png" alt="quantize dialog"></p>
+<p><img src="/files/a3/a3_quantize.png" alt="quantize dialog" /></p>
<p>Accessed via the "q" key, the dialog includes:</p>
<ul>
<li>Options for grid, legato amd groove quantize
<p>Sometimes you'll want to edit MIDI data directly from a connected MIDI device like a music keyboard or pad controller. Sometimes you'll want to use the mouse. Sometimes you'll want the fine-grain control, precision and speed of entry that comes from using a custom note entry dialog. </p>
<p>The step entry dialog is accessed via a right click context menu on the rec-enable button (its there because step entry is related to <em>recording</em> MIDI data. You cannot simultaneously step edit and record MIDI via the track's MIDI port.</p>
-<p><img src="/files/a3/a3_step_entry.png"></p>
+<p><img src="/files/a3/a3_step_entry.png" /></p>
<p>The dialog (quite closely modelled on Logic's) contains:</p>
<ul>
<li>Chord entry switch (successive notes are stacked in a chord until it is released
- <h2>Automation<br><h2>
-</h2>
-</h2>
+<h2>Automation</h2>
<p>This chapter covers the following:</p>
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